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Forced Exposure New Releases for 8/3/2015

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New music is due from Alvarius B, Alessandro Cortini, and Stephen O'Malley, while old music is due from Kaleidoscope, The Cramps, and John Fahey.


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IF 005LP

ECHO & THE BUNNYMEN: Ocean Rain LP (IF 005LP) 19.00
2011 release. "'This is another new one off the greatest album ever made. It's called 'My Kingdom.'' Rock and roll arrogance has never hemmed so close to the truth as this Ian McCulloch introduction to 'My Kingdom' during the 1983 A Crystal Day concert special. Not only were Echo & the Bunnymen aware of the instant classic status of their latest LP, but the grand, majestic and fluid nature of Ocean Rain made it clear that the band had indeed set out to make 'the greatest album ever made.' Ironically, despite all of their work and focus, this masterpiece sounds like it was simply handed down from the gods. Following the more rock-oriented material on their first albums, the songs on Ocean Rain were a departure. The aim was to make something 'conceptual with lush orchestration, but with a twist.' With their success using strings on tracks like 'The Back of Love' and 'Never Stop' providing confidence, the band employed a 35-piece orchestra for Ocean Rain. Guitarist Will Sergeant would later describe the finished recording as 'windswept; dark and stormy.' The Scott Walker / Love inspired string arrangements, unusual instrumentation, inventive recording techniques and McCulloch's abstract and bewildering mysticism all added to the unique and timeless quality of the album. A statement of purpose by one of the elite bands from the '80s underground, Ocean Rain includes several of the Echo & the Bunnymen's most adored recordings and some of the best songs from the era. 'The Killing Moon,' 'Silver,' 'Seven Seas,' 'Crystal Days' and the aforementioned 'My Kingdom' continue to mesmerize a new generation of post-punk romantics, and the band's influence can be heard in the grandiose spectacle of groups such as Arcade Fire and British Sea Power."


4M 117LP

FAHEY, JOHN: America 2LP (4M 117LP) 28.00
2015 repress. "Originally released in 1971, America is one of the artistic high points of John Fahey's career. And yet, for nearly 30 years it was not heard in its entirety, as what was originally intended as a double album was pared down to a single LP. 4 Men With Beards is proud to present the complete America double album, released on vinyl for the first time ever. Fahey himself had this to say about America: 'Out of all the songs I ever wrote, I consider only two of them 'epic' or 'classic' or in the 'great' category and they are both on this record.' Deluxe gatefold packaging that includes a reproduction of the original illustrated booklet." 180 gram vinyl.



ROLLET/THIERRY MULLER, QUENTIN: On Your Body's Landscape LP (BIS 001LP) 22.00
First recording of the duo of legendary French musician Thierry Müller (Ilitch, Ruth...) on keyboards and guitar and French alto sax player Quentin Rollet (played and recorded with Nurse With Wound, Bitchin' Bajas, The Red Krayola, David Grubbs, Mendelson, Prohibition, Akosh S. Unit, Jac Berrocal...). A journey through quiet soundscapes alternating with electronics and concrète sounds. A film without image. Recorded by Thierry Müller. Mixed and mastered by Patrick Müller. Artwork by Thierry Müller.


TAZARTES, GHEDALIA: La Bar Mitzvah du Chien LP (BIS 002LP) 22.00
Another shamanic journey in Tazartès's universe. He sings and plays all the instruments and samples, recorded in the very same room as all his other solo records since 1974. Performed, produced, and recorded by Ghédalia Tazartès for Bisou in 2012. Tazartès's son, Lalo, can be heard on "Don't Cry for Me, Mamma." The front cover is a picture of Quentin Rollet, shot by Yannick Ressigeac. The back features a drawing by Lalo Tazartès. Mastered by F/Lor.



FFRENCH, ROBERT: Black Solidarity Presents Mr Babylon LP (BSLP 002LP) 15.50
LP version. "Hear what happen now! We used to punch the juke box lunchtime... Me and me friends had a kinda thing like the juke box was our sound system and we'd use our lunch money to play the baddest tunes on the juke box. We were aided and abetted by a kinda dodgy little shop keeper cause we were kids and we were in the rum bar punching the juke box when we weren't supposed to be allowed!! So we were breaking all the rules... punching the juke box and taking turns to play the wickedest tunes in the juke box..." --Ossie Thomas. Breaking rules from the outset, Ossie Thomas had furthered his childhood fascination with music while still attending Oberlin High School; many more rules would be broken when, together with Phillip Morgan, he set up the Black Solidarity label in 1979 on Delamare Avenue, deep in the heart of the Kingston ghetto... "I used to tell people that dance hall was like styles and fashions, if you have a wicked style and you have the fashion you go make it in the dancehall... You understand?" --Ossie Thomas.


BS 019LP

METABOLISMUS UND FIFTY-FIFTY: A Square Inside a Circle Inside... LP (BS 019LP) 25.00
This LP is a documentation of the very first meeting of Stuttgart-based minimalist jazz duo Fifty-Fifty and Swabian sound exploration society Metabolismus. All players draw from decades of experience with different forms of improvisation, using instrumental and electronic sounds known and unknown to spontaneously create an aural environment of complex simplicity. A wide spectrum of group mind expressions can be heard, from the purely abstract to moments of calm reflection. The title is a meditation on the idea of the impossible, beautifully represented by these words from Alexander Pope:"Mad Mathesis alone was unconfined,Too mad for mere material chains to bind,Now to pure space lifts her ecstatic stare,Now, running round the circle, finds it square."The session was recorded during one afternoon in the summer of 2012 at Sumsilobatem Sound Studio on magnetic tape; any technical imperfections due to the spontaneous nature of the situation were kept in as part of the document. No digital technology was used in the making of this album. Cover art is hand-silkscreened; originally designed by Estuardo Maldonando. "Metabolic music saves you from a life of grey." --KF



OSSIA: Red X 12" (BLACKEST 046EP) 17.50
Ossia (Young Echo member, operates Rewind Forward, Peng! Sound, No Corner, Hotline Recordings) debuts with "Red X," inspired by Peter Tosh's diary recordings in which he documented his dissatisfaction and mistrust in the run-up to his shocking murder in '87. The track brilliantly bridges dubwise, isolationist electronics and modern soundsystem dynamics. "Blood & Ice (Version)" was coaxed out of a dubplate of "Ice & Blood" and the crackly runout groove of Tosh's Bombo Klaat 7" shot through '70s Copicat tape-delay and an array of effects. Vinyl-only edition of 500 housed in beautiful screenprinted sleeve designed by Studio Tape-Echo.



UBRE BLANCA: Terminal Island 12" (CDR 011EP) 23.00
Ubre Blanca return with their second release for Clan Destine after the amazing Polygon Mountain EP (CDR 12004EP). Continuing their obsession with '70s and '80s horror and B movie soundtracks, fat synth sounds, and live drums, Joel Stone (Shitdisco) and Andy Brown deliver a heady mix of full-on synth and live drums mixed with some more atmospheric pieces. Terminal Island heads straight to some tropical island where horrifying shit is going down, bringing to mind old cinematic masterpieces like Cannibal Holocaust (1980) mixed with Miami Vice. Cover art by Stone, hand-painted with oils over several months.



ACRE/FILTER DREAD: Interference 12" (CDS 001EP) 16.50
Visionist resets his Lost Codes imprint as a PAN sublabel, Codes, with a killer collaborative grime/techno collage by Acre and Filter Dread, marking the first time either producer has collaborated properly. "Drumz 34" burrows in with viral eight-bit squiggle and squashed subs before "Flash Speed" arches up a skeletal, mutant eight-bar onslaught and "Trashed" bruks out the toms on a swooping halfstep techno flex. Darkside droog raver "Life" whips reversed drums, bass, and Mentasms with very canny Wendy Carlos vibes, while "Unknown" deals in guttural, monotone functions and "Blood Artist" pulls coarse lo-fi drums and electronics into sharp focus.



MORRICONE, ENNIO: Le Foto Proibite Di Una Signora Per Bene LP (RED 202LP) 23.00
2015 repress. Ennio Morricone's soundtrack to the obscure 1970 Italian thriller Le foto proibite di una signora per bene is a nerve-racking listening experience. In film, the atmosphere created by the effect of a disturbing soundtrack causes much of the tension. Much of the score has a very sinister ambience, highlighted by Morricone's sublime use of the human voice. Italian soprano Edda Dell'Orso's cascading vocal tones mix unsettlingly with the stabbing Morricone strings, befitting the movie's Hitchcockian moments. Genius.



CONFORCE: Presentism 3x12" (DSR 111LP) 31.00
Triple 12" version. Prolific Dutch artist Conforce delivers Presentism, marking something of a subtle evolution in his sound, returning to a more organic and immersive aesthetic. Made using various bits of outboard gear, it fuses dub rhythm with ambient detail and propulsive 4/4 kick drums to make for absorbing listening. Once again, then, this album proves that no one does deep electronic music as well as Conforce.


BELTRAN, JOHN: Espais 2LP (DSR D3-LP) 23.00
Double LP version. Enduring ambient and soundtrack specialist John Beltran presents 17 beautiful tracks that range from dreamy and heavenly to more meaningful and moving. Emotional from start to finish, Espais once again finds Beltran using modern tools and techniques with classical musical values. Part synthetic and machine-made, part organic and natural, it is another fine opus from the Michigan man.


EXOS: My Home Is Sonic 2x12" (XDSR 009LP) 23.00
Double 12" version. Delsin X-Series reissues My Home Is Sonic, a standout techno, dub, and minimal album originally released in 2001 by Icelandic producer Arnvidur Snorrason aka Exos on Æ Recordings. Exos, the son of dub techno producer Octal, has released three albums and a swathe of fine EPs on labels like Thule, Mosaic, and Slow to Speak; he's also been picked up by Nina Kraviz. His ability to build great atmospheres and heady soundscapes is unrivalled on this album; they are always fresh, wintry, and compelling. Few have done minimal dub techno better, before or since this masterpiece, so it's right that 2015 sees it revisited by fans old and new alike.



O'MALLEY, STEPHEN: Gruidés LP (DDS 013LP) 23.50
The dark interpreter Stephen O'Malley ov Sunn O))) presents his towering orchestral composition Gruidés, commissioned by French 35-piece improv orchestra ONCEIM -- l'Orchestre de Nouvelles Créations, Expérimentations et Improvisation Musicales -- and released thru Demdike Stare's DDS label. In early 2014 O'Malley was approached by pianist and composer Frédéric Blondy to write a work for the orchestra, which is made up of exceptional musicians from the fields of contemporary, jazz, experimental, improvisation, and classical. Understandably intimidated by the prospect, but encouraged to "just be punk rock about it," the preternaturally gifted composer has conceived a technically demanding -- for the players, at least -- and richly rewarding long-form drone piece intently focused on harmonic experimentation and overtone study. During its 35-minute lifespan, Gruidés requires the musicians to sustain pitches for several minutes (which is difficult enough for strings, and a real feat of endurance for woodwind), yielding spectra of eliding dissonance rent in sliding tone clusters and lucent geometries punctuated by a similar whipcrack percussion to that used in Sunn O)))'s 2014 collaboration with Scott Walker. It makes great use of the acoustic qualities of Saint Merry church in central Paris, as captured in the recording of IRCAM's Augustin Muller and mastered by Matt Colton with a detached spaciousness evocatively distilled in Jean-Luc Verna's cover art. It's an incredibly immersive piece that comes highly recommended if you're into the work of Phill Niblock, Alvin Lucier, Ellen Fullman, Harley Gaber, and, indeed, Sunn O))).



EL MAHDY JR.: Ghost Tapes LP (CREP 019LP) 28.50
With the haunting collages of Ghost Tapes, El Mahdy Jr goes deeper into his own personal sonic space. "Ghost Tapes is a composition of everyday fragments based on found tapes, field recordings, beats, and radio frequencies. A ruff attempt of interpreting the cultural ghost that surrounds the field and makes the difference between place and space" --El Mahdy Jr, 2015. Mastered and cut by Rashad Becker at Dubplates & Mastering. Pressed at Optimal.


ACV 2057LP

COLTRANE & JOHNNY HARTMAN, JOHN: John Coltrane & Johnny Hartman LP (ACV 2057LP) 20.00
John Coltrane's 1963 matchup with singer Johnny Hartman, although quite unexpected, works extremely well. Hartman is in prime form on the six ballads, and his versions of "Lush Life" and "My One and Only Love" have never been topped. Coltrane's playing throughout the session is beautiful, sympathetic, and still exploratory; he sticks exclusively to tenor on the date. At only half an hour, one wishes there were twice as much music, but what is here is classic, essential for all jazz collections.


DNC 1204LP

DJ ROC: Practice What U Preach LP (DNC 1204LP) 14.50
LP version. After his highly acclaimed debut album The Crack Capone (Planet Mu, 2010), widely considered an all-time footwork classic, DJ Roc returns with a follow-up mini-album titled Practice What U Preach. Roc is one of the main DJs at the weekly Battlegroundz meet-ups in Chicago's South Side, where the different crews and dancers flesh out who is the coldest in the game. This special release gives a very good impression of what is happening musically in the eye of the storm. It's a collection of eight pure battle tracks, made without compromise, yet its variety of modes and moods is breathtaking. This is an excellent release for anyone looking to dig deeper into footwork's vast landscape of infinite possibilities and enjoy the raw energy of one of today's most exciting electronic dance music styles.


EMK 1202EP

EMIKA: DREI Remixes 12" (EMK 1202EP) 12.50
Remixes of two tracks from prolific electronica polymath Emika's 2015 album DREI (EMK 002CD/LP) (Ibiza Spotlight Album of the Week; "a fascinating album" --Rolling Stone). UK techno legends The Black Dog's "Battles" rework is all brooding pads, electro glitchery, and stomping breakbeats; Kamikaze Space Programme's version is more dramatic still. Leading off four remixes of "What's the Cure," CNCPT (Brenda, Natch Records) delivers dubbed-out, reverb-heavy techno. German Clone and Bunker affiliate The Exaltics offers an atmospheric electro rework with a thick, rubbery bassline. Borai (Tasteful Nudes) and Emika provide a stripped-back, heavily-swung, stomping take before Eomac's stunning string-laden interpretation.



MV & EE: Alpine Frequency 2LP (FTR 167LP) 27.50
"Matt Valentine and Erika Elder have been cutting new synaptic pathways through brainic underbrush since before most people became capable of breathing air. That said, their albums (many of which are CDR-only issues on their own Child of Microtones imprint) often have a specific delirious blueprint, designed to shift only a certain batch of molecules and/or air into forms that translate into music. Such is not the case with Alpine Frequency. This lazily explorative 2LP set was sewn into a whole from various tattered swathes of sound, pieced together like the jeans Neil Young wore on the cover of After the Gold Rush (1970). A Spectrasound production, AF includes appearances by a vast array of MVEE enablers of all known periods -- PG Six, Mick Flower, Rafi Bookstaber, Jeremy Earl, Doc Dunn, Spanish Wolfman, and many others emerge from time to time, making sure the water is just right. And it is. Like a very good Dead set, the music here moves from overt abstraction to melodic focus and back like the tracking shots Monte Hellman used in the 1974 film version of Charles Willeford's Cockfighter (1962). But unlike the Allman Bros. (who were extras in the crowd scenes at Hellman's staged cock fights), MV&EE don't do anything to placate the squares. Their trip is as deep, dark, and flowing as a bushel of burning VT weed. Their music sucks you into its vortex (if it allows you in, of course) and then just carries your ass right through to the finish line. All you have to do is get up now and then to change the records. This here outfit (in all its many guises) has put out a lot of great music, but Alpine Frequency feels like a real achievement -- a shorthand essay about all that has gone before it. A beautiful capsulization, ready to float onto your ear's tongue, to melt once and for all. Dig it" --Byron Coley, 2015. Edition of 500.


GENDRON, MYRIAM: Bric-à-brac/The Small Hours 7" (FTR 187EP) 11.50
"Following her acclaimed 2014 debut LP, Not So Deep As a Well (FTR 146-3LP), Montreal's Myriam Gendron has created musical settings for another pair of Dorothy Parker poems -- 'Bric a Brac' and 'The Small Hours.' The slow, sensuously beautiful combination of Myriam's voice and guitar, combined with dolorous genius of Parker's words is as intimate as ever. The pairing is seamless and natural, conveying an instant warmth that is a wonderful way to see out the winter, hailing the spring on our doorstep, with hints of the endless circle of seasons to follow. With a letterpressed sleeve and insert by the brilliant Kiva Tanya Stimac of Popolo Press, this record is a rare and special object." --Byron Coley, 2015


FRANK HURRICANE: Fuck wit It High: A Mystical Gangsta's Reflection Vol. 1 (Pympstrumental) LP (FTR 197LP) 16.50
"In a world with nothing to love, you can't love anything that's of this world. You need something holy. Better yet, you need something holy and spiritual. EVEN better would be something holy and spiritual that fights for righteousness instead of destruction. Well, your fuckin' troubles are over, dude -- the Holy Spiritual Gangsta Frank Hurricane is back! There are parts of this new Frank Hurricane record that sound like perhaps he actually built a shirt from one of those 'rap music' Casio keyboards and then had baby elephants squeeze him between two waterbeds with his arms outstretched so he could tap out melodies. Frank moves through the murk of this lo-fi paradise with ease and, most importantly, space. This record's got air in it, the tones blow together like the leaves of a tree that sprouts degraded VHS tapes instead of fruit. It's recorded in a way that calls to mind cheap cassettes and British bedrooms in the early 1980s. But it's here and now. You could excerpt bits from this record and sneak them onto a Snatch Tapes compilation and no one would bat an eye. But this is Frank Hurricane, the guy who raps about pizza and tells outrageous stories about his travels while he warms up for a song about mountains, using the word 'psychedelic' as freely and as tonally as Miles Davis used the word 'motherfucker.' There's always been something to Frank that hints at hidden depths in his persona -- he operates with a wink and a smile but with simultaneous earnestness, and if you're not tuned in, his subtleties could whiz right past you. What he's doing here isn't out of character at all, it's an embrace of the twinkling possibility of low fidelity to teach lessons about cosmic potential, and Frank's interests are nothing if not geared toward cosmic potential. Last I checked, Bill Hicks once said this: 'It doesn't matter because it's just a ride. And we can change it any time we want. It's only a choice. No effort, no work, no job, no savings of money -- a choice, right now, between fear and love. The eyes of fear want you to put bigger locks on your door, buy guns, and close yourself off. The eyes of love, instead, see all of us as one.' What side do you think Frank Hurricane is on?" --Matt Krefting, Holyoke, MA, 2015


BACHMAN, DANIEL: Miscellaneous Ephemera and Other Bullshit LP (FTR 202LP) 16.50
"First off, the cover. Let's make it clear -- this was totally Daniel's idea and is based on the original art for Tony Rice's California Album (Rebel SLP-1549, 1975). Why? We cannot say exactly. The album is considered to be in Rice's all-time top five. But so what? Who amongst us can claim to have fully plumbed the depths of Bachman's mind? The guy is a genius and those types just have 'their ways.' So shut up about the cover already. This album itself was released under the title Daniel Bachman by an English label -- Lancashire and Somerset -- in 2014. But copies evaporated like mom's milk, so here's a sonic jug from which we can all suckle with warm ease. Miscellaneous Ephemera is an amazing record -- filled to the brim with music that extends the concept of acoustic guitar manipulation beyond the range of mere vaseline machine guns. The pieces range from disruptive scrambles and neo-Tuvan throat aktion worthy of late-period Fahey to Kabra-style ragas and the more easily-anticipated particles of primitive guitar brilliance. There is also some adult content on the second side, so radio programmers -- be alert! Bachman has been a growing force in the acoustic underground for a few years now, and this new one really rips a new hole in the side of the style's star-cluster. Join forces with it today. Or else" --Byron Coley, 2015. Edition of 500.


NATHAN/G. JAMIE, C.: Youthful Dementia Cassette (FTR 206CS) 7.00
"Reissue of a cassette that Colby released on his own Laughable Recordings label in 2014. Mr. Nathan is based up in Maine, where he recorded Sophie Dickinson's Cucucanady LP (FTR 177LP). Greg is from Maine as well, and the pair got together for this session in late 2013, with Ralph White sitting in on one track. The sonics recall everyone from early Neil to something that sounds more like a small cabal of stoned American ex-pats singing for their scalps in Denmark in the summer of 1968. Like many other artists from Vacationland, these guys make music that's like a warm handshake. Comes with a small lyric booklet, hand-sewn by Colby. Sweet stuff." --Byron Coley, 2015


PALBERTA: Shitheads in the Ditch LP (FTR 207LP) 16.50
"Another great album by this Hudson Valley trio (again, first issued as a cassette by OSR), continuing their plunge into the ocean of post-punk readymaids. Palberta's sound collages together many of the greatest female outfits of the classic Rough Trade era (Kleenex to The Raincoats to Mo-Dettes and onward) while retaining an after-core blurtage that can momentarily call to mind anyone from Slant 6 to Huggy Bear. The trio's own personae shine through as well -- giving everything a sputzy Saturday-morning-cartoon quality. This requires blending naïve-sounding pieces of sound-art inside extremely sophisto form-molds and Palberta manage to pull this trick off seamlessly (whether by design or sheer instinct, we dunno). It allows them to celebrate and subvert genre-protocols simultaneously, which is pretty damn great. And the fact that they sound like they're having a lot of fun while they destroy conventions doesn't hurt in the least. In fact, it's what you'd be tempted to call 'a total genius move.' Give Palberta an inch. Right now. They'll take a whole lot more." --Byron Coley, 2015. Edition of 350.


"Spine-tingling free improv fire-blast from an international quartet with deep underground roots. Italian reeds player Genta and drummer Vanzan form the basis for all Jooklo aktion (Duo, Golden, Stellar, et al.). Norwegian reeds dude Stiberg and guitar/electronics manager Jon Wesseltoft also collaborate in Maranata. Together in Olso in 2012, the quartet laid down this very hard-blown and stylish session. There are let-ups in the attack, but there aren't many. Broken into five parts, 'Det Kritiske Punkt' ('The Critical Point') surges along like an unbroken chain of climaxes. Even when one or two of the instruments start to move laterally, as though things are preparing to wind down, the other two almost invariably get more sput in their gutteral sails and start to howl like their brain stalks are under attack. The only real break comes on 'Pt. III' where it starts to sound like one of the AACM's little instrument jamborees. But that is a feint. Soon enough you'll feel your scalp begin to raise again. And it's off to the races we go. One does not generally think of the Italians and the Norwegians forming an affinity group. But they do share a love of fish. And perhaps sometimes that's enough." --Byron Coley, 2015



MIGHTY BABY: Slipstreams LP + 7" (FBLP 1002LP) 42.00
By the summer of 1971 Mighty Baby had shed their psychedelic trappings and taken a more spiritual, reflective approach. Newly signed to Mike Vernon's Blue Horizon label, they prepared the material for their second and final album, A Jug of Love (SBR 5026LP), in a basement on Harley Road, North London, ahead of sessions in Sound Techniques that July and August. This is the only known recording of them in rehearsal. Taped on Ian Whiteman's Revox with a single microphone, it's entirely instrumental ("We weren't great singers, anyway," he wryly states), and offers a remarkable insight into the workings of one of Britain's best-loved underground labels. Heavyweight embossed gatefold sleeve containing LP pressed on 180-gram vinyl, 7" in picture sleeve featuring "Messages" and "Ancient Traveller," facsimile postcard insert, and facsimile 1969 shop poster. Edition of 400.



ENHET FOR FRI MUSIK: Dokument 1: Improvisationer och Bandmusik för Vilt Dansande Själar LP (HOL 076LP) 25.00
Arisen from the always-surprising Swedish underground (or undergrowth), Enhet för Fri Musik -- featuring members of Sewer Election, Ättestupa, Neutral, Makthaverskan, and Blod -- gathered in the woods and recorded this music to make all wild souls dance. A real gem. Folk unit mixed with tape music. Loose thin line between composed and improvised, or, as member Dan Johansson defines it, "quite sparse outsider anti-music." The Enhet starts where Ättestupa left off. Strictly limited to 150 copies, then on to Dokument 2.


GIANNI GIUBLENA ROSACROCE: Musica da Camera Oscura LP (HOL 080LP) 25.00
Gianni Giublena Rosacroce is the solo project of Stefano Isaia (Movie Star Junkies, La Piramide di Sangue), created with the intention of sonically exploring the Middle-Eastern shores of the Mediterranean. After two tape releases and a split 12", here's the debut long-player, recorded between home and the mountains with the help of Galilea Mallol between 2013 and 2014 and featuring companions Reverend F. Murphy and Mai Mai Mai on the side-long track "Compendium Maleficarum." A caravan of percussion -- lead by the haunting sound of the clarinet -- wandering and dancing between the stands of a crowded market. Edition of 250.


KONSTRUKT & AKIRA SAKATA: Kaishi: Live at Kargart 2LP (HOL 085LP) 34.00
Another chapter in the ongoing series of live recordings of the Turkish quartet Konstrukt, this time teaming up with saxophonist Akira Sakata, a key figure of the Japanese free jazz movement since the 1970s. Recorded at kargART in Istanbul on January 17th, 2015, this 70-minute long jam is one of the band's most psychedelic to date, with Sakata's growling sh?my?-like chant finding the perfect setting -- like a snake charmer -- in a jungle of constantly reinvented sound. Edition of 200.



DECLINING WINTER, THE: Home for Lost Souls LP (HAM 010LP) 29.00
The Declining Winter is the brainchild of Hood co-founder Richard Adams. Home for Lost Souls is his fourth full-length album following Goodbye Minnesota (2008), Haunt the Upper Hallways (2009), and Lost Songs (2013). Pulled from a hostel that Syd Barrett was alleged to have stayed at in the early '70s, the album's title points to the subject matter that concerns Adams in his songwriting. From the cost to one's sanity at just making it through another wearisome 9-5, to the ominous beauty of the North Pennines landscape, and love in a time of austerity. But far from being austere, the 14 songs presented here are generous, warm, deceptively simple, multilayered compositions. From the upbeat openers "This Sadness Lacks" and "Home for Lost Souls" to whimsical instrumentals "Golden Terrace" or "When Things Mattered," all the way through to the outrageously catchy "Hurled to the Curb" or the melancholy introspection of "The Wild Girl Laughed" and the quietly epic "The Right True End." As you might expect from Adams, he wears his heart and his influences on his sleeve. At times it feels like listening to a glorious cross between Disco Inferno and Talk Talk, Robert Wyatt and even Felt, with occasional smatterings of Radiohead as well as a brief hint of PiL on the rustic "The Summer Circuit" and "A Field Defunct."



CORTINI, ALESSANDRO: Risveglio 2LP (HOS 426LP) 29.00
Limited gatefold double LP version. Though known as a touring and recording musician associated with Nine Inch Nails, Alessandro Cortini has really come into his own via his Forse trilogy, and his 2014 Hospital Productions debut, Sonno (HOS 412CD). For his Hospital follow-up, he maintains the grittiness and intimacy introduced on his debut, but expands on it, offering a wider spectrum of emotion and depth. Like Sonno, Risveglio was written and recorded while on tour. The drive to create intimate works during late-night downtime reveals Cortini to be committed to a personal vision beyond the call of duty. While Sonno was created using only a 202 and delay, Risveglio adds a TB303, synced to the 202. In Cortini's words, "The 303 can be such a haunting instrument used in a certain way, and I felt it completely fit the mood of the previous work I have done on the 202, especially when given a specific location in space... it's such a living instrument." The addition of TR606 gives one of the pieces a rhythmic pulse that separates it from the preceding synthscapes and renders Risveglio an altogether more dynamic affair than Sonno. With Risveglio, Cortini emphasizes the imperfections and visceral textures of electronics absent from so much contemporary solo synthesizer music. He carves out a similar space to that formed by Kevin Drumm's releases for Hospital in the worlds of drone and noise by finding the emotional and, ultimately, human voice within synthesis.



CELL, SIMO: Cellar Door/Piste Jaune 12" (LIVITY 499EP) 12.50
Paris-based artist Simo Cell delivers his debut and the first 2015 release on Livity Sound's dnuoS ytiviL imprint, which has navigated the undercurrents of the UK melting pot since 2012, releasing tracks that complement Livity Sound's output. 2014 set the bar high with releases from Hodge (Amor Fati (LIVITY 699EP)) and Bruce (Just Getting Started/Tilikum (LIVITY 599EP)), which were ubiquitous across dancefloors over the year. Cellar Door/Piste Jaune keeps up the pace, with Simo Cell's fuzzy, percussive grooves and stealthily-paced, bare-bones rhythms perfectly complementing the label aesthetic while defining an identity and vision of his own.



HEAD & THE STRANDS, MICHAEL: The Magical World of The Strands CD (MEGAUK 024CD) 19.50
2015 is a busy year for Michael Head. His second single as Michael Head & The Red Elastic Band was released in March 2015 on his Violette Records. "I Know You Well," a 1990 single by Head's band Shack, leads off Jon Savage's 2015 Perfect Motion double LP compilation, described as "a musical return-trip to these fondly remembered years spanning 1988-93." And now, his classic 1997 album The Magical World of The Strands is available as a deluxe reissue. This reissue of this all-time classic also appears alongside The Olde World (MEGAUK 023CD/LP), a collection previously unreleased tracks and remixes from the album sessions. Finally, both the reissue and The Olde World arrive in advance of Head's first gigs as Michael Head & The Strands, where they will play The Magical World of the Strands in full. In 1993, Head teamed up with his brother John, his longtime drummer Iain Templeton, and two new recruits, Michelle Brown on bass and Les Roberts on flute, and began two years of recording sessions. The sessions came to a halt when Head was offered a major label deal, not for his current work, but for him to record as Shack again. Weaving rough mixes and sketches -- by engineer Steve Powell, made in Liverpool -- with completed mixes by producer Mark Coyle, Stephane Bismuth, the French promoter who initiated the Strands sessions, finally released The Magical World of The Strands on Megaphone in 1997. This work-in-progress garnered great critical acclaim and is rated by many as the "rarest jewel of the 90s" (Q). The CD version of this reissue includes two bonus tracks, the B-sides to the 1998 NME and Melody Maker Single of the Week "Somethin' Like You." "Green Velvet Jacket" is an acoustic solo piece by Head, and "Queen Matilda (Demo)" was recorded in early 1993 and produced by the band's friend and live engineer Ian Eastwood on a four-track Tascam cassette recorder. The CD and LP both include a 20-page booklet containing new liner notes by Head himself and photographs testifying to album sleeve's work-in-progress.



FOXX, JOHN: A New Kind of Man CD (META 016CD) 16.50
2008 release. Recorded live on the Metamatic UK tour in autumn 2007. Programmed, produced, and mixed at Longwave Studios.


FOXX AND THE MATHS, JOHN: Rhapsody CD (META 033CD) 16.50
2013 release. John Foxx and the Maths' fourth album of analog synthesizer music, Rhapsody, was recorded live in November 2011 at The Maths' MemeTune Studios. It's the sound of a multi-talented band playing electronic music together, featuring John Foxx (vocals and keyboards), Benge (percussion and keyboards), Hannah Peel (violin and keyboards), and Serafina Steer (bass and keyboards). The tracks range from tracks from John Foxx and the Maths' 2011 debut album Interplay (META 028CD/LP) through to "The Shadow of His Former Self" from their follow-up The Shape of Things (META 029CD/LP) via classics from John Foxx's Metamatic era, including "Burning Car" and "He's a Liquid." John Foxx has been experimenting with electronics since the 1970s when he worked with the likes of Brian Eno and legendary Krautrock producer Conny Plank in the original lineup of Ultravox!. Described by Duran Duran as "the Velvet Underground of our generation," early Ultravox! had a massive influence on the generation of acts that followed including Gary Numan and Simple Minds. John Foxx's solo material, starting with 1980's Metamatic album, has been namechecked as an influence by everyone from Aphex Twin to Leftfield and Afrika Bambaataa to The Orb, as well as by electronic acts such as The Soft Moon, Gazelle Twin, and Matthew Dear. In 2013, John Foxx released the European Splendour EP (SGR 024CD/EP) with Jori Hulkkonen, which features a remix by David Lynch, and followed that up with Empty Avenues with Belbury Circle on the Ghost Box label. Four albums in, his John Foxx and the Maths project with analog synth specialist Benge is arguably the most successful of his career so far. Features 10 tracks recorded live at Benge's MemeTune Studios in November 2011. Rich, analog synthesizers mixed with violin and bass, this album captures forward-looking electronic music being played live by a band.


FOXX & STEVE D'AGOSTINO, JOHN: Evidence of Time Travel LP (META 053LP) 25.50
LP version. 2014 release. Evidence of Time Travel is a unique investigation of the terrors and pleasures of temporal displacement. A sinister sonic architecture of drum-machine-music and analog synthesizers. Opens with "The Forbidden Experiment," as surveillance TV glitches and the ghostly, ripped-up multi-temporal universe of "Evidence of Time Travel" infiltrates the labyrinth of dark electronica. Span 40 years in a moment... ultimate time transfusion... skin crackles, a rhapsody in flames... witness images of torn, ruthless smiles through the crashed distortion; try to recall the future memory of a figure lost on a distant shore.



VA: Castlevania LP (MOON 003LP) 44.00
Music from the Castlevania video game series, including pieces from Castlevania (1986), Castlevania II: Simon's Quest (1987), Castlevania III: Dracula's Curse (1989), and Super Castlevania IV (1991).


NEOS 11119CD

NONO, LUIGI: Risonanze Erranti CD/SACD (NEOS 11119CD) 15.50
2015 repress. "NEOS is developing an especially outstanding series of productions in cooperation with the worldwide unique Experimental Studio Freiburg. This release offers Nono's Risonanze erranti not only as some kind of reference-recording: it is a real world premiere, since because of its complex difficulties it was never recorded before. Furthermore this recording matches the outrageous capacity of the interpreting artists and the technicians of the Institute, and is one of the most important works of the great Italian composer." Stereo/multichannel hybrid SACD that can be played on any CD player.



BLEND MISHKIN & ROOTS EVOLUTION: Survival of the Fittest LP (NUP 002LP) 25.00
Following the huge success of the lead single "Settle Down" (NUP 018EP) Blend Mishkin and the Roots Evolution band deliver their stunning debut album. Athens, Greece-based producer Blend Mishkin has been putting in work since the mid-'90s with releases on Pork Recordings, Tru Thoughts, Shadow Records, and many more. Blend Mishkin and Roots Evolution recorded live, took the results back to the lab for mixing and dubbing, and scouted for vocal performers to bring the rhythms to life, focusing on using both international and local talent to give a wide breadth of influences and themes. Featured performers include Rebel Salute show-stopper and Juno Award-winner Exco Levi, seasoned Jamaican veteran Skarra Mucci, UK reggae and dancehall don Gappy Ranks, Italian raggamuffin KG Man, Mandinka Warrior from Denmark, fellow Greek BNC, Suga Roy, Conrad Crystal, Jammaroots, Georges Perin, and Don Caramelo. Retaining an authentic vibe while keeping it current, Survival of the Fittest is a truly modern roots reggae album.


CUT LA VIS (FEAT. MADDY CARTY): Still Have the Love 7" (NUP 020EP) 12.50
Brighton-based Cut La Vis delivers his Nice Up! debut, encapsulating the bright sun and fresh sea air of his hometown. "Still Have the Love" features up-and-coming starlet Maddy Carty, who has been causing something of a stir. Taken from his debut album, forthcoming at the time of this release, this single is an ideal introduction to the Cut La Vis sound -- reggae, hip hop, and ska all rolled into one.


AB 1976LP

CRAMPS, THE: 1976 Demo Session LP (AB 1976LP) 18.00
1976 demo session with girl drummer Miriam.


CRAMPS, THE: Tales from the Cramps LP (CAVE 001LP) 18.00
Studio outtakes, Memphis, October 1977 and studio recordings from Hot House Studio, New York, February 1979.


CRAMPS, THE: Hot Club Philadelphia Nov. '77 LP (CRA 001LP) 18.00
Killer 1977 live set in Philadelphia.


CRAMPS, THE: Voodo Rhythm LP (OKR 001LP) 18.00
Studio outtakes 1983, sound checks and live CBGB's 1982.


CRAMPS, THE: Frank Further and the Hot Dogs LP (PROA 6736LP) 18.00
Live at CBGB's, Friday, January 13, 1978.


CRAMPS, THE: Ohio Demo's 1979 LP (WOLF 101LP) 18.00
Studio outtakes, Akron, Ohio, summer 1979.


US 008EP

GWYER, KAREN: Bouloman 12" (US 008EP) 14.50
Michigan's Karen Gwyer delivers the eighth release on the Berlin-based Nous imprint. "Keisa Kizzy Kinte" kicks off proceedings with a dissonant synth line that headily intensifies into a dirty digi-funk epic. The equally-enthralling "Brunch Music" follows, defining itself by way of a wry techno onslaught that is only ever abstractly confrontational and treading similar waters to the more fearsome spectrum of Actress's territory. The EP closes with "Shit List with Kid," an intriguingly-titled exercise in British-sounding, wavy, ambient electro, juxtaposed with UR-inspired, harmony-driven techno; an epiphanic master-class in tenderly layering polyrhythmic drum machines.



BURNS, WILLIE: Single Life 12" (OMR 006EP) 14.50
Single life...



BODY BOYS: No Face LP (OPAL 059LP) 22.00
The first release from the Body Boys since 2013's Growth Window (though they've been on a remix streak in 2014) sees the lads move their soft-skinned ambience into rhythm-focused territory. It's no total rewrite, but the palette seems more akin to the elegant stance of Dial, Latency, or Delsin's softer moments -- billowy, romantic, occasionally haunted texture enveloping low-end-centered drums. Tracks like "First Time" and "Nosebleed" come hotter and heavier, more over-driven and rampantly techno-focused, while "Alone," "Yunnan," and "Stutter" balance rhythm with billowy, highly evocative, soft texture, teasing out a solemnity and introspective beauty to massage the body as well as the soul.


VALLERA, MICHAEL: Distance LP (OPAL 060LP) 22.00
An Opal Tapes debut from Michael Vallera of the group Cleared, Distance makes a clear case for just how easily industrial and dark ambience swing between beauty and fear, with more than a wink of the gothic that brings to mind a host of classic cvlt missives by Lycia, Vidna Obmana, or Maeror Tri. As with the best of those, these works mark the transition between dream and nightmare. Something chilling, perhaps borne of the subconscious's twisted ability to fuck you up, but remaining just out of reach. Subtle perfumes linger in the air and a kind of romantic melancholy spreads, but the overwhelming sensation is of a patient and growing dread.



2015 repress. "Following the success and acclaim of his two releases on the Kill Rock Stars label, as well an Oscar nomination for the use of his song 'Miss Misery' in the film Good Will Hunting, the late Elliott Smith signed with Dreamworks for the 1998 release of XO. With a major label budget for this, his fourth full length album, Smith was able to craft a fully realized pop masterpiece, fulfilling the promise of previous releases. Though firmly in the McCartney/Lennon/Rundgren/Davies school of songwriting Smith was nothing if not an original. Possibly his best record."



WITCYST: Screuma/Chilli Song LP (PLANAM 035LP) 25.00
Since the early 1990s, Michael Veet aka Witcyst has been the stunning secret diamond of the New Zealand noise underground. A short-circuiting monolith on top of the rubbish heap of NZ art and sound. This LP contains two pieces originally issued on cassettes in 1995. "Screuma" sounds like a guitar being fed through a washing machine -- a giant guitar made from old medicine bottles and beard hair. The washing machine is on full spin and it has pinecones in it. Witcyst mumbles a running commentary. It goes on and on. All outputs are fed back into the inputs. "Chilli Song" is a Witcyst rock song stretched into a spitting blur of strumming and singing. Streaks of hiss and saturation swamp and dissolve the riff. Someone is frying old meat and Witcyst has a lot to say about it. It goes on and on. All outputs are fed back into the inputs. Witcyst's instructions for completing the sleeve artwork: "If the vinyl comes with unprinted blank card covers rub them a bit on rough concrete, cut out the center holes like a 12" sleeve, but not perfect circle -- like rough chop chop. Hack or lay a cover on wood, slab with a big metal pipe end, slam down off center like cutting with a cookie cutter, and tear the centers out. That would be goodly!" Witcyst lives and works in a concrete-floor shed in Whangarei, in the far north of New Zealand. His releases on his own labels Extemporization and LifeSpace run into the thousands. Each item is hand-made from insect casings, old X-rays, beer cans, and elbow grease. Exquisite drawings, obsessive collage, unreadable calligraphy, and photocopying onto tinfoil. His music is always a surprise and wrestles every potential sound out of endless mutations of endless new ideas. Every variation is layered, wrung out, and exploded. It is the freest of all the free noises. A complete drooling feast for the eyes and ears. Witcyst makes everyone else seem like a baby with a coloring book and one crayon. Edition of 300 copies in DIY sleeve.


PUMICE: Poise Etc LP (PLANAM 037LP) 25.00
A collection of Pumice recordings from 1993-'99, when teenagers Sugar Jon Arcus and Stefan Neville learned about music by doing it. The album covers the earliest days of the band recording on ghetto blasters with untuneable guitars at home in Whatawhata and Hamilton, New Zealand. There are a couple of recordings from their first public performance with drummer Ugly Dog Davies, at which their friends yelled at them relentlessly. There is material from their years spent living in Dunedin, NZ, with cassette four-track machines. Living cheaply in a cheap city with pet dogs and all the time in the world. Finally, the album includes music from the move back north to Hamilton and Auckland. Material that was released in microscopic editions as lathe-cut 7"s and cassettes, documenting Arcus's final participation in Pumice activities. The LP features trio and duo recordings as well as solo recordings by both Arcus and Neville. The basic multi-directional creative impulse for which Pumice is known is there from the beginning. One-chord pop songs, crumbling folk music, and smeared-organ sound-sculptures. Small speakers shitting themselves with distortion and tape saturation. Acoustic guitars twanging and Neville and Arcus clearly learning to write songs of real quality. This music-making manages to be bold, reckless, and stupid, as well as delicate, sad, and instinctive. Pumice has always done whatever the fuck it wants to. Edition of 300 copies in silkscreened sleeve.


Thee Ideal Gus began in Hamilton, New Zealand, in the early '90s, sprung from the same gene pool and time as Armpit, GFrenzy, and Pumice. Its participants include Sugar Jon Arcus, Clayton Noone, Indira Neville, Kaatarama "Motty" Morehu, Stefan Neville, Witcyst, Dan "Eemonk" Powell, and Rachel Garbott, but membership has never been settled or defined. The band have released numerous cassettes and lathe-cut records on such cult labels as Plop, Root Don Lonie for Cash, and Stabbies and the Rocket Recordings. Thee Ideal Gus love double-barreled year numbers, so during the year 1999, they conducted daily recordings in Whangarei and Wellsford in the far north of New Zealand, and Dunedin in the far south. Diaries were kept, artwork was assembled, and tapes were mailed up and down the country. In 1999, Stabbies and the Rocket Recordings released the resultant material as 1999, in an edition of 20 lathe-cut double LPs. 99 is a selection of material compiled from that ridiculous obscurity by Clayton Noone and Stefan Neville. The music Thee Ideal Gus made that year documented the days as they happened. It charted weather patterns, prophesied the future, and celebrated team sports. Eddie Murphy and Yoko Ono are held in equally high regard. Nude drunk partying and the New Zealand general election of 1999 are all there in this record, on which a rusted clothes line is played alongside an elementary school xylophone, sampled techno records, and ukulele through a heavy metal pedal. It is mundane and marvelous. Edition of 200 copies in very elaborate packaging, including prints on acetate, xerox inserts, and several hand-drawn original artworks.



AKCHOTE, NOEL: Perpetual Joseph CD (REC AL2-CD) 16.50
2002 release. Noël Akchoté: guitar, amplifier. Recorded and mixed by Ilan Sberro at Auditorium de Saint-Ouen, Saint-Ouen, France, on June 28th, 2001. Mastered by Frédéric Marin, Alcyon. Artwork by Emilie Demarquay. Produced by Quentin Rollet and Noël Akchoté. Third album of the Joseph trilogy.


AKCHOTE, NOEL: Alike Joseph CD (REC AN-CD) 16.50
2000 release. Noël Akchoté: guitar, amplifier. Recorded by Maman at "La Chaudière" on August 23rd, 1999. Photo by Laurence Voiturier. Design by Emilie Demarquay. Produced by Quentin Rollet and Noël Akchoté. First album of the Joseph trilogy.


KATERINE: Nom de Code: Sacha CD (REC BO4-CD) 11.00
2002 release. Soundtrack for Thierry Jousse's 2001 film Nom de code: Sacha. Katerine: vocals, acoustic guitar; Margot Abascal: vocals; Noël Akchoté: electric guitar, bass; Charlie O: Hammond organ; Erick Borelva: drums. Engineered by Ilan Sberro. Mixed by Katerine. Produced by Noël Akchoté and Quentin Rollet. Recorded at Auditorium de Saint-Ouen, Saint-Ouen, France.


CHADBOURNE, EUGENE: The Acquaduct CD (REC E2-CD) 16.50
2000 reissue of 1996 LP. "Tzotzil" from El Sueno del Pez Impossible, a collaboration with Mexican Improvisors. "Big Bad Jim," "Roger Miller Medley," and "Way Too Blue" recorded in Nashville with session musicians. Chadbourne plays both guitar and banjo parts on "Moment's Notice." "Christian Canons" recorded in Kentucky. The Acquaduct also features Chadbourne's daughters Molly and Lizzie.


1997 release. Phil Minton: vocals; Lol Coxhill: soprano sax, vocals; Noël Akchoté: guitar. "My Chelsea is just a Dream..." Recorded by Toby Robinson at Moat Studio, London, on November 11th, 1997. Cover by Kerozen. Design by Emilie Demarquay. Produced by Noël Akchoté and Quentin Rollet.


1997 release. Derek Bailey: guitar; Pat Thomas: keyboards; Steve Noble: turntables. Recorded by Toby Robinson at Moat Studios, London, in August 1997. Produced by Noël Akchoté and Quentin Rollet.


2001 release. Quentin Rollet: alto sax; Akosh Szelevényi: soprano and tenor sax; eRikm: turntables, electronics; Charlie O: Hammond organ. Recorded live by Benoît Gilg and Cédric Baume in Mains d'Oeuvres, Saint-Ouen, France, on June 1st, 2001. Edited by Akosh Szelevényi. Mixed and mastered by David Mascunan. Artwork by Takayoshi Sakabe.


RUM 2011098LP

GAYE, MARVIN: On Stage LP (RUM 2011098LP) 20.00
Recorded during a Motortown Revue at Chicago's Regal Theater, 1963's Marvin Gaye Recorded Live on Stage is the first live album from the legendary Motown star and showcases Gaye on early hits like "Stubborn Kind of Fellow," "Pride and Joy," "Hitch Hike," and more. Backed throughout the show by Martha and the Vandellas, Gaye overcomes his legendary stage fright to perform an unforgettable set of stone classics. Another Rumble in Motown.

RUM 2011099LP

BROWN, JAMES: Tell Me What You're Gonna Do LP (RUM 2011099LP) 20.00
The fourth James Brown LP, originally released in 1961, is one of the harder titles in his early discography to find. Though it doesn't contain any of his massive, instantly recognizable hits, it's regarded among collectors as one of the finest pure R&B albums of its era. And it includes some of his best-charting singles, such as "Just You and Me Darling" and "Lost Someone." Beg, scream, and shout along with the Hardest-Working Man in Show Business, The Godfather of Soul himself: Mr. James Brown!

RUM 2011100LP

TURNER, IKE & TINA: Don't Play Me Cheap LP (RUM 2011100LP) 20.00
First vinyl reissue of Ike & Tina Turner's 1963 album Don't Play Me Cheap. "There has never been a team quite like Sue Records' Ike and Tina Turner, and now, making the vocal solo scene, Tina proves herself a performer and show-woman nonpareil. Aided by the fine hand of hubby Ike, who stays to cleft some of the numbers and play the guitar and piano in fine style, Tina applies her pulsating rhythm sense to uptempo tunes with devastating effect. Then she turns around (and around) and croons a love ballad with an earthy, emotional feel that leaves the listener humble with admiration. So listen to Tina's driving renditions of 'Wake Up,' 'Mama Tell Him' and 'I Made a Promise Up Above' plus her rockaballad versions of 'Don't Play Me Cheap,' 'Pretend,' 'Look Through Me,' 'Forever Mine' and 'My Everything to Me.' These songs were inspired choices to bring out Tina's rare ability to be equally at home with a shouting, screaming pulser, or a tender ballad that gives her a chance to show off her more gentle, kittenish side. As a nightclub attraction Ike and Tina have wowed em from coast to coast, and as recording stars they have no peers. And Tina's dynamic performance in this her latest Sue album firmly places the attractive, shapely star in the annals of all-time great disk stars." --original liner notes



ANTI-G: Kush in da Sound 12" (RWINA 028EP) 14.00
Kenrick Connor aka Anti-G presents his first release since his 2011 album Presents Kentje'sz Beatsz on Planet Mu. That record laid out the producer's "Dutch bubbling" sound, which pairs cheap-sounding synths with sped-up dembow tracks and earned comparisons to UK funk and reggaeton. With Kush in da Sound he offers up six tracks that further flesh out the Dutch bubbling sound.



BIM ONE PRODUCTION: Nah Bwoy/Trailer Lord Riddim 7" (SCOB 055EP) 11.00
Miss Red cut her teeth as an MC with Easy Rider Sound from Haifa, Israel, and has since toured the world with The Bug. This release sees her going back to her dancehall roots with a vocal counteraction to Shabba Ranks's "Trailer Load a Girls." The track is by Bim One Production from Tokyo, whose electronic reggae releases are proving to be reliable dance smashers.


HEMPOLICS/MUNGO'S HI FI: Love to Sing/Dub to Sing 7" (SCOB 056EP) 11.00
Mungo's Hi Fi have been following Hempolics for a while, and were glad to get a chance to remix one of their tracks. They picked "Love to Sing" for its uplifting message and joyful sound, bringing in Solo Banton for some heavyweight lyrics in the verses and giving it the Mungo's bass treatment.



COLLINS, PHIL: My heart's in my hand, and my hand is pierced, and my hand's in the bag, and the bag is shut, and my heart is caught, and the bag is shut... 2LP (SLP 011LP) 36.00
...and my heart is caughtThis double LP, released by NERO magazine and Shady Lane Productions, gathers selected materials, both texts and audio recordings, from Phil Collins's project of the same name, for which Collins collaborated with guests of Gulliver, a self-described "survival station for the homeless" in Cologne, Germany. There, Collins installed a phone booth for free and unlimited local and international calls, on the condition that the conversations would be recorded and anonymized. Collins sent selected material to an international group of musicians, to serve as the starting point for original songs that he then presented as 7"s in specially-designed listening booths overlooking Cologne's central train station. Collins produced the work for his 2013 solo exhibition In every dream home a heartache (curated by Anna Brohm), at Museum Ludwig in Cologne, where he first presented it. The work is a headfirst dive into a city, tuning in to its many unheard stories. Having worked for a homeless magazine in the 1990s, Collins has a long-standing interest in issues relating to these communities. Bringing to the fore the lyrical and narrative potential of the human voice when it stands in for those subjects of city life who are purposefully ignored and routinely overlooked, he dramatizes the moment of communication as an emotional and ambivalent exchange. On January 5, 2001, Gulliver opened in a railway arch under the Hohenzollern Bridge, in the immediate vicinity of Cologne's main train station, the banks of the Rhine, and the old town. Gulliver is the first institution of its kind in Germany, offering a wide range of services with unusually long hours of operation. Collins's project includes contributions by legendary figures Scritti Politti, David Sylvian, Lætitia Sadier, and Damon & Naomi; trailblazing experimental and indie acts Demdike Stare, Planningtorock, Maria Minerva, Heroin in Tahiti, Pye Corner Audio, and Peaking Lights; and local heroes Elektronische Musk aus: Köln, Pluramon, and Cologne Tape; as well as a special guest turn from the original German superstar, Julia Hummer. The double LP is pressed on 140-gram colored vinyl and includes all of the original tracks and music by those who partook in the project. It's presented with a 29 x 29 cm, 24-page, 400-gram booklet containing critical texts by Mark Fisher and Florian Schneider, an extract from the original telephone conversations, images of the 7"s, and photographs of the Gulliver center. The LPs and booklet are housed in a glossy four-color gatefold sleeve.



WEN: Senary Cycles EP 2x12" (SMNCHR 007EP) 21.00
A substantial six-track effort, consistent in its experimentation with mood, texture, pace, and aesthetics. Energy fluctuates track to track -- from the colossal, largely beatless spaces of "Arlington CT9" to the pulsing, bass-driven cores of "Pace Myself" and "She Giv." The flipside hits with a more immediate, brusque edge -- ruder dancefloor tools that still push the borders. There's a deconstructive approach on the percussively sparse "Lunar Tide Cycle" and "Gravity Flux" that defies typical expectations of what constitutes club music. The UK funk-inflected rhythms of "Switch" add some anxious, high-tension drama and another permutation to a rhythmically diverse release.


SF 060CD

VA: Saigon Rock & Soul: Vietnamese Classic Tracks 1968-1974 CD (SF 060CD) 15.00
2015 repress. The long-awaited foray into the Vietnamese rock, pop and soul sound of the late 1960s and early 1970s is finally here. Saigon Rock & Soul delivers the goods international retro collectors have been searching for in vain for many years -- and it delivers beyond belief. Every song is a mini-masterpiece, be it heavy acid-rock psychedelia, horn- and guitar-drenched funk grooves, or gripping soul ballads reflective of life during wartime. The tracks that form this collection cut a window into a rich musical Vietnamese music scene that has long been obscured, and for the most part, forgotten. As the scope of electrified Vietnamese music from the 1960s and 1970s begins to be revealed, it becomes evident that this was among the heaviest and most eclectic musical scenes of Southeast Asia at the time. These songs tell of war, love and what war does to love. All of them were recorded in makeshift studios and even U.S. army facilities while the Vietnam War raged -- and were issued by a handful of Saigon record companies on vinyl 45s and reel or cassette tapes. Westernized forms of music in Vietnam had appeared during the latter 19th century, and especially during the early 20th century, under the influence of the French colonizers. Tan Nhac (trans. "modern music") always incorporated both domestic and international sounds, and continued to develop alongside Western musical trends. During the 1960s and 1970s, pulp ballads were being recorded by leading crooners of the time who alternated between modern and traditional forms of regional music. When the electric guitar hit the streets of Saigon, Vietnamese renditions of contemporary instrumental trends such as surf-rock, beat and twist soon emerged, followed by some pretty deep soul sounds inspired by Motown radio hits as well as funk grooves brought on by James Brown and his contemporaries. By the mid-1960s, Vietnam had been ravaged by war for years. American G.I.s had become a standard fixture in Saigon, as did many of the cultural artifacts they brought with them. This certainly included the music. The sounds of rock and roll dominated the radio waves, and Saigon nightclubs were teeming with new sounds. Musically, The Shadows and The Ventures soon gave way to The Beatles and The Rolling Stones as an enthusiastic set of young Vietnamese rockers signed on to the lifestyle, always eager to hear the latest musical trends the G.I.s would bring in on LP or tape. This era saw the birth of a vibrant rock scene, yet rock music and anything that came close was commonly referred to as "soul" in the Vietnamese genre-listings. Like many cultures in Asia, Vietnamese music is recorded, marketed, listened to and disposed of in a relatively quick manner. This level of advanced ephemera ensures a degree of difficulty when trying to unearth and discover cultural histories. Literally, most of the music heard here has been brought back from the dead. Artists featured include some of Vietnam's most popular at the time: Elvis Phuong, Hung Cuong, Mai Lei Huyen, Le Thu, Thai Thanh, Giao Linh, Mai Lei Huyen and the CBC Band. Features 70 minutes of classic original recordings compiled by Mark Gergis with extensive liner notes.


SBR 5087LP

KALEIDOSCOPE: Faintly Blowing LP (SBR 5087LP) 22.00
2015 repress. Sunbeam Records is delighted to present a definitive collector's vinyl edition from cornerstones of British psychedelia, Kaleidoscope. This is their second album originally released by Fontana in 1969. Produced with the full involvement of the band, this LP comes housed in a gatefold sleeve complete with lovingly-reproduced artwork, as well as lavish 12-page, full-color, large-format booklet packed with original trade ads, memorabilia and contemporary press cuttings, and with exclusive sleevenotes by the quartet's leader Peter Daltrey, telling the story of the band in full detail. The result is simply essential for all connoisseurs of British psychedelia.



IPMAN: Regicide/Ghostrunner 12" (TEC 086EP) 12.50
Ipman follows releases on Osiris and Cold Recordings with two excellent dancefloor cuts on his debut for Tectonic. "Regicide" repackages the mid-1990s jungle experience into 140-BPM breakbeat science for 2015. Atmospherics and pads build in tension throughout the intro; a distorted Reese bass emerges from the depths over crashing breaks. "Ghostrunner" (128 BPM), originally featured in an earlier incarnation on the 2014 Pinch B2B Mumdance mix (TEC 018CD), appears here in its full, refined glory. A murky swamp of moodiness, hissing FX, and buzzing anxiety gives rise to an intoxicating swirl of arpeggios leading up to the drop.


TT 002EP

VA: Ritual in Transfigured Time Vol. 2 12" (TT 002EP) 12.50
This EP features tracks by Transfigured Time cofounder Bakradze aka Gacha, known for his releases on Apollo Records; Akwaaba, making his second appearance on the label; Prequel, from Melbourne, Australia, who debuted on Bradley Zero's Rhythm Section International in 2014; Jordan Blacksmith, an electronic side project of Georgian producer David Datunashvili; General Ludd, the duo of Rich McMaster from New Jersey and Tom Marshall from Canterbury, known for releases on Mister Saturday Night; and Tenderlonious, owner of the influential London-based 22a label. Tenderlonious's improvised, dusty house productions have caught the attention of tastemakers Gilles Peterson, Osunlade, Lefto, and Alexander Nut.



JEFFERSON, ALAN: Galactic Nightmare 2LP (JBH 056LP) 34.50
A homemade 86-minute epic space adventure, conceived, written, played, sung, and illustrated by an amateur musician in his bedroom in Hull, England, from 1979 to 1985, and reissued here for the first time. When Alan Jefferson heard The War of the Worlds, he thought he could make something similar, maybe better. This was in 1979. So, he set about it, with limited equipment -- a Moog, a reel-to-reel, a guitar, and some pedals. Six years later, in 1985, Galactic Nightmare was finished, and made available to readers of the magazines Future Music and CU Amiga. Via Jefferson's advertisement, one could buy a 90-minute chrome cassette of the album, complete with poster and storyfile for £7.99 plus £1 postage. Very few people bought it, but one of the writers for Future Music, Dave Robinson, liked the preview copy that he received. He started playing it for a few people. One of those was a guy called Dave Green, who eventually played it for Stewart Lee in the 1990s. All of them found Galactic Nightmare an addictive, unforgettable musical experience. In 2014, Stewart Lee sent a small snippet of Galactic Nightmare to Jonny Trunk, who, a few months later, wrote to the address in the 1986 advertisement. Two days later Alan Jefferson got in touch, and this double LP reissue of Galactic Nightmare is the result. Jefferson wrote the story, narrated the story, wrote and played the music, sang the songs, and made the artwork, poster, storyfile, et cetera, sometimes fighting against faulty instruments and a dodgy tape machine. Galactic Nightmare is a totally unique recording, joyous in its attempt to create something absolutely epic with very few resources and charming in its attention to detail and almost folk-like naiveté. A great example of an amateur being inspired to make something, getting on with it, sticking with it, and ultimately creating an album that few people will forget once they have heard it. Presented in gatefold matte varnished sleeve bearing the original Galactic Nightmare poster; includes original Galactic Nightmare graphics, plans, musical notation, early sketches, advertisements, et cetera inside the gatefold; notes by Alan Jefferson, Jonny Trunk, Stewart Lee, and Dave Green; and complete storyfile with original illustrations across all four sides of the printed inner sleeves.



VA: Primitive Paradise: Early Exotica 1920-1947 LP (UOVR 015LP) 21.00
The genre known as "exotica" reached worldwide success during the 1950s thanks to artists such as Yma Sumac, Martin Denny, and Arthur Lyman, but its origin can be found almost 50 years earlier. The seed was planted by Hawaiian musicians who performed, representing their country, at the first Universal Exhibitions that took place in the United States in 1901. Their paradisiacal melodies, percussion, and tribal rhythms; the strange timbre of instruments such as the ukulele and the steel guitar; and the scantily clad female dancers sparked the interest of American society. The eccentric vaudeville shows, especially their risqué numbers, incorporated sounds from Asia, the Middle East, and Africa to create the right atmosphere for an exotic stage on which sensual dancers tried to satisfy the audience's escapist needs. It was then that the traditional folklore of the islands began to merge with Western rhythms such as foxtrot and swing. The first recordings by Hawaiian artists were marketed widely in the 1910s on the 78 rpm format, and as a result the steel guitar, the genre's characteristic instrument, became so popular that it was integrated into other genres such as country, country blues, Western swing, and novelty music. At the same time, Cuban and Puerto Rican music arrived in the United States thanks to pioneers such as Trío Matamoros, Don Azpiazú, and Los Jardineros, who paved the way for such enormously popular stars as Desi Arnaz and Xavier Cugat. On the other side of the pond, in the early '30s, rumba, conga, and beguine were creating a frenzy in Europe thanks to orchestras from Cuba, Guadeloupe, and Martinique performing at Parisian clubs. Later on, after World War II, more commercial rhythms such as cha-cha-cha and mambo would be easily assimilated by an audience already used to Latin sounds that would eventually conquer all of Europe and the rest of the world. The music featured on this compilation is a sample of that musical expansion, exemplified by 14 tracks of early exotica originally released on 78 rpm records between 1920 and 1947 in countries such as France, Spain, England, Holland, Japan, and the USA. Most have never been reissued on any format until now. Includes tracks by Orquesta Serramont, Lecuona Cuban Boys, Mercedes Mariño, Pedro Berrios, All Star Trio, The Honolulu Queens, South Sea Islanders, Anglo-Persians, Jay Whidden, Elsie Bayron, The Kidoodlers, Wailana Grass Shack Boys, The Tune Wranglers, and Gino Bordin.



ALVARIUS B.: Chin Spirits (Durga) 10" (UNROCK 003EP) 23.50
Unrock's Saraswati series continues with a trip into the spiritual wonderland of Alvarius B. aka Alan Bishop (Sun City Girls, Invisible Hands). Deep down, heavy, Sun-City-Girls-flavored Dada deluxe. Crackling midgets, purist psychedelia. A cocoon of seven colorful, shiny monoliths of essential nonsense, each dirty pearl standing by itself. Limited edition one-time pressing.



BROOKS & THE UPTOWN SOUND, JC: Beat of Our Own Drum CD (VAMPI 120CD) 9.00
2009 release. Beat of Our Own Drum is the long-awaited debut album by Chicago's JC Brooks & The Uptown Sound. Described by The New York Times as "neo-soul glory," their sound is an explosive mix of '60s soul passion, the energy of '70s punk, and the eclectic spirit of contemporary music. Born in 2007 out of Chicago's Uptown, a melting pot neighborhood known for its immigrant and refugee populations, guitarist Billy Bungeroth, drummer Kevin Marks, and bassist Ben Taylor lay a ferocious foundation for the soulful shouts of JC Brooks. The son of a Jersey soul queen set adrift by the disco era, he's renowned for his take-no-prisoners stage style, leaving audiences with no other choice than to get up and move! Brooks knocks out his audience with heart and raw emotion, while The Uptown Sound's post-punk attack updates The M.G.'s and The J.B.'s groove model, resulting in pure and unrelenting soul music that ranges from sweaty on-the-one workouts to dance-punk booty shakers, garage-rock thump humps, and aching R&B ballads without a missed step. JC Brooks & The Uptown Sound are not just another throwback group -- they came to be during an era of war, manifesting their style of urgent dance music with lyrics that address more than the standard "baby, baby" fare. In the year leading up to this release, the group sold out Chicago's Hideout four times, collaborated with a diverse array of hometown heroes including Twinight Records kingpin Syl Johnson and Tortoise drummer Dan Bitney, and won the Chicago Tribune's "Best Band of 2008" contest. They've also acted as the house band for Numero Group's Eccentric Soul Revue at Chicago's Park West, hitting the stage again with Syl Johnson, in addition to backing up local legends Renaldo Domino, The Kaldirons, Nate Evans, and The Notations.


ORQUESTA EL MACABEO: Eutanasia/En la Luna 7" (VAMPI 45065EP) 8.50
Legendary Spanish punk bands La Polla Records and Eskorbuto covered by one of the most exciting Puerto Rican salsa bands, Orquesta el Macabeo. José Ibáñez from Orquesta el Macabeo explains: "Music has no limits or barriers, and we show it this way: turning these two 100% punk songs into Latin tropical rhythms, while respecting the atmosphere of the original tracks. Besides, they're just two amazing songs... A salsa track talking about euthanasia? It breaks from the stereotype of dancing, partying in the street, etc which has been so sung about in this genre and which people immediately associate with it."

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Last Updated on Saturday, 01 August 2015 16:56  


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