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Forced Exposure New Releases for 8/17/2015

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New music is due from Vibracathedral Orchestra, Hour House, and Harry Romero, while old music is due from Nurse With Wound, Liquid Liquid, and Jay Dee.


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AUM 092-94CD

PARKER, WILLIAM: For Those Who Are, Still 3CD BOX (AUM 092-94CD) 31.00
"An astonishing 3CD box set of new and previously unissued long-form works from world-renowned composer-bassist William Parker. This box set is comprised of four distinctly compelling long-form works -- Parker's first composition written for symphony orchestra performance; a commissioned piece for a standing new music ensemble; a 'chamber-jazz' song series for voice / soprano sax / piano / bass; a composition created specifically for a particularly diverse Parker assemblage in Universal Tonality mode. The four works are linked by a focus on and greater adherence to William Parker's written compositions; the depth and breadth of the resultant performances is astonishing. Musicians featured herein include William Parker (bass, doson'ngoni); Hamid Drake (drums); Cooper-Moore (piano); Rob Brown (alto sax); Charles Gayle (tenor & soprano sax); Mike Reed (drums); Leena Conquest (voice); Mola Sylla (voice); Sangeeta Bandyopadhyay (voice); Klaas Hekman (bass sax); NFM Symphony Orchestra + Choir (Wroclaw, Poland); Kitchen House Blend band. Deluxe box set is published in a limited first edition of 1500 copies. Each of the CD sleeves (and the box cover) feature commissioned paintings by gifted young artist Douglas Arnold. The accompanying 24pg. booklet contains extensive notes by Philip Clark (The Wire, et al.), William Parker's lyrics, and further key visual artwork."


JONES QUARTET FEAT. EMILIE LESBROS, DARIUS: Le bébé de Brigitte (Lost in Translation) CD (AUM 095CD) 13.00
"Le bébé de Brigitte (Lost in Translation) is alto saxophonist-composer Darius Jones' new album work, and the 5th installment in his expansive Man'ish Boy epic. The highly acclaimed series began in 2009 with Man'ish Boy (A Raw & Beautiful Thing), and shall eventually comprise nine albums. This release arrives soundly at the mid-way point with aplomb, and is performed by the Darius Jones Quartet featuring vocalist Emilie Lesbros. As ever with Jones' work, the compositional palette ranges widely here. From the new blues swagger of 'Universal Translator' to the equally universal sense of great loss evoked in 'I Can't Keep From Weeping' (as aching a ballad as Jones has yet written/recorded); from the infectiously swinging & (finally) unhinged cabaret dialogue that is 'Chanteuse in Blue' to perhaps the deepest essence of the album (and platforms of intent) which are 'Two Worlds, One Soul' & 'Beneath The Skin', a pair of extended works which evolve with the utmost in careful consideration to timing and gesture by all involved. French singer-lyricist Emilie Lesbros' own composition, 'Quand Vient la Nuit' (arr. by Darius Jones) closes and lyrically encapsulates the album: espousing no fear, in life, in art."


AUS 1583EP

YOUANDEWAN: Verloren 12" (AUS 1583EP) 14.00
Youandewan follows his 2015 Spiral Arms EP (AUS 1474EP) with a dub-tinged collection of foggy deep house and techno. The rubbery thud of "Verloren" sits beneath a rich, sandy shuffle and a buoyant analog stab. Reverberated vocals swell through the breakdown, ahead of a stripped but purposeful sub pattern. Ilian Tape boss Dario Zenker drives clap-heavy drum patterns through a tough and uncompromising remix. "253 (Decent Mix)" melds a flexing bass pattern with neatly-plotted clicks and playful drum-fills before glassy pads swell into focus. "#1" drives a full-bodied throb under chilly synth tones and dramatic drum flashes.


AS 010LP

CHICO TROPICO: Relación de Riesgo LP (AS 010LP) 21.00
The Basque record label Ayo Silver! launches Relación de Riesgo, the first record by the Chico Trópico collective compiling original songs by their dream-team of bands: Dick el Demasiado (The Netherlands/Argentina), Los Ganglios (Spain), Los Pirañas (Colombia), Los Síquicos Litoraleños (Argentina), Chico Trópico (Spain/Argentina), El Bien (Argentina), La Gallera Social Club (Venezuela), Os Cajueiros (Brazil), Igor Stepanenko (Mexico), El Amateur (Argentina), Pedro Buschi (Argentina), and Sonido Changorama (Mexico). Conceived as a continuous session of Latin American psychedelia, Relación de Riesgo goes beyond the so-called "electronic cumbia," widening its scope to seek out new approaches to tropical music. From a Hammond organ singing a bolero to an insurgent cumbia by Sonido Changorama, the psychedelic noise of Los Pirañas, the astonishing humor of Los Ganglios, or the popular abstraction of Dick el Demasiado, it's a delirious trip of bizarre melodies.



POTENTIAL THREAT: Demand an Alternative LP (BEAT 054LP) 21.00
Potential Threat were formed in Blackburn, England, in 1981, and recorded a couple of 7"s between 1982 and 1985. They played a lot of gigs with such bands as Discharge (their main influence in member Pauline's own words), Conflict, Crass, and so on. The band gained recognition from punk fans in the UK and were renowned for their totally wild and out of control gigs. After some lineup changes, the band recorded this fucking ace LP in 1985 and released it on the mighty Mortarhate label in an edition of 1000 copies that were sold in a few months. Thirteen tracks of absolutely great and fast punk played as it has to be played -- with high energy and rage. This first-ever reissue is pressed on 180-gram vinyl and includes replica artwork and insert. Limited to 500 copies.



ZOE ZOE: Hoy 12" (BKS 009EP) 12.00
What is Zoé Zoe? It's not a French fashion designer. It's not a bar and grill in your neighborhood. It's not a Thai energy drink. It's a Lithuanian small-town boy turned promising groom, turned taxi driver, turned techno producer, turned Berlin inhabitant, or the other way round. He could also be the man behind your set's secret weapon. Hoy!



RAT COLUMNS: Fooling Around EP 12" (BLACKEST 043EP) 18.00
First vinyl release of the definitive version of "Fooling Around," which appeared in truncated form on Rat Columns' 2014 album Leaf (R.I.P. Society). Its void-chasing motoric and moody jangle evoke Splendour of Fear-era Felt or David Kilgour at his dreamiest, strapped to the engine of NEU!'s "Für Immer." "Living in the New World" summons Orange Juice or The Modern Lovers, but with a darker, more delirious edge; "Should I Leave You Alone?" closes with square-jawed dub-bass and chewy tape FX yielding to baroquely beautiful guitar phrasing and limpid Moog tone-float. Picture sleeve; includes insert and download code. Edition of 500.



Italian producers Enrico Gasperini aka gAs and Lino Pugliese's split 12" opens with gAs's "Rack Attack," on which woody hits and scattering hi-hats groove alongside gentle keys and a stuttering synth riff, and his undeniably funky "Agogo," which features incessant spongy stabs and frenzied percussion. Pugliese's "Banging On Your Door" (following 2014 releases on Memento Records and Cadenza Lab) has a percussive swing not too dissimilar from The Stones' "Sympathy for the Devil" alongside low-frequency synth sweeps and distant vocals. "Aniwama" fuses melodious piano and clanging ride cymbals with low-end sonics, perfect as both a mood-setting piece and a peak time genre-shifter.


CH 4806LP

HYMAN/MARY MAYO, DICK: Moon Gas LP (CH 4806LP) 23.00
LP version. The jazz genre spawned a couple of quite colorful subspecies that were part of important pop cultural movements to let the ordinary man escape from the daily grind. Two of the most prolific pop jazz spheres were exotica, which accompanied the tiki culture that was omnipresent throughout the '50s and early '60s, and space age music, a rather pop-oriented, accessible style with hints of swing and vocal jazz spiced up with quite mind-altering sound effects. Moon Gas, a 1963 collaboration between pianist and organist Dick Hyman and singer Mary Mayo, hits the center of the space age genre directly, with its dreamy tunes; haunting, melancholic vocal melodies; and groovy, swinging compositions that invite the listener to an easy dance. Strange little sounds whistle and sparkle around the rather uncomplicated, easy-listening, jazz-pop compositions. The songs alone would certainly be on par with the best contemporary hit tunes of their age, but what really makes them outstanding is this combination with the sound-world of a space laboratory or starship. 1963 was definitely a year in which the USA found itself in competition with the Soviet Union for dominance in space, so this type of music fit well with the dreams of the average man to explore distant galaxies. About six or seven years later, when psychedelic rock had reached a peak and the music was ready to leave the earth behind, these early sounds were developed into space rock by such groups as Hawkwind. In 1963 we are still far away from this, and what Dick Hyman, Mary Mayo, and their unnamed band members create is a rather smooth and calm affair that still pushes one's mind towards certain borders of reality. All these funny noises transport the listener into a world of huge computers with flashing lights on board interstellar space ships traveling from one galaxy to the next. At its core, it's cool vocal jazz music, surrounded by arrangements of bleeping, rattling, and swooshing. The sweet, enchanting melodies evoke a futuristic dream; the musicians are tight and professional; and Mary Mayo sings in a distinctive and harmonic style that soothes the senses. Take a relaxed trip to the stars with this classic album.



EDIT SELECT: Continuation 12" (CLR 089EP) 14.00
Edit Select delivers two excellent tracks for CLR. Lights-off, heads-down action all the way, these are repetitive techno tracks perfectly constructed for the floor. A less-is-more aesthetic is the main focus, as one would expect from Tony, but "Continuation Part 1" and "Continuation Part 2" are perhaps his most effective tracks to date. Two of Chris Liebing's most played tracks of 2015.



DE ANGELIS, GUIDO & MAURIZIO: Torso (I corpi presentano tracce di violenza carnale) 2LP (RED 219C-LP) 36.00
The legendary Torso (1973), considered one of the precursors of the slasher genre, was directed by Sergio Martino following the success of All the Colors of the Dark (1972), featuring a stunning soundtrack composed by Guido & Maurizio De Angelis also known as Oliver Onions. This double LP reissue is the first complete vinyl edition. Pressed on double-color vinyl. Limited to 1000 copies.



KINETIC IDEALS: This Face 12" (DEADWAX 001EP) 21.00
2013 release. Canadian experimental post-punk band Kinetic Ideals, known for their energetic, distinctive songs and high-octane live shows, released two singles and an EP between 1980 and 1983. This is the long-overdue first release of This Face, an EP recorded in 1983, plus an additional song recorded at Manta Sound, Toronto, in 1985. Digitized from the original master tapes by Peter J. Moore of Cowboy Junkies' The Trinity Session fame and carefully remastered by Nicolás Zúñiga. Artwork by Patrick Duffy, drummer for the This Face sessions. Clear vinyl; housed in a heavy matte-finish sleeve with printed inner sleeve.


REMAIN IN SILENCE: Lonesome Hours - The Monument & Seven Rooms Recordings LP (DEADWAX 002LP) 25.00
2013 release. It was the last days of 1983 when Andreas Buchwald (guitars) and Andreas Gimpel (vocals) founded Remain in Silence. With a distinctive lead voice and melodically haunting guitar tunes layered over heavy basslines and straight drums, they soon established their characteristic sound -- deeply melancholic, sonorous, and powerful. An inescapable emotional density permeates their songs. Early comparisons to the likes of Joy Division and The Cure soon became void as Remain in Silence carefully developed their individual musical language. Apart from an omnipresent dark, coldwave mood, even songwriters like Leonard Cohen can be seen as influences, and an absorbing interpretation of Dylan's "Ballad of Hollis Brown" is still occasionally part of their live set. In April 1985, Remain in Silence released their first album, Seven Rooms, as a C-60 cassette. Housed in a monolith-like black box, it featured a studio side and a live side. Their mini-album follow-up, Monument, also a cassette-only release, consolidated their reputation as a cult band and widened their audience, leading Germany's alternative cassette charts at the time. Upon its release in December 1985, Spex magazine stated, "Monument is absolutely worth the name. RIS is how New Order should actually sound." Classic tracks like the moving "Hope in Fear," the claustrophobic "Hero," and the sad but powerful "Lonesome Hours" have lost nothing of their elemental force, pulling down and lifting up at the same time. With the 1987 release of their third recorded output, the classic This Is the Place Where Resistance Got Lost LP, Remain in Silence's breakthrough seemed to be only a matter of time. But the financial demise of their record label and the permanent replacement of band members brought their career to a premature halt. Nevertheless, Buchwald and Gimpel continued making music as Remain in Silence. They supported Siouxsie & The Banshees in 1995 and are working on material for another album at the time of this release. Without a doubt, Remain in Silence are the true German coldwave pioneers. Lonesome Hours - The Monument & Seven Rooms Recordings offers the perfect introduction to this unique band through their first recorded material, presenting the first vinyl release of the studio side of Seven Rooms and the entirety of Monument. Carefully remastered by Nicolás Zúñiga from the original ¼" reel master tapes. Housed in heavy matte-finish sleeve with printed inner sleeve and two inserts. Hand-numbered edition of 200.


BOYS SAY GO: Easy to Move LP (DEADWAX 006LP) 25.00
Boys Say Go morphed out of a garage punk band called Slow Children. In the early '80s, they had put out a 7" that featured a string synth they'd found in the studio. While sitting in Boston's Logan Airport in 1981, waiting for a plane to Germany, Anthony Rauseo and Joseph Fagan heard Depeche Mode for the first time, on Rauseo's Walkman. They immediately knew that the record they were bringing to a label in Berlin was already over, done, obsolete. So that year they started cranking out simple synthpop tunes with primitive analog equipment and no keyboard ability whatsoever. The result of the following five years' work was a fantastic array of new wave songs, of which only six were released. "Berliner Kindl Wesse" was inspired by driving around Germany in an orange VW Bug; Fagan thought the track was what they should have been listening to. This instrumental, along with "Nu Song," "Rain in the Dark," and "Sorry," were recorded but never released. Their first vinyl release, the Joey and Maria/Love Is Dangerous 7", appeared in 1983. Cheap drum machine, plastic Casio keyboard... Dave Stempko played everything on it but the bass. Self-produced, recorded at Pyramid Studio by Larry Lessard, and released on Boys Say Go's own Gender Records in an edition of 300, this minimal synth masterpiece has since become impossible to find. Later that year they recorded "Bang Bang de Boogie (Then We Dance)" at Newbury Sound, but the song remained unreleased. They recorded "Easy to Move" at Joe Harvard's So-So-Sound Studios in 1984, with Rauseo on the lead vocal and toy synth drums. The track was included on Harvard's 1985 Buy American! compilation cassette, but only a handful of copies were given to friends -- the track was barely released at all. Later in 1984, "Do You Wanna Funk" and "Serious Cat" were featured on Gender Records' Hit the Floor compilation, which was followed by the Humanity/Holy War 12" single in 1985. These last two songs feature backing vocals by Hank Fay, who was on loan to Boys Say Go from another synth band called Minks. And that was it. Fortunately, these recordings have been well-preserved by Mr. Fagan, and they're presented here for all lovers of new wave and minimal synth to enjoy. Housed in heavy matte-finish sleeve with printed inner sleeve. Hand-numbered edition of 200.


MARCIE'S STILL WAITING: From East to West LP (DEADWAX 007LP) 25.00
Marcie's Still Waiting was created as a studio-only project by Rainer Spachmann and Rainer Winschermann at the latter's Mollycat studio in Velbert-Langenberg, Germany, in 1984. Minimalist synthwave: some really upbeat tunes here; some moody, dark, cold songs there. All with the appropriate amount of guitar and a touch of lovely saxophone. The two Rainers would both write and perform the songs with the occasional help of Frank Maakaron (formerly Behnke) at the keyboards and Thomas Döbber playing some bass guitar. Anne Weber and Nicole Klank contributed their heavenly voices on a couple of tracks. They self-released the four songs they recorded in 1985 as A Mysterious Song, which was distributed by Wishbone Records. Alan Bangs, from the Nachtrock radio program on Westdeutscher Rundfunk, would play the record almost daily. The number of fans rose immediately and soon one could hear "A Mysterious Song" at many clubs around Europe. A second batch of the EP was subsequently distributed by Roof Music with different cover art. Spachmann and Winschermann wrote and performed seven songs in 1985 and early 1986; they were never released, and later in 1986 Spachmann moved forward on his own, writing and recording four more songs at the Muuß studio in Kiel, this time with the help of Thomas Hartung on bass and M.A. Mozart on saxophone. Anne Weber joined again as well, co-writing one of the songs. These four were released as the Mirrors and Daydream EP on Roof Records, and shortly thereafter Marcie's Still Waiting vanished from the face of the earth. They never played live and there are no known pictures of them as a band, but what a legacy they left behind. Their timeless music is far from forgotten; it sounds just as fresh as if it were written this morning. Their two vinyl releases are highly sought-after and quite expensive; it's high time for the material to be made available again. From East to West includes the complete contents of A Mysterious Song and Mirrors and Daydream plus four previously unreleased tracks. Housed in heavy matte-finish sleeve with printed inner sleeve. Hand-numbered edition of 200.


FARBLOS: ...Und der Regen Fällt LP (DEADWAX 008LP) 25.00
The creation of the song "Winterherz" ("Winter Heart") over the course of several years had never been intended as more than a pastime activity for F. Karnstein. But when he uploaded the track to the internet in January 2010, it received a lot of positive feedback and Karnstein's creative focus shifted toward the sort of music he is most fond of as a listener. He officially formed the one-man project Diurnal Masque, then began working under the name Farblos (the German word for "colorless"). Mr. Karnstein writes music that is a mixture of dark coldwave and goth synthpop, perhaps best described as new wave revival. It incorporates a wide range of inspirations and influences, from Joy Division via Psyche to Einstürzende Neubauten. With his heavy use of synthesizers and bass guitar, his music is rather easily identifiable as a product of his love for '80s and early-'90s new wave and goth music. Through 2011 and 2012, he attracted increasing media attention from online radio stations and press. Three of Karnstein's demo recordings were aired by Mick Mercer on his show, two of them included on At Sea Compilations' digital compilations, and a third on one of Gothic Magazine's Gothic Compilation CDs. Finally, on December 2nd, 2012, Farblos published a digital EP containing five demos that he'd produced, recorded, and mixed himself. In the summer of 2013, the recording for his yet-unnamed debut album began. "Never Too Late" was the first track to be professionally recorded, and it was featured on the digital-only Stairways: Twist the Past compilation. This is the first physical release of Farblos's 2012 digital EP plus the previously unheard demo version of "Never Too Late." Remastered for vinyl by Nicolás Zúñiga. Plays at 45 RPM. Housed in heavy matte-finish sleeve with insert. Edition of 200.


CHA BOOM CHA: Dancing Brave EP 12" (DEADWAX 009EP) 21.00
In 1985 Duncan (vocals, acoustic and electric guitar) and Richard (electric guitar, keyboards, rhythm programming) formed Cha Boom Cha, with help from Angelina (additional vocals). Their song "Dancing Brave" was included in a shortened, more guitar-oriented form on Primitive Records' 1987 compilation The Jamboree Bag, which they followed with their 1988 Groovy Baby EP. These early recordings -- minimalistic, analog synthpop with a touch of guitar -- have been carefully transferred and remastered from the original ¼" reel tape by Nicolás Zúñiga. Housed in heavy matte-finish sleeve with insert. Artwork by David Lanna. Hand-numbered edition of 260.


DV 9033LP

JAY DEE: Jay Deelicious: The Delicious Vinyl Years 3LP (DV 9033LP) 29.00
2015 repress, originally released in 2007. "Jay Dee (aka J Dilla) emerged as a hip hop producer to be reckoned with in 1995 when his name was attached to the first single from The Pharcyde's eagerly anticipated sophomore album Labcabincalifornia. Drop the needle on his first Pharcyde production 'Runnin' and you have the launch point of a producer's career that mesmerized, titillated and expanded the domes of hip hop fans for the next decade. Jay Deelicious: Originals, Remixes & Rarities documents Jay Dilla's early production on Delicious Vinyl. Working closely with The Pharcyde and Michael 'Mike Floss' Ross, (Delicious Vinyl's founder), Jay Dee was instrumental in keeping The Pharcyde's second album as ear poppin' and bugged as their maiden classic Bizarre Ride To The Pharcyde, stepping up big time after the group parted ways with Bizarre producer J-Swift. In addition to original productions and remixes for Labcabin, Jay Dee skillfully worked with the label on incredible mixes for the Brand New Heavies, as well as unreleased remixes for former BNH singer, N'Dea Davenport."



EVOL: Flapper That 12" (DIAG 023EP) 16.50
Arch propagators of "computer music for hooligans" EVOL (Entr'acte, Mego, Presto!?, Diskono, Scarcelight,, ALKU), with their hardcore aesthetic and sense of absurdity, have long been a key influence on Diagonal and Powell's DJ sets; the label now releases EVOL's two-part, 20-minute "Flapper That." The A-side writhes and morphs with hypernatural sensuality to explore sinuous integers of an acidic waveform, contorting convulsive digiteridooz into bendy, wild pitching bleeps and gabber-kick staccato. The second side then smears the same battery tang timbre into a pulsating, viscous bass drone with brain-melting rave tones sustaining the intensity at visceral degrees.



PANTHA DU PRINCE: Diamond Daze CD (DIAL 005CD) 15.50
2015 repress. The first Pantha Du Prince album from 2004, repressed. Pantha Du Prince captures the parts of a vanishing youth on this Dial debut, Diamond Daze. In a white studio behind the railways next to sweating rock bands and speeding trains divided only by white cloths is a person dreaming in grids and fragments of images, sounds, noises and feelings. Based on a past filled with British independent music and the techno beacons of Hamburg, Franklin and Cologne, electronic music became the artist's salvation. Far away from the pressure to play guitar, the catharsis found in the studio and the new social structures in the club made coal-dust crystallize into diamonds. Diamond Daze traces new lines, branching out and losing itself in woody landscapes and fog, leading to pleasurable places in the rising sunlight from the cave. Diamond Daze triggers romance like lightning in the hot shimmer of the night. Presence is torn apart in the lake of melancholy. Wounded textures and cryptic pop unfold their mysteries in a pumping, crystalline mobile of sound. Shivering noise-pop-drones, pulsing patterns of bass-drum-bass, filigreed clicks, bursting diamonds. In the heart, walls of guitars and the beat keep you dancing and the mind flies over roaring, snowy, enchanted mountains.



JANSCH, BERT: Live at the 12 Bar LP (EARTH 004LP) 21.00
"Inspiring generations of musicians, Scottish guitarist and songwriter Bert Jansch will be forever known as a remarkable talent and a leading figure in the British folk revival. He came to prominence in the 1960s becoming widely known for his exemplary guitar technique and innovative blend of folk, blues and jazz. Later he became a founding member of folk supergroup Pentangle before returning to his solo career. Led Zeppelin, Bob Dylan, Paul Simon, Donovan and Johnny Marr have long been fans. Reaching people far and wide, Bert deservedly received many accolades for his contributions to music including the Lifetime Achievement Award at the Radio 2 Folk Awards and a MOJO Merit Award. Live at the 12 Bar was recorded in 1995 at the legendary London music venue and is a fitting tribute not only to Bert's virtuosity but to this renowned hub for folk music and other genres. Bert's meticulous performance brings together songs from When the Circus Comes to Town, released in the same year, along with the haunting reworking of 'Blues Run the Game' (written by Earth's own Jackson C. Frank) and traditional folk songs 'Curragh of Kildare' and 'Lily of the West' which were staples in Jansch's repertoire. Live at the 12 Bar captures an intimate gig that's richly brought to life by his spellbinding ability to hold a room. The warmth and reverent silence from fans reminds us of what it was like to attend his shows and the true legend that we have lost. Two decades after its first release, Live at the 12 Bar is issued for the first time on vinyl. This exceptional record is the first release in Earth Recordings' new extensive reissue series of Bert Jansch catalogue."



BALDELLI, DANIELE: Cosmic Drag 2LP (EF 067RP-LP) 22.00
Repress in generic sleeve. Legendary DJ, remixer, and producer Daniele Baldelli presents Cosmic Drag, more than just a heartfelt twisted dance album. During his long residency at Cosmic, the nightclub by Lake Garda in Italy, Baldelli mixed funky disco, electronic, synthpop, reggae, fusion, rock, funk, Brazilian, African folk, Indian melodies, batucada, and jazz, and became famous for his eclectic meltdowns in which he might drop Ravel's Boléro overlapping with a Djola track or an experimental piece by Steve Reich mixed together with a Malinke chant from New Guinea. His worldly, hypnotic sets brought together the sounds of Kraftwerk, Fela Kuti, the Sky Records catalog, Killing Joke, Incredible Bongo Band, ZAZA, Chris & Cosey, Antena, Azymuth, Yellow Magic Orchestra, and Yellowman, all often played at improper speeds and mixed with effects and drum machines. This practice gave birth to the cosmic sound, a highly influential musical movement that set itself apart from the Italo-disco scene. Since then Baldelli's record bag has stayed eclectic and he still plays scintillating sets all over the world. The CD version of Cosmic Drag contains all four tracks from Baldelli's 2014 Cosmic Drag EP (EF 063EP), plus eight more stimulating, hypnotic, trend-setting tunes. Each track spreads deepness with diversified melodies, chords, and rhythms. One can feel Baldelli's vast musical roots in the electro vibes and the techno-driven grooves. Sometimes the funk hits hard, while in the next moment the listener is blown away by futuristic soundscapes. All of these arrangements have in common a cosmic dust that melds a playful sense with high-flying synth-lines and outer-space tones. A truly weird, mesmerizing album that stays appealing while experimenting profoundly. Baldelli describes the album's inspiration: "Most of my ideas emerge while travelling by train, driving my car to a club where I will perform, and foremost when I devote myself to listen to my large vinyl collection." It's a statement that explains why his tracks often build a bridge between careless, funky '70s vibes, offish '80s coolness, and the freedom of '90s rave culture, while landing fresh and unafraid in the present and carrying the listener away into spheres where the self is forgotten among irresistible rhythms and melodies.

EF 069LP

GONNO: Remember the Life Is Beautiful LP (EF 069LP) 25.50
LP version. Includes download code. Since the early 2000s, Sunao Gonno has been an integral part of the Japanese house and techno scene. His musical productions have not only appeared on esteemed local labels like W.C. Recordings or Nitelist Music; they have also been released internationally by imprints like Re-Active or Perc Trax from London, Beyond Recordings from Detroit, International Feel Recordings from Ibiza, Merkur Schallplatten from Berlin, and Tim Sweeney's New York-based Beats in Space Records. Furthermore, his special twisted house and techno arrangements been frequently played by DJs like Laurent Garnier, James Holden, François Kevorkian, and Todd Terje, and Gonno has made a splash with remixes for legends like Jeff Mills. Behind the decks or as a live performer, he has travelled the globe to show his audience, with his records and machines, the lost art of storytelling. With Remember the Life Is Beautiful, he has reclaimed the almost forgotten poetic art of a musical journey and produced ten tracks that unite ambient, techno, house, and other styles into a mesmerizing sonic trip. The album lifts you up one moment while guiding you into an ambient galaxy a moment later, yet Gonno has managed to inject a story arc into the work, which somehow reflects the various life circumstances he has gone through over the decades. Contrary to many of his colleagues, he is not a man of sampling. Instead, he makes all of his tracks using his Korg Triton, Moog Little Phatty, Korg Volca Keys, Roland TR-8, Roland MC-202, Acidlab Bassline, cheap Casio keyboard, Fender Stratocaster, and acoustic guitar. He layers his tracks with recordings of his handclaps, his voice, soft treated shakers, and other unusual sound recordings. The tracks share Gonno's touch for expansive space and warm, natural atmospheres in which gentle arpeggios, charming chords, and sweet melodies float freely. "I think people can call my music whatever. I hate to assign it to a specific genre. I have many musical idols and they all told me 'kill your idol.' That's why I don't have a sense in belonging to something. It would mean less freedom. And my music should be always as free as possible," declares Gonno. A claim that all tracks on Remember the Life Is Beautiful honor with unconventional inventiveness. A journey through techno, house, new age, ambient, and beyond, in which listeners can feel each emotional dimension Gonno has to offer.



FOLAMOUR: Chapeau Rouge 12" (FAUXPAS 017EP) 14.00
Yellow vinyl with special sunset-red inner sleeve and handmade Risograph inlay print. Includes download code for French artist Bruno Bourmendil aka Folamour's album from which these four tracks are taken. Design concept by Alex Ketzer.


FD 5005LP

CLARA MONDSHINE: Luna Africana LP (FD 5005LP) 23.00
LP version. Clara Mondshine was a musical project of the late radio director, journalist, and composer Walter Bachauer, who worked for RIAS Berlin in the '70s and '80s. Mr. Bachauer was also involved as musician in projects with electronic artist Peter Michael Hamel and krautrock act Between in the '70s. With Clara Mondshine he was able to score three albums before his untimely passing in 1989; Luna Africana, originally released in 1981, is the first of these, and it fits exactly into that era, when the sluggish grinding of early cosmic music had vanished and a new peppy drive could be felt in the spacious soundscapes of electronic music. Still rather lo-fi, with primitive machine grooves and swirling waves of analog synthesizers to which some hypnotic drones were tastefully added, this music has learned a lot from the grand masters of the '70s, especially the motorik style of krautish electronics. Its simple melodic patterns and heavily rhythmic approach, layering pulses and drones upon repetitive structures, induce a trance state in the listener. This music is quite imaginative and picturesque, evoking a trip through a dark galaxy where only starlight guides your vessel. Quite a typical example for later krautish electronics and certainly a must-have for fans of the Eno/Harmonia collaborations, Cluster's Zuckerzeit, and other similar motorik electronic albums. It also has a Kraftwerk feel, but without the vocals. Now this long-hidden secret gem is reissued for the first time and unveiled for your stellar listening pleasure. But beware; some of you might get lost in the depths of outer space.

FD 5006LP

NARDINI & ROGER ROGER, NINO: Jungle Obsession LP (FD 5006LP) 23.00
LP version. Though it may look like a sexy piece of exotica from the heyday of tiki culture -- the '50s and early '60s -- Jungle Obsession was originally released in 1971 by the French Neuilly label. Nino Nardini was a master of library music for movies, TV series, and other media back then, and this album is his interpretation of what legends like Martin Denny and Frank Hunter had created a decade before -- the ultimate listening experience for people who needed to escape from the struggle of everyday life through dreamy music that combined easy, relaxed jazz with jungle sounds and colorful melodies to create an atmosphere of exotic places. Nardini refreshes those -- already ancient by 1971 -- musical values with more contemporary elements of hot-blooded funk, particularly its wild percussion patterns, sweet wah-wah guitars, and an ever-present, rocking rhythm section. Blues and psychedelic rock flow gently into the mix to expand the effect on the listener's imagination. Lush, with great arrangements of grandiose string patterns that evoke an atmosphere of great mysticism and a peaceful world of swirling colors. The earthy rock aspect of the music then comes to the fore, bringing the listener back to smoky urban clubs, where the air is heavy and sweat drips from the ceiling. All in all this is a beautiful soundtrack for fans of both worlds -- the urban funk of the early '70s and the dreamy exotica music of the '50s and '60s. Both styles come close to each other and at some points blend together. Jungle Obsession is a fine example of well-executed 1970s library music, conjuring up a movie in the listener's head with its variety of moods. Sheer excitement if you can catch the flow.

FD 5007LP

ATARAXIA: The Unexplained LP (FD 5007LP) 23.00
LP version. Electronic impressions of the occult, reissued for the first time. The late, great Mort Garson (1924-2008) was a hotshot of electronic music's pioneering days, known for his groundbreaking occult works such as The Zodiac: Cosmic Sounds (1967) and Lucifer: Black Mass (1971). A different side of his creativity emerged in his 1976 Plantasia project (FD 5003CD/LP), an inspired album of Moog compositions to be played for growing plants. The previous year he released this hypnotizing album, which takes the listener on a weird trip to an even weirder sound-world. Metallic drum loops add a proto-industrial feel to the swirling waves of colorful synthesizer melodies, which draw from jazz and exotica music of the '50s and '60s as well as mysterious detective movie soundtracks and pulsating psychedelic rock. There are moments of freeform electronic oscillations with layers of synthetic whistling and buzzing shifted over each other, and passages with hot-blooded grooves let the listener drift away on a gently flowing river of sound. Recommended for all lovers of the more experimental 1970s electronic music, The Unexplained definitely competes with such fine German artists as Cluster, Tangerine Dream, and Klaus Schulze. The album will also appeal to freaks who love progressive soundtracks for Italian horror movies of the same time by Goblin and other masters. A fascinating album that prefigures the pulsating synthesized rhythms that would later appear in many dance productions. Another pioneering work from a true artist who loved the challenge of crossing borders and exploring new territories of sound.


GR 2135LP

Awesome collaborative recording by Spanish industrial music pioneers Esplendor Geométrico and legendary Japanese noise kings Hijokaidan. Esplendor Geométrico: Arturo Lanz, Saverio Evangelista; Hijokaidan: Jojo Hiroshige, Junko, T. Mikawa. Released by Geometrik (Madrid), Suezan Studio (Tokyo), and Alchemy Records (Osaka). "In November 2013, E.G. made their fourth trip to Japan. After the first two shows in Tokyo, the day for the E.G.Kaidan came. I confess: I was nervous because E.G. had almost never played with other bands on stage. However, my concern was entirely blown away as they kick-started the show. Overlapping with the material chosen from E.G.'s new album, Ultraphoon (GR 2130CD/LP, 2013), Jojo Hiroshige's guitar sound and the harsh noise generated by Mikawa combined with Junko's eccentric voice, mingled together into an unprecedented mass of sound, and hit us. The two ensembles, through a brief initial phase as if they were feeling their ways toward each other, fused their sounds together and assaulted the audience with overpowering force. The vocal interchange between Arturo Lanz and Junko, getting the audience involved, drove the whole house into frenzy. The show ended in triumph... the air filled with a mixture of excitement and stunned euphoria" --Kaoru Koyanagi (Suezan Studio). Recorded in high quality at SuperDeluxe, Tokyo, November 2013. Limited numbered edition of 500.


GET 52716LP

OL' DIRTY BASTARD: Return to the 36 Chambers: The Dirty Version 2LP (GET 52716LP) 23.00
2015 repress. "It's safe to say that hip-hop has never seen an album like Ol' Dirty Bastard's 1995 solo debut Return to the 36 Chambers. The brief glimpses of ODB's unhinged genius provided by Wu-Tang Clan's landmark Enter the Wu-Tang album two years earlier were begging to be expanded on to a larger canvas, and, with RZA guiding production, the album promised to give Dirty the creative license to make one of the most bizarre, entertaining and original LPs in hip-hop history. With his raspy, drunken flow and dark sense of humor, Dirty fearlessly attacks from all angles, throwing himself fearlessly into punchy rhyme attacks ('Damage,' with GZA), drugged-out party jams (the monster singles 'Brooklyn Zoo' and 'Shimmy Shimmy Ya') and bizarre, grimly hilarious fantasies of sex and violence ('Don't U Know' and the R&B-tinged 'Sweet Sugar Pie'). Backed by RZA's appropriately gritty, dissonant beats and appearances from the Clan, Return became an instant hit, selling over 1 million copies and earning a Grammy Award nomination for Best Rap Album in 1996. The album stands as a high water mark in the Wu Tang Clan's collective creative output and was selected as one of the Best 100 Rap Albums by The Source magazine in 1998. In honoring the legacy of one of hip-hop's most innovative releases, Get On Down is proud to present this incredible and unique special edition of Ol' Dirty Bastard's Return to the 36 Chambers as a double LP which contains the complete original album, remastered for optimal sound quality." Includes 18"x24" poster.


HC 037LP

DAMAWUZAN & LES AS DU BENIN, ROGER: Wait for Me 2LP (HC 037LP) 23.50
Nine previously unreleased and rare tracks recorded between 1972 and 1981 by the amazing Roger Damawuzan, also known as the "James Brown from Lomé," backed by the tremendous Les As du Benin orchestra. Born in 1952 in Aného, Togo, "the king of Gazo" (a traditional rhythm) is one of the most popular singers of his native country. He started his career in 1968 and released his first record in 1972 with his now-classic hit "Wait for Me." From 1972 to the early '80s, alongside Les As du Benin, he worked more than five days a week at the seaside Hotel Tropicana, practicing and perfecting his afro-soul sound. During this period Damawuzan and the orchestra also recorded many tracks, sometimes in Ghana at the famous Philips studio, sometimes during live sessions for big events in the Palais des Congrès de Lomé and Studio Otodi in Lomé, but always live and analog. At the time of this release Roger Damawuzan lives in Lomé; in 2014 he was the featured singer on the smash hit "Pas Contente" by Vaudou Game (HC 029EP, HC 032CD/LP) and performed with the band at major European festivals. This gatefold double LP collection of officially licensed tracks, featuring an interview in the gatefold, is must-have record from one of the biggest figures of the African funk scene from the '70s.



PETWO EVANS: x0x 12" (HUNTLEYS 021EP) 14.50
Petwo Evans return with another stonking release! This time around, they've gone pretty melodic on us. Something for everyone here, with a belting peak-time title-track first heard on a 2015 Auntie Flo Boiler Room alongside some really beautiful moments; some of these may be familiar from Huntleys + Palmers' Truants and Electronic Exploration mixes.



VA: Kompakt Total 15 2LP (KOM 340LP) 22.00
Double LP version. Pressed on 180-gram vinyl. Eight tracks from the 24-track double CD: Wassermann's "Eisen Mein Herz," Jürgen Paape's "Manipuri," Michael Mayer's "Humm," Superpitcher's "Freiherr," Weval's "Gimme Some (Hunter/Game Mix)," Patrice Bäumel's "Fenomeno," Voigt & Voigt's "Akira (Reeperbahn Mix)" and The Black Frame's "Sacrosanct."



VA: LIEBE047 12" (LIEBE 047EP) 12.50
Four analog acid techno tracks by Pablo Sánchez featuring Colonel Red (the original and a remix by Meta.83), Berlin project Saytek vs Quantum Entanglement, and up-and-coming Italian producer Dast.



"All tracks newly remastered. Liner notes by Vivien Goldman. Lizzy Mercier Descloux may have come of age in Paris, but it's in New York's Lower East Side that she really came alive. The French punk pioneer, a friend of Patti Smith and Richard Hell, moved to New York in 1977 and soon immersed herself in avant-garde poetry, performance art, and punk music. Closely associated with the founders of ZE Records (home to Was (Not Was) and Kid Creole & The Coconuts), Descloux released her debut album, Press Color, in 1979, revealing a punk-funk sound that positioned her as the French answer to the UK group The Slits or New York's own ESG. Just as The Slits gave 'I Heard It Through The Grapevine' a makeover fit for warehouse parties on their celebrated Cut LP, Descloux's album revealed a penchant for the unexpected cover version too. It kicks off with a brilliantly rhythmic take on The Crazy World Of Arthur Brown's Fire -- a hit, like Marvin Gaye's in 1968. There's also a version of Lalo Schifrin's theme from Mission Impossible that appears to predate the breakbeat scene by a good twenty years. Elsewhere, we hear echoes of Serge Gainsbourg's Afrobeat-influenced work, Blondie's disco-inflected punk, and Talking Heads' world music-inspired art pop. ?acked by guitarists/bassists D.J. Barnes and Erik Elliasson plus drummer Jimmy Young, Descloux creates a naïve musical world in which rhythm is everything -- not a byproduct of the song but the reason for its existence. It's neither played nor sung with any great skill, but it has feel and character in spades and a looseness that's all too rarely achieved. Of course, an artist with song titles including 'Tumor' (a cover of 'Fever' with amended lyrics) and 'Herpes Simplex' is never a shoo-in for mainstream acceptance, and like many a No Wave classic, the album sold little. Now regarded as a cult classic, this Light In The Attic reissue is presented in an extended 18-track edition, collecting much of Descloux's work, including 'Morning High,' recorded with Patti Smith. Descloux returned to Paris upon scoring a contract with CBS and soon found herself travelling to Africa to research the Afrobeat sound experimented with -- from afar -- on Press Color. The hit single 'Mais où Sont Passées les Gazelles?' and album Zulu Rock followed. By the 1990s, Descloux had turned her back on music in favor of painting and writing, which she continued until her death in 2004. Her playful spirit lives on in this LP."


Double LP version. Housed in deluxe Stoughton "tip-on" gatefold jacket. Includes bonus tracks, 18x24 poster, and download card for MP3 of the full album. Pressed on "Yves Klein Blue" wax.



DEADBOY: Black Magick 12" (LOCWHITE 006EP) 14.50
Deadboy is an innovator. White Magick (2015), his first EP for Local Action, marked Deadboy's largest record to date -- six tracks as driven by atmosphere as by drum patterns, but never losing the melodies and hooks that continue to set Deadboy apart from his peers. He now follows that release with Black Magick, a vinyl-only EP with extended, club-focused edits of three of White Magick's songs, as well as a VIP mix of "It Did Not Feel Right," previously released on Crazylegs.



KUSUMA, JONATHAN: Underpass 12" (LOTR 006EP) 14.00
From the light-blue sea of Indonesia comes Jakarta-based Jonathan Kusuma to redefine label standards on Love on the Rocks. Widely celebrated for his 2014 Gong 3000 EP on I'm a Cliché (CLICHE 058EP), Kusuma continues his streak. Buzzing ocean-cool pads bump into a catchy piano roll on "Stein's Way," a perfect open-air main-stage-filler for a Sunday afternoon. On the flip, the game-changing "Underpass" celebrates the gathering of a horde of mushroom-infected goblins in Java. The moon looks bigger from the other side.



DEUTSCHMANN, OLIVER: Mental Journey 12" (MOBILEE 153EP) 12.50
Known the world over for his one-of-a-kind techno productions and DJ sets, Oliver Deutschmann, since launching his Vidab label in 2007, has delivered a steady run of releases on his own imprint as well as other established labels such as Aim and Soma Quality Recordings. Following the 2015 track "Keep Rising," Deutschmann returns to Mobilee for a full-length EP featuring his signature techno sound. Three solid techno thumpers sure to work wonders at the peak hours of any set and bring the crowd into a world of pure techno bliss with heavy kicks, hypnotizing pads, and a dash of acid.


MR 7268EP

CHILTON, ALEX: Jesus Christ 7" (MR 7268EP) 8.50
Repressed! Originally released for Record Store Day 2015. In 1975 Alex Chilton went into the Ardent Recording Studios with producer Jon Tiven and out of some tumultuous recording sessions came a number of loose and unpolished gems, which would ultimately become the Bach's Bottom album. Munster is proud to present this 7" featuring previously unreleased alternate versions of three of those tracks, another instance of Alex Chilton magic.


NA 5054LP

HEWITT JAZZ ENSEMBLE, P.E.: Winter Winds LP (NA 5054LP) 21.00
2015 repress. "The three lost albums by the Bay Area vibraphonist/composer/arranger P.E. Hewitt will now be available as stand alone releases for the first time since Richard Nixon was in the White House. Masterpieces in deep/modal/spiritual jazz from a teenaged wunderkind, recorded and released from 1968-1970, P.E. Hewitt was but 16 years old when he recorded and released -- in a pressing of 50 copies -- his debut album Jawbones. By the time he sold through the 100 copies of this third, Winter Winds, he was approaching the ripe-age of 20. The three albums he and his young compatriots wrote, recorded, pressed, and -- if you can call it that -- distributed are three of the rarest damn-good '70s jazz albums you could ever hope to come across. That's a subtle, but important distinction. There are many rare jazz albums in every imaginable subgenre -- funk, free, fusion, but Hewitt's three albums were so damn-good that neither micro presses nor forty years of silence could suppress their reemergence. We at Now-Again decided against compiling a best of anthology out of respect for Hewitt's monstrous achievements and because, well, these albums are so damn good. Thus, we offer you this series of reissues designed to be as close to the original pressings as possible down to their hand-painted covers. First in the series, Hewitt's legendary 1970 release Winter Winds, a mix of modal, Latin-tinged, and ethereal vocal jazz."

NA 5119LP

JB'S, THE: These Are the JB's LP (NA 5119LP) 30.00
2015 repress. "Never-before-heard James Brown and J.B.'s originals and covers of Jimi Hendrix, Kool & the Gang, the Meters. Contains a 12-page booklet with full annotation, liner notes by Brown historian Alan Leeds and never-before-published photos. This album is the Rosetta Stone of funk's dominant idioms, yet its existence has barely been a rumor. In 1970 James Brown perfectly captured a definitive moment in modern music when he ordered Bootsy Collins into the studio to record the tracks that would be test pressed on King Records as These Are The J.B.'s. This album is the epitome of funk music, Brown's innovation that influenced everything that came after it, from Afro-beat to disco to hip-hop. And if there is any funk ensemble as influential as Brown's, in the post-"Cold Sweat" musical landscape, it's the Parliament/Funkadelic contingent. Those two streams, as Grammy Winning James Brown historian Alan Leeds details in this album's liner notes, converged for the first time here. This link between Brown's funk and all that followed features Bootsy and his young band running through twelve-minute instrumental take of Marva Whitney's 'It's My Thing,' replete with blues chord changes, alongside interpretations of the Meters, Kool and the Gang and none other than Jimi Hendrix. This is a young band's James Brown-turned-on-his-head style of funk that they nail in a one-minute vamp that pre-dates their obscure but important work as the Houseguests ensemble and embodies the essence of the psychedelic-flavored music that would propel them into the orbit of George Clinton and his mothership, where they poked cosmic holes in funk's polyrhythmic ozone layer in the mid-1970s. There are only two extant copies of the original King Records test press LP of These Are The J.B.'s. This, the first commercial issue of this album, was overseen by Now-Again's Egon alongside Leeds and Universal Music Group's James Brown expert Harry Weinger. It was mastered specifically for vinyl by Elysian Master's Dave Cooley from the original two-track stereo master that James Brown and his engineer Ron Lenhoff delivered to production forty-four years ago. It comes with a 12-page booklet with liner notes by Leeds and Egon and many unpublished photographs and ephemera."



DIVE, SASCHA: Tribute 12" (ORN 037EP) 14.00
Deep and moody house excursions. Includes a remix by DJ Jus-Ed.


OP 030EP

INLENSK: Obratno EP 12" (OP 030EP) 14.00
Debut work by Russian producer Gena Volgarev aka InLensk, 19 years old at the time of this release. Finely etched, highly detailed rhythms with melancholic digital melodies that bend and degrade sporadically. The percolating guitar-line of "U 1" seeps through the austerity of a woody, lo-bit groove. "V 4" skips along with a jocular bassline, tottering cowbell, and deep laughter. Wistfulness is accompanied by anxiety, manifest acutely in the unpredictable percussion. A snatch of the Amen break cuts to a strike of open hi-hat and a roll of heavy toms, never repeating texturally, even if there is a constant pulse.



ROMERO, HARRY: Aquarium EP 12" (OVM 257EP) 14.00
New Jersey's finest returns to Ovum with the much-anticipated follow up to his hugely-successful and widely-supported 2014 Get Deep EP (OVM 241EP), a release that saw Romero return to his roots and deliver, with the title-track, a true festival and Ibiza house anthem. Here, "Aquarium" and "What What" seek to carry on from where that record left off. With its echoing sax and signature snappy percussion, "Aquarium" leads the release with its wonderful balaeric mood and flavor. "What What" taps into Romero's techier trade, as he twists and tweaks in a full-on dark-room frenzy, evoking memories of classic his Sondos moments.


AMBIVALENT: Phase Doubt EP 12" (OVM 258EP) 14.00
Having made his Ovum debut alongside Michael Penman on the hugely-popular Shimmer EP in 2013 (OVM 232EP), US-born Berlin resident Ambivalent returns to the label flying solo. With previous releases on an enviable list of labels from M_nus to Mobilee, Cocoon to Clink, and many more, Ambivalent is still always looking to evolve. Here, he avoids tiring techno templates and delivers the inspiring Latin rhythms and uplifting melodies of the title-track, with dancing synth riffs, pulsing chords, and scattered, rapid, snares. "Selfed Out" is built around an epic lead synth that both creates and dominates the outrageous groove and drive.



TEJADA, JOHN: The End of It All 2015 Mix 12" (PAL 066EP) 12.50
"The End of It All," originally released in 2006 on Palette Recordings, is one of the most iconic John Tejada tracks. This is the first official version to be released since the original. It stands on its own, though its strong emotive theme and connection to the original are undeniable. "Reactivation" and "Sheven" originate from Tejada's 2015 live set and showcase his strong sense for the dancefloor. "Reactivation" is a Casio CZ-101 and Roland TR-909 locking into a strong, bassline-driven groove. "Sheven," named for its use of a Roland SH-7, features a sickly-sounding riff with punchy 909 drums.


PP 016LP

HOUR HOUSE: Chiltern LP (PP 016LP) 25.00
Conceived while wandering through the iron bark forests and gold fields of country Victoria, Australia, the official debut by Melbourne's Hour House offers a musical blueprint marinated in mystery, beauty, sound, and song. Hour House is the duo of Mark Leacy and Sam Kenna, formerly of the Newcastle-based outfit Castings. Chiltern comprises individual tracks folded into two side-long suites in a unique excursion through foreign encounters, warm surrounds, and disorienting comfort. Field recordings, electronics, samples, guitars, voice, and atmospherics all contribute to form a bewitching whole. Many questions are raised: is this a soundtrack to a mental experience or an altered take on a familiar reality? Is the third section based on the sound of a basketball court? Does the fourth form a song? Where do the original Soviet science fiction soundtracks fit into all this? Is this sound or music? Simultaneously ambiguous and accessible, Chiltern is a consciousness-tickling ride unlike any other. Mastered by Jason Lescalleet at Glistening Labs. Presented in high-gloss sleeve with stunning artwork by Alice Wormald. Includes charcoal-black inner sleeve and deluxe crème insert.



PRURIENT: Frozen Niagara Falls 3LP (PFL 152LP) 45.00
Triple LP version. "America's most prominent noise figure, Dominick Fernow has for the better part of two decades helped shape and reinvent the genre with a stream of works under the Prurient moniker. A project unlike any other in the realms of experimental, ambient, and noise, Prurient continually mutates from one incarnation to the next. Fernow often treads a fine line between harsh noise extremity and atmospheric beauty -- his massive, layered walls of sound may be comprised of piercing feedback, tortured vocals, and machinelike industrial pounding, or incorporate meticulous sampling, entrancing beats, and waves of electronica -- yet his prolific output is never less than compelling. Prurient's first full-length since the 2011 game-changer Bermuda Drain sees Fernow deliver the project's most ambitious release to date. A sprawling album clocking in at just under 90 minutes, Frozen Niagara Falls is the result of over a year of work. It is without a doubt Prurient's magnum opus, and will solidify the artist's standing as a visionary master able to break down barriers between genres while creating something entirely new and different."



AQUA NEBULA OSCILLATOR: Aqua Nebula Oscillator LP (RGR 002LP) 23.00
A song title like "Ready to Fly" actually provides all the information necessary to categorize this album as the kind of psychedelic space rock that will bring you back to the ancient days of the 1970s when Hawkwind ruled and LSD was the hot shit to get up from the ground and trip through open space. "Ready to Fly" is certainly a typical up-tempo space rock song with a straight and hypnotic beat, oscillating synthesizer lines, swishing distorted guitars, and monotone chants buried under layers upon layers of echo effects. What was great in 1972 can still capture your spirit in 2015. But there is more behind this album, originally released in 2008, than meets the ear. It begins with a four-minute-long drone titled "Kâ," made of sitar sounds coupled with swirling synths and strange voice samples. Next comes "Ready to Fly," the prototypical space rocker, followed by "Take a Long Walk," which could not be more different. Here we have folky psychedelic music that flows gently with a haunting, melancholic melody and some fine guitar leads lost in reverie. Early P.F., during their days as the hottest band in the 1967 London underground club scene, come to mind. The album continues with heavily grooving yet utterly washy and simmering power rock with vocals that mill into your mind, before returning to gently floating psychedelic folk with guitar sounds that feel like whale chants, swirling synthesizer noises in the back, and dark and melancholic vocal harmonies. If you like your spaced-out, heavy psychedelic music colorful, these French trippies deliver the goods in a way that will please every acid rock fundamentalist focused on the '60s and '70s, as well as all the desert rock aficionados who were born too late for the freak-outs back in the day. This is the key to unlock the gate to a world of color, joy, and passion where love can be felt as a physical force. The 1960s garage psych of bands like The Third Bardo, the acid outbursts of embryonic P.F., and Hawkwind's straight-ahead space rock drive combined could hardly match with the music of their heirs.



STL: Sighted (The Drive of Life) 12" (SOME 027EP) 15.50
Vibrating, moody, and murky, beyond typical event horizons, Sighted (The Drive of Life) incites a state of unprecedented joy. Another ace sure-shot from Stephan Laubner. Two nebulous, beat-driven tunes; three dope loops; plus an unusual modular listening piece. It bends space and time -- join the trip with these beauteous astral waves.


ST 005LP

Fans of space-age pop, exotica, and bizarre and strange music in general have a reason to celebrate, as Jimmie Haskell's Count Down! LP, one of the masterpieces of the genre originally released in 1959, is now reissued on vinyl. This galactic wonder, written and directed by soundtrack composer Jimmie Haskell, features 12 rocket-like tracks in which rhythms and styles popular at the time, such as surf, twist, and cha-cha-cha, are arranged with robotic precision using electronic sound effects, theremin, and alien vocals. The album is a lost gem, recovered from a faraway, dusty galaxy, which will delight fans of Joe Meek, The B-52's, The Revillos, Attilio Mineo, and Man or Astro-man.



Previously-unreleased recordings from live sessions at the Logos Foundation, Ghent, Belgium, recorded in 1974, 1979, and 1981. This double LP, the first release in a vinyl-only series, includes the following recordings: a 1979 performance by Max Eastley and Logos Ensemble (Max Eastley, Godfried-Willem Raes, Moniek Darge, and Rob Keymeulen playing xylophone bars, Aeolian flutes, springboard, sanzas); a 1974 performance by Feminist Improvising Group (Georgie Born: cello, bass guitar; Lindsay Cooper: bassoon, oboe, sax, flute; Maggie Nichols: voice, piano; Sally Potter: voice, sax; Irène Schweizer: piano, drums); a 1974 performance by COUM (Genesis P-Orridge, Paul Woodrow, Cosey Fanni Tutti, Joseph L/R Rose) and Logos Ensemble (Godfried-Willem Raes, Moniek Darge, Luc Houtkamp, and others); and a 1981 performance of guitar improvisations by Derek Bailey. Logos Foundation, founded in 1968 by Godfried-Willem Raes and based in Ghent, Flanders, Belgium, is a unique professional organization for the promotion of new music and audio-related arts by means of new music production, concerts, performances, composition, technological research, and other activities related to contemporary music.


SV 042LP

FONTAINE, BRIGITTE: Comme à la Radio LP (SV 042LP) 20.00
2013 release. "Featuring Areski Belkacem and Art Ensemble of Chicago, Comme à la Radio is the sophomore album in Brigitte Fontaine's prolific career. While her debut, Brigitte Fontaine Est...Folle, is a unique take on French chanson, here the Art Ensemble provides the perfect setting for Fontaine's exploration of free-verse poetry. Often arrhythmic and spoken, her vocals command the same spontaneity and grace that her collaborators applied to their instruments. The album's eight-minute title track sets the tone: a sparse bass line keeps time as Fontaine dances around stabs of flute and trumpet. On 'Tanka II,' named for a form of concise Japanese poetry, Areski (who provides percussion throughout) plays hand-drums atop flurries of bass as Fontaine coos and whispers pensively, gradually uttering controversial phrases. 'L'Été L'Été' centers around a repeated motif with individual lines of high-pitched melody on a bed of muted horns. Each track is its own world, with Fontaine's incredible range, both in style and substance, acting as the glue between the immense talent involved. The overall effect is chilling, and it is no surprise that Comme à la Radio is often cited as Fontaine's best known work."

SV 077CD

AVENGERS, THE: The Avengers CD (SV 077CD) 19.00
"In the late '70s, The Avengers established themselves as one of the US's preeminent punk bands. Fusing incisive guitar hooks, explosive rhythms and adolescent venom, the group forged some of the most in-your-face songs of the era. Their live shows were legendary, playing up and down the West Coast and even blowing Sex Pistols off the stage at the latter's final performance. As Byron Coley writes in the liner notes, 'Of the best bands of San Francisco's first wave in 1977, The Avengers were by far the coolest and youngest sounding. They roared without irony, as though this were indeed Year Zero (and, for a moment, it was), with history being overwritten by the new. The honesty of their belief was carried by their sound. And it was convincing!' Originally released in 1983, four years after the band's dissolution, The Avengers' self-titled LP is often referred to as 'The Pink Album' for its magenta-hued cover design. The Pink Album remains The Avengers' definitive statement -- collecting their classic Dangerhouse EP, sessions recorded with the Pistols' Steve Jones and a half-dozen revelatory demos. While much has been written about The Avengers in the past three decades, rock critic Greil Marcus puts it succinctly, 'The word I always come back to is mystical, and that remains almost theirs alone.'"

SV 088EP

LIQUID LIQUID: Liquid Liquid 12" (SV 088EP) 16.00
"Liquid Liquid emerged from New York City's vibrant Downtown scene in 1981. Formed by drummer Scott Hartley, bassist Richard McGuire, vocalist Sal Principato, and marimba player Dennis Young, the group cut their teeth in underground clubs and street art circles before solidifying their trailblazing style -- a fusion of irresistible basslines, junkyard percussion, and urgent, free-flowing lyrics. Their three EPs, all originally released on legendary 99 Records, would heavily influence dance-oriented indie rock of the early aughts (LCD Soundsystem, DFA Records, et al.). Their eponymous debut establishes Liquid Liquid's uncompromising vision, from its startling black-and-white sleeve design to the minimalist grooves found within. While Principato's striking pitch-shifted shouts on 'Bell Head' lead hypnotic circular rhythms, 'Rubbermiro' brings in dub-inflected melodica and Richard Edson (Sonic Youth, Konk) on trumpet, closing appropriately in a locked-groove."

SV 089EP

LIQUID LIQUID: Successive Reflexes 12" (SV 089EP) 16.00
"Liquid Liquid emerged from New York City's vibrant Downtown scene in 1981. Formed by drummer Scott Hartley, bassist Richard McGuire, vocalist Sal Principato, and marimba player Dennis Young, the group cut their teeth in underground clubs and street art circles before solidifying their trailblazing style -- a fusion of irresistible basslines, junkyard percussion, and urgent, free-flowing lyrics. Their three EPs, all originally released on legendary 99 Records, would heavily influence dance-oriented indie rock of the early aughts (LCD Soundsystem, DFA Records, et al.). Following their debut in 1981, Liquid Liquid wasted no time with their second release the same year. Successive Reflexes picks up where the previous EP leaves off with 'Lock Groove,' a slow-paced deconstruction of Fela Kuti and Can that shows how quickly the band was able to capture their stripped-down approach in the studio. 'Push' drives forward with unapologetic funk, yet still sounds utterly unique. Like their 99 labelmates ESG, Liquid Liquid created music on their own terms and artfully avoided the trappings of any single genre."

SV 090EP

LIQUID LIQUID: Optimo 12" (SV 090EP) 16.00
"Liquid Liquid emerged from New York City's vibrant Downtown scene in 1981. Formed by drummer Scott Hartley, bassist Richard McGuire, vocalist Sal Principato, and marimba player Dennis Young, the group cut their teeth in underground clubs and street art circles before solidifying their trailblazing style -- a fusion of irresistible basslines, junkyard percussion, and urgent, free-flowing lyrics. Their three EPs, all originally released on legendary 99 Records, would heavily influence dance-oriented indie rock of the early aughts (LCD Soundsystem, DFA Records, et al.). Liquid Liquid continued toward dance-floor perfection with their third EP. 1983's Optimo features the band's best-known songs and remains a high water mark for post-punk aficionados. The title track positively erupts when the bass enters, forcing even the stiffest person in the room to move. While it would be an understatement to say that 'Cavern' may sound familiar (due to its gross sampling in Grandmaster Melle Mel's 'White Lines'), Liquid Liquid were indeed the originators of this iconic New York riff."

SV 091LP

LIQUID IDIOT/IDIOT ORCHESTRA: Liquid Idiot/Idiot Orchestra LP (SV 091LP) 19.00
"Prior to forming Liquid Liquid in 1981, the band members were in two other groups: Liquid Idiot and Idiot Orchestra. While these ensembles sounded more experimental than groove-oriented, the beginnings of Liquid Liquid's spatial/conceptual framework can be heard here. Liquid Idiot started at Rutgers University in the late '70s and soon relocated to NYC where they performed at various lofts and clubs including Tier 3, Mudd Club, and CBGB. The band even encouraged audience members to bring their own instruments to their early shows. Idiot Orchestra was an offshoot that included a dozen or more players (clarinet, sax, trumpet, violin, cello, synth, bass, marimba, and drums) resembling a no wave version of Raymond Scott's big band. As musician and artist Richard McGuire recalls, 'We weren't trying to sound like anyone. We weren't imitating anyone. We were just playing. I keep using "outsider art" as a reference to what we were doing. None of it was made for a market; it wasn't made with any intention other than the enjoyment of making it.' This split archival LP collects two rare 7-inches from 1978 and 1980, both of which were originally pressed in hyper-limited editions and self-released by the bands. The package also features a fanzine of ephemera, rare photos and new interview with McGuire."


WIRE 379

WIRE, THE: #378 September 2015 MAG (WIRE 379) 9.50
"On the cover: Julia Holter (The US songwriter-musician abandons the home studio and heads into the great wide open for her latest and most accomplished avant pop adventure). Inside this issue: Blurt (Ted Milton's jazz-punk renegades have remained discordant and defiant for four decades as a new album and book of the ex-puppeteer's collected lyrics attest); Music With My Insane Friend (Melbourne duo James Wilson and Simon Bereux kick through the boundaries of rock, improve and electronic music); Invisible Jukebox: Arnold Dreyblatt (The minimalist composer seeks nodal excitation in The Wire's mystery record selection); Ramzi (The Canadian producer celebrates sonic biodiversity); Iain Chambers (The experimental composer takes it to the bridge); Kink Gong (Field recordist Laurent Jeanneau reworks the sounds of his travels); Khyam Allami (The oud player's Alif project reconfigures Arabic music); Global Ear: Lima."


UJ 034CD

NURSE WITH WOUND: Bar Maldoror 2CD (UJ 034CD) 22.00
"Bar Maldoror is the new and expanded double-CD edition of the classic Nurse With Wound album. Disc one is a remastered version of Live at Bar Maldoror, originally recorded between 1984 and 1986; disc two features a previously unreleased 2007 live show from Ghent, Belgium. 'In our very short spell as a "live band" Nurse With Wound performed eight times, five in public, between the years of 1984-86. These events were shambolic, chaotic and uneven affairs, sometimes as boring for the performers as the non-plussed audiences but at other times reaching an amazing intensity. Some were quite amusing -- I remember one in particular, a Christmas event in Amsterdam. We had decided no electric lights, just hundreds of candles around the stage and, in amongst the audience (who were busy arranging them in circles) we began. I had a vast array of little noise making objects -- toys and things -- and I started inviting members of the audience to help us wind the clockwork stuff when suddenly about 50 people descended upon us, all very eager to help. Soon there was no room and we discreetly left the stage to watch the show from the comfort of the bar. Nobody seemed to notice. The audience played well and some of that gig made it on to this CD, which contains the high points of our Bar Maldoror happenings (sic).' --Steven Stapleton, February 3rd, 1994"



VIBRACATHEDRAL ORCHESTRA: Rec Blast Motorbike LP (VHF 139LP) 19.00
"The mighty 'classic' lineup of the Vibracathedral Orchestra returns with their first new music in many years. Here the quintet of Michael Flower, Neil Campbell, Bridget Hayden, Adam Davenport and Julian Bradley (joined by raconteur John Godbert) feature in a set of upbeat tracks that put the group's radical instrumental strategies into a package of full-on rock action. Recorded live using a binaural head system, the sound is nicely ragged in a you-are-there way, with scouring guitars and bleeping electronics riding atop the band's signature grooves. As with some of the band's other records, there's more than a hint of the early Velvet Underground spirit in these ten tracks. If you wish that Cale and Reed would have been more of an instrumental band, here it is."



WA WU WE: Wa Wu We 002 12" (WWW 002EP) 14.00
Sebastian Mullaert aka Minilogue presents the second of six records from his Wa Wu We alias and vinyl-only label of the same name focused on improvisational expression, restful meditation, and the nature surrounding his studio. "One of the stories my mother told me was about a little boy finding a very special drum that helped the boy find his own dance and creativity, and to awaken joy and happiness when sharing it with others... Let the drum of Wa Wu We be heard, let it be played and let each of us dance the song of life, moment by moment."



THREE LESS ONE: Norah 12" (WWR 016EP) 12.50
Producer duo Three Less One debut with the atmospheric techno track "Norah," presented here alongside Sasse's elegant, hypnotic remix.

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