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Forced Exposure New Releases for 8/24/2015

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New music is due from Roedelius & Muraglia, The Telescopes, Olimpia Splendid, and while old music is due from The Pharcyde, Mars, and The Kitchen Cinq.


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BRIAN JONESTOWN MASSACRE, THE: Thank God for Mental Illness LP (AUK 007LP) 20.00
Available on 180-gram yellow vinyl with download code for the original CD's 33-minute closing track "Sound of Confusion," excluded from this LP. This the first time that this title has been available on vinyl. At the risk of belaboring a rather obvious point, with Thank God for Mental Illness, their third collection of absolutely stunning music to be released in 1996, The Brian Jonestown Massacre parallels the prolific and effortless brilliance of The Rolling Stones at their fevered late-1960s peak; the sheer scope of their achievements is stunning -- rarely are bands quite so productive, or quite so consistently amazing. Thank God is The BJM's down-and-dirty country-blues outing, all 12-odd tracks supposedly recorded on a single July day at a cost of just $17.36. The Brian Jonestown Massacre is a psychedelic rock band originally from San Francisco, California, led by guitarist and singer Anton Newcombe. Since 1995, The Brian Jonestown Massacre has released numerous albums, first for Bomp!, the label that gave them their start, and later for TVT and Tee Pee. The BJM has been essential in the development of the modern U.S. garage scene, and many LA and SF musicians got their start playing with Newcombe, including Peter Hayes of Black Rebel Motorcycle Club. Originally, Newcombe was heavily influenced by The Rolling Stones' psychedelic phase -- the band's name combines the name of Stones founder Brian Jones with a reference to cult leader Jim Jones -- but his work in the 2000s has expanded into aesthetic dimensions approximating the UK shoegaze genre of the 1990s and incorporating influences from world music, especially Middle Eastern and Brazilian music.



LLOYD PACK, THE: A Tribute LP (AMI 047LP) 19.00
"The Lloyd Pack is a project band of transplanted Englishman Dan Melchior. The Lloyd Pack A Tribute (AMI047) initially emerged from a conversation Melchior had with Graham Lambkin (Shadow Ring, Kye Records) about the prospect of doing a 'Faux African' record. For two British-expats living in the U.S. in the twenty-first century, this LP offers a peculiarly whimsical variation on the 'Faux African,' infusing lo-fi tribal rhythms with post-punk dance in the spirit of early Adam Ant, Fun Boy Three and the Fall. If one were to imagine adding Ivor Cutler to this British-mix, it might approach what Melchior delivers on this LP. And for the record, Cutler is a Scot. Lambkin offered some vocal components, alongside a large cast (including the late Letha Rodman-Melchior, Angela Sawyer aka Preggy Peggy, Gnarlos, Nick Hennies, Le Ann Baca Bartlett, and Johnny Brewton), all of whom chimed in on the recording process. Dan Melchior has put out dozens of records in the last decade under multiple guises including the Broke Review, Dan Melchior und Das Menace, under his own name and in collaboration with artists as diverse Billy Childish, Holly Golightly, Russell Walker, The Spits etc., and has emerged as one of the most unique voices in American outsider rock and experimental music."



ABER, SHLOMI: 15 Years Nordstern CD (BAO 003CD) 15.50
Nordstern, Switzerland's most prestigious underground club and a three-time Swiss Nightlife Award-winner for "Best Club," celebrates its 2015 15th anniversary with an exclusive rough techno mix by club favorite and Be as One owner Shlomi Aber. Recognized as a highly influential artist and techno pioneer, Aber draws from jazz, funk, minimal, acid, and, in particular, old school Detroit techno. He has developed a groundswell of genre-defying support, and his worldwide success includes awards and nominations for "best newcomer" (2005), "producer and track of the year" (2007), and Beatport's "Artists of the Year" (2008); a nomination at the Worldwide DJ Awards; and the "Best Techno DJ" award at the Sankeys Awards, 2014. These accolades and more have placed Aber in the first tier of electronic music artists, headlining every prestigious club, festival, and venue worldwide. "I'm very excited and humbled to be part of this project," says Aber. "Not only because yet again I have the opportunity to collect some of my favourite and most played music of recent times into one driving mix, but also because of the big influence the Nordstern club had on my career as a DJ and musician." A small group of artists and DJs founded Nordstern in 2000, and it quickly grew into a home base for a wide variety of musical styles, from old school funk to nu skool funky breaks; from indie rock to indie dance to electronica... even gothic and new wave found their way to Nordstern, as did house and techno. In 2010 Nordstern was completely rebuilt, and its reputation as a highly esteemed platform for high-end nightlife has continued to grow. With DJ sets from internationally recognized artists like Richie Hawtin, Loco Dice, Marco Carola, Luciano, Chris Liebing, Sven Väth, Âme, Dixon, Tale of Us, Seth Troxler, Maceo Plex, Ricardo Villalobos, Jamie Jones, Nina Kraviz, Marcel Dettmann, Adam Beyer, and many more, Nordstern is Switzerland's state of the art when it comes to clubbing on an international level. This mix was recorded in real time in front of a live audience with three decks and an RMX-1000 Effects Unit... let it be raw. Tracks by Kepler 61, Chevel, Steve O'Sullivan, Avion remixed by Thomas Hessler, Afrozoid remixed by Myles Sergé, Markus Suckut, Marco Faraone, Wire, Marco Effe, Joachim Spieth, DJ Hyperactive remixed by Truncate, MUUI remixed by Ray Kajioka, Tensal, Setaoc Mass, Entro Senestre, Ilario Alicante, Shlomi Aber, and D-IX.



SKEPTA: Greatest Hits CD (JME 020CD) 11.00
2007 release. Skepta is possibly the most talked-about grime artist on the circuit, and this is his debut artist album proper. No ordinary street mixtape; this is the real deal, a full album project. By the time of this CD's original release, Skepta had already been featured on MTV Base About to Blow, graced the pages of magazines from i-D to Dummy to RWD to Blues & Soul, and performed the world over, spreading his sound across Israel, Russia, New York, and Europe, with stops at such UK festivals as Glastonbury and V -- all before releasing an album. Here, the producer, MC, and stage-show master treats fans of Boy Better Know and club anthems like "Doin' It Again" and "Single" to 15 tracks of unadulterated grime. Skepta's perfectionist streak ensures that these are full songs, a combination of party lyrics and concepts that, while drawing from the underground, stands firm among the commercial.


ESKIBOY: Tunnel Vision Vol. 4 CD (JME 021CD) 11.00
2007 release. Wiley is one of the original founders of what is now known as grime music. After beginning in the massive Pay As You Go Cartel, he started up his own crew, the Roll Deep Entourage, and released his debut album, Treddin' on Thin Ice, in 2004 on XL Recordings, bringing his unique eskibeat sound to the world and cementing him as one of the most innovative producers of British electronic music. His production on the certified silver In at the Deep End album by Roll Deep (2005) showcased a versatility in both his lyrical content and his musical sound. He went on to reach number two in the UK Singles Charts with his 2008 hit "Wearing My Rolex," and his hit "Cash in My Pocket," also released in 2008, reached number 18. Tunnel Vision Vol. 4 goes into the war zone with classic war dubs for rival MCs and includes such classic tracks as "Im a Fly Boy" and "Poom Poom Riddim," as well as two bonus instrumentals for those who love Wiley's legendary grime beats. Includes appearances from Ears, Fury, Keedo, and Little D.


SKEPTA: Microphone Champion CD (JME 030R-CD) 11.00
2015 reissue of MC, producer, and DJ Skepta's 2009 Microphone Champion album, the second installment of the grimey creativity, musical originality, and eclectic experiments of a genius. The UK's undisputed king of grime showcases an evolved, matured character, collecting 17 tracks of cheeky tales, singing choruses, and lyrical greatness. Originally released to coincide with Skepta's support slot on the 2010 Chipmunk UK arena tour and his 2010 appearance on Big Brother's Big Mouth, hosted by Russell Brand. Skepta's contagious "Rolex Sweep" reached over one million YouTube views in the time preceding this album's original release; his fame has only grown since, with his 2014 hit "That's Not Me" and his 2015 hit "Shutdown" clocking about five million YouTube views each. Microphone Champion includes appearances from Wiley, following his 2008 UK Singles number two hit "Wearing My Rolex," as well as Tinchy Stryder, whose 2009 track "Number 1" reached the top position in the UK Singles chart three days after its release. British R&B star Jay Sean, who signed to American label Cash Money in 2008, also makes an appearance on the album, as does Giggs, winner of the 2008 BET Award for Best UK Hip-Hop Act, as well as Boy Better Know, Dubz, Paper Pablo, and Trigga. "My album is about me basically showing my talent and skills and proving that you can do this on your own with an independent label, I'll be shouting Boy Better Know for life I'm the champ the Microphone Champion." --Skepta



MODERAT: Moderat LP (BPC 200LP) 15.50
2015 repress. Gatefold LP version. This is the highly-anticipated debut full-length release by Moderat, the collaborative conjoining of Modeselektor and Apparat. A twist of fate at the Stadtbad Mitte (Berlin-Mitte City Pool) united them in the spring of 2008, and Moderat was reformed. Recorded at the legendary Berlin Hansa Studios (where David Bowie recorded Heroes) in analog with the help of the studio's vintage tube technology and an old EMI console from 1972, restored especially for Moderat. Moderat's self-titled debut makes it sound like these fellas have been working closely together for years -- and the analog production gives these tracks a steady, glowing warmth that pulses and breathes organically. Totally seductive, dark dance tunes that possess an almost tribal disposition for the most intense peak moments. This is a massive debut that unites two of techno's most celebrated acts.


CH 4806CD

HYMAN/MARY MAYO, DICK: Moon Gas CD (CH 4806CD) 16.50
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.



VA: Low Down CD (CINE 805CD) 15.00
"This soundtrack is not only an aural companion to Low Down -- the acclaimed biopic of jazz pianist Joe Albany, based on the memoirs of his daughter Amy-Jo Albany -- but also the perfect primer for Albany's lifework. Comprised of Albany's own compositions alongside those of Coleman Hawkins, Max Roach, Thelonious Monk, and selections from Ohad Talmor's score, this album conjures both a feel for Albany's own avant-garde, quick-tempo, bebop jazz and a mood that evokes the life of Hollywood's notorious jazz hustler. The album meets with the deep approval of Flea, who took the role of executive producer and co-star of the film. 'This is the music that makes me think that human beings aren't so bad,' writes the bassist in the liner notes. 'This is the sound that gives me the energy to go out into the world and try to shine a light. As a child, this is the music I listened to that blew my mind; it let me know that all things were possible. If human beings were capable of doing this, then anything could happen.'"


VA: Low Down LP (CINE 805LP) 23.00
LP version. Housed in deluxe gatefold tip-on jacket.



VA: Cititrax: Tracks Volume One 12" (CITI 017EP) 22.00
"Cititrax is excited to present the first in a series of four song samplers showcasing the talents of some of the most innovative producers of the moment. Cititrax: Tracks Volume One features Amato, an edgy new project brought to you by The Hacker, Tzusing, a young producer from China known for his hard-hitting L.I.E.S. releases, our beloved Berlin based former New Yorker An-i, and Oliver Ho's stunning Broken English Club. The overall sound can be described as modern, uncompromising and guttural. Each artist reinvents dance music by bringing their own unique vision to the floor. Artwork designed by Veronica Vasicka and sourced from Polaroids shot in NYC clubs in the 1980s, Cititrax: Tracks Volume One continues the theme of the one of a kind vinyl pressing of blood red inside clear -- limited to 999 copies and housed in a matte printed sleeve."



LUXURY APARTMENTS: Luxury Apartments LP (VCR 008LP) 22.00
Germany-born and Derbyshire-raised musician, painter, and mathematician David Tyack began working under his Luxury Apartments moniker in the summer of 2002, exploring potential film and animation synchronization with nods to his growing penchants for neoclassical, free jazz, and minimal music. He had recently finished a self-penned conceptual LP with original Can vocalist Malcolm Mooney, and been writing and recording for then-yet-to-be-mixed LPs by Jane Weaver's Misty Dixon and his own band D.O.T.; his Luxury Apartments work, a series of experimental recordings made at his compact home studio on Clyde Road in Didsbury, Manchester, counterbalanced his ambitions to record a fully-realized singer-songwriter album. Completed just months before Tyack's untimely accidental death on the island of Corsica, Luxury Apartments reveals him at his uninhibited best, displaying some of his most adventurous, dedicated, and unapologetic solo excursions into sound-design, improvised composition, and electroacoustic territories -- the result is a unique blend of dark ambient, mechanical folk, PINA stylings, and coldwave DIY rhythms. Drawing comparisons to the varied works of Sorgini, Eno, Liska, Stabat Stable, Martin Zero, Luc Mariani, Walter Branchi, and the lost electronic work of Don Cherry, these previously unheard tapes are presented here in unedited form, compiled exactly how Tyack intended the record to be pressed should any independent record label have the foresight to take the plunge into his creative pool. Released with blessing and encouragement from the Tyack family, this is the first unreleased music to come from Tyack's extensive archive, which was shared with close friends and creative collaborators regularly during his creative years in Manchester between 1997 and 2002. Artwork and liner notes by Andy Votel. Limited edition of 500 copies.



CONFORCE: Presentism CD (DSR 111CD) 17.00
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 CD (DSR D3-CD) 17.00
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 CD (XDSR 009CD) 17.00
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. The CD contains ten additional untitled interludes and five extra tracks.



MAKE-UP, THE: Destination-Love Live! At Cold Rice LP (DIS 099LP) 14.50
"Destination, Make-Up's first full-length album, was originally released in 1995. The 12" LP edition was first remastered and reissued in 2009, but didn't stay in print for long. The album was again reissued in June 2012."


FUGAZI: Instrument Soundtrack LP (DIS 120LP) 14.50
"Instrument Soundtrack is a mainly instrumental soundtrack for the documentary (Instrument) about the band produced by the band and filmmaker Jem Cohen. The soundtrack mostly consists of previously unreleased songs and studio outtakes culled from Fugazi's history to that point, as well as seven demoversions of songs from their proper albums (six from 1998's End Hits and one from 1993's In on the Kill Taker)."


FUGAZI: The Argument LP (DIS 130LP) 14.50
"The Argument is the sixth studio album from Fugazi released on October 16, 2001 through Dischord Records. It was recorded at Don Zientara's Inner Ear Studios in Arlington, VA and the Dischord House between January and April 2001. Upon release it was met with critical and commercial success. It was the band's last release (simultaneously with Furniture) before going on indefinite hiatus in 2003, until the release of First Demo over thirteen years later."



BLACK DOG, THE: Neither/Neither CD (DUST 051CD) 17.00
We live in dangerous times. We are blinded by control vectors that separate us from reality. And British electronic group The Black Dog returns with a viral antidote: an album of deprogramming material that they've called Neither/Neither. It continues the work they started with Further Vexations (2009) and Radio Scarecrow (2008). Burroughs was right: we are now living in a world that is nothing short of a total information war. We are neither one thing nor another, endlessly on the fence in the face of an onslaught of disinformation. Non-linear hypermedia systems are openly used to control us, their operation totally exposed, mocking our impotence, yet complete in their power. We are all proles now; all are expected to maintain a mental state of neither/neither, of uncertainty and inaction. Even in a world where anyone can be an instant expert on any subject in a single click, we find that all our knowledge is a mere replay of someone else's script. We are surrounded and occupied by systems of platitude-generation that are empty and self-referential. All is surface and all is hollow. From the Tories' election propaganda to David Icke, they're all the same, all meaning filtered to nothing by a lack of substance, science, and humanity. Falsehood becomes reason, no matter how ridiculous the proposition. They stand for nothing so they can have no questions to answer. False prophets and the modern-day snake-oil-salesmen parade their viral vampirism, grasping for our time, money, and headspace. Even our ridicule becomes fuel for their trade as they turn ignorance and psychopathic exploitation into received wisdom and public opinion. Ask any sideshow psychic; repeat pure Barnum bunkum enough times and you can seize the psychology of the masses. Rumors become truth, then they become action and policy that in the cold light of the day make no sense at all. No one's sure where they heard it but they have. The spectral offer of change sustains the stasis of confusion. They spin us on the ball of confusion on which we live; it continues to turn and as long as they have us in a state of neither/neither they will always maintain control. Fight back! Neither/Neither shows the world The Black Dog is reflecting.



VA: Ola Belle Reed and Southern Mountain Music on the Mason-Dixon Line 2CD/BOOK (DTD 040CD) 36.50
Ola Belle Reed and Southern Mountain Music on the Mason-Dixon Line is the first in-depth look at the life of Ola Belle Reed, a groundbreaking artist and one of the all-time greatest performers of authentic, old-time music. Born to a musical family in the mountains of Ashe County, North Carolina, in 1913, Reed became a prolific songwriter and performer, known for her unique style of banjo playing and singing. Reed inspired many musicians throughout her life, eventually becoming one of the leading lights of the folk music revival and winning the prestigious National Heritage Fellowship; in 2015, 13 years after her death in 2002, her influence continues to reverberate. In January of 1966, folklore graduate student Henry Glassie made the first professional solo recordings of Ola Belle Reed, travelling from Philadelphia to the town of Oxford, Pennsylvania to see Reed, Alex Campbell, and the New River Boys and Girls play their exciting brand of Southern mountain music live, on the air, in the back of the Campbell's Corner general store. Over the next two years, Glassie -- who went on to become one of the United States' most celebrated folkorists, a distinguished professor, and a world-renowned scholar -- recorded Reed's extensive repertoire, while also chronicling the remarkable story of the migration of communities from the Blue Ridge Mountains toward the Mason-Dixon Line before WWII. In 2009, Maryland state folklorist Clifford Murphy struck out to discover whether this rich musical tradition still existed in the small Maryland, Delaware, and Pennsylvania towns where it once flourished. Murphy, amazed by what he encountered, began making audio recordings to document the descendants of Ola Belle Reed's musical legacy. This first-ever release of Reed's 1960s recordings, which were deposited in Indiana University Bloomington's Archives of Traditional Music, is counter-balanced by a disc of Murphy's recordings of Reed's descendants and those within her Appalachian community whom she inspired. This deluxe edition, presented as a 256-page hardcover book with two CDs of remastered recordings, highlights Reed's deep repertoire -- folk ballads, minstrel songs, country standards, and originals -- and traces the impact that her music made and is still making today. This project is a co-production between Dust-to-Digital, Maryland State Arts Council, and Indiana University. Includes performances by Ola Belle Reed, Dave Reed, Alex Campbell, Hugh Campbell, Zane Campbell, Burton DeBusk, the DeBusk-Weaver Family, Burl Kilby, T.J. Lundy, John Miller, Danny Paisley, and Ryan Paisley.


EB 100LP

BURROUGHS, WILLIAM S.: In Dub (Conducted by Dub Spencer & Trance Hill) LP+CD (EB 100LP) 25.00
Limited 2015 repress. Echo Beach presents the first vinyl edition of William S. Burroughs in Dub, originally released on CD in 2014 (EB 100CD). LP features eight tracks from the CD release, and includes the CD itself, with all 15 tracks. Since their 2006 debut album Nitro, the Swiss band Dub Spencer & Trance Hill have impressed press and audiences alike with their passion for playing, their sure instinct for sounds, their equally humorous and respectful dubification of popular hits (including Metallica's "Enter Sandman") and their immense technical skill. Riddim heard "a new soundsphere where typical fat, stoic dub beats contrast with hand-played instruments and experimental sounds." Jazzthetik praised the "fantastically tight band, formidable interior dynamic and supremely competent mixdowns." Jazzthing wrote that "their psychedelic dub sound, which is occasionally interspersed by Western guitar riffs and true rock solos, sounds wonderfully acoustic and analog." And The Wire had to admit that "it sounds cheesy and it shouldn't work, but it does." Their other work includes the Clash tribute album The Clashification of Dub (EB 081CD/LP), plus a live album and a remix compilation with selective dubs by Victor Rice from São Paulo, Brazil. This release celebrates William S. Burroughs and pays tribute to his 2014 centenary, marking a new pop-cultural highlight in their work. With the official support and assistance of the William S. Burroughs Foundation in the United States, the band has succeeded in creating a heavy, ambient masterpiece in 15 chapters. They roll through dub landscapes full of heavy reggae grooves and extraterrestrial electro sounds, carried by pumping basslines with hypnotic power that clears the pathway to the center and gently caresses the stomach. Above the dragging, instrumental reggae cut-ups that gently drift into psychedelic territory, the artfully diluted grooves, breaks, and virtuoso hints, and the majestic slowness of the two riddims, rises the voice of William S. Burroughs, groundbreaking novelist, wanderer between worlds, junky supreme, and counter-cultural icon. His distinctive voice meets craggy soundscapes, harsh guitar chords, and an acerbic Hammond organ that play off against each other in the mixing desk. Drenched in echo, the sounds on this dub treatment contravene the rules of space and time, leaving behind a wonderful feeling of confusion in which listeners can relax and respectfully accompany the soul of their traveling companion William S. Burroughs on the path to eternity -- a highly addictive sound experience.



COODER, RY: Acoustic Performance, Radio Branch, 12th December 1972 2LP (ECHO 2006LP) 31.00
Ry Cooder needs little introduction. Since starting out in the '60s with the Rising Sons, Cooder has specialized in guitar sounds that harken back to primal bottleneck blues, country, jazz, Hawaiian slack-key guitar, Bahamian folk music, and countless other styles. He's combined various musical idioms into his own eclectic style as one of the world's foremost performers of roots music. Cooder's pioneering musicianship can never be overestimated, nor can his profound influence on many of his contemporaries. Echoes presents the entire WMMS-FM broadcast of Cooder's acoustic performance at Radio Branch in Cleveland, Ohio, on December 12, 1972. Previously released on CD in 2015 (ECHO 2006CD). Digitally remastered; includes insert with liner notes and photos.


BROWNE & DAVID LINDLEY, JACKSON: Live at The Main Point 15th August 1973 2LP (ECHO 2007LP) 31.00
When Jackson Browne released his debut self-titled album in January of 1972, his acutely profound and disarming sincerity won him immediate critical acclaim. The 23-year-old singer/songwriter followed the album with his first promotional tour, stopping on August 15, 1973, at Philadelphia's Main Point. This appearance, alongside David Lindley, was his second headline performance at the coffee house; his first appearance there was in November 1971, opening for Bonnie Raitt, with subsequent shows alongside Chris Smither and Mike d'Abo in 1972. Echoes is delighted to present the entire WBCN-FM radio broadcast of this exquisite 1973 performance from two of America's finest songwriters and instrumentalists. Digitally remastered with detailed liner notes and photos. On 180 gram vinyl.


180 gram vinyl. At a point in time when Johnny Winter had only recently recovered from past addictions and blues giant Muddy Waters faced a decline in his career brought on by illness and the 1975 collapse of Chess Records, it was Steve Paul of Blue Sky who appeared as savior to both musicians. The results of his investment soon paid off and Winter's childhood dream of playing alongside his hero Muddy Waters came to fruition on Waters' 1977 comeback album Hard Again, a return to Waters' original Chicago sound. Its raw, expressive feel harkened back to his Chess Records days, and the outstanding musicianship and intimate exuberance exceeded all expectations, earning Waters a Grammy. The Hard Again tour combined the respected powerhouse of Waters, Winter, and James Cotton with musicians from the Hard Again sessions. Although this particular collaboration was short-lived, it has provided blues fans a rare opportunity to indulge in the work of two hugely important musical figures whose respect for each other is evidently unflinching. Two live albums, Muddy "Mississippi" Waters Live and Breakin' It Up, Breakin' It Down, have allowed a glimpse of the concerts from 1977 and '78, but this Boston performance has never previously seen the light of day. Echoes proudly presents the entire WBCN-FM broadcast of a performance at the Boston Music Hall on February 26, 1977, digitally remastered, with in-depth liner notes and rare photos.


RAMONES, THE: Old Waldorf, San Francisco, 31 January 1978 LP (ECHO 2019LP) 23.00
The Ramones' first three albums are indispensable artifacts of the late '70s punk explosion, with their venomous fusion of Alice Cooper, The Lemon Pipers, and any other adolescent obsessions and college preoccupations. Ultimately, like their early live shows, these early albums are exhilarating formal triumphs. Their appearance at The Old Waldorf on January 31, 1978, enforced this with an abundance of energy and good vibes. Sweating American culture from every pore in 26 songs delivered with breakneck ferocity. Quite simply, it was a furor that challenged the pomp of prog and rock, drawing on three albums with Rocket to Russia being the most recent. Their Waldorf appearance displays a formidable force of nature in action. Armed with guitars, drums and with the trademark "1,2,3,4" assault, the band rip through their 1978 set list, a near carbon copy of their more familiar January 7 NYC performance aired on the King Biscuit Flower Hour. Incidentally, Tommy Ramone would leave the band shortly after these shows to concentrate on producing, making way for ex-Voidoids drummer Marc Bell (aka Marky Ramone). Fortunately, the records remain, but importantly, so do a handful of live recordings that can at least allow an appreciation of an equally vital part of their legacy. Echoes proudly presents a rare opportunity to capture The Ramones at their explosive best and in their formative years when CBGB's was a minor backstreet haunt. Their appearance at The Old Waldorf, broadcast on KSAN-FM, is a testament to the energy and ferocity of the band as a live act. Complete broadcast on 180-gram vinyl in digitally remastered sound with background liners and rare photos.



MOGARD, ABUL: Circular Forms LP (ELP 013LP) 18.00
Abul Mogard presents his debut LP, a suite of four analog synth pieces. Mogard was born in Belgrade, Serbia, and spent most of his life working in a metal factory, only beginning to approach music after his retirement. Following two highly regarded cassette releases on Steve Moore and Anthony Paterra's VCO label and a series of compilations and split releases, Mogard makes a surprising departure on this debut album for Ecstatic Recordings. Circular Forms channels a wealth of soulful modular explorations and shadowy white-noise clouds. The end result is evocative, unsettling, and beguiling modern synth music. There's a real emotive essence to his almost lyrical arrangements that is very much removed from the contemporary modular revival. Composed and recorded in solitude using a limited equipment array of Farfisa organs in conjunction with a self-built modular synthesizer, the album's intoxicating distortions and extreme low frequencies translate into personal space and beautifully restrained impressions. Abul Mogard: "Lately I have been reading and appreciating visual art and paintings and this has informed my work on this album. Compared to my previous albums, this was the first time that I had a clear visual representation of my music, as geometrical forms -- each element of a track suggested a form that intertwined with the other elements." White vinyl; edition of 300.


EF 015CD

GONNO: Remember the Life Is Beautiful CD (EF 015CD) 20.00
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. CD includes two extra tracks.



ARNALDS & NILS FRAHM, OLAFUR: Life Story Love and Glory 7" (ERATP 073EP) 12.00
Limited 7 inch collaboration between Ólafur Arnalds and Nils Frahm featuring two exclusive tracks not available anywhere else.


MTE 063-64LP

ABRAMS, JOSHUA: Magnetoception 2LP (MTE 063-64LP) 38.50
Restocked. On Magnetoception, Joshua Abrams is back exploring new contexts for the guimbri, the three-stringed north African bass lute at the heart of his Eremite recordings Natural Information (2010) and Represencing (2012). The artist's first large-scale work on vinyl, Magnetoception began as a commission by Eremite for Abrams to make a double LP based in extended performances by an ensemble of Abrams, guitarists Emmett Kelly and Jeff Parker, and drummer Hamid Drake. The group recorded the nucleus of Magnetoception live to two-track, circled around vintage Neumanns and a woodstove in a Berwyn, Illinois attic in February 2013. Over the next year at his Chicago studio, Parlor One, Abrams added solo pieces for harp and clarinet, along with Lisa Alvarado's harmonium, Ben Boye's autoharp, and percussion embellishments by Drake. Abrams's compositions are a fascinating nexus of ideas from non-western traditional musics, minimalism, and jazz designed to catalyze his musicians toward a single group-mind organism of sound. On his 2012 album Represencing Abrams presented his music in capsule-length pieces realized by duo and trio groupings drawn from a pool of a dozen musicians. Magnetoception presents one ensemble methodically unfolding his compositions over longer durations. The performances intricately layer rhythm, melody, and drone into sonic textiles of extraordinary expressive breadth, by turns dense or spacious, repetitive or indeterminate, clattering or placid. In addition to his masterful contributions on trap kit, tabla, conga, and frame drums, Hamid Drake acts as a direct link to the visionary music of Don Cherry, one of Abrams's essential artistic models. Magnetoception is the fullest measure yet of Joshua Abrams's sound world. It sounds like no other music being made today. Presented in a heavyweight Stoughton "laserdisc" gatefold sleeve; mastered by Helge Sten at Sten Audio Virus Lab, Oslo, Norway; vinyl cut at Sterling by Steve Fallone and manufactured by RTI. Edition of 875 vinyl copies.



VOORN, JORIS: Fabric 83 CD (FABRIC 165CD) 16.00
Joris Voorn shines brightly as an ever-progressing talent amongst the pantheon of techno's leading lights. He has forged a sound that's both identifiable and individual, which shines through on Fabric 83. He weaves a sinuous tapestry from the mere strands of a staggering 65 tracks, cutting, chopping, and editing together ambient cuts, personal favorites, and contemporary melodic techno; it's impossible to take your ears away from this sumptuous mix for a single second. Includes tracks by Sunset Graves, Application remixed by Pye Corner Audio, BLNDR, Lo Grounds, Deft, ambiq, Reggy van Oers, Plastikman, The Persuader, Van Bonn, Arnold Tempo, Donnacha Costello, Deepchord, Siopis featuring Mr Brean and remixed by Jody Hannan, Joris Voorn (including tracks remixed by Nobody Home, Roland Klinkenberg, and Anton Pieete), Lau Frank, Dachshund, Audio Werner & Jichael Mackson, Roland Klinkenberg, Howling remixed by Matom, Christian Fennesz, Julien Aubert remixed by Gaspard de la Montagne, Martin Aquino remixed by Halo & Alex Fuente, John Tejada, Glacial, Giash, Cobblestone Jazz, Sounds Like Us, Sagat, Monobox, Tadeo, Robert Hood, Nasty Habits, Anton Pieete remixed by Mosca, Tom Day & Monsoonsiren, Wolfgang Voigt, Rekord 61 remixed by Radio Slave, Joran van Pol, Speedy J, Truncate, Dani Labb, Timothy Blake remixed by The Mole, Sebastian Mullaert, Swann Decamme remixed by Dan Bexley & Chad Bostock, Art of Tones remixed by The Revenge, Awanto 3, Joseph S Joyce remixed by Sebastian Mullaert, Nobody Home, Tozzy, Mike Parker, Max Loderbauer, Jake Chudnow, Stefan Vincent, and TCF. Packaged in bespoke slipcase containing die-embossed tin.



MARS: Mars Archives Volume One: China to Mars LP (FTR 200LP) 16.50
"Following the success of the two live LPs bookending Mars's trajectory through the skies of NYC, Mark Cunningham was convinced to return to his legendary box of cassettes. Even he was surprised to discover the band's earliest shows (done under the name China) were there, amidst a tumble of other tapes. Thus, the idea was born for a trilogy of LPs tracing Mars's development from their first audition gig at CBGB through the shows following their 1980 Lust/Unlust EP. China to Mars is the first volume, and really displays for the first time how much the band's earliest music was a mutated variation on some of NYC's extant juggernauts, in particular Television and the Patti Smith Group. While their sound was clearly their own, the textures and techniques they're using to achieve them are far less alien than they'd become. Side one was recorded at China's audition night at CBGB in Feb. '77, and their follow-up show in June. It's amazing how good it sounds. And the songs are almost all unheard (apart from 'Cry,' which appeared on the 2012 Anòmia tape box). Even "3E" is nearly unrecognizable from its released version recorded the following year. The second side is from Sept. '77, once they had started calling themselves Mars. The shuddering blocks of sound for which they are known are beginning to coalesce, and Sumner's dark vocals are pushed to the fore. The music is stunning. You can hear the band on the very cusp of transforming itself into the group that recorded those incredible early sides. Wow, can't wait for the next two volumes" --Byron Coley, 2015. Edition of 800.


MANAS: Manas LP (FTR 208LP) 16.50
"First LP by Manas, a duo comprised of guitarist Tashi Dorji and drummer Thom Nguyen. Tashi, who's based in Asheville NC these days, has been cutting a wide swathe through the guitar underground over the past few years. Originally focused on acoustic weaponry, he has added electric guitar to his arsenal, without giving up any of the weird angular bite of his initial work. Thom is known to have played with a couple of Asheville free rock bands, Nest Egg and Mendocino, but this is the first exposure his excellent work will be having outside of Buncombe County. As a duo, Manas explores lots of improvisational ground, ranging from extreme sideways expansions of sonics texture -- with Tashi's guitar moving decisively outward while Thom's drums explode in a mostly (but not entirely) parallel plane -- to repetitive reflecto passages that curl up into a tight ball before achieving escape velocity. The record is a blast, with deceptively arch liner notes by none other than Ben Chasny, who has been one of Tashi's loudest cheerleaders for many a moon. But we can't really blame Ben. This Manas LP makes us wanna shout about team spirit too. Guh! Guh! Guh!" --Byron Coley, 2015. Limited Edition of 400.


FD 5005CD

CLARA MONDSHINE: Luna Africana CD (FD 5005CD) 16.50
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 5006CD

NARDINI & ROGER ROGER, NINO: Jungle Obsession CD (FD 5006CD) 16.50
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 5007CD

ATARAXIA: The Unexplained CD (FD 5007CD) 16.50
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.


FR 099CD

OLIMPIA SPLENDID: Olimpia Splendid CD (FR 099CD) 15.50
The long-awaited debut album by Olimpia Splendid gives the listener that familiar, hypnotic, and noisy electric guitar music that the band first showcased in 2013 with the Nuttu Nurin 7" EP (FR 093EP). The six compositions on Olimpia Splendid sweep the listener along right from the beginning, as the magical, rough sound pierces consciousness. Olimpia Splendid was founded in the summer of 2010 in Finland's capital, Helsinki. Out-of-tune guitar-and-vocal music with drum machine loops composed and performed by Heta Bilaletdin, Jonna Karanka, and Katri Sipiläinen, each of whom was educated at Finnish art schools. Recorded at Studio Orvokka, Helsinki, in winter 2013 on eight-track and mixed on reel-to-reel tape by Ari Salonen. Mastered by Rashad Becker.

FR 099LP

OLIMPIA SPLENDID: Olimpia Splendid LP (FR 099LP) 21.00
LP version.

FR 101CD

LAU NAU: Hem. Någonstans CD (FR 101CD) 15.50
Hem. Någonstans is the fourth album by Lau Nau. This time she takes us to the fleeting borderline between contemporary classical and experimental music, true to her idiosyncratic style. The electroacoustic orchestrations pilot the listener through an archipelago of cloud constellations to rest on massive pillows of sound. Pekko Käppi, the emperor of the jouhikko (a traditional Finnish string instrument), plays all of the string arrangements on Hem. Någonstans. The album is an instrumental soundtrack to Lotta Petronella's 2015 documentary HOME. Somewhere, a boldly poetic film that takes place on the most remote islands of Finland, asking the question, "Will the human soul ever find a home?" Lau Nau's music adds its soul to the film and acts as its fourth character, alongside the three main subjects. Laura Naukkarinen aka Lau Nau (born 1980) is one of the more interesting names in the Finnish music scene. She composes, records, and produces her music mainly by herself. Her first solo albums were released in the US by Locust Music (Kuutarha (2004) and Nukkuu (2008)), and she has been touring the world ever since. Lau Nau began composing film music by accompanying silent films and contemporary dance and theater. Her original score for Jan Forsström's 2013 film Silmäterä (The Princess of Egypt) was nominated for a Jussi Award for Best Music, and her 2012 album Valohiukkanen (FR 088CD/LP) was nominated for the Teosto Prize, one of the most prestigious art prizes in the Nordic countries. At the time of this release, Lau Nau tours and plays concerts in a family-friendly tempo and accompanies silent films while working on her next album and preparing compositions for theater.



BROWN, JAMES: Escape-Ism 7" (GET 726EP) 11.00
"No People Records collection would be complete without a contribution from the Godfather of Soul himself. 'Escape-Ism' is 70s-era James Brown at his finest, supposedly written to kill time while he and The JBs waited for Bobby Byrd to arrive at their studio. A winding, two-part funk/soul epic, spanning both-sides of the single, the track reached #6 in the Billboard R&B charts, #25 in the pop charts, and would later be sampled by The Beastie Boys, Public Enemy, and Big Daddy Kane. It's now presented here for the first time in over 30 years, in its original 7" single format."


M.O.P.: Ante Up 7" (GET 734EP) 13.00
"'Ante Up' was the first single from M.O.P.'s full length Warriorz. The cut dropped in 2000 and its success paved the way for Warriorz to open in the 25 slot on the Top 200. For the Get On Down reissue -- 'Ante Up' is paired with the remix of the cut on the B-Side (originally the flip of 'Cold As Ice'). The remix is nothing to sleep on -- with features from Busta Rhymes, Remy Ma and Teflon. Stats and features aside -- 'Ante Up' is one of the most powerful and energetic records of its era. Everything fit this song perfect, the intro, the incredible DR Period beat, Fame and Billy Danzes catchy as hell hook and countless quotable 'Hol' dat'. M.O.P had already cemented themselves as the streets #1 pick but this right here was the atomic bomb. Only a few hip hop singles dropped post-2000 were both an immediate smash hit and had anything resembling this sort of long term staying power."



MOONDOG: Playing Moondog's Music 10" (HJP 017EP) 12.50
2015 repress of this 2004 reissue. Recorded in 1955, released on his own short-lived Moondog label. 4 tracks of manic saxophone and snare drum mayhem. You will not find an original of this anywhere. Blind from the age of 17, classically trained in music, Moondog aka Louis Hardin left the countryside in the late 1940s to busk on the streets of New York, playing percussion instruments of his own creation. He later became the darling of the NY arts and music set. He also recorded for Folkways, Woody Herman's Mars label, then Prestige and CBS.


HS 1017CD

JUDDS, THE: Girls Night Out - Live '85 CD (HS 1017CD) 17.00
In the mid-1980s, the mother-daughter duo of Naomi and Wynonna Judd became one of the hottest acts in country music, reeling off five straight number-one country singles in 1984 and 1985. All of those chart-toppers -- "Mama He's Crazy," "Why Not Me," "Girls' Night Out," "Love Is Alive," and "Have Mercy" -- were included in this October 27, 1985 concert at Hampton Coliseum in Hampton, Virginia. Broadcast on WCSM-FM in Hampton as part of the Silver Eagle Cross Country Radio series, it also includes highlights from their debut EP and first pair of albums, as well as covers of Rodney Crowell's "One Way Rider" and Little Richard's "Rip It Up." The entire broadcast is presented here in digitally remastered sound with background liners.



SKYDIVE TRIO: Sun Moee CD (HUBRO 2537CD) 17.00
On Sun Moee, we encounter guitarist Thomas Dahl for the first time as the leader and driving force of a band. SkyDive Trio is a good old-fashioned guitar trio solidly rooted in a melodious landscape and nourished by rich harmonies and Dahl's sonorous guitar wizardry. His playing surfs on the rhythmic waves made by Finnish drummer Olavi Louhivuori and Norwegian bass player extraordinaire Mats Eilertsen. The album includes compositions by each member plus a fascinating cover of Portishead's "Sour Times." Thomas T. Dahl studied in the jazz department at the University of Trondheim, and had his breakthrough as a member of the prize-winning band Krøyt featuring vocalist Kristin Asbjørnsen. On Sun Moee he paints a cinematic landscape where pop and rock elements, along with subtle electronic manipulation, intersect with the sound of strings. Dahl has previously released albums with BMX, together with Per Jørgensen; and Dingobats, together with Eirik Hegdal; and has collaborated with Erlend Skomsvoll, Ole Hamre, John Inderberg, Highasakite, and Ephemera. The members of the SkyDive Trio have worked together as part of a larger band for a number of years, and it shows. All three play on Eilertsen's Radio Yonder (HUBRO 2501CD, 2009) and SkyDive (HUBRO 2507CD/HUBRO 3507LP, 2011), as well as in Eilertsen's major work "Rubicon," which had its world premiere at the Vossa Jazz Festival in 2014. Mats Eilertsen has released four albums under his own name on Hubro and has played on albums with Tord Gustavsen, the Wolfert Brederode Quartet, the Kornstad Trio, Food (with Iain Ballamy), Jacob Young, and the Håvard Wiik Trio. Olavi Louhivuori studied drums and composition at the Sibelius Academy. Three of the bands he has played in have won the "Young Nordic Jazz Group" award: the Joona Toivanen Trio, the Ilmiliekki Quartet, and the Sun Trio. Louhivuori has toured and recorded with the legendary Polish trumpet player Tomasz Sta?ko, and has also played with Anthony Braxton, Marilyn Crispell, Susanne Abbuehl, and Kenny Wheeler. He has released several albums with his own band and as a solo artist, and was awarded an Emma Prize (Finnish Grammy) with Oddarrang in 2007. Sun Moee was recorded at The Village Recording in Copenhagen, and was produced by the band members themselves. This is an inspired jazz album from a rock-solid trio. Thomas Dahl, guitars; Mats Eilertsen, double bass; Olavi Louhivuori, drums.



RADIGUE, ELIANE: Triptych CD (IMPREC 260CD) 14.00
2015 repress. Originally released in 2009. "Back to music after three years of silence... On the suggestion of Robert Ashley, Douglas Dunn commissioned this piece from Éliane Radigue for choreography. Only the first part of Triptych was staged at the premiere at the Dancehall/Theatre of Nancy on February 27 1978. Recorded in the composer's studio in Paris. After the premiere of Adnos I (IMPREC 028CD) in San Francisco in 1974, a group of French students introduced Éliane Radigue to Tibetan Buddhism. When she returned to Paris, she began to explore this spirituality in depth, which slowed her musical production up until 1978. Triptych marks her return to composition, and draws its inspiration from 'the spirit of the fundamental elements,' water, air, fire, earth... Éliane Radigue likes to add that this has often been useful to her in her moments of research and transitions. This three-part composition, with its great humility and contemplative simplicity, heralded a new period of work and was the first in a series of masterpieces inspired by Tibetan Buddhism: Adnos II (1980); Adnos III (1981) [both included on IMPREC 028CD]; Songs of Milarepa (1983), with the voices of Lama Kunga Rinpoche and Robert Ashley; Jetsun Mila (1986); as well as the Triologie de la Mort (XI 119CD): Kyema (1988), Kailasha (1991), and Koumé (1993). Archival images included in the accompanying booklet." --Manu Holterbach


PINKCOURTESYPHONE: Sentimental Something LP (IMPREC 416LP) 25.50
Pinkcourtesyphone sends you a Sentimental Something from the depths of its obsessed heart. A sonic love note of smudged ink. Joined by the otherwordly Evelina Domnitch, friend and former cover model and vocalist on the acclaimed 2014 Description of Problem CD, which also featured contributions from Cosey Fanni Tutti, Kid Congo Powers, AGF, and William Basinski. On the central core, "Tears of Modernism," Miss Domnitch wields her dark magic on theremin, weaving a mournful kiss on the envelope from beyond. Packaged in a pink jacket on thick board stock with a lush matte finish; limited to 300 copies. Richard Chartier (b. 1971), sound and installation artist, is considered one of the key figures in the current of reductionist electronic sound art that has been termed both "microsound" and neo-modernist. Chartier's minimalist digital work explores the interrelationships between the spatial nature of sound, silence, focus, perception, and the act of listening itself. Chartier's sound works and installations have been presented internationally in galleries and museums, including the 2002 Whitney Biennial, and he has performed his work live across Europe, Japan, Australia, and North America at digital art and electronic music festivals and exhibits. In 2000 he formed the record label LINE and has since curated its continuing documentation of compositional and installation work by international sound artists and composers exploring the aesthetics of contemporary and digital minimalism. In 2010, Chartier was awarded a Smithsonian Institution Artist Research Fellowship to explore the National Museum of American History's collection of 19th-century acoustic apparatus for scientific demonstration. Pinkcourtesyphone is a more emotional, even musical side of his work. Pinkcourtesyphone is dark but not arch, with a slight hint of humor. Pinkcourtesyphone is amorphous, changing, and slipping in and out of consciousness. Pinkcourtesyphone operates like a syrup-y dream and strives to be both elegant and detached.


Double LP version. Edition of 1000. Another smoker from Acid Mothers Temple & The Melting Paraiso U.F.O., in typically fine form. Benzaiten is an In C-style homage to the classic Osamu Kitajima record Benzaiten (1973). Acid Mothers Temple covers the title-track and reprise using Kitajima's original composition as a departure point to explore the outer realms of AMT territory. Further instrumental explorations reveal textures of the original composition while launching out further into the cosmic domain. Numerous Acid Mothers originals are scattered in between. Benzaiten!



MADATO: Crafted 2LP (ITEM 033LP) 21.00
Italian DJ and producer Madato presents his first release since 2012's well-received Portraits EP (ITEM 014EP). With Crafted, his first true long-player, he displays his true dexterity and expertise as a unique storyteller in a world saturated with mediocre attempts at originality. From start to finish the album exudes a clever boldness that many artists seem to leave behind, instead retracing well-worn paths. But not Madato. This is effortlessly apparent throughout Crafted, as techno, disco, rock, and electronica freely intertwine in unique dancefloor gems. With a masterstroke, Madato paints his silent canvas with an array of organic instruments and machines alike. "Last Virgin" and "17 Miles" exude a penchant for rock 'n' roll and dub aesthetics, effortlessly combining crunchy guitar riffs and low-slung bass laid under blasts of spaced-out echoes and super-slick vocals. Losing no focus, Madato leans further into the realm of techno on tracks like "Oh Lover" and "My Fellini"; both are finely-tuned, psychedelic burners constructed from live instrumentation. "G-Boys" manages to incorporate all of the album's concepts into one fluid piece; freaky vocals and guitar licks meet four-to-the-floor grooves and a quivering bassline, creating a tune that is as much punk rock as it is house music. Each individual piece stands on its own merit and authenticity, but when grouped together, they form a genuine, cohesive, and perfectly executed vision come to life.


JT 004EP

LANDSIDE: Landside Part 1 12" (JT 004EP) 14.00
Landside is the first collaboration between Italian producers Hunter/Game and Icelandic duo Kúra. Kúra's electronic dub work and Hunter/Game's techno and house roots form deep, melancholic ambient music with an intense central groove, as Fanney Osk's vocals interweave with melodic synths. Landside Part 1 is a visionary journey into ranges of uncharted soundscapes, merging abstract atmosphere with boundless emotion. Max Cooper's remix of "Still There" is an eclectic vision of a deep flow, with vocals floating over a strong, dark bassline. Benjamin Damage's remix of "Silence Before the Storm" is a straight techno tool, digging groove lines into ambient melodies and mellow vocals.



BIRDS OF PREY: Birds of Prey LP (KTX 002LP) 23.00
Birds of Prey is an ever-evolving process of chaos, immediacy, and necessity. Like an organism emerging from the sea to walk on land for the first time, there is no grand plan, and no going back. The story of the group's friendship in many ways mirrors their method. They were brought together by a shared fascination with the sublime potential of electricity to generate something unknown, and a mutual trust that a path would reveal itself as they move forward through the dark. Originally conceived and composed live in Brooklyn, Birds of Prey is a collaboration of live electronics by Grant Aaron, Eric Holmes, and Camille Altay. This is the third release on Ricardo Donoso's Kathexis label. Limited to 300 copies; initial copies on white vinyl. Includes download code.


KH 9049LP

ZAPPA & THE MOTHERS, FRANK: Mudshark Live LP (KH 9049LP) 23.00
Invigorated by having shaken up the personnel of The Mothers, in 1971 Frank Zappa was enjoying himself more than ever. Having played a gig earlier in the evening, the band taped this largely acoustic set in Montreal on July 5, 1971, for broadcast on the local CKGM-FM radio station. It finds Zappa backed by ex-Turtles Mark Volman and Howard Kaylan (aka The Phlorescent Leech & Eddie), as well as Jim Pons, Ian Underwood, Bob Harris, and Aynsley Dunbar, and is presented here complete with background notes and images. 180-gram vinyl; includes insert.

KH 9054LP

ZAPPA, FRANK: Bebop Tango Contest Live! LP (KH 9054LP) 23.00
With the success of his Apostrophe and Roxy & Elsewhere albums, 1974 saw Frank Zappa at his commercial peak. Evidently feeling a surfeit of goodwill towards his fans, at the close of the year he prepared a personally mixed reel of live performances from the previous year for broadcast on WLIR-FM in Garden City, New York, on New Year's Eve. Not to be confused with a show he was playing the same night in Long Beach, California, this is a typically adventurous and humorous compilation, and is presented here with background notes and images. 180-gram vinyl; includes insert.



ZUKIE, TAPPER: Man Ah Warrior LP (KSLP 058LP) 15.50
LP version. Tapper Zuki's debut album Man Ah Warrior was originally released in 1973. Its classic deejay style has been copied by many but bettered by few. Man Ah Warrior is proof that raw talent can more than make up for scarce resources. Tapper Zukie (born David Sinclair in 1956, Kingston, Jamaica) was raised in the rough and tough West Kingston area of Jamaica between the districts of Trench Town and Greenwich Farm. Living pretty much on the streets from an early age, Tapper and his peers had no choice but to fall into the hands of the political parties that controlled the various ghetto areas of the town. To prevent him from landing in even more trouble, Tapper's mother, brother, reggae producer Blackbeard, and family friend Bunny "Striker" Lee devised a plan to send the wayward Tapper to England to set him straight. A UK tour with the number-one reggae deejay U-Roy was already arranged upon Tapper's arrival; Bunny Lee got the young Tapper to toast over a Slim Smith rhythm and the London crowd loved it. He also caught the eye of producer Larry Lawrence, who took Tapper on and cut his first single, "Jump and Twist." Nine further tracks were recorded for producer Clement Bushay, and the result was Man Ah Warrior. An artist ahead of his time, whose music has influenced many -- as Patti Smith said, "Music of the Most High."



KUEDO: Assertion of a Surrounding Presence 12" (KNV 002EP) 18.00
Electronic music pioneer Jamie Teasdale, best known as Kuedo, makes a timely and luminous return with the sci-fi-designed Assertion of a Surrounding Presence, his first solo release proper since 2012, and the second issue on his fledgling Knives label after J.G. Biberkopf's Ecologies (KNV 001LP, 2015). In 2015, a decade on from the groundbreaking sound engineering and designs of Teasdale's pivotal role in Vex'd, and five years since he emerged solo as Kuedo, his celebrated production style remains anterior to modern dance music and electronica, largely by virtue of unbending futurist focus and careful attention to detail. Here flanked by collaborations with erstwhile Vex'd partner Roly Porter plus Berlin's Phoebe Kiddo aka Mind:Body:Fitness and Canada's Egyptrixx, the next chapter in Kuedo's odyssey expands his sci-fi dimensions with ever-sharper contouring, gradients, and hyperreal specialization structured around recalibrated footwork, drill, and techno engines. Scaling from the vertigo-inducing opener to a finale of panicked gamelan drama, Assertion of a Surrounding Presence renders Kuedo's most affective, elaborate reflection of a nowness, divining a metaphysical, cybernetic zeitgeist in the vaulted reverb structures of his Ghost in the Shell nod "Eyeless Angel Intervention" or the trance fluid T-2000 tekstep momentum of "Boundary Regulation," while pursuing more tangled emotions and ethereal sensations in the recursive, hyaline gamelan cadence of "Border State Collapse" and "Event Tracking Across Populated Terrain." This follows right thru to the artwork by Melbourne, Australia-based Joshua Petherwick, who perfectly connotes the album's aesthetic and concept with a nod to sci writer Anthony Burgess's fictional conceit of Nadsat -- a cryptic systemization of order in a dystopian environment -- in his abstract yet acutely evocative geometries. Mastered and cut by Matt Colton. Artwork by Joshua Petherwick. RIYL Kenji Kawai, late '90s tech-step, Chicago footwork, and drill.



ORB, THE: Moonbuilding 2703 AD 2LP (KOM 330LP) 26.50
Repressed. Gatefold double LP version. Pressed on 180-gram vinyl. Includes CD. Iconic electronic music pioneers The Orb return to Kompakt with Moonbuilding 2703 AD, another major slice of psychedelic synth bliss, obscure loops, and deep ambient textures tossed in swinging breakbeats and powerful basslines. Installing a forward momentum rather unusual for a genre-defying project like this, the latest effort from masterminds Alex Paterson and Thomas Fehlmann follows their 2005 album success on Kompakt, the cheekily named Okie Dokie It's The Orb On Kompakt (KOMP 045CD/KOM 128LP) -- as well as several contributions to Kompakt's Speicher and Pop Ambient series -- but, more importantly, it finds the legendary duo at the peak of its creativity, ringing in another essential phase in what can only be called a groundbreaking career. True to form, Moonbuilding 2703 AD features a small track list, but turns each one of its four cuts into a mini-epic in its own right. Opener "God's Mirrorball" hits the ground floating, employing a handful of cozy statics to great effect before finally discharging into an intricate mosaic of atmospheric, melodic sketches and gripping rhythms. With a hypnotic runtime of more than 14 minutes, it immediately establishes a blueprint for the other album tracks to follow, perfectly illustrating the vast extent of the artists' vision and their impressive skills in luring in listeners -- welcome to The Orb's sonic labyrinth, where nothing is what it seems and the unexpected waits just around the corner. Likewise, follow-up track "Moonscapes 2703 BC" presents itself as a uniquely versatile affair sitting comfortably between ambient flourishes and beat-driven focus, holding as many twists and turns as a caper movie, but carefully grounding every single one of its cliffhangers in its impeccable flow. With a runtime of approximately nine minutes, "Lunar Caves" is the shortest jam of the bunch -- and also the most ethereal, keeping its rhythmic content to a bare, pulse-like minimum and opting for enticing, freewheeling synth textures instead. Album closer and title cut "Moonbuilding 2703 AD" introduces a surprisingly jazzy vibe mingling rather well with the wealth of electronic tricks up its sleeve -- even indulging in abrasive bass sweeps and a breathtaking multitude of different rhythm sections constantly switching places. It's a fitting closing act for a full-length as multifaceted as this, as idiosyncratic as possible and as muscular as needed. Cover design by iconic graphic wizards The Designers Republic.


VA: Kompakt Total 15 2CD (KOMP 125CD) 15.50
The Total compilation series returns in 2015 for its 15th installment, with an ample array of tunes from revered Kompakt mainstays like Wassermann aka Wolfgang Voigt, Superpitcher, Jürgen Paape, Michael Mayer, and more -- yet, the overall stance and content of Total 15 feels just as fresh, thrilling, and playful as back in 1999, when the first Total (KOMP 003CD/KOM 010LP) hit. This might have to do with the sheer talent and unabated creative drive obvious in the work of both up-and-coming and seasoned producers such as Gui Boratto, Dauwd, Vermont (edited by DJ Tennis), Saschienne, COMA, Dave DK, Matias Aguayo, John Tejada, and more. As usual, Kompakt uses this Total compilation to present bestsellers and favorites from its current catalog -- check out the cuts from Kölsch, Audion (feat. Troels Abrahamsen), Terranova (feat. Lydmor & Bon Homme), Agoria, Rex the Dog, Hunter/Game, Guy Mantzur & Roy RosenfelD, Reinhard Voigt, or Blond:ish (feat. Audysea). But as those who follow the Total series know, Kompakt also loves to sneak in previously unheard original music from its core artists, spiced up with exciting input from some of its new inductees. For Total 15, the return of Wolfgang Voigt's concept rave alter ego Wassermann is certainly one of the biggest showstoppers; his "Eisen Mein Herz" is an instant leftfield classic, coupling deconstructed text excerpts from Thomas Mann's 1954 novel Confessions of Felix Krull with a vintage beat 'n' bass combo in all its raucous glory. Jürgen Paape lifts the veil on his sonic musings with the smart futurism of "Manipuri," followed by Michael Mayer's pop concrete jewel "Humm" and Superpitcher's delirious flute stomper "Freiherr." Meanwhile, rising Dutch duo Weval gets a propelling, Total-exclusive remix treatment from up-and-coming Speicher heroes Hunter/Game -- a perfect companion to label ally Patrice Bäumel's "Fenomeno" (vinyl only), one of his finest vocal chop jobs so far. Voigt & Voigt's "Akira" originally stems from the duo's ground-breaking 2012 full-length Die Zauberhafte Welt Der Anderen (KOMP 104CD/KOM 274LP); the "Reeperbahn Mix" (vinyl only) takes the mantra-like source material and infuses it with a decidedly grainy feel -- a funky sound-collage of field recordings, accordion, and beats. Jörg Burger aka The Modernist has the honor of concluding the 2015 installment of Total with "Sacrosanct," a cut from his The Black Frame moniker and proof of his indie pop sensibilities and his impressive skill set when it comes to unadulterated songwriting.



DEERHUNTER: Cryptograms/Fluorescent Grey 2LP (KRANK 104LP) 21.00
2015 repress. Deluxe gatefold vinyl version. "This double album pairs the critically-acclaimed Cryptograms album with the all new Fluorescent Grey EP. Cryptograms is the second full-length offering from Deerhunter, and their first for Kranky. The album took almost two years to finish and was the product of emotional, physical, and financial strain on the group. The result is an album that finds the band shifting from discordant catharsis, and forming a sonic identity that completely expresses the place from which they have arrived. The album functions in part as a study in duality and the concept of the same experiences seen from two angles, present and past."


DEERHUNTER: Microcastle/Weird Era Cont. 2LP (KRANK 127LP) 21.00
2015 repress; gatefold double LP version of Microcastle and the bonus album Weird Era Cont. with artwork from the CD version. "Here it is, the highly anticipated follow-up to 2007's Cryptograms album, which launched the band into the stratosphere of hype. Whether or not that was or is deserved is entirely subjective. Microcastle was recorded over the course of a week at Rare Book Studios in Brooklyn, New York with Nicolas Verhes in April of this year. The album was recorded as a four-piece consisting of Bradford Cox, Lockett Pundt, Joshua Fauver, and Moses Archuleta. 'Saved by Old Times' features a vocal collage by Cole Alexander of the Black Lips, and the album also features two songs with lead vocals by guitarist Lockett Pundt, 'Agoraphobia,' and 'Neither of Us, Uncertainly.'"


LM 21001CD

CLEAR LIGHT: Clear Light CD (LM 21001CD) 16.50
What might have been just one album out of so many great ones from 1967 -- there are a hell of a lot struggling for one's attention -- makes its first impression with a promising cover image, featuring some fashionable youngsters in a patch of palm tree forest and a fluid, light blue band logo above them. The band is from Los Angeles, it turns out -- a promising sign considering the vibrant Californian scene of the time. Then, upon first listen, the first fuzzed-out rocker sends the listener's soul into a state of simmering excitement; the further one explores this piece of morning maniac music the more the colorful aspects of the band's creativity enchant. Dark -- or at least gruff -- rock tunes with heavy fuzz guitar alternate with melodic tunes that feature lush, clean guitar harmonies one might expect from fellow LA natives The Byrds -- it's no wonder that Clear Light were heavily influenced by their compatriots. They try out different twists and turns on psychedelic pop and rock, early heavy stuff, and garage sounds. Their melody writing is just captivating. The most outstanding track on this, their sole album, may be "Mr. Blue," for its remote structures far from the typical pop tune. It starts with a sluggish roll on the floor-tom that reminds one of a scene of a convict slowly walking up to the gallows while the judge reads the sentence; and indeed, there is a voice that speaks to "Mr. Blue" and tells him about his fate. In between, the track turns into a classic heavy garage rocker with a catchy chorus line, and with each verse, spooky guitar howls join the speaking voice. The grand finale of "Mr. Blue" is an instrumental explosion of pure garage psychedelia. More colorful pop with changing rhythms and memorable melodies follows. Contemporary rock acts that were playing in a similar league include The Seeds, The Byrds, Count Five, The Shadows of Knight, and Blues Magoos. They had everything a band needed to become a major act on the scene back then, so why not drag this classic back to the light and inspire younger generations with Clear Light's brand of stormy harmonies and forceful fuzz guitars on body-shaking rhythm patterns. An all-killer release.



BODZIN, STEPHAN: Singularity 12" (LAD 022EP) 14.00
With a melody that comes on like a half-remembered memory and lingers long after the sound itself fades away, "Singularity" stays with you, slowly and carefully weaving its way around you while its drums beat a steady, forceful pulse and its percussion jumps in and out like Billy Pilgrim skipping thru time. On Monoloc's remix, the melody peeks out behind a curtain of reverb and industrial drums, compellingly foreshadowing its full potential, before the atmosphere slowly engulfs the listener as the slow build reaches its full force.



KITCHEN CINQ, THE: When the Rainbow Disappears: An Anthology 1965-68 CD (LITA 130CD) 15.00
"Lee Hazlewood's LHI flagship group, The Kitchen Cinq, had everything but one elusive factor: success. Formed as The Illusions (and briefly The Y'alls) in Amarillo, Texas, the group blended garage punk with killer harmonies and a slight sense of the absurd. Picking up steam locally in the mid-'60s, the members started to think about cracking it on a bigger scale, and, in 1966, moved to LA. 'Almost immediately upon arrival, we auditioned for Lee,' says guitarist/vocalist Mark Creamer. 'He said, "Deal."' Another of Hazlewood's coterie, Suzi Jane Hokom, was charged with producing the group, making her a de facto female pioneer in the industry. By 1968, The Kitchen Cinq issued a total of five impressive singles and one album, Everything But. They recorded a surprisingly vast amount of material, all of which is collected here. Their version of The Beau Brummels' 'Still In Love With You Baby' was a regional hit in many cities, but they were still chasing a big hit, and the LA dream was wearing thin. In the end, the industry burned them out: the endless gigging, the radio spots, the long journeys -- including an ill-fated East Coast tour that required them to drive from LA to Florida in three days. 'I think LA ate the Texas boys; I really feel that way,' says guitarist/vocalist Jim Parker. The group split in '68, and the members spread off into bands including Them, rock outfit Armageddon and, eventually, careers in studios. One -- temporary member J.D. Souther -- has a recurring role on the popular soap opera Nashville. The Kitchen Cinq was just a springboard for each of them, but listening to these overlooked works of beat-pop brilliance, you can't help but wonder why it didn't work out for the Texans at the time. Their songs -- all of them -- live on in this anthology."


LL 019LP

GHOSTFACE KILLAH: Twelve Reasons to Die: Instrumentals LP (LL 019LP) 21.00
Instrumental versions, originally released in 2013, now reissued on the Linear Labs label. "The sounds of classic 36 Chambers-era RZA meld with Portishead and the Italian film music of Ennio Morricone on 12 Reasons To Die, the first ever collaboration between Ghostface Killah and Adrian Younge. A daring, full-length Crime/Horror concept album, 12 Reasons' executive producer and Ghostface's longtime Wu-Tang Clan collaborator The RZA, referred to the album as 'groundbreaking' in the hip-hop genre. Ghostface Killah's prominence in hip hop has grown steadily over his 20-plus year career -- including high-profile appearances on Kanye West's Cruel Summer, RZA's The Man With the Iron Fists soundtrack and 36 Seasons, his recent collaboration with The Revelations -- 12 Reasons catches the gifted MC at the height of his lyrical prowess. Composer/producer/instrumentalist Adrian Younge represents the next generation of black music producers. His aim is an organic re-appropriation of hip-hop circa the mid-90s. His previous releases, the Black Dynamite soundtrack album (2009) Something About April (2011), and There Is Only Now, his collaboration with Souls Of Mischief (2012), touched on psychedelia, blaxploitation, and the cinematic soul of the 1970s. 12 Reasons was Adrian's first project in which he's immersed himself in the world of hip-hop."


MG 110LP

DIAPHRA, ALEXANDRE FRANCISCO: Diaphra's Blackbook of the Beats LP (MG 110LP) 23.00
LP version. "I may have no possessions, but here lies everything one needs." This is Alexandre Francisco Diaphra's motto as governor of his own life. A multifaceted artist from Guinea-Bissau, based in Lisbon; rapper, poet, edutainer, and beatmaker, creating music based on improvisation in which he blends his psychedelic, black music; afro-ancestral influences; and love for non-quantized beats with experimental jazz and contemporary and urban styles. In 2014, Diaphra won third place at the 1st International Poetry Slam in Rio de Janeiro. In 2012, Diaphra toured Europe as an MC and performer for Angolan/Portuguese project Batida, in support of Batida's eponymous debut album ("could be the record that changes the African Electronic Music on XXI century" --Songlines; NPR called their live show "one of the best 10 acts from WOMEX." Diaphra's Blackbook of the Beats follows the idea of building instrumental bases on the outside environment, wherever Diaphra feels inspired. The result of a backpack, some vinyl records, a portable turntable, and a sampler for self-deconstruction/recreation, this (mainly) instrumental album delivers non-quantized beats over which enlightening poetry is spoken, rapped, and chanted in Portuguese, and compositions created through trial and error and enhanced by instruments played by invited musicians and Diaphra himself. For fans of Stones Throw Records, analog experimental sample-based music, psychedelic rock, afro ancestral.



FOXX & ROBIN GUTHRIE, JOHN: Mirrorball CD (META 023CD) 16.50
2009 release. Like John Foxx's 2009 A Secret Life album with Steve Jansen (ex-Japan) (META 022CD), his collaboration with Robin Guthrie was an idea that began when the pair performed at a Harold Budd concert in May 2005. Layers of echoes and reverberations are explored on Mirrorball, so that Guthrie's unique playing merges with abstract, often improvised vocals -- a style that John Foxx has explored on his own Cathedral Oceans albums. Robin Guthrie has scored two movies in the years leading up to this album -- Gregg Araki's Mysterious Skin (2004) and Dany Saadia's 3:19 Nada es Casualidad (2006). He has recorded the instrumental albums Imperial (2003) and Continental (2006) and also several collaborations with pianist Harold Budd, including Before the Day Breaks and After the Night Falls in 2007. The former Cocteau Twins guitarist and producer has also performed extensively with his hour-long animated film Lumière (2003), and premiered the follow-up, Galerie, in 2008; both films were created as backdrops for his atmospheric, hypnotic guitar-based instrumentals -- a style that has been a massive influence on everyone from My Bloody Valentine to Antony and the Johnsons. John Foxx has been experimenting as a film-maker (with a pioneering video for LFO's 1991 hit "LFO" and performances of his 2006 Super 8 project Tiny Colour Movies in Melbourne, London, and Barcelona), artist (with exhibitions in London and New York and the use of his images on the covers of books by Anthony Burgess and Salman Rushdie), and musician, and he's also developing a growing international reputation as a writer -- in 2009 he headlined a major literature festival where he read extracts from his unfinished novel The Quiet Man.


FOXX, JOHN: D.N.A. CD+DVD (META 025CD) 19.50
2010 release. This features unique collaborations between John Foxx and some of his favorite film-makers, with all of the short movies on the DVD being made especially for this project. On top of that, the CD features all the music for the films, plus tracks that John Foxx had recorded as "possibilities" for soundtracks. The final track on the disc, "Over the Mirage," is a collaboration between John Foxx, Harold Budd, and Ruben Garcia, while both parts ("2" and "7") of A Secret Life (META 022CD), as well as "Violet Bloom," were recorded with Steve D'Agostino. Ex-Japan percussionist Steve Jansen also features on the A Secret Life instrumentals. All of the stunning artwork for the project was designed by Jonathan Barnbook, who has previously worked with Damien Hirst and also David Bowie, designing the sleeves and inner booklets for his Heathen (2002) and Reality (2003) albums. Includes films by Karborn, D'Agostino, Ian Emes, Macoto Tezka, and Barnbrook.


FOXX & LOUIS GORDON, JOHN: Crash and Burn (Deluxe Edition) 2CD (META 026CD) 16.50
2010 expanded reissue of 2003 release. This double-disc edition of Crash and Burn features five previously unreleased tracks ("Labyrinth Generator," "Storm Warning," "Broadway Submarine," "Dust And Light (Live)," and "Invisible Women (2) (Live)," as well as material from 2003's limited edition Drive EP. The accompanying booklet has been expanded to 20 pages, and includes all of the lyrics for the first time.


FOXX & LOUIS GORDON, JOHN: Sideways (Deluxe Edition) 2CD (META 027CD) 16.50
2010 expanded reissue of 2006 release. Features seven previously unreleased tracks (six of which were recorded live at the 2008 show at Cargo in London, together with "Haunted"), as well as two tracks which have only previously been available as downloads. Also includes two Jori Hulkkonen mixes. The accompanying booklet has been expanded to 16 pages, and now includes all of the lyrics.


FOXX AND THE MATHS, JOHN: Evidence CD (META 031CD) 16.50
2012 release. The 15-track CD brings together collaborations with The Soft Moon (the post-punk psychedelia of the title-track); Gazelle Twin (including the strikingly beautiful "Changelings"); New York duo Xeno & Oaklander; Moog maverick Tara Busch and Ghostly International's Matthew Dear, plus a Pink Floyd cover and some John Foxx/Benge material. This includes the rich analog glow of "Walk" and apocalyptic ballad "Only Lovers Left Alive." Meanwhile, regular Maths live band member Hannah Peel plays violin on "Neon Vertigo" and "My Town." Evidence is John Foxx and the Maths' most atmospheric and darkly percussive album so far -- built around stark, late-night rhythms. The ambient spaces in the music allow for experiments with textures and mood, with dreamlike echoes of Massive Attack, dub (in spirit not pastiche), Dead Can Dance, and the ultra-introspective Japan. The edgy beats of the opening track "Personal Magnetism" are followed by "Evidence," featuring The Soft Moon's Luis Vasquez. The slow, minimalist "That Sudden Switch" takes the European art-movie approach of Xeno & Oaklander and re-invents it as post-dub electronic pop. "Talk (Beneath Your Dreams)" features US electronic artist Matthew Dear taking the role of the sleeper as a conversation is held in a dream. It's a chilly, nightmarish track but like much of this album it has motion -- Dear adding new techno rhythms as well as a Bowie-esque vocal in the final verses. "Neon Vertigo" furthers the noir tension with massive bass sounds and "space violin" from Hannah Peel, while "Changelings" is in many ways the centerpiece of the album. Originally written and recorded by Gazelle Twin, "Changelings" retains only her voice as The Maths rebuild it completely from scratch. It's arguably one of Benge's finest moments in the studio so far, while John Foxx's reverb-drenched backing vocals complete this stunning, end-of-the-world song. "A Falling Star" is the reverse of "Changelings" -- this time it's a John Foxx/Benge track reworked by Gazelle Twin. In this context, the song becomes an icy but epic ballad, full of siren vocals and a sense of release as it stretches into the long, elegant fadeout. In fact, "A Falling Star" does signal a change in the album as the mood evolves into something more reflective. This final section climaxes with the electronic harp music of "Myriads" and the last song, "Only Lovers Left Alive" -- a pretty melody found on an old discarded reel-to-reel; nostalgic, the sound of memory and tape creating one of the album's most moving tracks.


FOXX, JOHN: B-Movie (Ballardian Video Neuronica) CD (META 050CD) 16.50
2014 release. John Foxx's solo instrumental album was recorded and assembled for a cut-up/collage movie by John Foxx and visual artist Karborn, inspired by the themes, influence, and text of British novelist J. G. Ballard. Screened as part of Brighton's Cine-City festival in late 2012, the pair described the work as "a film and sound seance manifesting J G Ballard neurones. Mobilised by ultracolour and inframusic, anatomised hallucinogenetics and proximity psychopathagens." The montage movie -- often beautiful and surreal in its collision of images -- can be viewed online at or on Vimeo ( The album features two collaborations -- "Geometry, Collision and Coincidence" with Benge from John Foxx and the Maths, and "Disaster Series," which was co-written with Steve D'Agostino. All the music is exclusive to this soundtrack except "The Other Side," an extract from John Foxx's as-yet-unreleased Electricity & Ghosts album which just happened to fit with the visuals. The soundtrack runs as a continuous piece of music in the first part of B-Movie including effects and links that relate to the film. The second half of the album features all the individual tracks plus "Dashboard Melt," which Foxx recorded for the project but in the end didn't use. Jonathan Barnbrook's stunning artwork for the album features Ballard-inspired images created by Karborn.


FOXX, JOHN: The Virgin Years (1980-1985) 5CD BOX (META 052CD) 29.00
2014 release. This five-CD box set covers the four albums that John Foxx released between 1980 and 1985 -- Metamatic (1980), The Garden (1981), The Golden Section (1983), and In Mysterious Ways (1985) -- plus B-sides and outtakes from the sessions which have been added as bonus tracks after each original album, and on a fifth CD, Fusion/Fission. The Virgin Years includes a previously unreleased analog master of Metamatic, along with remasters of the B-sides -- "This City," "Film One," etc. The black box also houses five postcards with the artwork for the singles "Underpass," "No-One Driving," "Europe After the Rain," "Endlessly," and "Stars on Fire."


FOXX & STEVE D'AGOSTINO, JOHN: Evidence of Time Travel CD (META 053CD) 16.50
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.



STOTT, ANDY: Luxury Problems 2LP (LOVE 079LP) 25.50
Limited 2015 repress. Gatefold double LP version. Following on from a pair of extended players released in 2011 (Passed Me By/We Stay Together) Andy Stott returns to Modern Love with Luxury Problems, an eight-track album of new material recorded over the last 12 months. Five of the tracks on the album feature the voice of Alison Skidmore, Andy's one-time piano teacher whom he hadn't seen since he was a teenager back in 1996. There was no grand gesture in mind, it just sort of happened -- but after almost a year of studio work, the result is really quite unlike anything you'll have heard from him before. "Numb" opens the album with Alison's voice; layered and looped, but essentially left bare and exposed, tumbling into a dense shuffle, sort of somewhere between Theo Parrish and Sade, but more fucked. "Lost and Found" follows and deploys a growling rave bass line and a disturbed vocal, the beat assembling itself around a squashed Linndrum like a submerged Prince/Cameo production, haunted and impenetrable, but full of funk. "Sleepless" started life as an African drum edit that sooner or later succumbed to Stott's intense rhythmic shifts. It's a sound that's been imitated countless times since the release of Passed Me By, here re-tooled and re-built for its next evolutionary phase. "Hatch the Plan" ends the first half of the album with some heavily treated location recordings and a low-end grind that probably doesn't quite prepare you for the vocal arrangements that follow -- it's just a beautifully inverted pop song. The second half opens with "Expecting," the most recognizably "Stott" moment on the album: a wrecked, deliriously knocked-out 4/4 shuffle deployed at half-speed; those heavy kick drums sucking in everything around them. "Luxury Problems" offers up the album's most quietly euphoric moment; conventional arrangements and drum loops are disrupted by sharp disco bursts that mess with what you know: it's straight and beautiful and unbalanced and damaged, somehow all at once. "Up the Box" fucks with the narrative and goes somewhere else entirely, an extended intro that seems to build continuously for 3 minutes before breaking off into a slowed-down amen edit, creating a kind of narcotic jungle variant that fragments everything and ends just at the point you think it's going to go off, before "Leaving" finishes the album with an almost unbearably-beautiful arrangement of voice and synth and a final key-change that takes you from joyful to forlorn in an instant. Mastered and cut by Matt Colton at Air Studios.



Barbara Morgenstern follows her 2012 English-language album Sweet Silence (MONIKA 074CD) with Doppelstern (Double Star), featuring 13 collaborations, each created in a different studio. This pre-album EP includes "Übermorgen (Extended)," which features a vocal duet with Justus Köhncke, who first suggested the double star concept to Morgenstern; Robert Lippok, with whom Morgenstern has crossed paths on numerous occasions, appears on the electronic instrumental "Scrambler (Extended)"; "Gleich ist gleicher als gleich" took shape in the studio of Lucrecia Dalt; and the intense, kraut-oriented "Kein Weg" was created in the studio of Schneider TM. Mixed by T.Raumschmiere.



GAJEK: Plaid & Alva Noto Remixes 12" (MONKEY 060EP) 12.00
Relative newcomer Gajek remixed by two of electronic music's finest, Alva Noto and Plaid. Carsten Nicolai aka Alva Noto turns the playful "Restless Water Shapes" into a stone-cold dark bassline roller, welcoming the listener into a sonorous temple of solemn and serious dancefloor business with a pumping kick and resonating reverb. Plaid bring up the listener's oxytocin levels with bristling, euphoric electronica. Guaranteed to make you smile, this 12" is an extremely fulfilling, hypermodern club night compressed into just two tracks.



RADICAL FACE: Ghost LP (MORR 069LP) 17.00
2015 repress. LP version, originally released in 2007. This record started with a simple idea: what if houses had memories? What if, when we lived in them, our stories bled into the walls and became a part of the house? What if our ghosts were always going to haunt the places we've lived, a long with everyone else who's lived there? Some of these songs are from the point of view of people still living their lives in one of these houses; some are from the point of view of those dead and gone, watching over the living or haunting them; some are from people visiting home, after being away for along time, and the familiar ghosts of childhood all coming back to remind you of the way things used to be. This is a quintessential singer/songwriter album, or, rather a songwriting album, with tracks as carefully arranged interiors, chamber folk, pocket symphonies, passionate melodies. Ben Cooper recorded this album almost entirely alone, in a small shed in Jacksonville Beach, Florida: another one of those houses full of stories. He recorded the guitars and drum patterns, the banjos, organs and keyboards and sang in chorus with himself. He let the instruments take a deep breath and created a breathing record, a lively, warm Ghost. Includes a free download coupon.


NEOS 10913-14CD

FLAMMER, ERNST HELMUTH: Superverso per Organo 2CD (NEOS 10913-14CD) 28.50
Ernst Helmuth Flammer is one of the leading organ composers of our time. The connection between Flammer's superverso, performed here by Christoph Maria Moosmann, and Olivier Messiaen's great organ cycles is unmistakable, though the superverso is far more advanced in its musical design and language than Messiaen's work, only because it was composed considerably later. The superverso per organo, unlike Messiaen's great organ cycle Livre du Saint Sacrement, dispenses with specifically theological titles for its individual pieces in favor of musical and technical titles. But both share the grand design of the overall program. Trinitas on the one hand, and Sein und Zeit (Being and Time) on the other, as non-mythological, rational, natural, philosophical approaches that correlate faith, in the Cartesian sense, out of a superior creative authority that orders our world. Flammer was born in Heilbronn, Germany, in 1949. He studied mathematics and physics from 1969 until 1972; there followed studies in music theory with Peter Förtig from 1973 until 1979; and then musicology, art history, and philosophy with Hans Heinrich Eggebrecht in Freiburg from 1972 until 1980. He wrote his dissertation on Luigi Nono and Hans Werner Henze. He studied composition with Klaus Huber, Brian Ferneyhough, and Paul-Heinz Dittrich from 1976 onward.

NEOS 11420CD

CARTER/CHARLES IVES, ELLIOTT: Musica Viva 20 CD (NEOS 11420CD) 15.50
At the age of 85, Elliott Carter embarked upon the composition of a grand tripartite symphony, which has since become one of his undisputed masterworks. This CD contains the Symphonia: Sum Fluxae Pretium Spei (1993-'96) interpreted by one of the world's finest orchestras, the Bavarian Radio Symphony Orchestra, conducted by Emilio Pomàrico. Carter's music is marked by the constructive tendencies of European modernity as well as the great originality so typical for American composers. Appropriately, the CD program is completed with the Bavarian Radio Symphony Orchestra's performance, conducted by Stefan Asbury, of an outstanding concert overture extremely rich in contrast, by the great maverick Charles Ives. During his high school days, Carter, who passed away in 2013 at the age of 103, received considerable encouragement from Ives.

NEOS 11421CD

Two extraordinary keyboard virtuosos are in the foreground these performances by the Bavarian Radio Symphony Orchestra, conducted by Peter Rundel and Emilio Pomàrico, respectively. Wolfgang Mitterer, born in East Tyrol in 1958, has made name for himself as both a composer and an organist. In this performance of his extensive composition Crush 1-5, he himself takes the role of the improvising soloist, who in a most virtuosic manner transcends the electronically extended orchestral part. The second virtuoso is internationally renowned pianist Nicolas Hodges, who has won particularly high regard in the contemporary music community. In this live recording he dedicates himself to the finely-carved soundscapes of Isabel Mundry's second piano concerto, Non-Places (2012). According to the composer, the concerto represents an attempt to musically capture the scenery of an airport, a strange non-place between bustling activity and the solitary state of waiting.

NEOS 11425CD

LOPEZ, JORGE E.: Musica Viva 25 CD (NEOS 11425CD) 15.50
Jorge E. López was born in 1955 in Havana, Cuba, and grew up in New York City and Chicago beginning in 1960. From 1971 until 1976 López was a composition student of Leonard Stein and Morton Subotnick at the California Institute of the Arts. He designates himself as self-taught, with roots in Western art music but also in surrealism, science, and in the experience of unspoiled nature. He moved to Europe in 1990 and was a guest artist at the KKM from 2000 until 2003. He has lived in Vienna since 2008. "I have never identified myself with the term 'New Music,'" says López. "Rather, I was driven from the beginning by the idea of making the primordial present. I do not seek for the new, but seek rather for what is repressed. I do not believe in progress in art." With the title Symphonie Fleuve, López points to the idea of a direct flow of thoughts or stream of consciousness more or less seismographically transferred into music; at the same time, he also points to the "liquefied sound" of the solo horn that is intended to appear flexible in a way similar to that of the human voice. "The horn cries out and calls mostly brief words of an unknown language." Symphonie Nr. 3, Op. 24, also in two movements, was conceived by López as a "transformation of the morphology of Beethoven's C-minor Piano Sonata, Op. 111." Performed by the Bavarian Radio Symphony Orchestra; Peter Eötvös and Brad Lubman, conductors.

NEOS 11501-2CD

FERNEYHOUGH, BRIAN: Complete Piano Works 2CD (NEOS 11501-2CD) 28.50
Brian Ferneyhough -- born in Coventry in 1943 and recipient of the prestigious Siemens Prize in 2007 -- counts among the great musical challengers of our time. As an unyielding proponent of a steady refinement of musical perception, he doesn't shy away from mind-boggling structural aggregations and extreme technical and artistic demands on his musicians. In doing so he enjoys the support of a handpicked group of virtuosos, who regularly perform his compositions all over the world. One of the most prominent among those is pianist Nicolas Hodges, who, together with his colleague and friend Rolf Hind, presents, for the first time, Ferneyhough's complete works for piano. Between 1965 and 2013, seven works for piano solo or piano duo emerged from the composer's studio, all of them destined to captivate the listener's attention with complex musical adventures.

NEOS 11503CD

BRASS, NIKOLAUS: String Quartet No. IV CD/SACD (NEOS 11503CD) 15.50
Nikolaus Brass, born in Lindau, Germany, in 1949, initially studied medicine and took private composition lessons with Peter Kiesewetter at the Munich Academy of Music. He concluded his medical studies at the Free University of Berlin. He studied composition with Frank Michael Beyer and later privately with Helmut Lachenmann. Brass: "Life balances on the tip of death." That's how he composes. His String Quartet No. IV is performed here by EnsembleCoriolis.

NEOS 11506CD

KELTERBORN - MOSER - ROTH: Ensemble Works CD (NEOS 11506CD) 15.50
The three works presented on this CD, all composed for the Mondrian Ensemble, bear titles that suggest two programmatic works (by Roland Moser and Michel Roth) contrasted with a more abstract composition (by Rudolf Kelterborn). To what extent this kind of expectation -- based on what one sees in a name -- may impact one's listening experience largely depends on the perspectives that one brings to the individual work, however. Listening is never a neutral act. There is a growing gap between the new music industry, with its compulsive devotion to world premieres, and the established classical scene that primarily embraces music from Bach to Stravinsky. It is this kind of gap-repertoire to which the Mondrian Ensemble has been committed since 2000. Numerous composers have written works for the Mondrian Ensemble, which it has endeavored to keep in its repertoire beyond their first performances. These include Dieter Ammann's Gehörte Form -- Hommages (performed around 40 times) and works by Wanja Aloe, Jürg Frey, Rudolf Kelterborn, Detlev Müller-Siemens, Roland Moser, Felix Profos, Michel Roth, Martin Jaggi (the ensemble's long-time cellist), and many others.

NEOS 11510CD

VA: Cantique CD (NEOS 11510CD) 15.50
Cantique is the first CD in a three-part series dedicated to works inspired by Swiss painters. The project intends, in a subtle way, to expand the listener's horizon, as an invitation to a journey through an unknown land in which three composers whose respective aesthetics differ greatly -- Max Reger, Ernest Bloch, and Andreas Pflüger -- seem to observe and speak to each other. Cantique is the result of an artistic collaboration that began in 2013 between Swiss cellist Estelle Revaz and Orchestre Musique des Lumières, conducted by Facundo Agudin. The program has been performed on tour in Basel, Delémont, Geneva, and in La Chaux-de-Fonds, where the present recording was made by RTS SRF 2 Kultur and Neos. This document gives no answers, but rather encourages the listener to look through new lenses. Revaz, born in 1989, began her international career at an early age. After initial studies in her homeland, she studied with Jérôme Pernoo at the Conservatoire National Supérieur in Paris. She then perfected her studies under the experienced guidance of world-famous soloist Maria Kliegel at the Hochschule für Musik Köln. Revaz has since received a series of major prizes, been supported by numerous foundations, and performed throughout Europe and South America. Facundo Agudin is an Argentine-Swiss conductor. He received his training in Buenos Aires, completed a post-graduate study program at the Schola Cantorum Basiliensis, and sang in the Swiss Chamber Choir under the direction of Claudio Abbado, Armin Jordan, Simon Rattle, Gennady Rozhdestvensky, and Valery Gergiev. In 2007, Agudin was awarded the First Prize at the Colin Metters International Seminar. He is the artistic director of the Orchestre Musique des Lumières and guest conductor with the Orquesta Sinfónica Nacional in Argentina.



WEAVER, JANE: Neotantrik Globes (Suzanne Ciani, Andy Votel, Sean Canty) LP (VCCW 001LP) 20.00
This recording of Jane Weaver re-scored by Neotantrik (Suzanne Ciani, Andy Votel, and Sean Canty) has been described by Andy Votel as the "incidental music" counterpart to the conceptual soundtrack of The Silver Globe (EGGS 019CD, EGGS 019LTD-CD, 2014). Invoking and refracting Weaver's hugely acclaimed The Silver Globe in one engrossing session recorded in Bergen, Norway, as part of an installation at the end of 2014, Neotantrik Globes contains Weaver's original material dissected, atomized, and diffused into a side of mercurial, open-ended electronics and mechanical process. Weaver's sylvan melodies, harmonies, and vibes are scrambled, extruded, and smeared so that one hears their morphing aspects in a swirling lightshow strafing from windswept ambience thru nebulous synth-space, garroting string-tension, and siren-like drone-pop to a screw-twisting denouement. The album is also notable for Ciani's use of some specially commissioned Buchla modules -- some of the first pieces produced by Don Buchla in years -- plus a Nagoya Harp played through a fuzz pedal and dulcimer fed through a space-echo. It's totally absorbing and is perhaps one of thee strongest recordings from the trio's one-of-a-kind setup, given an added dimension by Weaver's hugely evocative voice. Single-sided LP. Artwork by Andy Votel. Edition of 500.



NEWMAN, RANDY: Live at The Boarding House '72 CD (ORB 101CD) 12.00
Randy Newman's rich and diverse repertoire of songs had reached a wide variety of people through other artists, though listeners didn't always know it. His songs have crossed the divides of pop music, from Eric Burdon to Judy Collins to Fats Domino, which simply illustrates his measure of lyrical wit and intelligent, provocative songwriting. This stunning performance at The Boarding House in San Francisco, on June 11th, 1972, hides nothing from the ears and affords the listener a unique insight into the soul of one of America's greatest songwriting legends. Recorded during the promotional tour for his third studio album, Sail Away, this prized performance finds him at the relative dawn of his career. Although it didn't break massively in a commercial sense, Sail Away was a huge critical success, a fact that makes his solo appearances from this period so inviting. The original broadcast is presented here in its entirety, with professionally remastered sound, background liners, and rare archival photos.


OH 028CD

TERAKAFT: Alone CD (OH 028CD) 15.50
Alone was born out of a need to maintain sanity in times of broken dreams and lies. It might be Terakaft's most rock-oriented album to date, but at the same time it is their most poetic. While their 2010 album Aratan N Azawad, and even their 2012 follow-up, Kel Tamasheq, found them still full of hope, in 2015 the soil that was supposed to blossom is burnt by selfishness and rivalry. "There are too many characters in the picture, too many chiefs and not enough people," says member Diara when asked about Mali's political development since the group's last album. He used to sing political songs in the days in his rebel youth, when he was still playing guitar with Tinariwen. Since then he has begun to watch a new feeling growing inside him: ténéré, which translates to "alone." In the days when Diara sat in the dunes drinking tea with high hopes for the future, singing songs into the night, his nephew Sanou would sit next to him, still a young boy. Occasionally the uncle would hand his guitar to the nephew, so he could play along with the others. Just before the international success story of Tinariwen started, Diara got stuck on his way to Bamako and his place in Tinariwen was taken. Meanwhile Sanou had set up his own band, Terakaft. Diara and Sanou are now the backbone of Terakaft; the guardians of desert blues. Diara is the spirit of the band, as strong as a rock. Sanou is the band's heart. He brings the life to its spirit. Diara, the elder, lays out heavy rhythms pulsing through his guitar. Sanou has become the natural heir to the sound of "assouf," with his intense rock riffs and an uplifting attitude toward life. Alone is Terakaft's fifth album. It was produced by Justin Adams, one of the musicians from Europe who has delved deep into Tuareg music. Adams is known as a musician and producer through his work with Robert Plant, Tinariwen, and Juldeh Camara. He has geared up "The Caravan" (as Terakaft's name translates) to reach new shores and hit the dancefloors. In these troubled times, they have made an album together that presents the deep Saharan rhythms as a vital contemporary heartbeat. Standing on the ruins of their people's dreams, they sing to their brothers and sisters about true friendship and tolerance. Six-panel digipak; includes booklet.



To anybody with the slightest interest in electronic music and krautrock Hans-Joachim Roedelius needs no introduction. As founding member of Kluster (with Conrad Schnitzler and Dieter Moebius; continued as Cluster after Schnitzler's departure) and Harmonia (with Moebius and Michael Rother), he is one of the most highly-regarded pioneers and key figures in both genres. Roedelius remains very productive as of 2015, now in his 80s, and not only performs regularly but also continues to release an impressive amount of work. Ubi Bene sees him join forces with Leon Muraglia, electronic artist and guitar player of a younger generation, who, in addition to his solo recordings, also works as DJ and studio musician. The album's 12 tracks add up to an elegant musical trip that meanders between moody, ambient piano work; experimental passages; and contemporary electronica -- a fascinating chapter in Roedelius's impressive oeuvre. 180-gram double LP in gatefold sleeve with download code. Edition of 750.


PJ 005EP

J DILLA: Fuck the Police PIC. DISC (PJ 005EP) 30.00
Now repressed, originally an RSD 2015 release. "Dilla's classic, out of print for over a decade, remastered from Dilla's original mixes and issued on Pay Jay as a badge-shaped picture disc single for Record Store Day 2015. The Estate of James Yancey revived J.Dilla's Pay Jay Productions as a functioning imprint and announced its release of Dilla's long lost vocal album, The Diary. But before that full-length is issued, Pay Jay now announces the final single to be released from the project. It's a classic in every way. This single of Dilla's anthem was originally released as a standard 12". That vinyl is now rare and out of print. On the Pay Jay issue coming for Record Store Day, both the vocal and instrumental are sourced directly from mix-downs that Dilla himself created."



The third and (for now) final chapter of the big book of Woolfy vs Projections (aka Simon James and Dan Hastie) completes the arc that began with The Astral Projections of Starlight (PERMVAC 030CD, 2008) and The Return of Love (PERMVAC 096CD, 2012). The California-based duo's albums are all loosely based on the adventures of the lost astronaut Captain Starlight, the eponymous hero of German duo Zazu's 1979 balearic rock classic. "Captain Starlight" is a useful reference point for the sound of Woolfy vs Projections, who deliver a deep balearic twilight vibe combined with a classic west coast sound, dubbed disco, beard rock, and a heavy funk bounce. Tracks like "Absynth" (which Resident Advisor compared to "Air covering Steely Dan"), "Neeve," or "Set Me Loose" are all modern classics. Stations perfects the duo's technique of filtering a psychedelic folk album through a modern-day disco aesthetic. Whether it's spaced-out house jams like "Combination" and "Tangiers," the idyllic vibes of "Walkaway," or "The Bright Light of the Truth," a hazy mood stretches over the album, which also includes a careful reconstruction of Odyssey's 1974 balearic classic "Who" to bring the listener into a state of bliss. Stations bring the space epic of Captain Starlight to a graceful end. Features Michaela and El Javi.


ASH 3003LP

SILVER APPLES: Silver Apples LP (ASH 3003LP) 31.00
2015 repress. Limited edition deluxe LP format, pressed on 180 gram virgin vinyl; housed in a deluxe gatefold foil sleeve containing the insert from the original release. The self-titled first album by '60s electronic legends Silver Apples, originally released by Kapp Records in 1968. Fresh off their stint as The Overland Stage Electric Band, Simeon and Dan Taylor formed their own extravagant, two-man electronic space-odyssey, Silver Apples, to remarkable critical acclaim. "What's so amazing is that they make absolutely mind-shattering music with all this junky equipment," commented one reviewer, astounded over the then-mindbending concept of build-it-yourself electronics combined with rock drums. The debut album features lyrics by poet Stanley Warren and is an absolutely essential piece of musical history from electronic/psychedelic/rock music's ground-breaking legends.


RM 468CD

GRISWOLD, ERIK: Pain Avoidance Machine CD (RM 468CD) 16.50
"In late 2014, feeling stifled by the negativity of the Australian political discourse, the narcissistic excess of social media, and facing a long summer of migraine-inducing heat, I turned to the prepared piano as a refuge. I was coming out of an intense two-year period of composing for every conceivable instrumental combination, and not sure where to go next. I felt the need to get back to basics, and create something essential, elemental. These pieces are meditations, each with its own mood, but constructed in a similar way. The piano is the pain avoidance machine" --Erik Griswold. America-born, Australia-based composer and pianist Erik Griswold is a master of the prepared piano. Since the late 1980s he has forged a deeply personal approach to transforming the piano from a tonal hammered instrument into a device that transgresses acoustic music traditions. Uniting robotic rhythms of almost electronic timbre, uncharacteristic evocative melody, and metallic murmurs, he transforms the piano with a restless and rigorous curiosity. Pain Avoidance Machine is an intimate set of miniatures. The listener is invited inside the piano, exposed to the instrument's raw materiality. Griswold offers an invitation to explore the prepared piano's sound-world in a detail that reveals an entirely new dimension. Mechanistic motifs and rhythms are layered one atop another to create fragile musical collages. Like a broken pianola, the subtle nuances of the prepared piano have an off-kilter quality, full of unexpected resonances, buzzes, and percussive strikes.


RCD 2169CD

DRECKER, ANNELI: Rocks & Straws CD (RCD 2169CD) 17.00
Anneli Drecker's ethereal voice first became known through the music of her band with Geir Jenssen (aka Biosphere) and Nils Johansen, Bel Canto, in the '80s. The trio signed to the legendary Belgian label Crammed Discs, alongside Zap Mama and Tuxedomoon, and captured the zeitgeist of European electronic music in the late '80s. They have won the Spellemannprisen (Norwegian music award often called the Norwegien Grammy) three times, and are regarded as pioneers in the Norwegian electronic pop music scene. With her characteristic experimental singing style, often compared to other wonderful singers such as Lisa Gerrard and Liz Fraser, Drecker has collaborated with many great artists, including Hector Zazou, Jah Wobble, Gavin Friday, DJ Krush, Tim Simenon, Simon Raymonde (Cocteau Twins), Guy Sigsworth, and Ketil Bjørnstad; she has also recorded three albums based on poems by John Donne and Hart Crane. Drecker joined A-ha on two world tours as their guest singer, and toured the world for more than ten years with Röyksopp, co-writing a number of songs with them. In 2012, Drecker left Röyksopp to return to her own music, and Rocks & Straws is a homecoming album, an ode to her native town and region. The songs are based on lyrics by the North Norwegian cult poet Arvid Hanssen, translated to English by artist and writer Roy-Frode Løvland. Hanssen's poems are strongly influenced by the mysterious and powerful nature of this arctic region, like the writings of Knut Hamsun, born only a few miles from Hanssen's birthplace. Man and nature, and man in nature -- Hanssen captures the interaction of Northern Norwegians with their merciless but beautiful surroundings. Rocks & Straws is very much an acoustic album. In a world of electronic recordings, she has moved in another direction, and made an album based on recording techniques from the '70s. The music is played live, with some of Norway's finest musicians: guitarist Eivind Aarset, drummer Rune Arnesen, bassist Ole Vegard Skauge, and The Arctic Philharmonic, Tromsø's acclaimed orchestra. Drecker sings and plays the piano and organ, and produced the recording with the musicians. At the time of this release, Drecker is a Ph.D. candidate at the Arctic University of Tromsø, where she is researching voice techniques of indigenous people; this is apparent especially in the song "Ocean's Organ," with a Maori group singing kapa haka songs that Drecker recorded while in Auckland, New Zealand.



ONE: One CD (STCCD 3004CD) 17.00
One was another of the numerous short-lived bands that have come to form a hugely complex picture of the tail-end of the 1960s. One were born out of an earlier revolution, the roots of which can be traced to the mid-'60s R&B scene, which gave way to the psychedelic and progressive blues scenes a few years later. Various members had come up through the beat ranks in Timebox, Loose Ends, The Rogues, Happy Magazine, and Gass, all enjoying varying degrees of success, and by the end of the decade they would come together to form the progressive outfit One. After a lone self-titled album on Fontana (released in the UK, Spain, France, and Germany) and two 1970 singles containing album tracks, the dream was quickly over. That sole album, originally issued in 1969 and now highly sought-after by collectors of British progressive rock, is available here in professionally remastered sound with a bonus track taken from the band's 1970 split single with French pop artist César, thus collecting all of One's recorded output. Includes background liners and rare archival photos.


LUCIFER: Dance with the Devil 2CD (STCCD 3006CD) 23.00
From the dark abyss of British underground rock comes the near-mythological Lucifer. The anarchist antichrist has remained an enigma since his recordings appeared in the underground press in 1971. It was not until the 1990s that the true identity of Lucifer was revealed as filmmaker, musician, and all-around electronics whiz-kid Denys Irving, a close friend of the enigmatic Howard Marks, with whom he attended the University of Oxford in the late '60s. Irving's short films have now been salvaged, restored, and appraised, to help celebrate the work of a truly inspired and iconic genius. Dance with the Devil contains all of Irving's known Lucifer recordings, combining his all of his privately-pressed rarities for the first time. The debut Lucifer album, Big Gun, was originally released in 1972 and the ultra-rare second work, soundtrack album Exit, followed later that year. Dance with the Devil also collects the four Lucifer singles, originally released between 1971 and '73. This edition also boasts original artwork, numerous pieces of rare archival memorabilia and photos, and a detailed account of the man behind the music. For lovers of demonic rock, early electronica, or plain fuzz-driven proto-punk, this is a unique opportunity to sample the devil at work. Professionally remastered original recordings.


SR 397CD

FAFCHAMPS, JEAN-LUC: Gentle Electronics CD+DVD (SR 397CD) 15.50
"In the pieces featured on this record, I have chosen simple electronic means -- the kind that are commonplace, accessible, cheap, and easy to use -- and I put them to work in a mostly-theatrical way: a situation of representation, one that is unique, new, and creative, where the focus lies in esthetics and poetics instead of in technological prowess. An imagination of otherness, where you don't know anymore whether the other is the soundworld produced out of time in the 'black box' of electronics or the musician -- or even the instrument itself -- pushed away, alienated, lost, despite the fact that there appears to be evidence of his/her/its physical presence." This CD contains Beth/Veth (2012), for piano, metallic percussion, and electronic installation, performed by Stéphane Ginsburgh (piano and percussion). The accompanying DVD contains Street Music for Plugged Viola (2009), a film by Manon de Boer with Vincent Royer (viola). DVD format is European PAL, region-free, stereo audio. Jean-Luc Fafchamps (born 1960) is a pianist and composer. He studied at the Royal Conservatory of Mons and Louvain University. A member of the Ictus Ensemble, he has taken part in many concert performances in large ensembles and chamber groups (performances of works by Lindberg, Reich, Aperghis, Mernier, Leroux, Harada, Francesconi, etc.), and in mixed performances, particularly accompanying dance (multiple performances with Rosas (Anne Teresa de Keersmaeker)) and theater (several creations with Aperghis). He has made recordings for Sub Rosa -- with the Bureau des Pianistes and as a soloist -- of works by Bowles, Liszt, Feldman, Dallapiccola, Duchamp, Scelsi, and Berio; has contributed to numerous recordings with the Ictus Ensemble (Francesconi, Aperghis, Lindberg, Harada, De Mey, Mernier, Harvey, etc.); and has accompanied many singers.


SBR 5105CD

Recorded in 1969 and released in 1970, Think Pink (SBR 5095CD/LP, SBMS 5104CD) is one of the cornerstones of British underground rock. Five decades later, in 2015, John "Twink" Alder has teamed up with Italian psychedelic rockers the Technicolour Dream and guest stars including John Povey (The Pretty Things) and David Duhig (July) to create a sequel. Recorded in Rome and London and mixed by the legendary John Wood, it's sure to delight all fans of psychedelic music. Includes background liners and rare photos.


TR 318CD

TELESCOPES, THE: Hidden Fields CD (TR 318CD) 18.00
Founded in 1987 by Stephen Lawrie, The Telescopes have been mining a unique anti-myopic seam of highly influential experimental, drone, noise, dream, and psych ever since. Their first record was a split flexi-disc with Loop on Cheree Records. After a two more critically acclaimed singles for the label, they moved to What Goes On Records, with which they released another two EPs and their 1989 debut album, Taste, all of which found their way to the top of the UK independent charts. Tours followed with Spacemen 3, Primal Scream, and The Jesus and Mary Chain, and it wasn't long before The Telescopes were headliners themselves; Bark Psychosis, Whipping Boy, Slowdive, Bleach, The Cranes, and Ride all played some of their earlier shows supporting them. In 1990 the group appeared at one of the UK's biggest festivals of the time, Reading Festival, where they were one of the few bands that wasn't bottled off the stage. However, the increasing violent interactions with audiences at their shows saw the group step away from their noise origins and head toward a more introspective, psychedelic sound. It was around this time that What Goes On folded and Alan McGee stepped in to release the group's material on his Creation Records. The group released their second album and a string of EPs for the label, working with Douglas Hart (The Jesus and Mary Chain) on their videos, visual artist Paul Cannel on their sleeve work and Laika's Guy Fixsen in the studio. In 1992, the group began an eight-year hiatus, resuming output in the year 2000 with a revolving lineup and a stream of well-received releases. In 2011 Portishead invited The Telescopes to play at the first ever ATP festival at Alexandre Palace in London, and the following year The Black Angels and Reverberation Appreciation Society invited them to Austin Psych Fest. Following the 2013 release of their seventh LP, Harm, on Seattle-based label Neon Sigh, the group toured almost non-stop over the following two years, covering Scandinavia, Europe, Russia, Latvia, Estonia, the Ukraine, the UK, USA, the Middle East, and Ireland. Hidden Fields, The Telescopes' eighth album, is an unexpected return from the group's recent expeditions into the outer reaches of free-drone noise -- the psychiatric sounds of The Telescopes in a concise inner sensory rush, and their most song-based output in some time. Recorded in Glasgow with St Deluxe.

TR 326EP

LILAC TIME, THE: Prussian Blue 12" (TR 326EP) 12.50
Following The Lilac Time's 2015 album No Sad Songs (TR 310CD/LP), Stephen Duffy's first with the band since 2007, this EP opens with a beautiful mix of album track "Prussian Blue," ushered in by previously unheard vocal harmonies from Duffy's wife Claire, before live recordings of "The Road to Happiness" from The Lilac Time's 1987 self-titled debut; a psychedelic version of "A Day in the Night" from 1999's Looking for a Day in the Night; and "The Lost Girl in the Midnight Sun" from 1989's Paradise Circus, effortlessly blending the bouncy bluegrass of the original with the most light-footed of Bo Diddley beats.



APPLEBLIM: Avebury 12" (TEMPA 101EP) 12.50
Appleblim has somehow remained one of the great unsung artists to emerge from Bristol's late-2000s golden era of producers. His 2010 collaboration with Ramadanman, "Void 23" (AUS 1031EP), remains a club staple; he's mined the deeper shades of house with Komon; and his 2008 collaboration with Peverelist, "Over Here," touches on tightly-woven techno. Here, "Avebury" builds toward its apex before a rude bassline plunges the skittering keys into a deep, measured lull. The record's central track is also its most challenging; "Wandered" offers no kick of any sort, but instead bubbles menacingly under the surface for its ten-minute duration, recalling Actress's more thought-provoking work.



EMBEZZLEMENT SOCIETY: Rough Quarters EP 12" (TDPR 018EP) 14.00
Embezzlement Society returns to the early days of '80s hip-hop with his Rough Quarters EP. The man from Belfast relies heavily on funk-based drum loops to create two super-casual tracks with a cool hip-house attitude -- perfect for Drei Farben House, who remixes "Mi Casa" in his slick and smooth style, merging the raw drums with some tender Rhodes. Tenderpark regular Roman Rauch slows down the tempo in his remix of the same track, concentrating on the originals of the samples and displaying his mastery with the MPC once more. Mastered and cut by Helmut Erler at Dubplates & Mastering.


BIC 104-7

PHARCYDE, THE: Bizarre Ride II The Pharcyde: The Singles 7x7" Box (BIC 104-7) 64.00
"All of the singles issued from one of the most legendary debut albums in music history, Bizarre Ride II The Pharcyde, are presented here as a deluxe 45 box set. Bizarre Ride II The Singles Collection contains the singles issued from Bizarre Ride in full color jackets. Each of the seven singles included in the set are in a different colored vinyl pressing. Originally released in November 1992, Bizarre Ride II The Pharcyde emerged at a time when gangsta rap dominated what people were hearing, seeing and buying, especially on the West Coast. The Pharcyde's refreshing sound -- lively, humorous and inventive lyrics over lush, jazzy productions -- changed hip hop's trajectory and influenced a generation of artists. Bizarre Ride helped establish a new alternative scene on the West Coast, paving the way for artists such as Hieroglyphics, The Coup, Jurassic 5 and many more."



SAUNA YOUTH: Distractions LP (UTR 071LP) 22.00
180-gram LP version. Limited to 700. Consisting of Richard "Boon" Phoenix (drums, vocals), Lindsay Corstorphine (guitar), Jen "Ecke" Calleja (vocals, sampler), and Christopher Murphy (bass), Sauna Youth are a punk band that's happy to embrace all of the contradictions that go along with that notion. They are at times furious, unstoppable, and severe, with the sampler wailing like an alarm coming from a parallel universe; then chugging, poppy, harmonious, and fun. Forever loud. As Kurt Cobain once asked, "Why can't we be both Black Sabbath and The Beatles?" Sauna Youth consistently pose the question, "Why can't we be both the Ramones and Steve Reich?" They recorded Distractions over a couple of days in July 2014 at Sound Savers in Homerton with Mark Jasper, mixed it themselves, and had it mastered by Kris Lapke. It's an album that feels instinctive and natural, flowing freely from a band that has come to terms with the sum of its parts. Ultimately, though, Sauna Youth have made a colossal record that is impossible not to dance to. "Transmitters" races off with its guitars pulsing and chopping before the chorus crashes in like a wave. Ecke and Boon sing in unison, creating a voice of no specific gender and allowing the songs to be sung from multiple perspectives and from a place of shared experience. On "Cosmos Seeker," the drums pin the jabbing guitar chords and vocals in place, surrounded by a propulsive swarm of sound. Distractions also includes two poems put to music: "(Taking a) Walk," by Ecke, is a rumination on the body, specifically female, in public spaces; "Paul," by Boon, explores individuality and authentic performance. In addition to performing as Sauna Youth, all four members, in swapped roles, also make up the band Monotony, which they formed while writing Distractions in 2014. Later in 2014, they did two sessions over two days as both bands for Marc Riley on BBC 6 Music, and performed as both bands at DRILL Festival: Brighton, after being invited by Wire. Members of Sauna Youth also play in Tense Men, Primitive Parts, Feature, and Cold Pumas. They've previously played with Pissed Jeans, Thee Oh Sees, Ty Segall, and Protomartyr; toured with Ceremony and Cold Pumas; and played at both the Liverpool International Festival of Psychedelia and Oslo Psych Fest.


PEGA MONSTRO: Alfarroba LP (UTR 072LP) 22.00
LP version. Limited to 500 copies. Pega Monstro are sisters Júlia Reis (vocals, drums) and Maria Reis (vocals, guitar, keyboard). The duo's name translates to "catch the monster," perfectly countering the band's striving dream-punk sound. Born and raised in Lisbon, Portugal, Maria and Júlia have been playing music together since they were 15 and 17 respectively, in other groups first before becoming a duo. In 2010, the sisters, along with some of their musician friends, started a record label called Cafetra Records to document Portugal's garage punk scene. Pega Monstro were among the first bands on the label, releasing their O Juno-60 Nunca Teve Fita EP in 2010 to a burgeoning audience of devotees, who'd turn up in growing numbers to each show and sing back the lyrics. Maria puts the band's instant attention down to being different: "we were girls, we were young and we could rock, people weren't used to that at all." 2012 saw Pega Monstro release their self-titled debut album, which was produced by B Fachada, an extremely well known Portuguese singer-songwriter. The band and producer hit it off like wildfire and recorded an impressive, raucous debut record that met with critical national acclaim. Pega Monstro now present their second album, Alfarroba. "Braço de Ferro" kickstarts the album with torrents of energy; the song's title, which translates as "arm wrestling," is apt for a track so full of back-and-forth. Júlia and Maria excel at bouncing ideas off each other; snare rolls trigger flights of guitar, fogs of cymbal form steps for the vocal to climb. Songs like "Fado D'Água Fria" and "És Tudo O Que Eu Queria" showcase Pega Monstro's more reflective mood, with both songs pausing for the clouds to pass and delivering some well-anticipated melancholic moments to offset the album's otherwise dizzying ascent. Alfarroba was produced and mixed by Leonardo Bindilatti, a good friend of the band and Cafetra Records. Bindilatti has worked on many releases from the close-knit group of bands from Lisbon, including his own Putas Bêbadas, and this familiarity comes through on the recording. Nothing feels rushed; there's a leisure afforded in getting everything to sound just right. Pega Monstro make rapturous music; it's brisk, it's contagious, it laughs at the language barrier and just keeps running headlong into more and more new ideas.



The Enzo Pietropaoli Quartet follows Yatra (2011) and Yatra Vol. 2 (2013) with the outstanding sonic construction Yatra Vol. 3. The group formed in 2011 during a series of concerts in India that sealed the members' musical and human cohesion, which also gave rise to the title Yatra, the Sanskrit word for "journey" or "procession." Bassist Enzo Pietropaoli's music evolves and takes in influences, but nevertheless keeps the spirit of traditional jazz alive. He believes in a certain classicism, trusting that his music can endure over time. With Yatra Vol. 3, he and his quartet have fine-tuned their approach toward the musical philosophy attained in the acclaimed first two volumes in the series. The readers of JazzIt magazine named Yatra "Best Album of 2011" and Enzo Pietropaoli "Best Bassist of 2011." Musica Jazz named Fulvio Sigurtà, the quartet's trumpeter, "Best New Talent of 2011," and in 2013 named the Enzo Pietropaoli Quartet "Best Italian Group of the Year." Along with an inevitable artistic growth, both individually and as a group, Yatra Vol. 3 espouses a cohesive approach and hones a sound in line with the two previous works, taking on an almost ritual significance. The ten pieces here -- five of them original tracks written by Pietropaoli -- feature remarkable instrumental duets characterized by a melodic tinge and lush tonalities that deviate stylistically from earlier genres, shying away from eclecticism without being overly traditional. The album also includes tributes to Stevie Wonder, Janis Joplin, Tom Waits, and Blur, and a song co-written by Gianni Morandi and Daniel Bacalov. Also unchanged since its inception is the band's entourage of producers, collaborators, graphic designers, and press office -- all protagonists of this extraordinary journey. Enzo Pietropaoli: double bass; Fulvio Sigurtà: trumpet; Julian Mazzariello: piano; Alessandro Paternesi: drums.


Acclaimed Italian harmonicist Federico Bertelli's Living contains sounds reminiscent of the colors and the warm atmosphere of Central and South America, from the Brazilian choro of "Carioquinha" (Waldir Azevedo) to the Cuban bolero of "Claudia" (Chucho Valdés), as well as in Bertelli's own compositions, including "Living" and "Waiting." The tender ballad "Soul Eyes" (Mal Waldron) and bebop-tribute "Funk in Deep Freeze" (Hank Mobley) both showcase the strength it takes to dominate an extremely difficult instrument like the chromatic harmonica. Bertelli does not seem to be fatigued by this difficulty, and proves himself to have arrived at that state coveted by all improvisers, in which the melody is naturally formed by the thought and expresses itself through the instrument with the immediacy of singing. Bertelli has an attention to detail characteristic of only the greatest musicians, and an extraordinary intensity that denotes generosity and depth. Living features several important guests, whose participation demonstrates the high esteem in which they hold Bertelli and his work. The fine arrangements of pianist Piergiorgio Pirro; the round, warm sound of Gabriele Evangelista's double bass; the discreet, refined rhythms of drummer Stefano Tamborrino; flutist Nicola Stilo; and trombonist Roberto Rossi's solos on "Funk in Deep Freeze" and "Waiting" all serve to complete Bertelli's design.



LE DOUX, LAWRENCE: Pollution 12" (VLEK 021EP) 14.50
Lawrence le Doux returns to Belgium's Vlek label following 2014's Terrestre 12" (VLEK 016EP) with four tracks of playful, hauntologically-minded electronica and techno. The mesmerizing loops and analog gyre of "Floor" ensnare the listener and neatly segue into "Liquide," on which a sublime mist of gentle hiss settles over unworldly synths and a metronomic beat. "Pollution" deploys a meandering melody to simple yet devastating effect before giving way to scattergun metallic percussion. The organic, bass-led "Story" is a beatless coda that exemplifies the EP's sense of nostalgia for the future. Eight-pass letterpressed sleeve designed by Dimitri Runkkari. Edition of 300.


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