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Forced Exposure New Releases for 9/7/2015

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New music is due from Thighpaulsandra, Stephen O'Malley, and Francisco López, and while old music is due from Nurse With Wound, Mark Van Hoen, and Robbie Basho.


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4M 136LP

VELVET UNDERGROUND, THE: VU: A Collection of Previously Unreleased Recordings LP (4M 136LP) 21.50
Restocked, last copies of this now deleted edition. "The 10 tracks of VU (most of which originally intended for The Velvet Underground's unreleased fourth MGM/Verve LP) were recorded between 1968 and 1969. Contains such classics as 'I Can't Stand It,' 'Stephanie Says,' 'She's My Best Friend,' 'Lisa Says' and 'Ocean' among others."

4M 149LP

WALKER, SCOTT: Scott LP (4M 149LP) 21.50
2015 restock, last copies. "One of the most enigmatic figures in pop music history Scott Walker (nee Scott Engel) first saw massive success in England with his band The Walker Brothers in 1965. Not really brothers, nor were they British, the trio left Hollywood seeking fame in England, and they found it there for a time with their particular brand of orchestrated pop. Following the group's demise in 1967, Walker set out to pursue solo stardom in perhaps the most peculiar way possible, with over-the-top baroque pop songs owing more to his idol Jacques Brel, Tony Bennett and Frank Sinatra than they did to The Beatles or The Stones. This is his first solo LP from 1967 and features 3 of his own compositions along with covers of songs by Brel, Tim Hardin, and the Brill Building team of Cynthia Weil and Barry Mann. A true original."



MAGIC CASTLES: Starflower CD (AUK 121CD) 14.50
Magic Castles are a five-piece band from Minneapolis, MN. Their sound has been described as droney psychedelic pop, combining the organ-drenched hazy atmospherics of the mid-/late-'60s with sun-drenched West Coast folk-rock. Magic Castles toured with The Brian Jonestown Massacre in 2012 and released a beautiful 12" split single with The BJM on Record Store Day 2014. Their 2014 sophomore album, Sky Sounds (AUK 114CD/LP), and successful West Coast tours see the band reaching new heights. At the time of this release of their third album, they are undertaking their first European tour, concluding with an appearance at the Liverpool International Festival of Psychedelia.



RECONDITE: Limber/Undulate - Lawrence Mixes 12" (ASD 025EP) 14.00
Limber/Undulate - Lawrence Mixes is released in advance of Recondite's 2015 album Placid, and coincides with Acid Test's 2015 reissue of Recondite's 2012 debut album On Acid (AT 001LP). The CD version of Placid, forthcoming at the time of this release, also includes the first CD edition of On Acid.

AT 001LP

RECONDITE: On Acid 2LP (AT 001LP) 23.50
Recondite's debut album On Acid was originally released on Absurd's Acid Test imprint in 2012 to wide acclaim. Acid Test now presents a 2015 reissue of the melancholic acid album, released in advance of Recondite's Limber/Undulate - Lawrence Mixes 12" (ASD 025EP) and his full-length album Placid. On Acid includes remixes by Tin Man and Scuba.



LOPEZ & OCTAVIO, P.: Reaktions EP 12" (AEON 017EP) 14.00
P. Lopez teams up with fellow Paraguayan producer Octavio to deliver a glorious five-track techno EP. Razor-sharp percussive power accompanies layers of subtle, mood-defining sounds as the duo deftly blends subtlety with energy and gorgeous, quirky compositional traits. These stellar tracks complement each other when played in their entirety, yet also stand out as hi-octane individual gems on their own. Mainstay of the electronic music scene Tobias Freund (Berghain, Life and Death) delivers a remix of "Reaktions" that's yet another masterclass in his subtle genius for reduced but jacking grooves that display as much attention to detail as floor impact.


N 043LP

RAYON: Il Collo e la Collana LP (N 043LP) 17.50
Whenever Markus Acher finds time between his work with The Notwist and Lali Puna, he sets out to record film soundtracks under his solo moniker Rayon. This time it's Eleonora Danco's 2015 film N-Capace that inspired ten cinematic, instrumental sketches based on loops that loom, take shape, and change colors, only to vanish an instant later. Acher's understated tracks, created with both electronic and acoustic layers, can do without titles -- "Il Collo e la Collana 01" through "10" is perfectly sufficient -- because, ultimately, they're one entity anyway. After all, it's Danco's film, influenced by Fellini, Buñuel, and Beckett, that triggered these interpretations and set the tone for Il Collo e la Collana. At times clocking in at less than two minutes, the crackle of these tracks leads to a vast, shimmering expanse over barely audible layers of bass; it is here, in this clearing, that Acher, alone with his headphones, combines various acoustic instruments (mallets, harmonium, glockenspiel, guitar, piano) with samples, keys, beats, and drum computers; it is here that he meets some old acquaintances (Egisto Macchi, Bruno Nicolai, Ennio Morricone, Oronzo de Filippi) or reverses an idea so that it can slip where it belongs. The entire soundtrack is a purely instrumental, pastoral landscape of epic proportions. Whereas Eleonora Danco eventually released her latest movie as N-Capace, Acher sticks to its working title, Il Collo e la Collana (The Collar and Necklace), and his "collar" not only includes music that's not part of the original movie, but it also traces his path as a musician, with warm, soothing harmonies, melancholy moods, intentional cracks, the kind of freedom usually associated with jazz. Just like the movie, which Acher describes as "poetic and surreal at times," his soundtrack feels like an album of snaps; experimental, shot from unexpected angles, and often "beautifully strange" (which happens to be the common thread that links all Alien Transistor releases). Includes download code.



LUMISOKEA: Mnemosyne LP (ALT 023LP) 22.00
Berlin-based Italian/Belgian duo Lumisokea present Mnemosyne, shedding the bass-heavy rollers found on 2014's Apophenia (OPAL 032LP), and welcoming space and tension into the fold. Most of the groundwork for the record was made during a week-long residency at the WORM studio in Rotterdam, which saw the duo make full use of the studio's collection of synthesizers from the '60s and '70s. The improvisations with these peculiar machines were subsequently edited and combined with heavily-processed recordings of gamelan bells, prepared piano, cello, and acoustic drums. A meticulous two-year period of reworking and reflection followed before Lumisokea finally arrived at Mnemosyne. An exploration of the gray area of sounds that vacillate between electronic and acoustic; an effort to show their coalescence and kinship, like shadows of forgotten sonic ancestors. Shards of oblique melody merge with slow-burning rhythms; sudden changes of scenery melt into fog-drenched sonic artifacts. In Lumisokea's own words, "The whole process felt like cultivating a garden of the imagination which is in no rush to be opened to the visitors. With this full-length album we explore the more nocturne, narrative and twilight-like angle of Lumisokea. When listening back to it, we had strong images evoking times in an unidentified or unactualized past, like places and events that could have existed, but then didn't. Hence our reference to Mnemosyne, the ancient Greek goddess of Memory."



PAKI-VISNADI: Imaginary Choreography CD (ATN 018CD) 14.50
Previously unreleased guitar-and-synth musical jewel from Italy circa 1984, available on CD with one bonus track following a 2015 LP release (ATN 018LP). An until-now-unknown collaboration between a guitar maestro who composed contemporary dance scores and a gifted electronic music composer. Melodic complexity and rhythmic sonic beauty create a unique and timeless classic that has already achieved cult status among the few who have heard it. Obvious comparisons can be made between Imaginary Choreography and the softer ambient side of vintage German electronic music -- Göttsching, Schnitzler, Cluster, etc., but that would be too easy, as this recording stands alone with its uniquely Italian atmosphere of sophisticated and complex simplicity. This session was recorded by two Venetians: Paki Zennaro (then working with composer René Aubry for choreographer Carolyn Carlson) and Gianni Visnadi (an experimental composer), who met one evening over a glass of wine and decided to work together for the first time with the intention of recording contemporary music to be used by dance schools for study and exercise. The duo recorded on reel-to-reel tape using electronic equipment (Sequential Circuits Pro One and Prophet 5; Roland TR-808 and guitar synth) with an acoustic 12-string guitar. When finished and mixed, a few BASF LH extra cassette copies (maybe as few as six or eight) were sent out to a few friends with a homemade photocopy insert, complete with handwritten track names and production details. This now-famous BASF tape was found one lucky morning by Johanna Heather Anselmo (filmmaker, photographer, musician), while she was searching for musical surprises in a box of tapes that had probably been at that same flea market for 20 years or more. Anselmo is used to rummaging in boxes of dusty tapes, being the girlfriend of Antinote artist Iueke, who has the unusual habit of hiding tapes all over their flat. Iueke found contact information for Zennaro and Visnadi, who were happy to oblige with the release of this almost-forgotten 1984 session. Master tapes were sent to Paris for immediate transfer and mastering, while the Check Morris graphic design team worked with its usual class on adapting and reworking the cassette tape artwork.


SD 1488LP

AYERS, ROY: Virgo Vibes 2LP (SD 1488LP) 15.00
Exact repro of jazz vibraphonist Roy Ayers' 1967 album for Atlantic, featuring Charles Tolliver (trumpet), Joe Henderson (tenor sax), Ronnie Clark (piano), Reggie Workman (bass) and Bruno Carr (drums). On "Glow Flower," Ayers is joined by Harold Land on tenor, pianist Jack Wilson, bassist Buster Williams, and drummer Donald Bailey.


BB 500EP

BROTHERS, THE: You Can't Win/Memories 12" (BB 500EP) 8.00
"Hooked up and pumped by BDP in 1987, this hard-to-comeby single should not be slept on. The Brothers were down with Boogie Down Productions and had a few singles come out on the notorious B Boy Records label in the late 80s, this one being 'You Can't Win' backed with 'Memories'. Both of the selections on this record are pure, raw Hip Hop from the golden era. Layered beat boxing and drum programming with the B Boy posse sounding hungry make this 12" single definitey not one to miss."



FFRENCH, ROBERT: Black Solidarity Presents Mr Babylon CD (BSCD 002CD) 14.00
"Hear what happen now! We used to punch the juke box lunchtime... Me and me friends had a kinda thing like the juke box was our sound system and we'd use our lunch money to play the baddest tunes on the juke box. We were aided and abetted by a kinda dodgy little shop keeper cause we were kids and we were in the rum bar punching the juke box when we weren't supposed to be allowed!! So we were breaking all the rules... punching the juke box and taking turns to play the wickedest tunes in the juke box..." --Ossie Thomas. Breaking rules from the outset, Ossie Thomas had furthered his childhood fascination with music while still attending Oberlin High School; many more rules would be broken when, together with Phillip Morgan, he set up the Black Solidarity label in 1979 on Delamare Avenue, deep in the heart of the Kingston ghetto... "I used to tell people that dance hall was like styles and fashions, if you have a wicked style and you have the fashion you go make it in the dancehall... You understand?" --Ossie Thomas. Black Solidarity Presents Mr Babylon contains 15 killer cuts from the legendary Black Solidarity label, including three CD-only bonus tracks.



F INGERS: Hide Before Dinner LP (BLACKEST 044LP) 27.50
Hide Before Dinner is an extraordinary LP from a group comprising Carla dal Forno (Tarcar), Samuel Karmel, and Tarquin Manek (Tarcar, LST). Deeply drugged, synth-daubed death-folk and DIY electronics of the highest order; acutely psychedelic, inscrutable but emotional, sunken but prone to soaring, with flashes of horror too. Beautifully conjures the mirth and murk of childhood summers... a relatable surburban gothic... grazed knees, hide-and-seek, nettle-stings. Trampled flowerbeds and failing light. Ghouls in your neighbor's garden. Think Nico meets Dome or Alison Statton wandering The Pickle Factory after dark. If you dream you die, you die. Cover art by dal Forno and Manek. Layout assistance by Oliver Smith. Cut by Noel Summerville and pressed at Optimal. Housed in full-color gloss sleeve with printed inner sleeve and download code.



DEADBEAT: Walls & Dimensions II 12" (BLKRTZ 013EP) 14.00
Deadbeat presents the second vinyl-only release (following BLKRTZ 012EP) in advance of his 2015 album Walls and Dimensions, forthcoming at the time of this release. While the first installment featured a luscious extended ambient drone piece over two sides, this 12" features extended dubs of two of the album's dancefloor cuts, filled to the brim with the space-age dub effects, mournful melodies, and rumbling basslines Deadbeat fans have come to expect.



MCPHEE QUARTET, JOE: Underground Railroad LP (WEAVIL 051LP) 23.50
2015 restock. First time vinyl reissue of Joe McPhee's classic CJR LP from 1969. Exact repress of the original artwork. Trumpeter and saxophonist Joe McPhee's first album, Underground Railroad, has been virtually impossible to find on vinyl, issued in an edition of 500 copies on Craig Johnson's CJR label -- it was recorded next to Johnson's house at the Holy Cross Monastery in West Park, New York. It sold out and was never reprinted on vinyl until now. Underground Railroad is comprised of three pieces, the title-track, "Harriett," and "Message from Denmark." The band features McPhee on cornet, pocket trumpet, and tenor, Reggie Marks on tenor, soprano, and flute, bassist Tyrone Crabb, and Ernest Bostic on drums, and is a scathing fire music release. There are wild, ecstatic interactions between McPhee and Marks, while the rhythm section harness the moaning, screaming, crying, and wailing done by the front men. On "Harriett" and "Message from Denmark," the music takes on a decidedly more spatial feel. This is McPhee at the height of his powers of improvisation and composition. As far as vintage ecstatic free jazz goes, it doesn't get much more nail-biting than this. Limited to 500 copies. Joe McPhee (trumpet, pocket cornet, tenor saxophone); Reggie Marks (tenor and soprano saxophone, flute); Tyrone Crabb (bass); Ernest Bostic (drums, percussion, vibes). Recorded on April 13, 1969, West Park, NY.



ROBERTS, JOHN: Orah 12" (BED 000EP) 14.50
Two MPC 2000 works from 20 semi-opaque purple floppy disks. Brunette Editions is a publishing outlet created by John Roberts as an abstract platform for audio recordings, printed matter, and ephemera. The label showcases interdisciplinary work unbound by genre and medium created under the direct or indirect influence of music.


BB 211CD

COLE, LLOYD: 1D Electronics 2012-2014 CD (BB 211CD) 17.00
"Late in 2011 Hans-Joachim Roedelius and I agreed to embark upon an album project together... I assembled my first Eurorack modular synth... a basic single voice system with rudimentary sequencing. I had no experience whatsoever working in this way... my subliminal knew it would recognise the music I was reaching for, but my knowledge of electronic engineering was insufficient to proceed with any confidence... I studied and experimented with a new technique or concept. I recorded everything. The system grew. I found ways to create what I would call music using these new methods -- to create points of departure for Roedelius. Three years later, it is clear that my submissions were still very much the work of a student... But is this a bad thing? Are the student's works necessarily inferior to the master's? Learning is often exciting, inspiring. Is knowing ever that much fun? Selected Studies Vol. 1 (BB 124CD/LP) was released early in 2013... A few months later, our record company Bureau B asked me what I planned to do with the unused submissions (both Joachim and I had submitted maybe 400% more than was ultimately used). Might I release some of them as a solo project? But they are not finished, I said... I have been recording songs for long enough, now, to be able to admit freely that some of my demo recordings are indeed superior to the final versions. But this was a different concept being proposed. I had deliberately left space for counterpart, harmony, whatever... could such space, such absence actually benefit the piece?... We agreed to work towards an album of what I have come to call 'slight pieces'. The result is called 1D. Some pieces were originally created with overdubs by another in mind. Some were simply experiments. One or two may have had loftier ambitions... None of the pieces involves the use of a piano keyboard or a computer, except to record it. Some modulations were executed by hand. Most were generated by programmed sequencers and logic. Each piece is a self contained electronic circuit... I made rudimentary edits, the difficult stuff was done by Jonas Foerster in Berlin. The artwork for the album is by Chris Hughes. Chris began sending me examples of his art of his around the same time I began sending him examples of the work which it seems to me it so naturally compliments."



VA: Rare Psych Moogs And Brass: Music From The Sonoton Library 1969-1981 CD (BUTR 005CD) 21.00
2014 release. "Germany's Sonoton library remains one of the largest independent production music companies in the world. This compilation focuses on psychedelic grooves, synthesized funk and big band belters produced for Sonoton between 1969 and 1981. Founded in 1965 by Rotheide and Gerhard Narholz, Germany's Sonoton library remains one of the largest independent production music companies in the world. This compilation focuses on psychedelic grooves, synthesized funk and big band belters produced for Sonoton between 1969 and 1981. Many of the featured composers also worked for other libraries - John Fiddy for KPM & Bruton, Walt Rockman for Studio One, Sammy Burdson for Conroy & Colorsound and Claude Larson for MFP. Compiled by audio archivist & electro producer Alan Gubby (Revbjelde / Jung Collective) who also produced the BBC Radiophonic Workshop compilation The John Baker Tapes on Trunk. Rare Psych, Moogs & Brass is the first album release on Buried Treasure & a must for collectors of dusty grooves, moog-tastic funk and psychedelic jazz."



THORNTON, CLIFFORD: Ketchaoua LP (BYG 323LP) 12.00
2015 repress. 23rd volume in the BYG Actuel series; gatefold sleeve, 180 gram vinyl. "This album was recorded in Paris on August 18, 1969 by Clifford Thornton (cornet and conga drums) with Grachan Moncur III (trombone), Archie Shepp (soprano saxophone), Arthur Jones (alto saxophone), Dave Burrell (piano), Sunny Murray (drums), Beb Guerin (bass), Earl Freeman (bass) and Claude Delcloo (drums)." "'Clifford Thornton was a player and a composer whose obscurity was offset by the high esteem in which he was held by his fellow musicians... like Shepp, Thornton was actively involved in advancing the ideology of the black nationalist movement... and all of his recordings are intense and important about those matters that were close to his heart -- liberation, communication and unity." -- Thurston Moore and Byron Coley.



MINGUS, CHARLES: Charles Mingus Presents Charles Mingus LP (CANDID 9005LP) 12.00
2015 repress. Exact repro of this 1960 release. "Charles Mingus has a fascinating way of offering music that is grounded in tradition while remaining startlingly original... The band is small for Mingus, and includes Eric Dolphy on alto saxophone and bass clarinet, Ted Curson on trumpet, and Dannie Richmond on drums. It would be one of Dolphy and Curson's last recording dates with the artist, and they seem determined to go all out for it. The album accomplishes what the best of Mingus accomplishes: the perfect tension between jazz played as an ensemble and jazz played as totally free." --All Music Guide



FLYING MEN: Only Love EP 1 12" (CATUNE 057EP) 18.00
Part one of two, preceding Only Love EP 2 (CATUNE 058EP). Max Essa in the form of the Flying Men, a collaboration with Leo Mas and Fabrice. "Only Love" in the first two of four total mixes. Early support from Coyote, Pete Herbert, Dr Rob (Test Pressing)...


FLYING MEN: Only Love EP 2 12" (CATUNE 058EP) 18.00
Part two of two, following Only Love EP 1 (CATUNE 057EP). Max Essa in the form of the Flying Men, a collaboration with Leo Mas and Fabrice. "Only Love" in the final two of four total mixes. Early support from Coyote, Pete Herbert, Dr Rob (Test Pressing)...


ICHISAN: Mambo 12" (CATUNE 059EP) 18.00
Praised by the likes of Bjørn Torske, Pete Herbert, Prins Thomas, Lindstrom, and Todd Terje, Mambo by Slovenian Igor Skafar aka Ichisan is the second release on the Japanese Catune imprint.



VA: Cocoon Compilation O CD (COR 038CD) 17.00
Cocoon Compilation O opens with Roland M. Dill's "The Messenger," an epic, cinematic masterpiece full of emotions. It carries the spirit of hot party nights in Ibiza. Russia-based producer Tripmastaz offer the first beats of the night with his minimal house track "Grindin." The cool bassline and tool-like beat programming represent the new school of deep minimal house producers who offer much more than a simple Ableton loop and a filter. Dana Ruh ("If You Don't Know a Name") and youANDme ("Jungle Book") present two cool tech-house productions with rolling basslines and fat house chords merged with versatile, driving drum programming. This is the sound of the path toward and into the club, on the edge of the first Cocoon night of the year. The party really begins with Traumer and Tom Demac, who speed things up and open the techno chambers of the selection. Minimal heaven, crazy and electronic, this is the peak-time sound of this night. Naples-based producer Dast is the right man for this moment, which he proves with his old-school-flavored "Paranormal Effect." He increases the beat count again with this rave hymn, almost warping the listener to the days of R&S and Go Bang! with its pure summer rave atmosphere. Steve Parker delivers a minimal techno monster for all the Robert Hood fans out there. The perfect sound for a techno floor full of smoke and shamanic dancers. The night is turning toward madness. Lee van Dowski and his "www" follows the techno path of the previous two tracks with mental synth and fat bass programming; DJ food for the techno floors. As the peak-time section fades, things slowly swing out to a cool and deep ending. Karim Sahraoui's "The Comforter" slows down the tempo, adding some melody and feeling to the selection, while its nice acid bassline and beat still keep bodies moving. Reset Robot's "She" packs in more emotion, ending up almost as epic as Roland M. Dill's opening number. "Hanami (Armonia Rosa)" by Luca Ballerini is a supreme highlight and a perfect ending to this compilation; the right tune to guide the listener into the sunrise on the beach. Pushing beats, emotions, acid, and techno, and even epic moments and old-school flashbacks -- you'll find it all here.


VA: Cocoon Compilation O 6LP BOX+CD (COR 038LP) 89.00
Six-LP box version. Includes CD. Limited to 500 copies.


CRS 8007LP

BABY HUEY: The Baby Huey Story: The Living Legend LP (CRS 8007LP) 18.00
Gatefold exact repro reissue manufactured by Rhino. Originally released in 1971. Pressed on 180 gram vinyl, although metaphysically about 300-400 pounds heavier, Baby Huey was a psychedelic soul legend as well as an enormous (sorry) influence on hip hop, having been sampled by the likes of A Tribe Called Quest, Ghostface Killah and many more. Includes the classics "Hard Times" (Curtis Mayfield) and "A Change Is Gonna Come" (Sam Cooke) and the best rendition of The Mamas & The Papas' "California Dreamin'" ever made.



MORRICONE, ENNIO: Revolver LP (RED 220C-LP) 25.50
Revolver is one the finest Ennio Morricone thriller scores, composed in 1973 for Sergio Sollima's great 1973 giallo film. No sweeping themes, no quirky effects, no dissonant sounds -- just simple ideas, executed to perfection. Contains "Un Amico," the beautiful theme heard in Quentin Tarantino's Inglourious Basterds (2009); and the masterpiece "Revolver," a 13-minute action piece that dazzles with its brilliance. Incredibly tense dramatic action music of the highest caliber. Includes a performance by Daniel Beretta; conducted by Bruno Nicolai. This reissue is pressed on white-and-red splatter vinyl, includes extra tracks, and is limited to 500 copies.



HARRIS, JERRY: I'm for You, I'm for Me CD (DKR 180CD) 15.00
"Simply put, THE most underrated Wackie's album, and the best one you might not have heard. Originally released in 1982, I'm For You, I'm For Me was the debut album from Wackie's studio stalwart musician and singer Jerry Harris (oddly nicknamed 'Jerry Hitler' back then). The original LP carried a deceptive cover, featuring only the headshot of a jheri curled Jerry, which suggests a slick soul or disco album, and belied the mostly hard roots reggae tracks contained therein. We had always intended to re-release this album, as five of the ten tracks were in our favored tough and murky Wackie's roots style. But before we got around to it, and in doing the diligence we do, we dug deep and came across the previously unreleased dub versions for the album, plus one more killer vocal cut that didn't make the original LP. So the choice seemed clear, to modify this great album into an all killer no filler roots reggae showcase LP in the classic style, so here it is. You might notice we switched up the cover art as well, reconfiguring the original design elements from the great former Wackie's graphic designer Leslie A. Moore. The CD version includes 3 bonus tracks, 'We Got To Live Better' from the original LP, and both sides of Jerry's very first single 'Too Much Religion'."



DJ RICHARD: Grind CD (DIAL 033CD) 17.00
With the launch of his White Material label in New York 2012, DJ Richard began releasing a line of stunning works by Galcher Lustwerk, Young Male, Morgan Louis, and himself. Around the time of DJ Richard's collaboration with Carsten Jost for Lawrence's 2013 Films & Windows Remixed 12" (DIAL 065EP), the Dial Records crew fell deeply in love with his work. After his contribution to Dial's 2015 15-year anniversary compilation All (DIAL 032CD) and almost two years of production, here is DJ Richard's debut album, Grind. A tribute to what contemporary club music and enthusiastic sound experiments should be about: exaltation and addiction. This is what DJ Richard's club sets feel like -- an incredible sound seduction, another dimension. Grind might be the essence of it all.



MINGUS, CHARLES: Mingus At The Bohemia LP (DOL 795LP) 19.00
2014 reissue of the 1955 "Jazz Workshop" album, featuring Mingus (bass), Eddie Bert (trombone), George Barrow (tenor sax), Max Waldron (piano), Willie Jones (drums), and Max Roach (drums). Features "Septemberly," a fusion of two songs, "September in the Rain" and "Tenderly"; plus "Percussion Discusion," consisting entirely of Mingus on bass and Roach on drums.


MINGUS, CHARLES: Pithecanthropus Erectus LP (DOL 796LP) 20.00
2014 reissue. Originally released in 1956, featuring Charles Mingus (bass), Jackie McLean (alto sax), J. R. Monterose (tenor sax), Mal Waldron (piano) and Willie Jones (drums). "Pithecanthropus Erectus was Charles Mingus' breakthrough as a leader, the album where he established himself as a composer of boundless imagination and a fresh new voice that, despite his ambitiously modern concepts, was firmly grounded in jazz tradition. Mingus truly discovered himself after mastering the vocabularies of bop and swing, and with Pithecanthropus Erectus he began seeking new ways to increase the evocative power of the art form and challenge his musicians (who here include altoist Jackie McLean and pianist Mal Waldron) to work outside of convention. The title cut is one of his greatest masterpieces: a four-movement tone poem depicting man's evolution from pride and accomplishment to hubris and slavery and finally to ultimate destruction. The piece is held together by a haunting, repeated theme and broken up by frenetic, sound-effect-filled interludes that grow darker as man's spirit sinks lower. It can be a little hard to follow the story line, but the whole thing seethes with a brooding intensity that comes from the soloist's extraordinary focus on the mood, rather than simply flashing their chops. Mingus' playful side surfaces on 'A Foggy Day (In San Francisco),' which crams numerous sound effects (all from actual instruments) into a highly visual portrait, complete with honking cars, ringing trolleys, sirens, police whistles, change clinking on the sidewalk, and more. This was the first album where Mingus tailored his arrangements to the personalities of his musicians, teaching the pieces by ear instead of writing everything out. Perhaps that's why Pithecanthropus Erectus resembles paintings in sound -- full of sumptuous tone colors learned through Duke Ellington, but also rich in sonic details that only could have come from an adventurous modernist. And Mingus plays with the sort of raw passion that comes with the first flush of mastery. Still one of his greatest." -- All Music Guide



THIGHPAULSANDRA: The Golden Communion 2CD (EMEGO 207CD) 23.50
Thighpaulsandra presents his seventh full-length album and his first since 2006's The Lepore Extrusion. Well over a decade in the making, The Golden Communion is his debut for Editions Mego. It comprises ten songs and runs well over two hours, with individual pieces clocking in between four and 28 minutes. Featured musicians on the album include regular collaborators Martin Schellard and Siôn Orgon, plus the odd guest/ghost from bands with which Thighpaulsandra has worked in the past. Listeners who have heard any of Thighpaulsandra's previous albums will know that it's best to approach this work with no fixed set of expectations; once again, Thighpaulsandra changes genres and defies easy classification, sometimes more than once within one song. Drawing on his long-time background as a key member in such diverse groups as Coil, Spiritualized, and Julian Cope's band (in each case arguably at the height of the group's creative prowess) and his work as producer and sound engineer for an even larger variety of customers, he offers classical passages next to hard rock riffing; krauty experimental work-outs turning into super-catchy, almost radio-friendly songs; and more. Many adjectives have been used to describe Thighpaulsandra's work -- "epic," "challenging," "timeless," "idiosyncratic" -- but certainly never "predictable" or "boring." Possibly his most rewarding album yet and a welcome and unusual entry in the Mego catalog, The Golden Communion will entertain and astonish listeners who are fond of having their minds severely altered by sound.


THIGHPAULSANDRA: The Golden Communion 3LP (EMEGO 207LP) 40.50
Gatefold triple LP version. Thighpaulsandra presents his seventh full-length album and his first since 2006's The Lepore Extrusion. Well over a decade in the making, The Golden Communion is his debut for Editions Mego. It comprises ten songs and runs well over two hours, with individual pieces clocking in between four and 28 minutes. Featured musicians on the album include regular collaborators Martin Schellard and Siôn Orgon, plus the odd guest/ghost from bands with which Thighpaulsandra has worked in the past. Listeners who have heard any of Thighpaulsandra's previous albums will know that it's best to approach this work with no fixed set of expectations; once again, Thighpaulsandra changes genres and defies easy classification, sometimes more than once within one song. Drawing on his long-time background as a key member in such diverse groups as Coil, Spiritualized, and Julian Cope's band (in each case arguably at the height of the group's creative prowess) and his work as producer and sound engineer for an even larger variety of customers, he offers classical passages next to hard rock riffing; krauty experimental work-outs turning into super-catchy, almost radio-friendly songs; and more. Many adjectives have been used to describe Thighpaulsandra's work -- "epic," "challenging," "timeless," "idiosyncratic" -- but certainly never "predictable" or "boring." Possibly his most rewarding album yet and a welcome and unusual entry in the Mego catalog, The Golden Communion will entertain and astonish listeners who are fond of having their minds severely altered by sound.


SHIT AND SHINE: Everybody's a Fuckin Expert CD (EMEGO 212CD) 15.50
The ascent of Shit and Shine is one of the great audio headfucks in memory, from its genesis out of the South London noise rock revivalist scene to a zone where rabbit-costumed maniacs bled a unique form of multi-drum and electronic hysteria to its incarnation of destroyed lysergic dance music. Shit and Shine is the epitome of second-guess-subversion. With a foot in every pie, it continues on a fantastic, twisted path. Everybody's a Fuckin Expert lays forth another slab of inverted tranquility in which general disruption is kept in check by the subversive charm unique to the outfit. Gunfire rhythms lay waste to androgynous sonics on "Ass"; deep sea disorientation allows pools of plasticine audio to rise on "Rastplatz"; "Picnic Table" rinses electro out of thick, gelatinous cybernetics. Everybody's a Fuckin Expert takes a smorgasbord of sounds and styles and contorts them into a bright hope in twisted theater, disorientating dance, and hefty hedonism. Both the faint- and strong-hearted allowed permanent entry to this club.



ELLIS GROUP, BRIAN: Escondido Sessions LP (EPR 028LP) 19.50
LP version. There's something brewing in Southern California -- besides the world's finest pale ale and crystal-clear surf rolling up the shore along Interstate 5. There's been an outpouring of mind-blowing prog-, psych- and free-rock in impeccable form from San Diego County, seamlessly merging jazz tendencies and extraordinary jam-abilities with crushing heaviness, electronics, and a general out-there-ness. Bands such as Psicomagia, Earthless, and Joy have earned SoCal its own unique spot on the worldwide map of psychedelia. At the heart of all this is one young Escondido native, Brian Ellis. A guitar virtuoso in Astra, saxophonist in Psicomagia, and keys- and synth-wiz as well, he's long been cutting his teeth as a grade-A session player in such heavyweight funk outfits as Egyptian Lover, in addition to working as a studio owner and an esteemed recording engineer. It was only a matter of time before Ellis got his own group of local offbeat heroes in the same room to crank out a spectacular piece of prismatic, electric free-form jazz. And here it is. Along with members from Radio Moscow, Corima, and Psicomagia, Ellis has cooked up two vinyl sides of seriously vital jazz-rock, taking up where Miles Davis, Tony Williams, and Donald Byrd left off in the '70s. This music is a far cry from the self-absorbed European free jazz or academic noodling one is likely to meet at any given jazz festival; this music is earthy, like, say, Hendrix at Woodstock, or Davis's Live-Evil (1971) -- a pinnacle challenge of the past that has never met any really satisfying response from contemporary music. There's that unique sense of percussive drift that characterized Can's records in the first half of the '70s -- somehow extravagant, yet also subtle at the same time. The warmth of Ellis's sun-dried Rhodes and cosmic Moog-lines intertwine with Patrick Shiroishi's Coltrane-inspired soprano arabesques. Trevor Mast's thick basslines and a multitude of tribalistic percussion keep it together along with a naturalistic, crisp-sounding recording. It all adds up to a soulful tour de force of everything that's great about the San Diego scene. To be played loudly. File next to: Miles Davis, Tortoise, Marion Brown, Joe Henderson, Can, Donald Byrd. Brian Ellis: Fender Rhodes piano, Hammond L-122 organ, Wurlitzer electric Piano, Minimoog, Moog Subphatty; David Hurley: congas and percussion; Michael Hams: drums and percussion; Patrick Shiroishi: alto and soprano saxophones; Paul Marrone: drums, percussion, guitar; Trevor Mast: bass.


EM 1137CD

VA: Light Wave: Today & Tomorrow CD (EM 1137CD) 20.00
This compilation is a sweet snapshot of a sophisticated sector of young Japanese pop music circa 2014. Originally released as a series of web-only EPs on Dai Ogasawara's Ano(t)raks label, Light Wave features artists born in the 1990s who have been strongly influenced by the melodic, sophisticated Japanese "city pop" music of the '70s and '80s, as exemplified by such revered names as Tatsuro Yamashita, Yumi Arai, and Tin Pan Alley. These musicians also draw inspiration from the "shibuya style" pop of the '90s, including artists like Pizzicato Five and Cornelius. But whereas these earlier artists were living in boom times and recording in luxurious studios financed by major record companies, these young artists have been born into a glum economic era with a decimated recording industry. Nevertheless, through the magic of sheer willpower and surprisingly assured musical and self-production skills, they make joyous, lighthearted, and refreshingly refined pop music. With strong melodies and inspired arrangements, this fresh new wave of city pop is perfect summer music, all year round. Remastered to EM Records' exacting standards, this collection showcases a promising generation of pure pop music in Japan. Includes 20-page booklet with liner notes by Ryohei Matsunaga, lyrics, artist bios, and English translations. Includes tracks by Hesonosuke, Miho Tsujibayashi, Shin Rizumu featuring Sodapop, rizumu & ikkubaru, and Sodapop (including a track featuring Yuriko Ohno). CD also includes a track by Umanosora and an extra track by Hesonosuke. LP (EM 1137LP) also includes a track by Like This Parade.

EM 1138CD

JEE JEE BAND: Glass Fish CD (EM 1138CD) 14.50
Here's a tasty treat for all fans of DIY pop music: a multinational confection, the perfect blend of sweet and smart. Based around core members Matt Jones, originally from Western Massachusetts, and Busan native Jee Eun Lim, who met in Korea in 2011, the Jee Jee Band fuses simple pop structures, airy instrumentation, and breathy vocals with clever lyrics, in both Korean and English, often of a satirical or political nature. Based in Northern California, the band quietly celebrates Korean culture while also evidencing a cosmopolitan classic pop sensibility, blending K-pop and other Asian pop elements with a classic and yet contemporary US/UK pop feel. The songs on Glass Fish, all very fresh-sounding, feature performers from South Korea, America, and, on one song, the Khmer-language vocals of Cambodian filmmaker Vanntey Morn. Jones's Western Massachusetts pop roots allowed him to enlist the skills of former members of Sunburned, Sebadoh, and others to help record this charming and refreshing release, sure to appeal to fans of K Records, DIY sounds, and pure pop. Liner notes by Byron Coley.



GALLERIA (AKA MORGAN GEIST), THE: Calling Card/Mezzanine 12" (ENV 038EP) 14.00
Repressed. The Galleria is a large indoor shopping mall with a full arcade and food court. Strawberry lip gloss is on sale. These are your sticky years. The Galleria is a project from Morgan Geist (Storm Queen, Metro Area) that ripples with echoes of the indigenous music of long-gone New Jersey malls and NYC radio stations: bombastic freestyle, club dubs, razor-edits, and bubblegum-pop R&B. This debut features vocals from Jessy Lanza, whose debut album, Pull My Hair Back (Hyperdub), was shortlisted for the 2014 Polaris Music Prize. Each title features a dancefloor-friendly dub with plenty of jump-cuts for the forward-thinking nostalgic.



LATINAIRES, THE: Camel Walk LP (FANIA 349LP) 12.00
Exact repro of this Latin Boogaloo set from 1968 on Fania. " ultimate blend of jazz, funk and pure Latin, which we hope you will dig.... Camel Walk -- a funky out of sight but together side which will make you go out of your mind."


FANIA ALL-STARS, THE: Latin-Soul-Rock LP (FANIA 470LP) 12.00
Gatefold exact repro reissue of the 1974 album, live at Yankee Stadium in 1973. Featuring Manu Dibango, Jorge "Malo" Santana, Billy Cobham, and Jan Hammer.



VOILAAA: Spies Are Watching Me/Le Disco des Capitales 12" (FVR 106EP) 14.00
Pursuing their explorations of international funk and disco music, Favorite Recordings and Bruno "Patchworks" Hovart present Voilaaa, an expansion upon Favorite's series of 12" disco reissues (e.g. FVR 099EP and FVR 104EP). Following such projects as The Dynamics, Mr President, Mr Day, Patchworks Galactic Project, and Taggy Matcher, Patchworks now returns to his first love and specialty, disco, and draws upon African and Caribbean influences. His unique beats and basslines accompany guitars, keyboards, and brass, distorted with vintage effects pedals and boxes. These tracks features vocals from Sir Jean and Pat Kalla. Released in advance of a full-length album.



MIAUX: Above the High Rays LP (FTR 193LP) 15.00
"Miaux is the operating handle of Belgium's Mia Prce. Most of her prior recordings have been issued by Dennis Tyfus' Ultra Eczema label, but after catching her set at 2014's Bruismelk festival, Feeding Tube had to 'have' her new record. Unlike other known works, whereon Miaux is a mistress of elaborate keyboard shenanigans that border on the gothic, Above the High Rays brims with music of a very soundtrack-y nature. It mixes Neo-Eastern percussion symbiography with floating swathes of parachute color, all of it presumably birthed from Mia's hands and keys. It's easy to imagine a Jodorowksy carnival scene, shot like the opening of Welles' Touch of Evil, while this album spins. It is soaked with a haunted, lonely quality that touches the edges of mystery like a torch. Cover art and one side of etchings by Mr. Tyfus, himself. The tears you shed will be your own." --Byron Coley, 2015


COOLIES, THE: Kaka LP (FTR 206LP) 18.50
"The Coolies have been blurting out random batches of high order avant garage spew since 1997. Sjionel Timu and Tina Pihema are the core of the band. Formed in the sprawl of South Auckland while they were still teens, the Coolies were ostensibly a 'punk' unit, but their sound was never doctrinaire. Through sheer weirdness and strength of vision, they created music that paralleled aspects of underground noise from the forests of Olympia Washington, the squats of West London, and the basements of Dunedin. Without resorting to formal revisionism, they've managed to take the basics of the early Rough Trade sound and smudge it with fingers dipped in the art-readymades of NZ's underground pop groups and their own fevered experimentalism. For a good chunk of the last decade, Stefan Neville (aka Pumice) was their drummer. This line-up cut a great LP, Master, for Chapter Music, and an even more dastardly EP, Punk Is Bread, for Epic Sweep. Now, we are delighted to present their third album, Kaka, gruntily produced by Neville. The tunes on Kaka (the title refers to either Maori slang for 'shit,' or the name of an indigenous NZ parrot, depending on how you ask) were recorded in a couple of long jam sessions, then teased and smooshed into 'shape' over the course of a year or so. The results are both propulsively fetching and utterly fried. We've been listening to this one incessantly. So will you." -Byron Coley, 2015. Limited edition of 400.


DREDD FOOLE: In Quest of Tense LP (FTR 213LP) 16.50
"Back in '94 there was little sense that a new scene was on the horizon, but there was. Indeed, things were beginning to break out all over. All they needed was a little push. In Quest of Tense was released on CD in '94 (FE 038) and was just what a lot of people needed, even if they didn't know it yet, or didn't quite realize what it was when they heard it. Dredd Foole (aka Dan Ireton) had been roving through the Boston music underground since the early '80s, with a series of bands using the name The Din, and then on his own. Bored, stoned, and listening to naught but free jazz and folk, Dredd went into his room with a four-track, a reverb, some guitars, and little else, emerging after a week with this masterpiece. The music takes a weird, improvisation-based electric folk form, something only previously mastered by Tim Buckley on Lorca and Blue Afternoon, and drives it straight into the clouds. Echo-soaked, massively-skronked, glossalalic to the point of no return, In Quest of Tense lit brain-fires from the Lower East Side to Austin. And it may have taken a while for their collective smoldering to erupt into a fire storm, but it did. And here's where it starts. An amazing album, today and always. Finally on vinyl." --Byron Coley, 2015. Limited edition of 400.


FJ 004EP

PHONK D: Berta Rot 12" (FJ 004EP) 14.00
You could not miss the 4/4 kickdrum during the '90s in Frankfurt Rhine-Main. Phonk D's first attempts at house and techno were therefore pretty successful during this period. But his feet were too big for just one dancefloor, and he developed a taste for funk, disco, and hip hop, too. All these influences kept on working together and, in 2014, he founded his own label, Footjob. The label has released three records so far, all of them collaborations with friends, and now the fourth is ready -- Phonk D's first solo project.



REINHARDT, JONAS: Palace Savant LP (FUR 097LP) 21.00
On his sixth album, Palace Savant, Brooklyn producer Jonas Reinhardt (aka Jesse Reiner) undergoes a profound solo odyssey. The record may be the most spectacular realization of Jonas Reinhardt's outward-bound sonic aspirations. These eight tracks draw on 14th-century architect Peter Parler's breathtaking St. Vitus Cathedral in Prague. "St. Vitus is a statement to the future by the rulers at the time," Reiner says. "It's surreal, grandiose, psychedelic -- and the sheer scale of human ambition involved is almost beyond comprehension." Parler reportedly deviated from the cathedral's initial blueprint and elevated the Gothic style to heretofore-unimagined, bizarre levels. With Palace Savant, Reiner projected Parler's handiwork into Thomas Edison's era of electricity. "I envisioned [Parler] retrofitting his cathedral with excesses of incandescent light, preparing for a coming age of electronics. Palace Savant is what a contemporary electronic performance in that space might sound like." Recorded on tour and in New York over the course of a year and mixed at Transmitter Park Studio in Greenpoint, Palace Savant begins with the instant attention-grabber/pulse-accelerator "Old Kaizen." At once claustrophobic and spacious, it possesses an urgent, chase-scene synth throb that would make John Carpenter or Bernard Fevre jealous. The turbulent "Shattered Remains of Orr" sounds like Edgar Froese's kosmische-ambient masterpiece Aqua (1974) tossed into shark-infested waters. On "Androma," Reiner's expertly-modulated arpeggios contrast low and high frequencies, revealing his ability to create suspense with a chiaroscuro of whirs and pulsations. Palace Savant achieves two towering peaks. The first is "Go Sceptre Go," a swiftly-moving, heavenly droner that veers off on a tangent into a much darker, more chaotic direction. The second is "Noctornum," a burbling and soaring piece that's at once aquatic and astral, before an emphatic rhythm forms, pushing things into menacing Szajner-esque territory. The album closes with the mid-tempo arpeggios and muted, wailing siren-tones of "Omat Principle Decay," a moving finale to a record that's taken you so far and tingled your senses so intensely. A high point in Jonas Reinhardt's large canon, the dramatic and majestic Palace Savant does exquisite justice to St. Vitus Cathedral's grandeur. Album artwork by Andy Gilmore. Mastered by Rashad Becker at Dubplates & Mastering.


GET 51267LP

GHOSTFACE KILLAH: Ironman 2LP (GET 51267LP) 25.00
2015 repress. "Sony Music and Get On Down proudly present the official reissue of the debut solo album from Wu-Tang Clans's Ghostface Killah. Ironman pieces together Al Green and Jackson 5 samples, gospel choruses, kung fu soundbites and piano vamps into something unpredictable and vital-sounding. Arguably the best of the group's solo albums to date, the record is filled with inventive production and rhymes, and ranks as another solid entry in the Wu-Tang legacy. Housed in a full-color gatefold jacket, this special double vinyl edition includes an 18" x 24" replica of the original retail poster. A classic piece of Wu-Tang artistry is reborn again for music lovers and MC's alike."


GHOSTFACE KILLAH: Camay/Daytona 500 7" (GET 736EP) 13.00
"While 'Camay' is the A Side, and a banging A Side at that, it was 'Daytona 500' that would be become Wu fans favorite. The combination of Ghost, Rae and Cappadonna with the Force MD's on the hook is just pure fire. The beat, the park jam turntable rubs, the chorus, it's an unorthodox formula that works perfectly (don't forget to add an equally amazing video). Now available for the first time on 7' Get On Down is proud to present 'Camay' b/w 'Daytona 500'."



CADENCY: Falling EP 12" (GKNSTR 008-15EP) 12.50
Hard, hypnotic, deep techno. Vinyl only.



MYTH: Evaporate 12" (HALC 001EP) 16.50
Evaporate is the first issue from Rabit's highly promising Halcyon Veil label, and also the exceptional solo debut from Londoner Myth, 21 years old at the time of this release. It rotates seven slick grime and 2-step instrumentals including the instantly recognizable version of his and Rabit's flip of Ciara's "Backseat Love," which is currently still under heavy rotation from Rinse FM. It's all as sharp-cut, raw, and moody as anything from Zomby or Visionist, but with a unique, salty streak of emotion running thru its skeletal structures, at its most potent in the majestic "Lonely" or the iridescent 2-step twinkle of "Phoenix."



TENOR & UMO, JIMI: Mysterium Magnum CD (HRKL 004CD) 17.00
Jimi Tenor presents an instrumental album with the de facto Finnish national big band, UMO Jazz Orchestra. UMO is a professional 16-piece orchestra specializing in jazz and contemporary rhythm music. Throughout its history UMO has had a focus on Finnish composers and has performed hundreds of compositions that were made especially for UMO. Jimi Tenor is a Finnish composer and performing artist perhaps best known for his electronic music from the '90s. Mysterium Magnum is his first album composed entirely for a big band. In 2003 Jimi Tenor took his own big band on a six-week European tour, which included stops at Montreux Jazz and North Sea Jazz Festival. Jimi Tenor then made three albums with afrobeat group Kabukabu: Joystone (2007, Sähkö), 4th Dimension (2008, Sähkö), and The Mystery of Aether (2012, Kindred Spirits); and in 2009, Jimi Tenor made an album with afrobeat legend Tony Allen called Inspiration Information (Strut). Mysterium Magnum was recorded at UMO's rehearsal space at the YLE studios in Helsinki. The music on Mysterium Magnum is not typical big band music. It varies from mystical contemporary compositions like "Koneen Sydän," "Huumatun Pako," "Mysticum Minus," and "Sähköinen Laji" to soundtrack themes like "Kratera" and "I Was Here." On the album Jimi Tenor himself plays a Russian Ritm-2 synthesizer, tenor saxophone, and flute. All compositions and arrangements by Jimi Tenor.


HH 008LP

KING, B.B.: United Western Recorders Hollywood LA, October 1 1972 2LP (HH 008LP) 31.00
In the early 1970s, B.B. King was basking in the glow of crossover success, with his brand of soulful blues reaching all audiences, not just African-American ones. In this 75-minute radio broadcast from October 1, 1972, his stinging guitar runs through a mix of old and new classics, from his mid-'50s R&B hit "Everyday I Have the Blues" to Leon Russell's "Hummingbird." Other highlights include the standard "Rock Me Baby" and his biggest hit, "The Thrill Is Gone." It's presented here in its entirety, with digitally remastered sound and background notes. On 180 gram vinyl.

HH 013CD

PURIM & AIRTO MOREIRA, FLORA: Live at the Hollywood Bowl 1979 CD (HH 013CD) 17.00
Brazilian singer Flora Purim and her husband, the drummer and percussionist Airto Moreira, dominated magazine jazz polls in the 1970s. This superb live set was recorded for broadcast on WBUR-FM at the first Playboy Jazz Festival, held at the Hollywood Bowl in 1979, and also features percussionists Laudir de Oliveira (from Chicago) and Bayanu (from Caldera), Raul de Souza (trombone), Milcho Leviev (keyboards), and Keith Jones (bass), as well as an introduction by Billy Taylor. Joyous and infectious, the complete broadcast is presented here in digitally remastered sound with background notes and images.

HH 015CD

DIXON, WILLIE: Live in Chicago - 1984 CD (HH 015CD) 17.00
Willie Dixon is one of the fathers of modern American blues, and had a profound influence on Bob Dylan, Jimi Hendrix, Led Zeppelin, The Rolling Stones, and countless others. This superb 1984 performance was recorded for FM radio broadcast at a tiny club at 7644 North Sheridan Road on Chicago's north side, and captures the great man in fine form performing a selection of self-penned classics. The complete broadcast is presented here in digitally remastered sound with background notes and images.



WEBER/TIMOKA: Holger Bundle #2 3x12" (BUNDLE 002EP) 23.50
Holger Bundle #2 combines the label's three artist mini-albums in a black-and-white tote bag with logo print. While Weber's lust for experimentation and roots in psychedelic krautrock and post-rock are ever-present, it is interesting to follow his development as an artist from Eins (HOLGER 004LP, 2014) to Zwei (HOLGER 007EP, 2015). Timoka's Tulgey (HOLGER 005LP, 2014) feels like a glimpse into a universe of its own; electronic with an organic feel, mysterious but somehow cozy at the same time.



18+: They Remixes 12" (HTH 046EP) 14.00
18+ return with their They Remixes EP, a collaboration with artists they respect and admire, with a purpose to reinvent their favorite tracks taken from their critically-acclaimed 2014 debut album Trust (HTH 026CD/LP). Featured artists include the distorted trap beat darling Suicideyear (producer for Yung Lean), experimental grime producer Mr. Mitch, and the cult Portuguese collective Tia Maria Produções. The final remix is by relatively-unknown Puerto Rican artist Audri Nix, whose unofficial remix of "Crow" first caught 18+'s attention for its similarities to their own aesthetic and magpie-like approach to art. It features Audri Nix's original lyrics sung entirely in Spanish.



STILETTI-ANA: Stiletti-Ana 12" (CLICHE 062EP) 14.00
Ilari Larjosto aka Stiletti-Ana, legend of Helsinki's underground, is involved in K-X-P, Tähtiportti, DJ Candle in the Wind, Jimi Tenor, Randy Barracuda, and acclaimed band Jesse. With a fuzzy melody and galloping bassline, the richly layered and highly danceable "Universal Carrier" is equally indebted to krautrock and disco. "Through the Skyline I Heard Ur Voice" is an uplifting, playful slow jam with larger-than-life drum machines and maximal synth-work. The blissed-out "Time We Left This World Today (Part 2)" features layers of haunting melody and an understated yet efficient beat.



November 2007, Venice. It was cold, damp, and foggy. Nurse with Wound played two nights at the Teatro Fondamenta Nuove, with Blind Cave Salamander as the supporting act. Listening to Blind Cave Salamander perform, Steven Stapleton felt that some of what they played reminded him of the classic Nurse work Soliloquy for Lilith (1988). He suggested that the two bands explore the possibility of playing live together, to explore that piece, with a view to recording an album. In September 2009, after rehearsals, Nurse with Wound (Steven Stapleton and Colin Potter) and Blind Cave Salamander (Fabrizio Palumbo, Julia Kent, and Paul Beauchamp) performed their live version of Soliloquy for the first time at the Mutamento Festival in Turin. The audience responded with great enthusiasm. The show was recorded and released as an LP in 2012. The ensemble went on to play a number of other live shows and the music changed and mutated each time. This two-CD set contains the recording from the 2012 LP plus a recording of a 2011 performance in Lisbon. Six-panel digipak.


November 2007, Venice. It was cold, damp, and foggy. Nurse with Wound played two nights at the Teatro Fondamenta Nuove, with Blind Cave Salamander as the supporting act. Listening to Blind Cave Salamander perform, Steven Stapleton felt that some of what they played reminded him of the classic Nurse work Soliloquy for Lilith (1988). He suggested that the two bands explore the possibility of playing live together, to explore that piece, with a view to recording an album. In September 2009, after rehearsals, Nurse with Wound (Steven Stapleton and Colin Potter) and Blind Cave Salamander (Fabrizio Palumbo, Julia Kent, and Paul Beauchamp) performed their live version of Soliloquy for the first time at the Mutamento Festival in Turin. The audience responded with great enthusiasm. The show was recorded and released as an LP in 2012. The ensemble went on to play a number of other live shows and the music changed and mutated each time. This three-CD set contains the recording from the 2012 LP plus recordings of a 2011 performance in Lisbon and a 2010 performance in Leuven, Belgium. Released alongside a two-CD set containing the Torino and Lisbon recordings (ICR 078CD). Six-panel digipak. Last copies of this limited version.



Prefigured by the inclusion of a secret extra pocket in the original packaging of Far West (IMPREC 386CD/LP, 2013), this painstakingly crafted complimentary LP is intended for synced playback with that release. With two turntables or other playback devices, the listener can experience fully unique quad playback. Further West Quad Cult LP offers deeper journeys into the cave where the self dissolves. It also stands alone as an inverted Far West universe, and the listener is invited to enjoy it by itself as well. Liquid synth journeys into the void. All tracks dubbed and manipulated from Far West source material. All music by Master Musicians of Bukkake. Additional sound design and synths by Randall Dunn and Timm Mason. Produced, recorded, and mixed by Randall Dunn at Avast!, Seattle, WA. Includes fold-out poster by photographer Alison Scarpulla.


HORIST, BILL: Mutei - Music for Davida Monk's Dream Pavilion CD (IMPREC 427CD) 13.50
Since the mid-'90s, Seattle-based guitarist Bill Horist has been making music within and without convention in a wide variety of settings and genres and has worked with many notables in rock, experimental, and new music. He has played on dozens of records and has performed throughout North and Central America, Europe, and Japan, collaborating with numerous leading lights in a beguiling range of genres. He delivers an idiosyncratic and richly emotive take on the world's most ubiquitous instrument; perhaps best known for his prepared guitar treatments, his work is widely regarded alongside masters like Fred Frith and Keith Rowe. He has cultivated a unique voice in a number of styles in the realms of jazz, rock, folk, and experimental music. Horist is also becoming known as a masterful acoustic fingerstyle player in the tradition of Leo Kottke and John Fahey, additionally incorporating elements from Asia, India, the Middle East, and West Africa. Mutei presents music composed and improvised by Horist for Calgary, Alberta-based choreographer Davida Monk's 2013 major dance work, Dream Pavilion. This is the second major work that Horist and Monk have created since their initial production, Lyric, and the resulting CD, Lyric/Suite (Accretions Records), were developed and released in 2003. Their longstanding collaboration has cultivated a highly integrated lexicon of sound and movement. Inspired by diminutive, carved Japanese statues called netsuke, Horist and Monk strive to bring this exquisite manifestation of humans, animals, fantastic creatures, and deities to life. With the basis of a prepared guitar score developed in-residence and augmented by percussion and ?àn nguy?t (Vietnamese moon lute), Horist has created a mysterious and emotive sonic world, which two dancers embody. Despite the score being composed for live performance, Horist recorded a version with Scott Colburn and further augmented the work with conventional guitar, bass, and other electronics, thus creating a work that stands beautifully and strangely on its own in addition to being a powerful component of the choreographed work. Tracks on Mutei vary wildly from dark drone to plaintive and playful; from meditative ambience to squalls of visceral noise. Bill Horist: electric guitars, ?àn nguy?t, bass, percussion, objects, electronics; Davida Monk: choreography; Helen Husak: dancer; Walter Kubanek: dancer.



BROWN, STEPHEN: Invisible Light EP (Antigone Remix) 12" (AERA 014EP) 14.50
Stephen Brown presents his third EP on Indigo Aera, following Zero Zero Two (2011) and Moda EP (AERA 008EP, 2013). In the game since the mid-'90s, Brown always achieves a particular, distinctive sense of grooviness, funk, and soul in his music. The fact that a lot of DJs still play his tracks from decades ago underlines how timeless his music is. Here, Brown delivers an EP that's playful yet weighty; tripped-out and intergalactic. Antigone delivers a remix full of nerve-jangling texture and drum-driven brute force.



DJ CAM: Miami Vice LP (MIAMI 001LP) 22.00
Music is nothing if it can't help you bring your dreams to life, and here DJ Cam makes one of his biggest dreams come true: composing a soundtrack to Miami Vice. Cam's Miami Vice is 14 visual tracks, an imaginary score that positions itself as the "official" soundtrack just as Hollywood is preparing to film a reboot, following the first movie adaptation in 2005 by the series' original producer -- and now cult director -- Michael Mann. "My album is definitely a proposition for them! When I was living in Los Angeles, I met a guy who worked with Michael Mann and he encouraged me to do the project. He understood that it was homage from a real fan." Although strictly unofficial and a pure product of his cinematic mind, this original soundtrack is intrinsically linked to the legendary series, as a feature-length album and a collection of cinematic sequences. Inspired by the seemingly idyllic combination of sun, palm trees, and gleaming automobiles, the cinematic atmosphere of the Miami Vice TV series put stars in the eyes of DJ Cam when he was young. "It was easily my favorite TV series. I loved the long-distance shots of the city, the dynamic car chases... Introspection and psychology were very much a part of it too, unlike most American series of the era, and even back then I realized that a lot of care had been taken with the music." The beatmaker has sequenced his tracks like scenes from a script, alternating the dark atmosphere of trap music with more jazzy vibes ("Love Theme," "Tubbs Theme"). Electronic tracks are also very much present, as they were on his previous album Seven (2011). "The Chase" evokes a breathless action scene, while the footwork beats of "Move That Dope" and "Welcome to Little Haiti" reflect the intense nocturnal energy of the city. Special guest star MC Eiht (who played A-Wax in the Hughes brothers' cult movie Menace II Society (1993)) raps on "Music to Drive By" and "Street Life." He also couldn't miss paying homage (with a track featuring Earl Davis) to what is practically the Miami theme song: "In the Air Tonight" by Phil Collins. Here, he respectfully revisits it in deep, cerebral fashion. "You hear it everywhere, floating out of open windows... I wanted to recapture its essence without doing just a simple cover version."



PADILLA, JOSE: Wolf Müller Dubs 12" (IFEEL 044EP) 14.50
Düsseldorf-based Jan Schulte aka Wolf Müller flew to Ibiza in the summer of 2014 to work with José Padilla on the So Many Colours album (IFEEL 042CD/LP, 2015). His work with Padilla -- and everything he does -- is beloved by all the heads, so International Feel asked him to enter the studio and dub out Padilla's tracks. Here they are. He's one off-beat little wizard; enjoy his kooky funk. Stamped white labels. Limited to 300.


BARROTT, MARK: Sketches from an Island 3 12" (IFEEL 045EP) 14.50
180-gram vinyl. Mark Barrott returns to his acclaimed Sketches from an Island project. "Right 4 Me" feels like the natural successor to the sunshine-in-a-bottle vibe of "Baby Come Home" from the first Sketches EP, the polyrhythms of "Cirrus & Culumus" trace Barrott's love of Ghanaian music and Steve Reich, and "Der Stern, Der Nie Vergeht" blends sunsets with the delicate sounds of Roedelius. Precedes Barrott's residency at Harvey's Mercury Rising night at Pikes, his appearance at the final Garden Festival, and his return to Ibiza to begin work on the second Sketches from an Island album. Artwork by Stevie Anderson.



DUSTY KID: Not So Green Fields CD (ISOLA 005CD) 17.00
Dusty Kid follows his 2013 album III (ISOLA 001CD) with the astonishing Not So Green Fields, a magical journey that stands as his most human and mature work to date. Dusty Kid found his muse in his beloved island, Sardinia, around which he crafts a fantastical, heartfelt, moving narrative. "Not So Green Fields is a story that I've had inside of me for a while," says Dusty Kid. "It is the story of a visitor from a cold northern country who spends a two-week holiday on the island... I introduce him to the land where I was lucky enough to be born." The symphonic percussion and jungle voices of "We are the Troglodytes" precede the launeddas, an ancient Sardinian woodwind instrument, that appears on "Innu." "Fura Prana" floats between the desperate melody of a piano crying for freedom and epic sounds that recall '70s Jarre. On "Masua", the listener jumps into the Sea of Sardinia, following the melody of a sinuous voice from the depths. One voice becomes many, and they intertwine, majestic and psychedelic, to spring from the waters into the sky. At this point, this is no longer a dance album, but a work of pure '70s British progressive rock. The beat continues to slow for the moving "Durke," an uncommonly beautiful ballad that evolves around pop guitars, rock drums, and an emotional mantra sung in Sardinian. On "The Arsonist," which tackles the island's arson problem, dance music returns, but far from typical techno. The track delves into '90s trance, reminiscent of rave parties and the legendary Jam & Spoon. The pathos peaks with "Doa," an emotional, melancholic track drenched in spaghetti western magic to honor Dusty Kid's idol, Ennio Morricone. The cinematic postcard of "Gairo Vecchio 38°C" is an unexpected visit to an abandoned little town under the moon, with a delicate piano-and-trumpet duet over singing crickets. "Arvéschida" is 135 BPM of pure poetry that blends the most entrancing techno with the most lysergic trance. It's a flock of seagulls seen from a hang-glider, pure hedonistic and methamphetaminic emotion. Closer "Not So Green Fields" reflects Dusty Kid's passion for American folk music, in an ode to Sardinia, its warm summers, and its blue sky. Dusty Kid steps away from modern techno trends with mastery and confidence, exploring diverse territories in a powerfully cohesive album. Digipak CD includes 16-page booklet; limited to 1000 copies.


DUSTY KID: Not So Green Fields 2LP (ISOLA 005LP) 25.00
Gatefold double LP version with printed inner sleeves and inlay. Limited to 350 copies. Dusty Kid follows his 2013 album III (ISOLA 001CD) with the astonishing Not So Green Fields, a magical journey that stands as his most human and mature work to date. Dusty Kid found his muse in his beloved island, Sardinia, around which he crafts a fantastical, heartfelt, moving narrative. "Not So Green Fields is a story that I've had inside of me for a while," says Dusty Kid. "It is the story of a visitor from a cold northern country who spends a two-week holiday on the island... I introduce him to the land where I was lucky enough to be born." The symphonic percussion and jungle voices of "We are the Troglodytes" precede the launeddas, an ancient Sardinian woodwind instrument, that appears on "Innu." "Fura Prana" floats between the desperate melody of a piano crying for freedom and epic sounds that recall '70s Jarre. On "Masua", the listener jumps into the Sea of Sardinia, following the melody of a sinuous voice from the depths. One voice becomes many, and they intertwine, majestic and psychedelic, to spring from the waters into the sky. At this point, this is no longer a dance album, but a work of pure '70s British progressive rock. The beat continues to slow for the moving "Durke," an uncommonly beautiful ballad that evolves around pop guitars, rock drums, and an emotional mantra sung in Sardinian. On "The Arsonist," which tackles the island's arson problem, dance music returns, but far from typical techno. The track delves into '90s trance, reminiscent of rave parties and the legendary Jam & Spoon. The pathos peaks with "Doa," an emotional, melancholic track drenched in spaghetti western magic to honor Dusty Kid's idol, Ennio Morricone. The cinematic postcard of "Gairo Vecchio 38°C" is an unexpected visit to an abandoned little town under the moon, with a delicate piano-and-trumpet duet over singing crickets. "Arvéschida" is 135 BPM of pure poetry that blends the most entrancing techno with the most lysergic trance. It's a flock of seagulls seen from a hang-glider, pure hedonistic and methamphetaminic emotion. Closer "Not So Green Fields" reflects Dusty Kid's passion for American folk music, in an ode to Sardinia, its warm summers, and its blue sky. Dusty Kid steps away from modern techno trends with mastery and confidence, exploring diverse territories in a powerfully cohesive album.


KK 085LP

VA: Dis Cover - Donna Regina as Recorded By LP (KK 085LP) 18.00
LP version. Includes download code. "Avec le temps" appeared in 1990, and since then Donna Regina (Günther and Regina Janssen) have moved with the times, as musicians and as a married couple. As of this release they have written and recorded 12 albums' worth of material. House music in the literal sense of the word, as their music has almost always taken shape at their home -- at first in Cologne, and later also in Berlin. They've done their thing for decades without ever following any trends or succumbing to hype. But their music has always sounded fresh, with the times, and recognizable. This has much to do with Regina Janssen's breathy voice and Günther Janssen's light hand and his sense for the beauty of melodies. But there's something else to it. In 2007, De:Bug magazine wrote "In this music lies sovereignty, experience, truth and yes, even such important things as defiance and pride." The same could have been said in 1990, and it has held true since as well. Donna Regina's music has traveled all around the world, to Poland, Portugal, Argentina, Brazil, and Japan. They headed out and unpacked their music wherever they were, as a gift or a sign of friendship. The tributes here come from friends old and new, from longtime companions and partners in spirit. And what they have found in Donna Regina's music and what they have done with it is a gift for every listener. Includes versions by Dean & Britta, The National Jazz Trio of Scotland, Schlammpeitziger, Chica and the Folder, Leichtmetall, Console, Il Tempo Gigante, Astrobal and Tom Terrien featuring Nina Savary, Dani Siciliano, Bertrand Burgalat, Mouse on Mars, Mi?ka, and Thomas Fehlmann featuring Gudrun Gut.


KH 9048LP

TOSH, PETER: Soon Come 2LP (KH 9048LP) 31.00
Having risen to fame as a core member of Bob Marley's Wailers, for whom he wrote a number of famous songs, the late Peter Tosh found considerable acclaim as a solo artist, recording a number of classic reggae albums that reflected his strong Rastafari faith and political convictions. This superb live set was taped in Atlanta, Georgia, for FM radio broadcast as he promoted his 1978 Bush Doctor LP (released through Rolling Stones Records, because Mick Jagger and Keith Richards were huge fans), and is presented here together with background notes and images. On 180 gram vinyl with insert.



NOVA MATERIA: Aparece en Sueños 12" (KTDJ 037EP) 14.00
Since 1994, Caroline Chaspoul and Eduardo Henriquez have combined post-punk and Latin energy as Panico, developing a cult following in Latin America. They now launch their Nova Materia project, born from the willingness to consider music as a direct derivative of the natural and industrial elements that surround us. More electronic and experimental than Panico, Nova Materia uses raw material to transform and recycle. To refine their sound, Chaspoul and Henriquez enlisted DJ and producer Chloé, a real expert at turning raw elements into golden nuggets. Aparece en Sueños delivers wild energy, live-act ferocity, and sound experiments magnified by Chloé.



ZUKIE, TAPPER: Man Ah Warrior CD (KSCD 058CD) 14.00
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." CD includes five bonus tracks.



COMA: Lora 12" (KOM 333EP) 14.50
Lead single from Coma's 2015 second album This Side of Paradise (KOMP 126CD/ KOM 335LP), a truly refined electronic pop gem from artists commanding their craft with confidence and style, once again proving their knack for unconventional but immensely catchy hooks that seem half-sung, half-synthesized. Hivern Discs' Pional dials back the dreamy synthesis of "Lora" and opts for a sturdier, drum-driven build. Seasoned producer Robag Wruhme lets the beat breathe before hitting the floor with all the melodic might from the original; it's a masterful and highly detailed club cut that fuses the eccentric pop quirks of Coma with his own sonic sensibilities.


BEYER, JENS-UWE: The Emissary LP+CD (KOMPPA 003LP) 23.00
LP version. Pressed on 180-gram vinyl. Includes CD. Limited to 500 copies. As one-third of the founding trio of revered Cologne imprint Magazine, Jens-Uwe Beyer has become a household name in open-minded electronic music, through releases such as the one-track-one-hour manifesto Red Book (MAGAZINE 008CD, 2012), several contributions to Kompakt's Pop Ambient compilation series, or inspired remixes for Barnt, Dream Weapons, and others. He's also the mastermind behind the ongoing Popnoname brand, and with all this in mind, one might not expect The Emissary to be a debut -- but it is, for it's the very first full-length offering under the artist's real name. To those who happen to know him personally, Jens-Uwe Beyer is pretty multi-faceted, so it doesn't come as a surprise that The Emissary is, too. And what a well-rounded album it turns out to be, delving deep into a highly personal and unique sound cosmos made almost entirely of atmospheric pulses and beautifully textured drones. Layers and layers of minute details float in a cloud of sound, surging and fading in the most organic manner, giving the listener the impression that this is a pop album hiding in plain sight. Well, it's called Pop Ambient for a reason. But the connection goes a little bit deeper than just some Gas-infused sample droning with a hint of rhythmic structure -- described as a "very intimate" album by its creator, this collage of personal sonic impressions doesn't just check the boxes of what normally could be labeled "pop ambient." It's a bit like a silent riot, calm on the outside, but seething on the inside, a run against the grain while embracing all the template has to offer. It's "more a question than an answer," says the producer, "and about the freedom to hear your own music in between the recorded sounds." His intention is to "open up spaces" -- highly idiosyncratic spaces, pathways into the metaphysical, with "every listener being his own emissary" on this uncharted territory.



STARS OF THE LID: The Tired Sounds of Stars of the Lid 3LP (KRANK 050LP) 34.00
2015 repress. "This is the first time this monumental album has been available on the vinyl format in five years." "I simply feel that they are making the most important music of the 21st century." --Ivo Watts-Russell (4AD label founder)


STARS OF THE LID: Stars of the Lid and Their Refinement of the Decline 3LP (KRANK 100LP) 34.00
2015 repress. "This is the first time this monumental album has been available on the vinyl format in five years."


HELEN: The Original Faces LP (KRANK 196LP) 14.00
LP version.



VA: Nice Weather for War CD (KYE 038CD) 16.00
"Kye is proud to present Nice Weather for War - the fabulous new release that showcases six of the most exciting music artists working today. Featuring exclusive, never before heard material by Shots, Blue Chemise, Gabi Losoncy, Russell Walker, Matthew Revert and T.D. Nice Weather for War arrives in a 4-panel high gloss digipak with accompanying 8-page booklet in an edition of 400 copies."



MIND AGAINST & SOMNE: Vertere 12" (LAD 023EP) 14.00
Mind Against and Federico Maccherone aka Somne present their collaborative Vertere 12", showcasing their winding sense of melody, constantly turning inward and outward at once. Mainstay of the electronic music scene Tobias Freund delivers an outstanding remix that elevates the original to another level entirely. With a relentless beat and a sonic force that is hard to describe with mere words, his remix comes out of the gate like a runaway machine rapturously drunk on its own self-awareness. Guaranteed to drive dancefloors large and small to the euphoric edge of the ecstatic state.


LA 012LP

LYON, NORMA: The Music of Norma Lyon LP (LA 012LP) 15.00
"A collection of 16 pieces privately released by Norma Lyon in the late 1960s. All are original compositions for piano and organ. Dark, moody and dramatic, each of these 'sketches' was inspired by a place Ms. Lyon has lived. The tone of the record is set by its fantastic titles, including 'Flight of the Spirit Geese,' 'Phantom Cathedral of the Sea' and 'Dirge of the Sea Gods.' The first side, 'Dune Sketches,' is based on a period when she lived amidst the dunes in southwest Oregon. The second side, 'Sea Sketches,' is drawn from the time she spent living with her twin sister overlooking the ocean in Coos Bay. Limited edition of 500 copies."

LA 013LP

VA: The Sigh of Silver Strings from Suvannabhumi: The Western Stringed Instruments of Burma LP (LA 013LP) 15.00
"During the 1800s, various Western stringed instruments came to Burma by means of traders, explorers, and colonizers. These instruments -- the acoustic slide guitar, mandolin, banjo, violin, and zither -- were quickly and ingeniously adapted to the intricacies of Burmese music. The music draws from Burma's rich vocal tradition, and the centuries-old royal repertoire of the Burmese harp and xylophone. Recorded and produced by Rick Heizman. Limited edition of 500 copies." Includes 8-page black & white booklet with track notes and photos.



FIS: The Blue Quicksand Is Going Now CD (LPY 000CD) 14.50
Following a series of EPs on the likes of Samurai Horo and Tri Angle, Olly Peryman wrote The Blue Quicksand Is Going Now during stints living in Europe and his hometown of Wellington, New Zealand. The album strikes a spectacular balance between the meditative and disruptive, and marks a continued move away from the high-octane experimental D&B productions that initially marked Peryman out (notably 2012's Duckdive EP), toward something that both viciously rips away and cascades with calm. Ultimately, despite its alien sounds, it is a move toward something more human; sonic explorations made in glorious isolation. Hand-drawn artwork by Brian DeGraw.



HOOD, ROBERT: Minimal Nation 3LP+CD (MPM 001LP) 36.00
2015 repress. 3LP version pressed on white vinyl, which includes 2 previously-unreleased tracks; plus a CD of the full version of Minimal Nation.M-Plant presents a remastered special edition of Robert Hood's classic Minimal Nation, 15 years after it changed the face of techno. This album is justly revered as one of the most important and defining techno records ever made. Hood's iconic masterpiece, originally released on Jeff Mills' Axis label in 1994, stripped dance music back to the barest elements, yet retained a loose and dirty funk that many so-called "minimal" records lack today. Having inspired thousands of producers and DJs across the globe, and starting a genre a decade before it was popularly recognized, nothing before or since has sounded like it. Featuring the unreleased "SH-101" (made during the same sessions) and the very rare "Self-Powered" (which only appeared on the Axis test press), Robert Hood's Minimal Nation gets its first full CD release. When first issued as a vinyl double-pack, Minimal Nation not only sounded unlike any other record but also looked like no other -- with each track finishing in a locked groove that forced the listener to flick the needle to the next track. Each groove was built from harsh angular elements that, when combined, created an alien funk not bereft of warmth or soul -- a sound so unique that its single spark echoed around the world and took electronic music into new, uncharted territory. As Hood himself stated, "In order to maximize the feeling of the music, sometimes we have to subtract." In a world full of generic and similar-sounding records, Robert Hood's music jumps straight out of a DJ's set. While many more have joined the cause or jumped on the bandwagon, for Robert, "minimalism" remains just as much a way of life as a musical artform. To this day, Minimal Nation remains the benchmark, the ground zero of "minimal" -- the first record to conceptually take the Pavlovian principle of less is more straight to the dancefloor with its insistent loops and surging funk patterns. As Hood concludes, "Regardless of its diminutive nature, one should never underestimate the neural potency of minimalism."


2015 repress. For the next release on M-Plant, Robert Hood revisits his Floorplan moniker, delivering three new tracks. "We Magnify His Name" is a classic example of the Floorplan ethos. Hood layers gospel vocals and a joyous atmosphere over a funked-out disco backbone. "Baby Baby" will have dancefloors jumping too, with its clipped, staccato vox and pumping bassline. The EP ends on "Basic Principle," the techiest of the three tracks, though still removed from Hood's usual dark minimal techno.


MIG 1161LP

AGITATION FREE: Shibuya Nights 2LP (MIG 1161LP) 31.00
"In 2007 three concerts were recorded in Shibuya O'West/Tokyo, finally mixed into this outstanding album. A more than 70-minutes time travel back to the 70's, filigree and majestic. A matchless mixture of spacy-psychedelic 'Krautrock' and Ethno-Music. Agitation Free proves again on this album that they are one of the most important representatives of the so-called 'Berlin School. Special limited to 1000 copies double-vinyl edition in red/black colored vinyl, numbered consecutively, in complex gatefold!"



S, ALEK: It's All Good EP (incl. Myles Sergé Remix) 12" (MOC 004EP) 14.00
Sometimes playful, sometimes serious and conceptual -- skirmishing sounds over four tracks. A sizzling noise and straight kick-and-hi-hat rhythm kick off Alek S's It's All Good EP. "Grand Central" remains true to the sound of industrial techno. Reclusive perfectionist Myles Sergé's remix of "It's All Good" delivers intense, delightful tech-percussion. The original "It's All Good" and "Boyz Weekend" close it out, with continuous, high-quality surfaces and deep, dubby techno.



BLACK, KONRAD: The Scorched Earth EP 12" (MEANDER 016EP) 14.00
Continuing its ongoing preoccupation with the vast universe, deep space, spirit and consciousness, Meander presents the Scorched Earth EP by Konrad Black, a selection of advanced 101 techno-infused break-beat science. Creating precision dance music, Black conjures the essence of the explosive meteorite, its afterglow, and its sonic resonance. The results are powerful, timeless sonic treatments for body and soul, pressed on heavyweight 180-gram vinyl. Together with fellow Canadian Mathew Jonson, Konrad Black founded the influential Wagon Repair label in 2005. This 12" precedes a record of remix interpretations by genre-defining artists from the underground electronic dance music scene.


MG 110CD

DIAPHRA, ALEXANDRE FRANCISCO: Diaphra's Blackbook of the Beats CD (MG 110CD) 17.00
"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.


MF 090LP

MF DOOM: Operation: Doomsday 2LP (MF 090LP) 24.00
2015 repress on black vinyl. "This special edition 2LP package comes housed in an all new exclusive jacket featuring Doom's infamous metal mask icon embossed out of a metallic silver foil. An absolute must have for the Doom completist. The long awaited reissue of Doom's first solo gem, Operation: Doomsday. Remastered from the original Fondle 'Em 1999 issue. Side A is listed as 'Side Zero'. Side B is 'Side One'. And so forth. Underneath his mysterious metal mask, MF DOOM hides the cachet underground legends are made of. After KMD (his first group)'s 1994 sophomore album Bl_ck B_st_rds was shelved by Elektra in 1994 and his blood brother Subroc (one half of the sibling rap duo) passed away, surviving frontman Zev Love X mutated into the MC Avenger known as MF DOOM and the Rap world is better for it. This 19-cut deep album is ridiculously dope, in a bizarro Ol' Dirty Bastard kind of way. Doom sounds either high or drunk on most of the tracks, his self-produced beats are gritty, and his rhyme styles are almost indecipherable."



FENSTER: Emocean CD (MORR 139CD) 15.50
Fenster's Emocean is the soundtrack to a sci-fi adventure film created by and starring the band. The music is a swirling cosmos of richly varied post-psychedelia, transcending the boundaries of reality and traditional pop records to join the ranks of other genre-bending music films like Daft Punk's Interstella 5555 (2003) or Prince Rama's Never Forever (2013). With Emocean, the band utilizes its classic approach to non-traditional percussion and instrumentation, but this time ventures deeper into new territory with funky basslines ("Off the Cahin") complemented by additional instruments like bass clarinet ("Memories"), flute ("Phantasia"), and modular synthesizers ("Samson's Theme"). Emocean is a nuanced and surprising departure from the band's first two albums, Bones (MORR 112CD/LP, 2011) and The Pink Caves (MORR 127CD/LP, 2013). The approach to this record was a more holistic exercise in collective songwriting resulting from a series of feverish jam sessions. The sounds evoke a broad spectrum of parallel universes, from soothing surfy tidal cliffs to analog synth dungeons; from interstellar purple-funk disco-techs and wobbly organs in houses of worship to acid blues parades and delicate maidens picking daisies on the moon ("Les Fleurs"). The most danceable track is definitely "Off the Cahin," and "Memories" is a sun-soaked summer jam. Emocean was conceived as a conceptual soundtrack before the film's actual production and evolved into the most ambitious project the band has ever done. With a year of planning, over a month of shooting on HD and mostly VHS, a cast of over 100 actors and extras, numerous outdoor and indoor locations, the rental of an entire island for a day, drone cameras, and a self-built green-screen studio, the project is unlike anything else. It brought the band to the edge of madness. Based in Berlin and hailing from four different countries, Fenster began as a 2010 collaboration between Jonathan Jarzyna (Germany/Poland) and JJ Weihl (US), who were later joined by Lucas UFO (France) and Will Samson (UK). Fenster's first two albums garnered critical acclaim, and the band has toured extensively in the USA, UK, and 15 other countries in Europe. This release comes in advance of a planned tour featuring the band playing the soundtrack live along with screenings of the film, transforming the experience of classic silent cinema into a fantastical journey headed for the unknown.


FENSTER: Emocean LP (MORR 139LP) 18.00
LP version. Includes download code.



MOUSE ON THE KEYS: The Flowers of Romance CD (MUSIQ 049CD) 17.00
Mouse on the Keys, the Japanese trio of Daisuke Niitome (piano, keyboard), Akira Kawasaki (drums, piano, keyboard), and Atsushi Kiyota (synths, piano, keyboard), are an energetic, hard-to-pigeonhole Tokyo-based group that combine the sound of diverse pianos and synthesizers with out-there drumming. Their locomotive American hardcore rhythms and virtuosic post-rock grooves dance fearlessly with jazz, contemporary classical, and shreds of electronic music. Since their foundation in 2006, the band has released on such labels as Japanese imprint Machu Picchu Industries and acclaimed German label Denovali Records, and toured Europe, Canada, Brazil, and Asia. As their main influences, the musical libertines name a miscellaneous range of labels, artists, and bands including On-U Sound, Burt Bacharach, Claude Debussy, Bad Brains, Kreator, Material, Johann Sebastian Bach, Beastie Boys, Napalm Death, and Steve Reich, all of whom left their traces on the group's third album, The Flowers of Romance, an irrepressible amalgam of spontaneous ideas and precisely written harmonics. While recording in Tokyo and the little coast town of Izu, in April and May of 2015, the trio worked for the first time with material that they had not written together. Each member wrote songs by himself, and the band collaborated with guests like violinist Atsuko Hatano, trumpet sorcerer Daisuke Sasaki, guitarist Masahiro Tobita of the legendary Japanese hardcore band Envy, and many more singers and musicians, enlisting contrabass, clarinet, and saxophone. Together they turned in a live sound that gives the compositions a human touch and brings them to a higher level. The pieces have moments of post-rock and free jazz, occasionally recalling the music of Tortoise or John Zorn. A virtuosic mix of alert piano-playing, intense drumming, chamber music, synth grooves, celestial ambient structures, and beautiful abstract melodies. The Flowers of Romance also includes a composition by their hero, Maurice Ravel, and the band claim that western philosophers like Ferdinand de Saussure, Sigmund Freud, or Karl Marx had a major influence on the writing process. It's a multi-layered superstructure and an exhilarating utopian masterpiece made with precision, fidelity, and frankness for ears with a deep sense of the intense, the radical, and the playful.



ALIF: Aynama-Rtama LP (NAWA 003LP) 21.00
LP version. Pressed on 140-gram vinyl. Limited to 300 copies. Alif is the collective sound of five musicians at the forefront of independent music in the Arab world. Conceived in 2012 and taking its name from the first letter of the Arabic alphabet, Alif features Khyam Allami (oud), Tamer Abu Ghazaleh (vocals and buzuq), Bashar Farran (bass), Maurice Louca (keys and electronics), and Khaled Yassine (drums and percussion). Their self-produced debut, Aynama-Rtama (Wherever It Falls) is a reflection of its time and environment. Recorded between Beirut and Cairo in 2014, it is a shape-shifting album that twists and turns when one least expects it. Right from the lead track "Holako (Hulagu)" -- featuring a poem by late Iraqi poet Sargon Boulus (1944-2007) rendered into song for the first time -- the band immediately reveal their intention. Louca's gritty electronic percussion melds with Allami's rhythmic oud, and builds until the explosion of a driving rhythmic section, backing Abu Ghazaleh's frenzied buzuq, leads to a cinematic climax of soaring strings and raging drums. The startling synergy of these five musicians is retained throughout the album. A fiery sermon rages in "Al-Khutba Al-Akhira (The Last Declamation)" as the tumult of Yassine's acoustic percussion gives way to Louca's piercing synths, intertwining with Abu Ghazaleh's potent diction. From the melancholic beauty of "Dars Min Kama Sutra (A Lesson from Kama Sutra)" -- which features the tantalizing verses of renowned Palestinian poet Mahmoud Darwish (1942-2008) -- to the majestic and surreal album-closer "Eish Jabkum Hon? (What Brings You Here?)," penned by the band's own Tamer Abu Ghazaleh, each track bursts with rhythmic drive and fervor. The band's wide-ranging influences, along with their unified and intriguing energy, give birth to a soundscape that is at once familiar and unknown. Mixed by Ali Chant of Toybox Studios, Bristol, UK (PJ Harvey, Rokia Traoré, Yann Tiersen, Gruff Rhys, John Parish) and mastered by John Dent of Loud Mastering, UK (Bob Marley, Nick Drake, Yann Tiersen, Massive Attack, Nick Cave), Aynama-Rtama traces a complex labyrinth of genres, sounds, and emotions, rendered as a unique postcard of the tumultuous rollercoaster-ride of its time. The album is adorned in artwork featuring a painting by Syrian-Lebanese visual artist Semaan Khawam. His colorful, surreal paintings, combined with original typography by Egyptian designer Salma Shamel, perfectly complement the complexities latent in Alif's music and lyrics. All editions also feature Nariman Youssef's English translations of the poems and lyrics.


ALIF: Aynama-Rtama LP (NAWA 003X-LP) 21.00
Red vinyl LP version. Pressed on 140-gram vinyl. Limited to 200 copies.


NMG 5762LP

SLUM VILLAGE: Fan-Tas-Tic Vol 1 2LP (NMG 5762LP) 25.00
"The contributions of the late Detroit producer James DeWitt Yancey -- better known to the world as J Dilla -- to the world of hip-hop can't be overstated, and nowhere is his legacy more apparent than his work as a member of Slum Village. A founding member of the trio, (Alongside rappers T3 and Baatin) Dilla provided the group's distinctly esoteric, free-wheeling sound, built around winding basslines, quirky drumbeats, subtle low-end frequencies, and classic jazz & soul samples. Against the backdrop of Dilla's rich production, T3 and Baatin's free-flowing style of rhyming would also earn wide critical praise, leading to comparisons as the successors to A Tribe Called Quest. (A label they themselves have rejected.) It's on Slum Village's 1997 studio debut, Fan-Tas-Tic Vol. 1, that all these elements come together in the most proficient manner. An instant hit among Detroit's underground hip-hop scene, the album seemed to combine all the best elements of the reigning alternative and gangsta styles of hip-hop into one cohesive style that was a hit among critics. Fan-Tas-Tic's influence extended far beyond Detroit, as its sound heavily influenced the sounds of D'Angelo, Erykah Badu, and The Roots just to name a few. (Roots drummer ?uestlove has even declared that: 'Hands down this album birthed the neo-soul movement.') Ne'Astra Media Group now presents the album reissued on vinyl, for the first time in several years. Every wobbling bass note of J Dilla's production has been preserved and every freestyle line of T3 and Baatin has been re-created, to maintain the legacy of a late-90s rap classic, and the legend of one of hip-hop's greatest beatsmiths."


NN 020LP

YONKERS, MICHAEL: Grimwood LP (NN 020LP) 18.50
Currently out of print on CD, Michael Yonkers's Grimwood finally receives its long-overdue vinyl re-release (with download code included). Yonkers's first four LPs were released simultaneously in 1973, but it is Grimwood, his first, that regular commands the biggest bucks on the collector-scum market. Recorded in 1969, less than a couple years after the material eventually released as Microminiature Love, Grimwood sounds like it emanates from another universe entirely. Straightforward on the one hand, yet fascinatingly and psychedelically abstruse on the other, Grimwood remains an essential "outsider" document that sits comfortably (and irreplaceably) alongside Spence, Grudzien, Tweddle, and a few select others. "It would seem that Yonkers followed a trail that psychologically parallels the sun life highway, and his private flight took place in a presumably small hut, nestled on a lemonade lake, and from his chimney wafted rainbow smoke, in the fantastical haven of the mystical, mythical grimwood town for which the rec is named, as he attempted to allow light / space into areas of his psyche that hadn't seen enough of either in some time." --Karl Ikola, liner notes to 2007 CD reissue

NN 023LP

BROTZMANN & HAMID DRAKE, PETER: Solid And Spirit 2LP (NN 023LP) 29.00
2015 repress; limited to 300 copies. Recorded on April 18, 2010 at Clemente Velez Center, New York City. German free jazz saxophonist and clarinetist Peter Brötzmann: alto and tenor sax, B-flat clarinet, tarogato. American jazz drummer/percussionist, Hamid Drake: drums and percussion.

NN 028LP

METZGER, PAUL: 1300 LP (NN 028LP) 18.50
Paul Metzger's choices of instruments involve strings and necks, but he is not content to leave them in their original state. On 1300, his ninth solo album and third for Nero's Neptune, Metzger performs on modified guitar and 23-string banjo. The first of the album's two side-long improvisations, "Meend for Shaista," displays the earliest of Metzger's experiments in modification, a revamped Yamaha guitar first displayed on his 2005 debut. The instrument has evolved considerably since then. The neck is now covered in fretless steel, many sympathetic strings have appeared, and a ride cymbal has been attached to the bottom. Metzger applies a percussive string technique and an unorthodox flamenco approach with his right hand, while his gliding left reveals the hidden beauty between the notes. As the piece unfolds, Metzger accompanies himself on tabla while simultaneously playing the guitar; it is at times hard to believe the recording is a one-pass live improvisation made by a single player. On the second side, "Death's Other Kingdom," Metzger breaks out his 23-string banjo. The banjo has extra strings added (including a zither-like spray of 13 fanning out over the drum head), with the skin and sides of the banjo utilized for percussive effect. The piece begins with a slow-burning bowed section. Metzger's bowing has evolved from single-note glissandos into a full-neck chordal style, showing impressive strides in development and refinement. Echoes of North Indian classical music, 12-tone music, and Asian musical forms inform his work. Once the bow is set aside, Metzger's dexterous finger-work and flat picking bring forth a thematic arc, building to blinding velocity as the piece comes to a climax. The cover of the album features the artwork of Metzger's paternal great-grandfather Max Kleiter, whose drawings appear in early issues of the German art nouveau publication Der Jungend. The piece dates from 1901, but is as timeless and singular in style as the music contained within.


NA 5091CD

WITCH: We Intend To Cause Havoc! 4CD BOX (NA 5091CD) 36.00
Repressed. "The complete works of Zambia's legendary garage, psych, prog, funk, Afro-rock ensemble. 1972-1977. Witch's five albums and rare 7" tracks presented as a 4CD (5 3/4"X10") box set, restored and remastered from the original tapes. Contains a twenty-four page booklet with never before seen photos and ephemera; extensive liner notes and annotation; an interview with bandleader 'Jagari' Chanda. By the mid 1970s, the Southern African nation known as the Republic of Zambia had fallen on hard times: self-imposed, single party rule; a decline in prices for the country's largest natural resource, copper; conflict in other countries on Zambia's borders. This is the environment in which the Zamrock scene that flourished throughout that decade emerged... fuzz guitars were commonplace, driving rhythms as influenced by James Brown's funk as Jimi Hendrix's rock predominated, musical themes were often bleak and bands largely sang in the country's constitutional language, English. Although Witch is the best known Zamrock ensemble and although they succeeded in releasing five albums in Zamrock's golden years -- they never made an impact on the global scale in, say, the way afro-beat maestro Fela Kuti did. Travel to and within Zambia is expensive, and the markers for the Zamrock scene are now few. Only a small number of the original Zamrock godfathers survived the AIDS epidemic that decimated this country. Witch's musical arc is contained to a five year span: The band's first two, self-produced albums, released in unison with the birth of the commercial Zambian recording industry, are exuberant experiments in garage rock, and are as influenced by the Rolling Stones as they are James Brown; their third albun, Lazy Bones!! is the band's masterpiece, a dark, brooding psychedelic opus that makes equal use of wah-wah and fuzz guitars, that relies as heavily on the stomping feel of hard rock as it does the syncopation of funk; the band's last two albums, recorded after the band toured with Osibisa, make use of traditional Zambian rhythms and folk melodies and are the most 'afro-rock'of Witch's oeuvre."



CRAMPS, THE: Teenage Werewolf... Live CD (ORB 103CD) 12.00
The larger-than-life figures who graced the stage of New York's legendary Club 57 on the night that this performance was recorded stood on the brink of a wider stage -- the world. The Cramps quickly became one of America's finest subculture manifestations, bred from the madness of '50s and '60s B-movie trash at the turn of punk. On this night, Lux Interior and his motley crew of proto-gothic punks tore off heads with a slew of Dick Dale and Sonics salutes amid sordid contortions. Above all, The Cramps were a live band, a cabaret of B-movie histrionics and debonair pursuing a lurid sexual gratification. Lux Interior, in particular, personified and externalized what lurked behind the snarl of every rockabilly hero. The original radio broadcast of this performance is presented here in its entirety, with digitally remastered sound and background liners.



HOPPNER, NICK: Remixes 12" (OSTGUT 092EP) 12.50
Nick Höppner follows his 2015 album Folk (OSTGUT 033CD/019LP) with an EP of album remixes. Few nights compare to Chicago's Smart Bar resident The Black Madonna taking over Panorama Bar after Höppner's set in March 2014. Her remix of "Relate" turns Höppner's dreamy original into a sturdy, 4/4-heavy house monster. Berlin-based duo Liit shine some wan and oppressive light on the album's buoyant pop gem "Come Closer." Dutch producer Aardvarck's treatment of "Grind Show" is a deep and mesmerizing piece of dancefloor voodoo. Herva turns "Rising Overheads" into a slowed-down, multi-layered dub -- offbeat and deep.


OD 004EP

UNOUZBECK & VENTURI: Houmous Pous Tous 12" (OD 004EP) 15.50
Houmous Pous Tous is the first EP from Unouzbeck & Venturi for Östra Discos. Amazing energy on these tracks.



TRICOLI, VALERIO: Miseri Lares 2LP (PAN 044LP) 29.00
Restocked. It has been 7 years since Metaprogramming from Within the Eye of the Storm, the last solo full-length release by Valerio Tricoli. In the years between, he has established himself as a formidable presence on the international experimental live circuit and released acclaimed collaborations with Antoine Chessex, Coi Tormenti (Dilemma Records, 2010) and Thomas Ankersmit, Forma II (PAN 016CD, 2011) along with the fifth full-length release by his band with fellow Italian cohorts 3/4HadBeenEliminated, Oblivion (ZEIT 011CD, 2010). Throughout these shows, collaborations and ongoing explorations, Valerio has developed on his signature style of beautifully unsettling musique concrète. The result of his tireless explorations, Miseri Lares is his magnum opus, a multilayered and heavily nuanced work which epitomizes the uncanny in the realm of sound. Miseri Lares explores a variety of interlocking themes and sonic tapestries that combine in a quietly disturbing and deeply existential work. As a contemporary take on musique concrète, Tricoli utilizes his full explorations of the Revox tape recorder alongside digital processing, while retaining all of the mystery and surprise elements found in the classic approach of pioneers such as Bernard Parmegiani, Eugeniusz Rudnik and Michel Chion. Themes of the internal, represented by both the psychological and the physical, play throughout the record. As a symbol of spirits preying on the grief within, haunting wisps of sound swirl around a throbbing bass in "Hic Labor Ille Domus et Inextricabilis Error," whereas "La Casa Deviata" emphasizes the paranoid structure as looming creaks make way for abandoned pipes and a cloud of escaping water. Here, the tension at play is injected with a treated Dictaphone recording: "Tell me what happened," "I can't remember? THE SMELL!!! There was a tape recorder, where is the tape?" Spoken text (Italian and English) appears throughout the record, mostly as texture or as a dehumanized floorboard -- a play on the album's themes of the psychological, emotional and irrational horror within. Texts by Italian poets Dante and Guido Ceronetti appear alongside excerpts from The Ecclesiastes (in Hebrew, Qohelet), H.P. Lovecraft, E. M. Cioran, and writings by Tricoli himself. These add an extra weight to the recording, making it reminiscent of Robert Ashley or even the comedic tragedy of later-day Scott Walker (baritone aside). Valerio Tricoli's release for PAN adds another piece to the puzzle of narrative-based concrète music, while deviating from all conventional forms and playing out like a literary form of unsettling sound sculpture. 2LP mastered and cut by Rashad Becker at Dubplates & Mastering, pressed on 140 gram vinyl. Vinyl set packaged in a pro-press jacket which itself is housed in a silkscreened PVC sleeve with photography by Traianos Pakioufakis and artwork by Bill Kouligas.


PZG 35024LP

O'JAYS: Collectors' Items 2LP (PZG 35024LP) 17.00
Gatefold reissue of this 1977 collection, featuring the Tom Moulton mix of "I Love Music," plus "For The Love Of Money," "Stairway To Heaven," "Survival," "Livin' For The Weekend," and more.



2005 release. Joëlle Léandre: double bass, voice; Akosh Szelevényi: tenor saxophone, soprano saxophone, clarinet, flute. Recorded live during the Festival Mediawave in a synagogue in Gy?r, Hungary, on May 1, 2003, by Péter Tóth. Mastered by David Mascunan at DM Studio, Limoges, France. Liner notes by Gérard Rouy.


EN/Q./AHAD: Paw Music CD (REQ 002CD) 16.50
2010 release. Én (Pál Tóth), Q. (Quentin Rollet), and Ahad (Zsolt Sörés). Recorded and mixed at the Arion Studio, Budapest, Hungary, in August and September 2002. Engineered and mastered by János Horváth. Remastered in March and April 2003 by Zsolt Kovács at the Ps?choplasmics Studio, Diósd, Hungary. Produced by Jozef Cseres. Cover photos by HEyeRMEarS. Paw Music photo by Célia Bonin. Design by HEyeRMEarS/DISCORBIE.



SAKURAI, KYO: Bali Moon 12" (RFOR 009EP) 17.50
Underground Japanese beatboxer Kyo Sakurai showcases his incomparable originality in genres ranging from ethnic to electronic music. This tune is the exotic "Bali Moon," the closing track from his 2015 album Traveller. The B-side features a remix by Moodman, one of the forerunners of the underground house music scene in Japan. Top Japanese violinist Keiko Oikawa also appears, as does Kouheisai Kawamura, performing gamelan and kecak. Artwork by Ippi; design by Kawamura. 180-gram vinyl.



O'MALLEY, STEPHEN: Eternelle Idole 2LP (SHELTER 060LP) 40.50
This double LP documents Stephen O'Malley's Eternelle Idole, his score for Paris-based choreographer Gisèle Vienne's artistic ice-skating piece of the same name. Comprising 47 minutes of music spread over three sides and enhanced by an elegant and chilling photoset by Estelle Hanania, the album features familiar O'Malley collaborators Steve Moore, Daniel O'Sullivan, Peter Rehberg, Jesse Sykes, Bill Herzog, and Randall Dunn. Recorded between Brest, France; Seattle; and Rotterdam, the Netherlands, the score sees O'Malley taking several creative detours, utilizing modular synthesizers and programming as key elements for much of the composition. Eerie keyboard- and piano-phrases draw a white, monochrome stage for a young girl's stark and emotive elegy. Clavichord and guitars weave through the darkness, supported by Sykes's prophetic voice. Mirroring the score, Hanania's 16 photographs of the choreographic piece display the grace, sustain, geometry, telemetry, distance, and perfection of ice-skating, as well as possible falls and gloomy shadows. Metal against ice; tights and knots; spirals and scratches; shouts and winds -- field recordings mold a crispy atmosphere while instruments draw lakes, ice skating rings, cosmic belts, and a terrestrial cloud passage and eventual landing platform for a flying saucer. 180-gram white double LP with 16-page, 30 x 30-cm, saddle-stitched, full-color booklet in 350-gram sleeve with gloss varnish. Edition of 500.



1999 double LP reissue of the first Captain Beefheart LP, originally released in the US on Buddah in 1967. 180 gram virgin vinyl pressing, housed in a clear poly sleeve. The second LP contains bonus outtakes: "Safe As Milk (Take 5)," "On Tomorrow," "Big Black Baby Shoes," "Flower Pot," "Dirty Blue Gene," "Trust Us (Take 9)" and "Korn Ring Finger."


FAIRPORT CONVENTION: Unhalfbricking LP (SVLP 164LP) 18.00
2000 reissue of Fairport Convention's 1969 album, on 180 gram vinyl and housed in a poly sleeve. "By Unhalfbricking Fairport had already redrawn the arbitrary lines that divided folk and rock in the same way that their heroes, The Band, had done in the States. Thompson, by now, was a fully-fledged master of his craft (at the age of 20!): 'Genesis Hall' being the first of his really melancholy masterpieces. Yet, such was the wealth of talent in the band that only one other of his contributions was featured. Denny provided her signature tune 'Who Knows Where The Time Goes', and 'A Sailor's Life' (featuring future long-serving member Dave Swarbrick on violin) proved conclusively that a traditional song leant itself perfectly to the kind of extended jamming normally reserved for more testosterone-fueled blues workouts by the likes of Cream."


SR 6037LP

HELL AND THE VOIDOIDS, RICHARD: Blank Generation LP (SR 6037LP) 18.00
Standard weight vinyl reissue of the debut Richard Hell album, originally issued by Sire in 1977. "Hell formed the Voidoids, whose unwavering individualism kept the group out of the big time while producing a demanding and impressive corpus of work. 'I was saying let me out of here before I was even born.' That lyric sums up Hell's attitude, which he expanded and perfected on Blank Generation with a new version of the title track and such powerful statements as 'Love Comes in Spurts' and 'New Pleasure.' The album combines manic William Burroughs-influenced poetry and raw-edged music for the best rock presentation of nihilism and existential angst ever. Hell's voice, fluctuating from groan to shriek, is more impassioned and expressive than a legion of Top 40 singers." --Trouser Press



VA: Fortyfour Ways 12" (SMALL 044EP) 14.00
Smallville Records celebrates its 2015 tenth anniversary with the third part of the Ways various artists series, which began in 2011 with Twentyfour Ways (SMALL 024EP) and continued in 2013 with Thirtyfive Ways. Fortyfour Ways introduces L'Amour Fou (Move D with Benoit Bouquin (BB) and Marco Wollenberg, both from Taipei). Kornél Kovács played at a Smallville party in 2014, and "Space Jam," included here, is partly the result of that meeting. Juniper follow a 2012 split 12" with Arnaldo (SMALL 030EP) and many gigs (mostly at Stattbad in Berlin) with "Variations in Grey." Smallpeeps on the mighty B2. Precedes Fortyfive Ways (SMALL 045EP).


VA: Fortyfive Ways 12" (SMALL 045EP) 14.00
Smallville Records celebrates its 2015 tenth anniversary with the fourth part of the Ways various artists series, which began in 2011 with Twentyfour Ways (SMALL 024EP) and continued in 2013 with Thirtyfive Ways and in 2015 with Fortyfour Ways (SMALL 044EP). Here, STL contributes a dub that feels like it could last forever. Tilman Tausendfreund, a long-time regular employee at the Smallville record store, collaborated with Chistopher Rau on Asper Clouds (SMALL 003CD/LP, 2010), and here delivers one of his lovely lo-fi-sweet-house anthems. Rau himself also takes part, as does Lawrence, of course, who co-founded Smallville back in the day.


S-R 020LP

BASHO, ROBBIE: Twilight Peaks LP (S-R 020LP) 25.00
Limited repress. LP version with download code. Formal reissue of Twilight Peaks, guitarist Robbie Basho's last recordings. It was originally issued in 1984 on a tape label called The Art of Relaxation, and never got any reviews or attention at the time. For this proper release it was mastered by Glenn Jones (of Cul de Sac fame) and Matt Azevedo, from the original demo tapes, provided to Glenn Jones by Basho himself as he was working on the album.



MUSLIMGAUZE: Uzbekistani Bizzare and Souk 2LP (ARCHIVE 018LP) 29.00
Sonically, Bryn Jones's work as Muslimgauze often pulled in two directions at the same time. The one, towards what fans of Can might call an "ethnographic" kind of practice, especially with his use of vocal samples and percussion instruments from the Middle East and other regions of the world Jones was so interested in (obsessed by?). The other is toward, for lack of more polite phrasing, harshly fucked-up digital noise and beats. Many interesting Muslimgauze releases tend more toward that ethnographic side or find a middle ground between the two impulses, but few of his records slide so much towards the other end of the spectrum as does 1996's Uzbekistani Bizzare and Souk. Aside from the vocal loop/Amen break duet of "Rouge Amin Fraction," the songs here found Jones focusing much more on the electronic music elements always present in his work as Muslimgauze, ranging from the watery, dubby tones that show up on "The Iranian Who Found Allah" and parts of the suite-like "Paper Gulag" through the harsh trebles of "Cafkir Ma Higra" (which bring to mind Aphex Twin's "Ventolin") to the dense digital-sleet-storm of closer "Leboneeze." Elsewhere, tracks like "Cafkir Wa Hig" and "Harijana" serve as master classes in Jones's expertise at twisting his beats and patterns until they practically shred (both themselves and, if you're not careful, the speakers). Uzbekistani Bizzare and Souk was originally issued by Staalplaat on DAT in 1996, and was reissued on CD by Important Records in 2002; this is its first vinyl release. A tough, rigorous set of some of Jones's most beat-focused work as Muslimgauze. Limited edition of 500.



CHEVEL: Blurse 2LP (STROBO 003LP) 27.50
Double LP version. Over the course of his career, Chevel (aka Dario Tronchin) has gained a mastery over slow melodic fades and sharp ricocheting beats, honing an ability to transport the listener. On Blurse, these elements come into play immediately; euphoric introduction "Comb" is marked by a spectral panning sequence and beats chopped with a culinary expert's sense of elegance. The drum-kit-sounds that feature throughout are used sparingly but deliver maximum impact upon the listener's nervous system. The block percussion on "The Windrunner" and "Low Roof" perfectly complements the synthetic sheen produced by fuzz distortion, radio static, and bandpass-filtered soundbites, taking the listener to a terrain where a palette of decay effects provides just as much aesthetic inspiration as the presence of technological advancement. There is more than enough humor and playfulness at work here, too, helping to once again banish the persistent stereotype of the modern techno producer as a sterile technician; the queasy melody line and the sliced-and-diced whistling, gelatinous bounce of "Loop #33" recall a child's playtime wonder more than they do the rarefied rigor of the laboratory. The less pulsating numbers like "Loop #42" and closer "A Form of Love" engage the listener as well, evoking short films of abiogenesis (the process of life arising from non-living matter). These tracks are not so much interludes or contemplative retreats from the action as they are enhancers of it, utilizing fluttering cycles of melody to engage in a kind of conversation with the more driving tracks. As to the driving tracks themselves, the places to which they drive the listener are satisfyingly beyond everyday experience. In other words, despite the consistency of Chevel's sonic toolkit and overall atmosphere, there is a rich variety in the emotional color on display here. The net effect is like a dream-state that echoes long after waking, though one can't pinpoint exactly why -- compelling the listener to dive back into the dream-pool to experience it again.


SR 346LP

Full-length original audio piece on 24-bit/48kHz digital USB flat memory-card with non-audio blank etched vinyl. Edition of 500 copies numbered and signed by Francisco López. La Selva is an immersion into the sound environments of a tropical rain forest in the Caribbean lowlands of Costa Rica. An astonishing natural sonic web created by a multitude of sounds from rain, waterfalls, insects, frogs, birds, mammals, and even plants, through a day cycle during the rainy season. A powerful acousmatic broadband sound environment of thrilling complexity. And above all, a tour de force of profound listening. Original recordings done at La Selva Biological Station during the rainy seasons of 1995 and 1996. La Selva was premiered in an acousmatic performance at Teatro Fanal of the Fanal Contemporary Art Center in San José, Costa Rica, in August 1997. Originally released as a CD by V2_Archief in 1998. "After two years of failed attempts with multiple test pressings from the best plants and cutting engineers in Europe, the inherent constraints of vinyl led to an unavoidable conclusion: this audio piece cannot be released on vinyl... many of the naturally intense sections of 'La Selva' with insect and amphibian calls were rendered awfully distorted, with filtering solving virtually nothing at the expense of dramatic dullness... That is why this 'natural' sound piece has been finally reissued digitally, in its entirety, and with the best possible sound." --López

SR 394CD

KOSMOSE: Kosmic Music from the Black Country 2CD (SR 394CD) 18.00
Never-before-released recordings of mythic Belgian kosmische band Kosmose (1973-'78). Kosmose can be approached as a collective without a specific leader. The line-up fluctuated quite a lot around a rock-solid core formed by Alain Neffe and Francis Pourcel. As this release demonstrates, their sound evolved from something deeply influenced by kosmische music to a purely improvised form of noisy free jazz. The whole adventure took place in the heart of the '70s, almost under wraps, though most rehearsals were taped by Neffe. RIYL Hawkwind, Can, Musica Elettronica Viva.


TR 317CD

HOWARD & THE NIGHT MAIL, JOHN: John Howard & The Night Mail CD (TR 317CD) 18.00
In 1975 CBS released Kid in a Big World, the debut LP by a golden-voiced young piano man called John Howard. But somehow, between glam and pub rock, this early masterpiece fell through the gaps. The world may have been ready for Bowie flirting with androgyny, but not quite ready yet for an out gay pop star. Forty years later, in 2015, Canterbury-based/Vienna-born pop writer and musician Robert Rotifer enticed this living singer-songwriter legend back to England from his Spanish exile to work on the collaborative project John Howard & The Night Mail. Apart from Howard himself on vocals and piano and Rotifer on guitar the band features Andy Lewis (Paul Weller's bassist, DJ and Acid Jazz label regular) on bass and Mellotron and Ian Button (Papernut Cambridge, ex-Death in Vegas, ex-The Thrashing Doves) on drums. Apart from the Roddy Frame cover "Small World" ("Great! Brilliant! I'm flattered," says Frame), Lewis, Button, and Rotifer share all the writing credits with John Howard. And as Howard's fingers touch the keys on "Intact & Smiling," the '60s soul-flavored lead single he co-wrote with Lewis, you can sense the electricity of finally playing together with a full band in the studio again after all those years. It's nothing less than the joyful rebirth of an almost forgotten hero of British pop history. "John, though he always creates fictional characters for his songs, had also given a lot away about himself between the lines. About his youth and discovering the magic of pop ('In the Light of Fires Burning'), his struggles with society's blinkered sexual attitudes ('Safety in Numbers'), his compulsive need for things to be just right ('Control Freak'), and the harsh realities of growing old ('Before'). As for the music... We'd hit the ground running and never stopped until the whole record was finished three days later in a grand tour de force of John doing all of his vocals in one single day... I'm listening to the record now, and I feel none of the doubts that usually hang around well after one has finished an album, because it was all done in such a breeze, with no time for self-conscience or second-guessing. I know Ian and Andy feel the same. But most of all we can't wait to see John again and take The Night Mail on the road." --Robert Rotifer, Canterbury, March 2015



PINCH, MUMDANCE, LOGOS: Double Barrelled Mitzi (Turbo Mitzi VIP)/Legion (VIPinch Mix) 12" (TEC 087EP) 12.50
Two big rhythms that have been tearing up dances across the globe, in heavy rotation by the few DJs holding the tracks. Pinch and Mumdance caught ears and attention with 2014's "Turbo Mitzi." The full-throttle VIP version is titled "Double Barrelled Mitzi," referencing both the late-'90s E of choice and its rushier counterpart, and is guaranteed to get your heart racing and your palms clammy. The colder, darker Pinch version of Mumdance and Logos's anthem "Legion" features pounding kicks driving the rhythm while claps circle and reverse around that Reese bass, fully charged with dark energy.


BK 014EP

WILSON, CLAY: Skandha EP 12" (BK 014EP) 11.50
"I'm always looking for ways to escape that 'block-y,' downbeat-centric feeling," says Clay Wilson. "For me, it's the drone -- what's going on in the background -- that serves to hold my interest." Behind the tightly-wound techno core of "Cataleptic," the sound of a babbling brook and a plaintive, meandering bird call gently give way to the tintinnabulation of a distant bell. But make no mistake -- Wilson's productions are designed for the dancefloor through and through. The static kick-hat pattern of "Feres" contrasts with chunky, stepped percussion, before the ghostly vocal sample (or merely something approaching it) of "Pict" repeats underneath it all.



FELL FEAT. RHODRI DAVIES & OKKYUNG LEE, MARK: A Pattern for Becoming Cassette (TTW 079CS) 7.00
A Pattern For Becoming is a piece by Mark Fell for seven moving speakers and solo improvising instrumentalist (Rhodri Davis and Okkyung Lee). The piece was first conceived for and performed at Harmonic Series at Southbank Centre, as programmed by Oliver Coates. In this piece each speaker plays a different and entirely static synthetic tone. The speakers are positioned around the audience and, throughout the piece, the direction and position of each speaker is changed, creating a slowly evolving synthetic sound field. For the performances featured on this edition, the speakers were moved by the following performers: Amy Kate Riach, Oliver Coates, Tom Rose, Na'ama Zisser, Rian Treanor, Galya Bisengalieva, Daniel Pioro, Hugh Brunt and Robert Ames. The recording and live sound engineer was Trevor Davison. 150 copies only. Cover collage by D.M. Nagu.


VAN HOEN, MARK: The Worcester Tapes, 1983-1987 Cassette (TTW 080CS) 7.00
The Worcester Tapes presents recordings Mark Van Hoen made as a teenager in the 80s, after Mark moved to the historical English city. These tracks feature his first synthesizer and tape recorder, from 1983; tape loop experiments; and several tracks utilizing the Roland S-10, Mark's first digital sampler. The tape opens with a recently rediscovered 30 minute ambient piece from 1987, "Fortified Hill." All of these recordings were originally mastered on cassette, and all titles are released here on a physical format for the first and only time. A fascinating snapshot of Mark's early music, made some 7-10 years before his first official releases. Edition of 150 copies.



KOPP, JONAS: HHH EP 12" (TRESOR 279EP) 12.50
Argentine producer Jonas Kopp follows his 2014 debut album Beyond the Hypnosis (TRESOR 273CD) with the powerful, club-oriented HHH EP. "Khaa" opens with a deep, pumping bass as schizophrenic chords intermingle with hi-hats; "Nahn" unfolds in parallel structure, cheeky yet with a smoother bassline. "Hank" unfurls with a thunderous, stomping bass that cracks upon each beat while sinister atmospheres appear overhead. On "Sinstro," fraught chords patter on the surface while spatial, airy moods climax throughout the piece.



TIGA VS BOYS NOIZE: 100 12" (TURBO 171EP) 12.50
Tiga follows mega-hits "Let's Go Dancing" (TURBO 153EP, 2013) and "Bugatti" (TURBO 164EP, 2014) with a massive Boys Noize collab, released following Boysnoize Records' 2015 ten-year celebrations, with six shows jointly headlined by Tiga and Boys Noize. Both producers come through clearly: the slamming drums and acid Boys Noize has so thoroughly mastered; the clever vocal hooks, catchy basslines, and ravey breakbeat flourishes of Tiga's. "Jam #1" is an ode to the pair's low-slung techno roots, a stripped-down bonus beat that sets the stage for the duo's "808 IRAQ," forthcoming at the time of this release.



LANDO: Stunts 12" (LVX 019EP) 12.50
Lando, fresh off the 2015 release of his remix of Dorisburg's "Dimension Sculpture" via his own Myth Music label (MYTH 003EP), offers up five slick, hypnotic tracks, with pulsing basslines that are right at home in the Ultramajic universe.



SAUNA YOUTH: Distractions CD (UTR 071CD) 17.00
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.



VA: Treasure Isle: Bond Street Special 1967-1974 LP (VOJ 005LP) 15.50
LP version. After retiring from the Jamaican police force, Arthur "Duke" Reid established his Treasure Isle liquor store and Trojan sound system in Pink Lane, Kingston, and was crowned the undisputed "King of Sound and Blues" in 1956, '57, and '58. The Duke then moved into record production, and, after relocating Treasure Isle to 33 Bond Street, he built a recording studio above the store in 1966. According to the musicians and singers involved, the wooden construction of the Treasure Isle recording studio gave the music a distinctive warmth and richness, and with resident engineer Byron "Baron/Smithy" Smith at the controls, the sound of a Bond Street recording was immediately recognizable. "But the Studio One sound is different to the Treasure Isle sound! The people have to know..." --Bunny "Striker" Lee. A glittering selection of Striker's Treasure Isle recordings are featured on this compilation; sit back and enjoy the set. Includes tracks by Derrick Morgan, Pat Kelly, Slim Smith, Roy Shirley, Stranger Cole, Lester Sterling, Don T Lee, Johnny Clarke, U Roy & Jeff Barnes, Roland Alphonso, Lloyd & The Groovers, Max Romeo, and Ernest Wilson.


STX 34165LP

REDDING, OTIS: Lonely & Blue: The Deepest Soul of Otis Redding LP (STX 34165LP) 26.00
2013 collection on blue vinyl. "... while he is capable of belting out stompers that can shake the wood off the dance floor, transforming old standards into new hits, or settling into a mid-tempo groove like a custom-tailored suit, it's on 'them sad, sad songs' that Redding truly kills. In all of music -- country, soul, pop, or rock 'n' rolll -- nobody, but nobody worries a line like Otis. And while there are many excellent albums that showcase all of Redding's gifts, Lonely & Blues is the first to focus on the most devastating of them from beginning to end."



ETCH/K-LONE: Toxin/Broke 12" (WSDM 003EP) 14.00
Following releases on Space + Time and Soundman Chronicles, Etch brings his junglist sensibilities to Wisdom Teeth, this time slowing tempos to a slow lurch for the sour, paranoid step of "Toxin." On the flip, label head K-Lone contributes "Broke," a beautifully sculpted percussive workout with a reduced, swinging groove.


WA 2015CD

VA: Bali 1928, Vol. III: Lotring and the Sources of Gamelan Tradition CD (WA 2015CD) 11.50
Vol. III of the complete 1928 Balinese recordings, the first republication since 1928 of lost shellac recordings, opens with the only known recordings of a lost gamelan. Heard in three tracks, Gamelan Semar Pagulingan, an ensemble known as "Gamelan of Love in the Bedchamber," played instruments that no longer exist, originally performed just outside the private residence of a raja during meals, times of leisure, and when the raja was otherwise engaged in pleasure with one of his wives. The major artist in this CD is I Wayan Lotring, a composer who could not sleep for nights as he heard melodies in his dreams that he taught orally to musicians in his gamelan. An extensive text by Edward Herbst is included as a PDF on the CD (accessible by computer) and hosted online by World Arbiter. Some of these recordings come from discs that existed in only one known copy, and now their mystical, complex, innovative styles are available for everyone to experience. Also includes performances by Gamelan Palégongan of Banjar Tegal, Kuta; Gamelan Gendér Wayang of Banjar Tegal, Kuta; Gamelan Gendér Wayang of Kaliungu; Gamelan Palégongan of Kelandis; Gamelan Gambang; Gamelan Gambang of Pura Kawitan Kelaci, Banjar Sebudi; and Gamelan Pajogédan (Gandrung) of Pagan.



VA: Mississippi Blues 1927-1941 LP (YAZ 1001HLP) 17.00
2015 repress. 180 gram reissue of this essential Yazoo compilation from 1967. Artists: Henry Sims, William Harris, Skip James, Charley Patton, Geeshie Wiley, Mattie Delaney, John Bird, Bobby Grant, Son House, Harvey Hull and Robert Johnson.


MCTELL, BLIND WILLIE: The Early Years 1927-1933 LP (YAZ 1005HLP) 17.00
2015 repress. 180 gram exact repro reissue of Yazoo's 1968 compilation of rare 78 rpm recordings from Blind Willie McTell. A record that put Yazoo on the map as an essential archival label of roots music. The very best of the magnificent Willie Samuel McTell -- aka Blind Willie aka Hot Shot Willie aka Georgia Bill -- exploring spiritual, ragtime, hillbilly, and above all, the blues.



MCMILLION, JON: Pass It 12" (ZBZ 006EP) 14.00
A two-track precursor to Jon McMillion's 2015 album on Zoombézoom, forthcoming at the time of this release. Limited edition of 300. Music written and produced by Jon McMillion. Mastered by Rashad Becker at D&M, Berlin.

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