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Forced Exposure New Releases for 9/21/2015

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New music is due from Pole, Sion Orgon, Simon Scott, and Helios, while old music is due from Current 93, Milan Knízák, Osiris, and Baby Washington.


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4M 203LP

FAHEY, JOHN: The Dance of Death and Other Plantation Favorites LP (4M 203LP) 22.00
180-gram vinyl. "Originally released in 1964, Dance of Death offers a glimpse of an artist in transformation. More than half the album's titles draw from the traditional blues and country repertoire Fahey had spent his teen years and young adulthood collecting, listening to, and learning to play, yet the recordings proved once and for all that his interests lay in musical transfigurations rather than preservation -- Fahey was not afraid to use these old tunes as raw material."


7S 019CD

VA: Secret Lounge 5: The Finest in Chill Out and Ambient Music 2CD (7S 019CD) 21.00
Secret Lounge is back with volume five, bringing you refreshing chill-out sounds for hot summer days and nights. Secret Lounge 5 is an all-exclusive selection of the finest electronic sounds for all lovers of high-quality music. Twenty-nine perfect tunes with a smooth, sexy, balearic feeling. Secret Lounge: the finest in chill-out and ambient music! Includes tracks by Key G, Hypnotizer, Francis Milia, Jaques le Noir, Miki Leris, Cedrik Zimmermann, D-Chill & Katy Blue, Krusty, Florian Fai, Castlebed, Niestolik & Richter, Alberto Casallo, Carpatica, Sinatic, Digital Project feat. Erin Panto, Crystal Noise, Deep Melange, Lemonchill, Electric Moonlight, Flow River's, and Ermo Slim.



AGF & VARIOUS: A Deep Mysterious Tone CD (AGF 020CD) 15.50
A Deep Mysterious Tone is the third edition in AGF's poetry series, following Gedichterbe (AGF 015CD, German, 2011) and Kuuntele (AGF 017CD, Finnish, 2013]. The series investigates the history of poetry in one particular language from a female perspective. Via current music and sound art practices, the poems are reimagined in a 21st-century context. Twelve Japanese poets were selected for this issue. Three poets date from the Heian period (794-1185) and the rest are from the Meiji Restoration (when Japan opened up to the world, starting in 1868) and after. In addition to the Japanese-language poets, one piece features the sound of the Ainu, the indigenous people of northern Japan. These primarily female stories were interpreted by AGF and her contemporaries Kyoka, Tujiko Noriko, Yu Kawabata, and Ryoko Akama, fellow artists and producers she got to know at various music festivals in Europe. The only living poet represented here is Misumi Mizuki, who reads her work herself.


AKU 1001CD

CHAO, LILY: Chinese Folk Songs CD (AKU 1001CD) 16.50
As the first entry in its catalog, French label Akuphone presents a reissue of Lily Chao's Chinese Folk Songs, originally released by Four Seas Records in 1968. This edition includes four previously unheard titles and exclusive liner notes containing Lily Chao's biography and lyric translations. Chao Xiao-Jun aka Lily Chao was born in Taiwan in 1948, while mainland China was rapidly undergoing major changes immediately following the end of the Chinese Civil War. After experiencing hard times in her girlhood, she ventured out into singing quite unwillingly. Indeed, at age 19, Lily Chao was compelled to give up her studies to support her family and start a career as a singer, after passing an audition at the Taipei Cabaret in Taiwan. The cabaret industry was in full swing at the time, offering destinations for popular entertainment, and Lily Chao's efforts to launch her singing career immediately attracted producers' attention. Her appearances at the Taipei Cabaret as part of its shows, which combined music in Mandarin, poetry, drama, magic, and other fine arts, soon earned her a reputation. Despite the immediate success that her numerous stage performances and appearances on the national television channel won her, Lily Chao led a chaotic and painful private life. As she smiled very little and tended to appear distant, the audience dubbed her the "Ice Queen," a nickname that she would keep for the rest of her career. This barely-concealed melancholy can be felt throughout Chinese Folk Songs, as well as in her very particular way of singing, which is both jerky and perfectly fluid. The album stands halfway between Mandarin folk songs and rock singing inspired by The Shadows, all surf guitar and garage sounds recorded with pinpoint precision and enhanced by saxophone and organ touches, while Lily Chao's intoxicating vibratos bring a pinch of soul to the music. An outstanding achievement of timeless pop music from the 1960s.

AKU 1001LP

CHAO, LILY: Chinese Folk Songs LP (AKU 1001LP) 23.50
LP version.


N 043CD

RAYON: Il Collo e la Collana/Libanon CD (N 043CD) 15.50
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). This CD also includes Libanon, Acher's soundtrack for the late Michael Shamberg's 2006 film Maître, Lihseb Please, originally released as a 10" in 2006. Supported by cellist Sebastian Hess and singer Victoria Bergman, it's a stunningly melancholy trip to Beirut that features local samples over harmonium, with nods to Fouad Elkoury's photography and Etel Adnan's writings.


ASH 11-4CD

SCOTT, SIMON: Insomni CD (ASH 11-4CD) 14.50
"Couldn't sleep... arose to forage for sound. The hum of the fridge encouraged further investigation of hidden, domestic sounds; the fish tank, DVD player, a broken laptop... Dawn and morning light allowed more sound and the guitar, in its case, beckoned... From darkness to light..." Guitars: Guild 12-string D-125 and Vintage Guild six-string GF-25. Mics: induction coil pick up and hydrophones. Buddha Machine pre-recorded and mixed, then re-recorded at Holme Fen Posts using mobile speakers. Recording device: Edirol r-09. Radio: static between stations. Software: Max MSP (self-programmed), Supercollider, and Logic Pro. Simon Scott (b. 1971) is a British multi-instrumentalist based in Cambridge, UK. Insomni is his fourth album and his debut for Ash International and is published by Touch. His music is a fusion of digital signal manipulation combined with an aesthetic of compositional collaboration with environmental sounds and organic acoustic textures. He is inspired by his interests in sound ecology, music technology, the natural world, illustration, photography, composition, and sonic art. Below Sea Level, originally presented live in quadraphonic sound, was released on Touchline in March 2015, after 12k originally released the album in 2012. It explores the aesthetics of active listening, sound ecology, and the subjective distinction of compositional materials and sound timbres. Critically applauded for creating juxtapositions of analog and digital timbres, the man-made and natural-world sounds captured in his local sunken landscape of The Fens in East Anglia create a fusion of digital signal manipulation combined with organic acoustic textures. Since the late 1990s Scott's solo work has been featured in a variety of international films, sonic art exhibitions, dance productions, television productions, and digital multi-media projects. He has toured worldwide since 1988 and he is the drummer for UK band Slowdive, who worked with Brian Eno on 1993 Souvlaki album. His track "Für Betty" was included on the German label Kompakt's Pop Ambient 2014 compilation (KOMP 113CD). Scott is also a freelance composer and sound recordist for film and television; in 2015, he appeared on the BBC program Springwatch Unsprung recording aquatic wildlife and discussing his work with presenter Chris Packham. He has taught music technology and sound recording in Cambridgeshire and lectured at Cambridge University. In 2008 he established the Kesh Recordings label, releasing global artists' audio and visual projects. He has also collaborated on various projects with Taylor Deupree, Nils Frahm, Machinefabriek, The Sight Below, Isan, and James Blackshaw.


AUS 1586EP

BLAKE, TIMOTHY: The Stormy Search 12" (AUS 1586EP) 14.00
The reputation of adroit and unique Dublin-born, Berlin-based producer Timothy Blake has grown with releases for the likes of Dirt Crew, Fatty Fatty Phonographics, and Kleine Reise. His debut for Aus Music, The Stormy Search, is a meld of jubilant synth lines, bumping 909 drums, and funk-indebted bass grooves. Marquis Hawkes, who introduced Aus cofounder Will Saul to Blake's music, remixes "The Stormy Search" (which he also co-produced), dimming the tenor, driving percussion through purring tape machines and adding the dose of granular soul that's been his calling card throughout releases on Dixon Avenue Basement Jams, Houndstooth, Clone, and Crème Organization.



MURAKAMI, RYO: Deist LP (BDN 001LP) 20.00
"Tripped out dune electronics incorporating organic drone and layers of noise with a rhythmic urgency. Washed out guitars and synths bursting in and out of the foreground. It is hard to define what is 'real' and what is 'synthetic' in this beautifully immersive space created by Ryo Murakami, and that it was makes his debut album for Bedouin worthy of many repeated forays into his world."



BIKINI KILL: Revolution Girl Style Now CD (BIKINI 001CD) 11.00
"BK Records will be releasing Revolution Girl Style Now on vinyl and CD formats for the first time. Our reissue features three previously unreleased and mostly unheard tracks: Ocean Song, Just Once, and Playground. These songs feature a decidedly more grunge sound than the rest of the Bikini Kill catalog. The Revolution Girl Style Now demo tape was originally self released in May of 1991. The demo was recorded by Pat Maley at the ABC House in Olympia, WA earlier that year. Bikini Kill played one of their first shows at the house the night before and left their equipment set up to record the demo the next day. The songs were mixed by Guy Picciotto (Fugazi) and mastered by John Golden for this reissue."


BIKINI KILL: Revolution Girl Style Now LP (BIKINI 001LP) 14.50
LP version. Includes download code.



BIOSPHERE: Substrata 2LP (BIO 005LP) 23.50
2015 repress. One of the all-time classic ambient albums finally available on strictly limited edition 180 gram vinyl. The vinyl edition of Substrata is released by Geir Jenssen's own label, Biophon. It comes as a double gatefold album featuring the bonus track "Laika" (14:35). Biosphere is widely-regarded as one of the legendary names in ambient/electronic music. Residing in Norway, near the Arctic Circle, he has found the focus to slowly and steadily create a self-contained aural universe, made up of reflective and immersive sound sculptures. For almost 15 years, he has released a string of critically-acclaimed albums. 1997's Substrata, which marked Jenssen's embarkation towards an intensely minimal style, is not only often considered to be Jenssen's best work to date, but is also seen as one of the all-time classic ambient albums. Re-mastered by Stefan Betke @ Scape Mastering, Berlin. New artwork by David Coppenhall.



REGAL: Two Cycles & A Little More LP (BORNBAD 070LP) 16.50
LP version. Regal is probably the only French garage band whose members met on World of Warcraft. Very quickly confronted by the limits of their skills on banjo, Xavier (drummer for The Last Rapes of Mr. Teach, Le Pécheur) and Caelan put their folk aspirations aside, called upon Maxime to play bass guitar, and turned to a post-garage-punk-psych-country style. They were also joined by Antoine Marchalot, the "living good of comical comic strips," whose personal and unexpected sense of humor is equal to his sense of rhythm. The band organized several European tours, sharing stages with Hellshovel, Thee Oh Sees, J.C. Satàn, Strange Hands, Le Pécheur, Skeptics, Mountain Bike, and more, and released two albums, Possible Endings (Frantic City Records, 2012) and Misery, Redemption & Love (Azbin Records, 2013). Maxime has since retired from Regal and from his bass amp to pursue the observation of the cosmos, and the band has turned to Fadi, a metallurgist often present in La Barrière, a thick and aging building in the ghost town of Chercq, Belgium, where Xavier and Caelan live. Caelan and Xavier now present the band's third album, Two Cycles & A Little More.


JC SATAN: JC Satan LP (BORNBAD 075LP) 19.50
LP version. Brutal and complex, furious and spirit-evoking, spiking and descending, French band JC Satan's self-titled fourth album nails black-garage-gospel with the hammer of the Viking gods, in the midst of a storm of decibels. The album follows three full-length albums released between 2010 and 2012, and a 2014 7" on the Trouble in Mind label. Imagine Queens of the Stone Age backing Serge Gainsbourg during Mexico's Day of the Dead.



KITCHEN'S FLOOR: Battle of Brisbane LP (BRD 019LP) 25.00
Battle of Brisbane is the third album by Kitchen's Floor and their first full-length release since 2011's Look Forward to Nothing (Siltbreeze), which followed 2009's Loneliness Is a Dirty Mattress (R.I.P Society, Bedroom Suck Records). Guitarist and vocalist Matt Kennedy is joined by a new lineup of members including Robert Vagg (Wonderfuls, Meat Thump) on drums and Josh Watson (Sewers) on bass. Sarah Spencer (Blank Realm) also provides additional vocals. The album contains 10 tracks of uncompromisingly nihilistic outsider rock and roll. Inspired by the indifference of the city the band calls home and the sad events that can happen to the characters within it, Battle of Brisbane is a bitter ode to existential dread battered through a minimalist punk façade. Recorded by Luke Walsh (Blank Realm) and mastered by Marly Luske, Battle of Brisbane is a uniquely fucked oddity in the modern rock landscape.



GOLIGHTLY, HOLLY: Slowtown Now! CD (DAMGOOD 444CD) 16.50
Though 2008 saw London-born singer Holly Golightly relocate from the Medway delta to the southern state of Georgia, USA, in late 2014 she returned to England to record Slowtown Now! at London's Gizzard Recording with Ed Deegan at the controls. Golightly first came to musical prominence as a member of Thee Headcoatees, a Billy Childish/Thee Headcoats all-girl splinter group, in 1991. Four years later she broke away from the garage punk scene with the release of her debut solo album The Good Things, which featured a mix of folk, early electric blues, and '60s-beat-influenced rock 'n' roll. It's a template that she's honed over the course of 13 solo albums, along the way impressing such celebrity fans as Jim Jarmusch (her track "Tell Me Now So I Know" was featured as the main title theme in his 2005 film Broken Flowers) and Jack White, who duetted with Golightly on "It's True That We Love One Another," the final track on the classic White Stripes album Elephant (2003). Though her last solo album was released in 2004, Golightly has been busy as half of blues/Americana duo Holly Golightly & The Brokeoffs (The Brokeoffs being multi-instrumentalist Lawyer Dave). The pair have released a string of well-received albums and undertaken many tours on both sides of the Atlantic. Slowtown Now! features 12 songs that will please fans old and new alike performed by the perfect Holly Golightly band line-up of Bruce Brand (drums), Matt Radford (double bass), Ed Deegan (guitar), and Bradley Burgess (guitar).


JA 017CD

JAWBOX: Jawbox CD (JA 017CD) 11.00
"Jawbox was formed in Washington, DC in 1989 by guitarist/vocalist J. Robbins, bassist Kim Coletta, and drummer Adam Wade. Recorded in Hoboken, NJ with John Agnello in winter of 1995, Jawbox was the band's fourth and final album. If Sweetheart presented the band's music in a straightforward and unembellished state, Jawbox found the group more open to experimentation. Arrangement-wise, it contains some of the band's densest compositions ('Chinese Fork Tie'), but also some of its most concise and tuneful songwriting ('Excandescent'). While the basic tracks were recorded more or less live, the songs were later augmented with sounds -- toy drum kit, Hammond B3 organ, and saxophone -- that were outside of the band's established palate. Long out of print, Jawbox has been remastered on LP by Dan Coutant at Sunroom Audio and will re-issued on vinyl and CD by Dischord and DeSoto Records."

JA 017LP

JAWBOX: Jawbox LP (JA 017LP) 16.00
LP version. Includes download code.



ROMPERAYO: Romperayo LP (CREP 020LP) 29.00
Psychedelic cumbia discharges from Bogotá, Colombia. Romperayo's full-length debut reunites Pedro Ojeda (from projects such as Los Piran?as, Frente Cumbiero, Ondatro?pica, and Chúpame el Dedo) on drums, percussion, and timbales; Eblis Álvarez (from internationally-acclaimed bands Meridian Brothers and Los Piran?as) on samplers and synths; virtuoso organist and pianist Ricardo Gallo on synthesizers; and renowned bassist and composer Juan Manuel Toro on bass. Romperayo's sound is a fast-moving musical journey through Colombian tropical folklore, a mischievous modern interpretation of the up-tempo rhythms of descarga and the psychedelic sounds of '70s cumbia. By cleverly incorporating urban sounds and sampling techniques into the tropical music of the past decades, Romperayo embodies Colombia's modern folklore scene. Artwork by Colombian artist Mateo Rivano. Cut and pressed at Optimal.


JOHNNY KAFTA ANTI-VEGETARIAN ORCHESTRA: Johnny Kafta Anti-Vegetarian Orchestra LP (CREP 022LP) 32.00
Initially a combination of two of Lebanon's most-active and longest-standing groups, Johnny Kafta Anti-Vegetarian Orchestra was founded when Scrambled Eggs (punk rock band founded in 1998) and "A" Trio (free improv trio founded in 2002) joined forces and mixed styles to record Beach Party at Mirna el-Chalouhi in January 2009, combining each trio's distinctive sound to create something genuinely new, somewhere between punk and krautrock, free jazz and improvisation. Though self-released and self-distributed in a printed envelope on Al Maslakh sub-label Johnny Kafta's Kids Menu, the 2010 CD received very positive feedback, leading to several concerts in Lebanon under the band's new identity. On one occasion the band was joined by seminal American guitarist and composer Elliott Sharp, and in their European debut, they were augmented by Australian drummer Tony Buck. In August 2012, the band finally recorded this self-titled album, adding a strong element of composition to their usual improvisations to create works ranging from noisy ambient atmospheres to full-energy free rock explosions.



GAINSBOURG, SERGE: Serge Gainsbourg et le Cinema LP (DOC 121LP) 20.00
2015 repress; originally released for Record Store Day 2015. Plays at 45 RPM. An original compilation featuring legendary tracks from Serge Gainsbourg's early productions for the cinema. Tracks A1-A3 were recorded in December 1959 and are taken from the 1960 EP Bande Originale Du Film "L'eau À La Bouche". Tracks A4-A5 were recorded in December 1959 and are taken from the 1960 EP Bande Originale Du Film "Les Loups Dans La Bergerie". Track A6 was recorded in March and April 1963 and is taken from the 1963 LP N° 8 by Juliette Gréco. Tracks A7-B4 were recorded at the end of 1962 and are taken from the 1963 EP Bande Originale Du Film "Strip-Tease". Tracks B5-B8 were recorded in March 1963 and are taken from the 1964 EP Bande Originale Du Film "Comment Trouvez-Vous Ma Soeur ?".


MIR 100739LP

SCIENTIST: Rids the World of the Evil Curse of the Vampires LP (MIR 100739LP) 22.00
LP version. Rids the World of the Curse of the Vampires (1981) not only ably displays Scientist's varied approach, but also clocks in as one of his best outings. Scientist keeps things lively with plenty of reverb and echo-treated percussion, ghostly piano parts, video game sound effects, and other wobbly interjections from the mixing board. The record's expert evocation of the Halloween spirit also includes some fiendishly-voiced intros, the cover art's cartoon potpourri of horror film characters, and the dubious claim made in the liner notes that Scientist mixed it all at midnight on Friday the 13th. Along with Keith Hudson's Pick a Dub (1974) and Lee Perry's Blackboard Jungle Dub (1973), this is one of the essential dub albums.



MEKONNEN, HANNA: Ali New Biye 10" (EASTERN 001EP) 17.00
"The new imprint of Paradise Bangkok, kicking off in fine style with an Ethio ensemble of krar, washint flute, percussion and vocals -- plus a dub by Nick Manasseh."



LP version. Rarely has the feeling of late summer twilight been captured as well on record as on this collaborative effort by Southern California native Brian Ellis and South Carolina ambient producer Brian Grainger. This is the sound of two offbeat musicians zoning out with acoustic guitars, hand drums, flutes, and an array of vintage synthesizers and tape machines, brewing a mysterious, mellow kind of acid folk like it's never quite been brewed before. Though psychedelic in nature, this isn't yet another materialization of a 1970s commune-folk vision -- rather, it feels like a work of ghostly solitude, strangely absent from human activity, slowly, aimlessly moving forward like a lonely breeze travelling down the coastline as the day fades away. Brian Ellis has been perfecting his raga-influenced guitar-playing for years in the outskirts of San Diego County, absorbing the Takoma catalog as well as British folk from the 1960s and 1970s, before deciding to merge his unique style of playing with the hazy sounds of East Coast synth-wizard Brian Grainger, an expert in sculpting electronics in such a way that they sound like organic entities rather than electronic circuits. The result is a hushed, pastoral piece of music, evoking the rural American surroundings of its creators and its warm southern air. This lengthy collaboration took place over several years -- on one hand everything floats in a seemingly unordered manner, but on the other hand everything follows a crystal-clear overall path. Ellis's open-tuned guitar-playing merges naturally with Grainger's faded synth-lines and sound treatments, sometimes alluding to several styles and musical eras simultaneously and creating an atmosphere of ambiguity and timelessness throughout the album. Ultimately a serene, rare, and kaleidoscopic work. File next to: The Incredible String Band, Freescha, Robbie Basho, Six Organs of Admittance.


ELLIS GROUP, BRIAN: Escondido Sessions CD (EPR 028CD) 16.50
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 1137LP

VA: Light Wave: Today & Tomorrow LP (EM 1137LP) 22.00
LP version. Includes insert. 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 1138LP

JEE JEE BAND: Glass Fish LP (EM 1138LP) 16.50
LP version. 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.



FUJITA, MASAYOSHI: Apologues CD (ERATP 075CD) 15.50
Berlin-based Japanese vibraphonist and composer Masayoshi Fujita, after releasing more ambient-based electronic recordings of the vibraphone under his el fog alias, became more interested in the sound of the vibraphone itself. He started to compose acoustic pieces and released his first solo album under his real name, titled Stories, in early 2013. Apologues sees Fujita use an array of instruments besides his lead instrument for the first time, such as the violin, cello, flute, clarinet, French horn, accordion, piano, and snare drum -- played by friends, but arranged by Fujita himself. "My idea was to let those instruments express their own images or atmospheres that each instruments have by nature, or have been given in their history, and not treating them just as accompaniments of the vibraphone. Also, it was new for me to compose a song as a whole. As I wrote the vibraphone part first, I tried to hear other sounds in my head and tried to leave enough room for them and sometimes play only fundamental parts on the vibes." In addition to the mallets, Fujita often plays the vibraphone with a violin or cello bow, like on "Tears of Unicorn" and "Knight and Spirit of Lake." He also places bead strings on the vibraphone bars to create an ambient shimmer that can be heard on songs like "Moonlight" and "Swallow Flies High in the May Sky." The latter was composed to let the clarinet express its characteristics and tell its story, while the vibraphone takes a supporting role. "The clarinet sounds very warm and soft and very 'spring' to me," says Fujita. Inspired by "the silence and deepness of the fog, the mountains and the gravity within," his music has a unique, evocative atmosphere. He connects the song "Requiem," which he composed for French horn, to "images of mountains, fields and the far away." "Tears of Unicorn" was inspired by a painting that features in Hayao Miyazaki's Studio Ghibli animation Kiki's Delivery Service (1989), drawn by a woman that lives in the forest. "With this album the main idea was to evoke images, atmospheres, sceneries and stories in the listener, the images that have accumulated in myself. At the same time it was an exploration of the unexplored beauty of the vibraphone, and also a pursuit of the charm of the instrumentation and the music itself." --Fujita



Restocked; 2007 release. Ricardo Villalobos, an artist in the truest sense of the word, has the incredible ability to create within the realms of one of electronic music's most pared down and perhaps consciously restrictive genres, and to create his own sound, his own expansive dynamic, at the same time. For Fabric 36 Villalobos has created his own productions so that the mix is both artist album and mixed compilation, incorporating both his own compositions and his performance as a DJ. This collection of new original material, including collaborations with Jorge Gonzales, Patrick Ense, and Fumiya Tanaka, bridges the disparate listening environments between the solitary home sessions attributed to most artist albums and the club time swerve en masse given many mixes.



COLLINS, SHIRLEY: The Bonny Cuckoo 7" (WING 1003EP) 12.00
Fledg'ling Records continues its ongoing series of Shirley Collins's early recordings on 7" vinyl EP with the release of some previously unreleased early recordings. These four spectral, magical performances were recorded by Alan Lomax in London on October 20, 1957. Collins sings two songs -- "Bonny Cuckoo" and "Bonny Labouring Boy" -- unaccompanied and with her own banjo accompaniment. These very rare recordings have been carefully remastered from the only known surviving acetate and are packaged in a front-laminated flipback sleeve with a beautifully illustrated inner bag showing rare Shirley Collins photographs and ephemera.



CANNELL, LAURA: Beneath Swooping Talons CD (FANDF 036CD) 16.50
Following her critically-acclaimed 2014 debut album Quick Sparrows Over the Black Earth, Laura Cannell presents Beneath Swooping Talons. With deconstructed bow and the extraordinary sound of double recorder, the album grew out of unearthed fragments that became improvised pieces recorded immediately in single takes. Tapping the potent rural landscape and long-dormant musical modes, this album encompasses both wild animal calls and long-forgotten liturgical chords, which, drawn through Cannell's music, seem to originate from the same ahistorical place. With a background in traditional, early, and experimental music, Cannell creates a solitary, minimalist chamber music, with one player making all the harmonies. Based in rural East Anglia, Laura Cannell draws on the emotional influences of the landscape and the sometimes dissonant chords of early and medieval music. Since founding and touring with duo Horses Brawl in 2005, Cannell has established her practice as a solo musician with recorder and fiddle as her primary instruments. Her first album, Quick Sparrows Over the Black Earth, found an audience eager for more, and she followed the release with a wide UK touring schedule that included Royal Festival Hall, Supernormal Festival, Tusk Festival, The Cube Bristol, Café Oto, cathedrals, churches, and National Trust castles, as well as interviews and airplay on BBC Radio 6 Music, NTS Radio, and more. Cannell writes, "We build our own traditions, music which feels like a home for our souls. A place we can be entirely ourselves, where we don't have to think, just be and channel pure music without human interception, only in the physical need to express it with the instruments." Her other projects include an experimental fiddle duo with André Bosman (aka electronic musician Hoofus), Oscilanz with Ralph Cumbers (aka electronic artist and trombonist Bass Clef/Some Truths), and work with renowned drummer Charles Hayward (This Heat, About Group).



ROCKET ROBERT: Rocket Robert CD (GKL 004CD) 17.00
Those who've dirtied their fingers searching high and low for analog synth nuggets can rejoice at the arrival of under-the-radar synthesizer maverick "Rocket" Robert Moore. This first-time reissue is less a reissue than an exhumation, as Moore originally released his singular, unique 1982 Rocket Robert LP in edition of 142 hand-screenprinted copies on his own Salem, Oregon-based Future Records; few copies circulated outside Oregon. Rocket Robert drifts in the backward-looking sounds of early synth innovators while also mining the kraut-tinged moments of punk-era instro-synth explorers and the first breaths of synth-pop -- rather than carrying similarities to the new wave that was then taking hold of the masses. Moore's debut is simultaneously lighthearted and shot through with ominous oscillations, and offers up a darkly-throbbing, otherworldly vibe that is sure to ensnare synth-heads, beat-diggers, and those searching the margins of the private-press phenomenon alike. RIYL Delia Derbyshire, Fad Gadget, Mort Garson, Gershon Kingsley, Martin Rev, Morton Subotnick, etc. Includes two previously-unreleased, spaced-out electro-pop songs from the album sessions. Insert features informative liner notes by Dave Segal (staff writer for Seattle's alternative weekly The Stranger) based on interviews with Moore, as well as rare photos from Moore's archives. Original master tape sound.


HH 017LP

HANCOCK SEPTET, HERBIE: Live at the Boston Jazz Workshop 2LP (HH 017LP) 31.00
This historically important performance from March 22, 1973, was taped for broadcast on WBCN-FM, and captures visionary keyboardist and composer Herbie Hancock at a vital point in his musical trajectory, as he closed the Mwandishi (1971) chapter and embarked on his Head Hunters (1973) trip. Fearlessly creative and experimental, it's presented here in its entirety on 180-gram vinyl. Remastered sound; includes background notes and images.

HH 021CD

METHENY GROUP, PAT: Live Chicago '87 CD (HH 021CD) 17.00
In 1986 Pat Metheny released Song X, an uncompromising free jazz collaboration with Ornette Coleman. He then signed with Geffen Records and recorded the considerably more accessible Still Life (Talking) (1987), for which the Pat Metheny Group won the 1988 Grammy Award for Best Jazz Fusion Performance. This superb set was recorded at The Vic Theatre in Chicago at the close of 1987 for broadcast on WXRT-FM, and features several cuts from that album, as well as a handful of other classics; the complete broadcast is presented here in digitally remastered sound with background notes and images.



INIT: Two Pole Resonance CD (HVN 001CD) 17.00
John Talabot's Hivern Discs label introduces a heretofore unknown duo known as INIT. The pair hails from Frankfurt's Rhein-Main region and comprises Nadia D'Alò and Benedikt Frey, both of whom were featured on the title-track of Massimiliano Pagliara's 2014 With One Another album on Live at Robert Johnson (PLAYRJC 032LP). Frey's cosmic, plodding, and house-related analog experimentations have also appeared on the iconic Japanese label mule musiq, and this penchant for moody, kraut-influenced psychedelia and atmospheric synth explorations is enhanced by his team up with D'Alò on INIT's debut album, Two Pole Resonance.



FLOWERS MUST DIE: Montana/Nusrat 12"/PIC DISC (HNR 002PIC-EP) 28.50
Their name is inspired by Ash Ra Temple's greatest masterpiece -- these Swedes know their space rock history. Their gig at Swedish festival Psykjunta in 2013 has since attained legendary status. Their music has been described as doom jazz and mystical hard rock. Höga Nord prefers to simply call it good music. Stomp out the jams to A-side "Nusrat" and kick back to B-side "Montana." Or vice versa. There surely is a riot going on.


EXORCIST GBG, THE: The Exorcist GBG LP (HNR 004LP) 25.00
Pure DDR-groove on the full-length debut by The Exorcist GBG, a Gothenburg-based trio consisting of Osynlige Mann, Pontus, and Petrus (members of Uran, Tentakel, and Sork). Everyone could be an informant. The Cold War is alive. Dark cabaret. Spy theme mode. David Lynch electro. Italian horror. This is kinky organic acid for all those looking for a gateway.


HS 1025CD

AXTON, HOYT: Live at The Saddle Rack, San Jose 2CD (HS 1025CD) 23.00
Hoyt Axton was one of the most versatile singer-songwriters in popular music, combining folk, rock, and country with a zany sense of humor. Originally broadcast on KFAT-FM in Gilroy, California, these July 19, 1982 performances at The Saddle Rack in San Jose include versions of his country hits "When the Morning Comes," "Boney Fingers," "Flash of Fire," "Della and the Dealer," "A Rusty Old Halo," and "Wild Bull Rider." It also features his own interpretations of songs he composed or co-composed that became big pop hits for Three Dog Night ("Joy to the World," "Never Been to Spain") and Ringo Starr ("No No Song"), as well as appearances from April Axton, Jana Lee Dare, Teresa Tate, and Mark Dawson. The complete broadcast is presented here in digitally remastered sound with background liners.



Chris Carter, Cosey Fanni Tutti (Chris & Cosey/Throbbing Gristle), and Nik Colk Void (Factory Floor) expand and explore onward from their critically-acclaimed 2012 debut album Transverse with the full-length studio album f (x). Featuring their distinctive metallic guitar sound, distorted vocals, resounding basslines, and electro-industrial rhythms, this music is not for the fainthearted. Released by the legendary Industrial Records label, home of Throbbing Gristle since 1976.



"Rediscover in its vinyl release for the very first time the original soundtrack of the cult movie series in 6 parts played by the Baby Carts and produced by Kenji Misumi after the adaptation of famous manga entitled Lone Wolf & Cub, created by writer Kazuo Koike and artist Goseki Kojima. In medieval 17th century Japan, during the Edo period, Ogami Itt?, the implacable and stoic Sh?gun's executioner, played by legendary Tomisaburo Wakayama, is dismissed from his title and position as part as a masterplan plotted by the Yagy? clan. After the murder of his wife and the slaughter of all their household, Ogami Itt? throws himself into a blood battle to avenge the death of his clan and his disgrace by becoming a r?nin, a samourai with no lord or master. Together with his young son Daigor?, whom he wheels about in a stroller replete with weapons of all kinds, they become known from now on as Kozure Okami, which literally means 'Lone Wolf and Cub', they wander the country with an unwavering drive as an assassin-team to be hired by the highest bidder to avenge themselves in bloodshed and vowing to topple the Yagy? clan. As a result of an unexpected mixture of traditional Japanese music and psychedelic rock music with multiple echoing and resounding effects, as well as musical elements that are reminiscent of the blaxploitation film genre of the 1970s, these 24 tracks perfectly convey the dramatic stance and epic dimension of the series. Moving from dream-like and hypnotic passages played by an orchestra of violins and wind instruments to faster ones, in which the taiko - percussion instruments - gallop their way through the Japanese landscapes of this medieval fantasy, these compositions created by Hideaki Sakurai give pride of place to the shakuhachi, a typical Japanese bamboo flute. With its diverse and changing forms, Sakurai's music takes on different shades that give it an atypical side ? at times funky, as in the Besieging Army of Ura Yagyu piece, it can also become more jazzy, as in the final theme of the Baby Cart In Peril. Although they keep their original identity, these rare instruments abound in influences and will ravish the fans of the series, but also more widely-speaking all music lovers, thanks to their overflowing of richness and inventiveness. This DELUXE edition comes with embossed sleeve, red vinyl, a poster reproducing the first part of the saga's original one, and an exclusive seven-inch single including 3 tracks from the TV series. LIMITED TO 500 copies only. Be quick or be dead!"


KK 085CD

VA: Dis Cover - Donna Regina as Recorded By CD (KK 085CD) 15.50
"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 9070CD

CAPTAIN BEEFHEART: Full Moon - Hot Sun Live in Kansas CD (KH 9070CD) 17.00
Following the collapse of the original Magic Band in early 1974, Captain Beefheart swiftly assembled an all-new line-up to promote his controversial 1974 Unconditionally Guaranteed LP. Comprising Fuzzy Fuscaldo and Dean Smith (guitar), Del Simmons (sax, flute), Michael Smotherman (keyboards), Paul Uhrig (bass), and Ty Grimes (drums), they played in a markedly more straightforward style, in keeping with Beefheart's stated ambition to "hug the world." This fine gig, live from the Cowtown Ballroom, Kansas City, MI, was taped for broadcast on KUDL-FM radio on April 22, 1974, and is presented here in its entirety together with contemporaneous notes and rare photos.


KL 5037CD

HOOKER & FRIENDS, JOHN LEE: The House of Blues CD (KL 5037CD) 17.00
A rich combination of blues talent and spice assembled in West Hollywood in June 1995 at the House of Blues for a spectacular display of collaborations with equally impressive names from the blues scene. John Lee Hooker's own daughter Zakiya opened the event backed by the Duke Robillard Band. Added to the day's event was a prized collection of genial giants in Charlie Musselwhite, Taj Mahal, Ry Cooder, John Hammond, Lazy Lester and, of course, the boom boom blues of the legendary John Lee Hooker. Robillard's band offered a prominent backing for most of the guests and sealed the day with Cooder's subliminal workout alongside Hooker for his signature R&B romp, "Boom Boom." The entire WLUP-FM broadcast of this performance, a gathering of genial blues giants and friends of John Lee Hooker, is presented here in professionally remastered sound with background liners and rare archival photos.



BEYER, JENS-UWE: The Emissary CD (KOMPPA 003CD) 17.00
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. Time for an adventure!


FIELD, THE: From Here We Go Sublime 2LP+CD (KOMRSD 002LP) 25.50
Limited 2015 repress, formerly an RSD-exclusive release. If we would have to name one thing Kompakt's fans have been consistently asking for, it's a vinyl version of The Field's legendary first album From Here We Go Sublime: originally rolled out in 2007, this much-acclaimed full-length debut of what was to become one of the most celebrated projects in Kompakt's artist fold saw a regular CD edition and an accompanying 12" sampler -- but never a full vinyl release. Axel Willner aka The Field joined the Kompakt family in 2005, bringing forward a new fusion of ambient and techno that fed on his adoration for Wolfgang Voigt's classic '90s projects Gas and M:I:5 as well as the shoegazer rock of Slowdive and My Bloody Valentine. Called a "techno pop landmark" by Pitchfork, From Here We Go Sublime almost immediately became a cult favorite, starting a trend that continues to this day -- as can be seen with The Field's most recent full-length offering Cupid's Head that has been lauded by critics and crowds alike. The most striking feat of From Here We Go Sublime must be its sonic cohesiveness, debuting a fully-formed artistic vision that -- seven years and three albums later -- hasn't lost any of its luster. As a fixture in The Field's discography, it remains as important as ever, with Axel Willner installing a blueprint that inspired many but sounds like no one else... except himself. Giving you a feeling of warmth and familiarity on first listen that you can't quite grasp, it's like this sound has always existed, when in fact it was the unique creation from one highly gifted producer. And it all starts here. Pressed on 180 gram audiophile grade vinyl, including a CD version of the album.



OLDHAM, SPOONER: Pot Luck CD (LITA 125CD) 15.00
"Legendary ivory-tickler Spooner Oldham is synonymous with the Muscle Shoals sound. The southern soul pioneer famously backed the likes of Etta James, Jimmy Hughes, Wilson Pickett, Percy Sledge, Aretha Franklin, and many more, but his lone solo album, Pot Luck, finds Spooner in a rare role: front and center. Oldham moved west in the late '60s when the patronage of bands like The Stones and The Flying Burrito Brothers made southern soul the in-demand sound. He joined the house band at Hollywood's Producer's Workshop and was soon playing for The Lettermen and Liberace. While recording the latter, it was suggested that Oldham make his own album. 'I don't really think I wanted it so much,' Oldham says now. 'I think it was shoved on me. We'd got all this stuff set up, and now what do we do?' Pot Luck is very much a record of two halves; Side A is an amalgamation of rarities penned with the likes of Dan Penn and Freddy Weller, while the B-side is a conceptual, seven-song medley covering some of the biggest hits Oldham played on, including 'Cry Like A Baby,' 'Respect,' and gospel standard 'Will The Circle Be Unbroken.' The sessions were largely unplanned. 'We just went in,' says collaborator Emory Gordy. 'That's the best way Spooner works.' In 1972, the album was released and quickly sank. Before long, the Producer's Workshop disbanded, too. Oldham carried on regardless, performing with The Everly Brothers, Bobby Womack, Gene Clark, Neil Young and -- well, you name it. With this deluxe reissue of his solo LP, it's time for Oldham to get his own dues. 'I don't think anybody, anywhere, at any time, has ever heard it,' he says. 'I'm just happy someone wants to hear it now.'"


CITY, THE: Now That Everything's Been Said CD (LITA 136CD) 15.00
"24 bit / 96 kHz remaster from the original tapes. New notes by Steve Hochman featuring interviews with band members and album producer Lou Adler. We all know the Carole King who wrote some of the biggest hits of the '60s, from 'Will You Love Me Tomorrow' to 'Pleasant Valley Sunday,' via 'The Locomotion' and '(You Make Me Feel Like) A Natural Woman.' We also know the singer-songwriter behind Tapestry, the album that launched King as a solo singer in her own right. But in between -- and not nearly as well known -- is King's band, The City, and their album, Now That Everything's Been Said. By the mid-'60s, King's marriage to Gerry Goffin, with whom she'd written many of those wonderful hits, had hit the rocks. A divorce loomed, and King all but retired to raise their two daughters. She headed west to Laurel Canyon in '67, taking the children with her, and made the previously unlikely move of joining a progressive folk-rock band. King formed The City with future husband Charles Larkey on bass and Danny Kortchmar on guitar and vocals. With King on piano and vocals, they created a folk rock sound that pre-empted the singer-songwriter boom of the '70s. Produced by Lou Adler and featuring Jimmy Gordon on drums, The City's sound is deep and soulful, imperfect but passionate. And the songs, with King writing or co-writing all but one, are as exceptional as you'd expect and as widely covered as her factory work. 'Now That Everything's Been Said' was a hit for American Spring, 'A Man Without A Dream' was tackled by The Monkees, and 'Hi-De-Ho (That Old Sweet Roll)' was a hit for Blood, Sweat & Tears. Central to the album's appeal is King's own stirring reading of her track 'Wasn't Born To Follow,' covered masterfully by The Byrds for the Easy Rider soundtrack. King had been used to a life on the sidelines, and her stage fright left the trio unable to tour the LP which adversely affected their fortunes. That, plus some behind-the-scenes distribution problems, meant the album was quickly deleted, and it remained so for the next thirty years -- partly at King's request."


LOTR 005-2EP

FANTASTIC MAN: Dream Machine (Utopia Dub) 12" (LOTR 005-2EP) 14.00
After LOTR 005EP was (sadly) deleted, Love on the Rocks presents an alternate version -- same track list, same fantastic sound, slightly different edit. Melbournian producer Mic Newman aka Fantastic Man follows his instantly-sold-out 2014 Animal Language EP and 2015's El Tropo with Dream Machine. The title-track slides into its house-inspired beats with a taste of some early '90s progressive pads before a piano unravels. "Fountain Gate" merges the NYC garage house feel of Sha-Lor's "I'm in Love" with jungle-inspired snare fills and a timeless acid line. "St Elmo's Theme" features saturated kicks with hypnotic drum patterns and some xylophonic sparkle.



ORGON, SION: Recognition Journal CD (LUMB 023CD) 16.50
Six pieces by Welsh producer, writer, and sonic overlord Sion Orgon, three of which also include his oft-found collaborators Thighpaulsandra and Gaz Williams (Underworld), among a selection of other guests and co-conspirators. Like the two albums before it, including his last one, The Zsigmondy Experience (2008), Recognition Journal is crafted from all manner of sounds and instrumentation, mostly arriving from a more abstract or avant-garde extraction. Not always easy to listen to, Orgon's music stands out for its ability to surprise. A "proper" or even acutely accessible song can leap from labyrinthine textures, assume almost prog-like proportions, and then dissolve into something far-removed from the starting point. And with his amazing production work -- the result of years of experience garnered from work with many a Welsh group from many different circles -- Orgon takes the whole notion of working the studio as an instrument to a level way beyond most of his contemporaries. Sion Orgon: piano, acoustic guitar, electric guitar, bass guitar, accordion, percussion, bronze percussion, drums, vocals, field recordings, Waldorf Microwave, DX7, DX11, Roland V-Synth, Roland RS-202, Moog Voyager, Theremin, AudioMulch, Berna; Thighpaulsandra: ARP 2600, Plan B modular, Prophet 5, Chromaphone, Zebra U-He, EMS AKS Synthi, Mach 5, Soundhack, Fenix, RMI organ, reed organ, piano organ, piano, vocals; Gaz Williams: bass guitar, Waldorf Streichfett; Lara Ward: violin, piano frame; Chey Davies: mandolin, percussion; Valiant Thor: trumpet, electric guitar; Etien Hunter Davies: percussion; Jonas Gruska: text; Rob Greensmith: text; Eddie Ladd: text. Cover photography by Lenny Hawkins. Sleeve design by Mat Wigley. Mastered at Digitalflesh Mastering. Digipak CD limited to 300 copies.



GOLDMANN, STEFAN: Anchors EP 12" (MACROM 044EP) 14.00
Techno exists in a distorted field. Awake at night and asleep by day. Rough is beautiful, slick is rotten. With Macro, things are always a bit more wrong -- and a bit more beautiful -- than usual. Stefan Goldmann's "Fossil Water": Fender bass tones weave a pad, from the thumping bottom up to the silky top, congregating into intense moments of dancefloor bliss. On the B-side, the tense yet laid-back workout of "Nephelin" tip over into the sheer techno claustrophobia of "De-Gauss." Dark and warm like a case of Stockholm syndrome -- feeling cozy while the horror comes upon you.



HERRON: The Night Garden 12" (MEANDYOU 003EP) 15.00
"Herron's first solo release, after the success of two VA's, a 40 min tape on his own meandyou. label and more recently a VA with Workshop, Herron now produces a five track ep which shifts between his lo-fi alternative take on the multiple genres of modern club music. The A side begins with a trippier disco-edit style jam dismantling the house to a soft and delicate sunrise dance. The B side takes things to a more cramped place, pushing its way through a dark dubby techno interlude with Minor Hazard followed by Force of Habit which feels a little more chaotic until finally Venture lays the ep to rest in the night garden."



LECUBE: From Here to Now CD (MEGAUK 017CD) 14.50
2015 reissue of 2009 solo album by Julien Barbagallo of Tame Impala. Barbagallo was born to Sicilian immigrant parents in the pastoral landscape of the Tarn river basin in Southwest France, where he still lives at the time of this release. His first EP, My Bungalow (Barbabungalow), marked the beginning of his Lecube solo project, and lent him mythical status via the only French magazine that got hold of it, Magic. With a simple eight-track machine and a few intimate songs, Barbagallo began telling the stories he held closest to his chest, a fragile combination of glances and breaths randomly collected on local buses and unmade beds. He took his songs on stage with a band for a year, playing the 20 or so venues that used to be the pride of Greater Toulouse, before the 2001 chemical plant blast put the city back to sleep. Barbagallo also became a full-time member of bands that were signed and so playing further afield, including Paul Stuart and the Sweet Powerpack, with which he played keyboards, and Hyperclean, with which he played drums, while using his own material on an album collaboration with Laure Briard. In the spring of 2004 Barbagallo began to record material on his friend Benjamin's staircase, a collection of songs which were to become From Here to Now; stories in which women he'd love to love meet men he'd love to be, and vice versa. These recordings remained on the stairs until Barbagallo played a local party where he met Stéphane Bismuth of Megaphone Music (Michael Head & The Strands, Angil, Karen Dalton), who convinced him to release his songs as a series of 7"s. Those tracks drew comparisons to The Monochrome Set, Neutral Milk Hotel, Bob Dylan, Syd Barrett, The Byrds, Elliott Smith, Howe Gelb, and a "dodgy Stephen Malkmus," among others. From Here to Now's eight tracks include five from those 7"s. Barbagallo has since returned to rummaging around suburban trash cans and trailing through Tarnish countryside woods and adolescent bedrooms, gathering sensations and stories to sing about.



STEPMOTHER: Calvary Greetings LP (MEGA 032LP) 22.00
Edition of 200; includes hand-numbered inner sleeve. Stepmother is Lukas Simonis (Dull Schicksal, VRIL, Coolhaven...), Jeroen Visser (Kazanchis, ./morFrom/....), Bill Gilonis (The Work, The Hat Shoes, Hail...), and David Kerman (5UU's, Present, Thinking Plague, Aranis...). Anglo-American-Dutch post-punk prog-rock and experimental soundscapes with a dash of Monty Python thrown in. A reunion of an '80s band that never existed (but should have): twangy guitars, nifty keyboards, zany drumming, vocal histrionics à la The Rutles (well, sort of), lop-sided rhythms, regurgitated spam lyrics. What more could you ask for? The journey we are taken on introduces us to mass murderer Curtis Lemay, Serge Gainsbourg, sex ads, neo-liberal communism, Nigerian online scams, neo-surrealist blabbering, and Dickensian psycho fluff. But the record is much more than a sum of its parts -- and it's beautifully packaged to boot, with artwork by Alfred Boland. Bill Gilonis: voice, guitar, bass, keyboards, clarinet, stylophone; Lukas Simonis: voice, guitar, wooden thing; Jeroen Visser: voice, bass, organ, synth, clarinet, baritone sax; David Kerman: drums, percussion.



DAPAYK SOLO: Transformation 12" (MFP 078EP) 12.50
Dapayk Solo returns to his experimental, angular roots with a two-track preview of his 2015 album #nofilter. "It's more reduced, more analog and dirtier than anything I have ever done before."



STL: Listen Up! 12" (MFR 002EP) 14.00
Mysterious hardware tinkerer Stephan "STL" Laubner is back with three tracks and a locked groove on the London-based imprint Mutual Friend Recordings. "Mind Puzzlin" is exactly that, with a luscious, twisted lead line accompanied by STL's signature rough and overdriven percussion. The repeated guitar plucks of the more ominous "Smile Function" will plant themselves into your consciousness. STL builds the groove expertly while retaining an otherworldly feel. "Wrong" is a real groover with a growling bassline accompanied by weird and wonderful synth patterns. The locked groove, titled "Listen Up! Loop," is a nice bonus for the more adventurous DJs out there.



REUSSE, NOLEIAN: Black Tekno EP 12" (OMBT 001EP) 15.00
"One half of Africans With Mainframes, with a hard-swinging, two-one-two combo of hazy, nineties soul patrol and romping stomping Chicago house."



HOLT, BILL: Dreamies: Auralgraphic Entertainment LP (OSR 008LP) 25.50
2015 restock. Dreamies is ranked #37 on MOJO magazine's 2005 list of the "Top 50 Most Out-There Albums of All Time" (a list that includes The Beatles, Pink Floyd, Jimi Hendrix, The Velvet Underground, and Miles Davis). This unique album by Bill Holt, first released in 1974, sounded way ahead of its time and became an international cult classic in the following decades. A perfect example of what was called "head music" at the time, Dreamies consists of two large suites full of Lennon-esque vocals, sound collages, early electronics and proto-sampling. The perfect marriage between psychedelia, pop, and experimental sounds. Remastered sound, original artwork, repro of the rare original insert.



HEAVY BLANKET: Heavy Blanket LP (OBR 001LP) 19.00
2015 repress. "Finally back in print! J Mascis' ultimate shredding masterpiece is available again, now on red vinyl.With a thriving solo career and a busy touring schedule with Dinosaur Jr, one would think that J Mascis has enough on his plate musically, but when he gets back home to Western Massachusetts the first thing he likes to do is head down to his home studio, grab the guitar, stomp on the muff pedal and wail! Rounding up longtime friends Johnny Pancake and Pete Cougar, a rhythm section cloaked in mystery, J decided to put together a full album of screaming tunes under the name Heavy Blanket. Ever wondered what would happen if Blue Cheer and the most blistering of Dinosaur Jr leads were wedded together in an instrumental heavy psych band? J answers that question with Heavy Blanket."


2015 repress, on "rainbow splatter" vinyl. "After an impromptu heavy psych jam at SXSW left the crowd stunned and breathless, J Mascis and Earthless were asked to play the main stage of the Roadburn Festival in Holland. When Earthless guitarist Isaiah Mitchell had to back out at the last minute due to other commitments, Graham Clise from Heavy Blanket (who also plays with J in Witch) stepped in on second guitar. Backed by the best rhythm section out there - Mario Rubalcaba and Mike Eginton from Earthless - we are left with an incredible one-time happening, almost a full hour of some of the most mind bending heavy psych imaginable. With absolutely insane artwork from Tim Lehi, In a Dutch Haze comes as a lavish double LP with a gatefold sleeve."



VA: Upside Down: Coloured Dreams from the Underworld: Volume Four 1965-1970 CD (PART 4046CD) 17.00
A lysergic pop extravaganza featuring original artifacts from the psychedelic age, with 20 flower power wonders from way down under. From the luminous void that wields such pleasures as Zoot and Chapter III to other lysergic pop platters beholding menacing feats of hocus-pocus and fanciful dare courtesy of The Avengers, Alison Gros, The Final Four, Third Party, Ronnie Burns, and the exuberant dementia of Oak Apple Day (plus The Deadly Pair), Upside Down Volume Four delivers 20 long-forgotten relics from Australasia with a potent whiff of psychedelic misadventure, originally released between 1965 and 1970. Also includes tracks by James Taylor Move, The Birds, NZ Avengers, The Bobby James Syndicate, Lynne Randell, The Executives, and The Challenge. Includes 12-page full-color booklet with comprehensive liner notes and rare color photographs.


VA: Curiosity Shop: A Collection of Rare Aural Antiquities and Objet d'Art from the British Isles: Volume Two 1967-1972 CD (PART 4054CD) 17.00
A colorful collection of obscured and exuberant pop nuggets -- the psychedelic effects have gone and the lightshows have blown, but their lingering presence in the aftermath of the hallucinogenic haze is, though less defined, strangely evident. The end of the explosive decade that brought us the fab four and gave us the pop star was proving to be a turning point in both musical and political terms. Curiosity Shop Two provides a precious insight into the changing times with an illustrious soundtrack to furnish the senses. Good vibrations indeed! Rare and obscure artifacts by Steve and Stevie, Pythagoras Theorem, Ian Campbell Group, Dr. Marigold's Prescription, Juan and Junior, Marc Reid, Casuals, Ten Feet, Jonathan Kelly, Julie Sullivan, Soft Slipper, Galliard, Noel Harrison, Barry Hopkins, Lori Balmer, Polly Niles, Davey Payne, and Sasperella, originally released between 1967 and 1972. Includes 20-page full-color booklet with comprehensive liner notes and rare color photographs. Professionally remastered sound.



AKBAYRAM & DOSTLAR, EDIP: Singles Overview 1974-1977 CD (PHS 027CD) 17.00
Keep one hand on your ba?lama, bub! B-sides from hard-to-find 45s that never made it onto albums during singer Edip Akbayram's 1970s psychedelic period with the awesome Dostlar as backing band. A tiny guy with a great big, easy, open voice, Akbayram glues together disparate arrangements that put ridiculous analog synthesizers up next to centuries-old mystic poetry. Anatolian melodies are enveloped by western touches like breakdowns for cosmic whispering, slammin' organ, or wild phasing effects on folk instruments that were never meant to support them. Remastered sound. Includes booklet with liner notes by Angela Sawyer (Weirdo Records) and photos.


AKBAYRAM & DOSTLAR, EDIP: Singles Overview 1974-1977 LP (PHS 027LP) 25.50
LP version. B-sides from hard-to-find 45s that never made it onto albums during singer Edip Akbayram's 1970s psychedelic period with the awesome Dostlar as backing band. A tiny guy with a great big, easy, open voice, Akbayram glues together disparate arrangements that put ridiculous analog synthesizers up next to centuries-old mystic poetry. Anatolian melodies are enveloped by western touches like breakdowns for cosmic whispering, slammin' organ, or wild phasing effects on folk instruments that were never meant to support them. Remastered sound. Includes booklet with liner notes by Angela Sawyer (Weirdo Records) and photos.


OSIRIS: Osiris LP (PHS 028LP) 25.50
First-ever vinyl reissue of this prog/psych masterpiece by cult Arabian band Osiris, their 1982 debut album. A killer blend of '70s-sounding hard, progressive/psychedelic sounds with long, ripping Minimoog and analog synth attacks smashed into mellow vibes and Arabian folky touches, with hard lead guitar, exotic percussion, floating rhythm section, and English vocals. Osiris formed in Bahrain, the small island country in the Persian Gulf, in the late '70s, but its story goes back to 1969, when talented brothers Mohamed and Nabil Alsadeqi formed a funk rock band called Witch. The band broke up when Mohamed left to pursue his studies in Texas, while his brother Nabil left for London. Upon returning to Bahrain in 1980, the two brothers decided to form the first progressive rock band from Bahrain. It was not easy to find like-minded musicians in their town, but they succeeded, with help from Mohammed Shafii (bass), Sami Al-Jamea (keyboards), Mohamed Amin Kooheji (guitar, bass, vocals), and Abdul Razzak Aryan (keyboards). Mohamed and Nabil began working out an original repertoire that would fuse musical complexity, melodic richness, and Arab culture. They took the name "Osiris" from Egyptian mythology, not only for its sound but also for its associations with Arab culture, youth, and fertility. But the definitive Osiris line-up came up when they added a charismatic singer named Isa Janahi. Osiris made their live debut at the end of 1981. Janahi wore flashy, colored clothes and capes and captivated the audience with his presence on stage. The group also used lasers, a light show, and smoke bombs, all deftly handled by friends of the band. Osiris was recorded at the only eight-track studio in Bahrain at the time. It was recorded and mixed in just three days. As there weren't any record pressing plants in Bahrain, the band had to press the albums in the Philippines. They sold 1000 copies in Bahrain, but a few made their way to the USA and the UK, appearing in some rare records list by those in the know. Osiris will please not only those into classic prog-rock in the vein of Camel, Yes, or Pink Floyd, but also those for looking for exotic, psychedelic sounds and beats. Master tape sound. Includes insert with photos and liner notes.

PHS 45001EP

BEYBONLAR: Gelin Ay?em/Nenni 7" (PHS 45001EP) 16.50
Turkish psych-funk-fuzz-breaks insanity featuring 12-year-old drummer Sefa Ula?t?r, a prodigy who ended up working with Bar?? Manço and Cem Karaca. Beybonlar recorded "Gelin Ay?em" and "Nenni" in 1968; the original 1969 release, a 1972 picture-sleeve re-release, and the inclusion of "Nenni" on the 2001 Turkish Delights compilation all occurred without the band's knowledge. This is the first time this sought-after 45 has been released in cooperation with the band. Includes new sleeve design (the 1972 cover had nothing to do with the band) and a fold-out insert with detailed liner notes and rare photos from the band's archive. Remastered sound. Edition of 300.


PL 048LP

ANIMA: Monte Alto LP (PL 048LP) 25.00
Limpe Fuchs is a legend in the experimental music scene. In the late '60s, this percussionist drummed on self-made instruments, together with her then-husband Paul Fuchs, in the Ensemble Anima, working on the periphery of krautrock and free jazz. During that time, Limpe and Paul Fuchs worked with the classical pianist star Friedrich Gulda, as well as with jazz luminaries like Albert Mangelsdorff, and continually attracted the interest of their audiences in new constellations. Limpe Fuchs's solo performance with "variable wood and stone rows, ringing bronze in the pendulum strings, and a variety of skin and bronze drums" is a rare occasion to witness one of the early avant-gardists of the scene from the old Federal Republic of Germany. She attempts, while playing live, to develop her musical ideas from the "resonance of the location where the performance takes place" and "to make music in the flow of time, with simplicity and emotion." Her main concern is to sensitize the process of hearing: "Every tone is a sensation. Listening instead of shutting one's ears. Establishing silence." The album Monte Alto was released in 1977 on the band-owned label Alter Pfarrhof. It may be the best Anima album ever, if for no other reason than the wonderful freely improvised piano piece on the B-side. This is the first reissue of Monte Alto, and it is presented in an elaborate silkscreen print, hand-numbered, and limited to 500 copies, co-released by Play Loud! Productions and Youdonthavetocallitmusic. This reissue appears in advance of Limpe Fuchs and Play Loud! Productions' release of Limpe Fuchs's archival back catalog, along with some previously unreleased recordings and films, and new recordings, and follows many previous Anima/Limpe Fuchs releases that have been made without the permission of the artists.

PL 057LP

DIE REGIERUNG: Supermüll 2LP (PL 057LP) 29.00
Play Loud! Productions presents the first vinyl reissue (along with a tribute album) of German band Die Regierung's 1984 debut album Supermüll, which Michael Ruff (Spex magazine) called "the best German record of the 80s." In his liner notes for the Sturm und Twang! compilation (Big Cat, 1995), Christoph Gurk writes, "Led by an acidhead, who is already in his thirties, the singer/songwriter band has lived through an erratic career. Originally founded as a home-recording outfit, Die Regierung (The Government) released a seminal debut album (Supermüll/Super Trash/1984) in the aftermath of German New Wave (NDW)." With Supermüll, Die Regierung anticipated the sound that, years later, became known as the Hamburger Schule, and set the tone for German independent music in the early '90s. Die Regierung had a huge influence on Germany's most famous independent Hamburger Schule band, Tocotronic, but they never hit it big. Now this seminal and very influential album is reissued on vinyl, remastered by Hans Joachim Irmler and Andreas Schmid at Faust Studio. The second disc is a tribute album, featuring Schneider TM, Die Sterne, Doc Schoko, Dirk von Lowtzow (Tocotronic), Nina Reisinger, Gebrüder Teichmann, OMO feat. Herman Herrmann, Power & Charme, Pascal Fuhlbrügge, Julia Wilton, Steine, DJ Marcelle/Another Nice Mess, and Beck Harris. Limited to 500 copies.

PL 059LP

DIE REGIERUNG: Live 1994 2LP (PL 059LP) 29.00
This live double album was recorded during the heyday of Die Regierung in 1994. After their 1994 tour, the band did not officially dissolve, but never ended up playing together again -- until a one-off reunion show in 2015 in Essen, Germany, the city where everything began. This 1994 recording features a lineup of Tilman Rossmy (vocals, guitar), Robert Lipinski (bass), Thomas Geier (drums), Thies Mythner (guitar, keyboard), Mense Reents (guitar), and Herman Herrmann (guitar). Recorded on February 8, 1994, at Logo in Hamburg. Reworking of the master tapes and mastering by Hans-Joachim Irmler and Andreas Schmid at Faust Studio.


PL 013CD

POLE: Wald CD (PL 013CD) 17.00
"Wald begins immediately, ends abruptly, and is divided into three acts of three tracks each. It is the first studio album under Stefan Betke's Pole moniker in eight years... half an eternity in the digital age -- yet the pieces on Wald seem timeless, or to have fallen from time. Stefan Betke: 'After Steingarten (SCAPE 044CD, 2007) I was on tour for two years. At the same time, Barbara Preisinger and I set up our record label ~scape. Those were two hindering circumstances that were not exactly conducive to a creative restart... I couldn't have really added anything new in the wake of Steingarten and the dub declensions I had made in previous years.'... Over several years, long walks in the woods preceded the resumption of the production of his own material: 'Walks through the Isar valley, but also through the forests in the Alps... You have to go through life with an open mind and with extended antennae. If something strikes you and inspires you to create new music, then it will be for a reason...' For Pole, it was the forest; its spatiality... manifested, for example, in raw sounds (second act) and in psychedelic structures (third act), which sound as if they might be guitars (but are actually distorted synthetic lines)... From the tangible experience of the forest, a rather abstract question emerges: 'How can I take what I have seen or felt and make it audible?' This question becomes a narrative, a storyline. The initial story is that Pole went into a dialogue with his instruments, and the second story can be heard in the three acts of Wald. The new compositions on Wald do not deny their inheritance within the continuum of dub, yet they bring an entirely new vocabulary to Pole's sonic and spatial universe... 'If Wald had nothing to do with the world of Pole, then I would have come up with a new alter ego and produced it under a new name.' The structures, forms, and processes that Betke perceived in the forest were translated into musical structures, forms, and processes that inherently sounded like Pole. Perhaps the forest simply produces reverberations (just like the echo in the mountains!) that give rise to a bounty of thoughts. The story behind it is told in music, without the use of words -- as has previously so often been the case with Pole." --Max Dax



DUNCKEL, JB: Summer: Original Soundtrack LP (PROTOTYP 004LP) 21.00
J.B. Dunckel (AIR) presents his original soundtrack for the 2015 film The Summer of Sangail?. It's a rare film that takes you by surprise with the honesty of its performances, the poetry of its narrative, and the crispness of its cinematography. Writer and director Alanté Kavaïté uses transfixing imagery and exquisite casting to bring to life her distinctly layered story of young love and big dreams. The end result is a rapturous film experience. The Summer of Sangail? won the directing award in the dramatic world cinema category at the 2015 Sundance Film Festival.



HILLS: Frid CD (LAUNCH 079CD) 16.50
Third-eye visionaries Hills present their third opus, a dizzying journey that traverses through the band's origins and beyond to new dimensions. The Gothenburg, Sweden-based band have released two full-length albums since forming in 2006, the second of which, 2011's Master Sleeps, saw a vinyl outing on Rocket in 2013 (LAUNCH 061LP). Part of a rich local scene that also includes friends and Rocket Recordings label-mates Goat, they form the next chapter in a tradition of Swedish psychedelia that found its origins in late-'60s and early-'70s freakouts and mind-melts by the likes of Baby Grandmothers and Älgarnas Trädgård -- not to mention the unholy trinity of Pärson Sound, International Harvester, and Träd, Gräs och Stenar -- before being developed by the likes of The Spacious Mind and Dungen around the turn of the millennium. These inspirations make their mark on Frid by journeying inward, via mantric repetition and hip-shaking pulsations -- as on the ten-minute monolith "Och Solen Sänkte Sig Röd" -- yet they can also lurch into the unknown via the fuzz/wah odysseys of the aptly-monikered "National Drone" and the ceremonial exhortations of the closing "Death Will Find a Way." As they also showed at a rare and spellbinding appearance at the 2014 Liverpool International Festival of Psychedelia, Hills have landed on a rich and intoxicating sound that sidesteps the clichés and humdrum stylistic foibles that often plague modern-day psych, and, in the process, breathed new life into an approach that can sometimes seem in danger of appearing redundant through lack of imagination. Frid crystallizes everything that makes these Scandinavian satyrs stand out from the global herd: adventurous experimentation and fearless hallucinatory intensity, rendered with brass-knuckle fortitude. The end result is 38 minutes that translate into a feast for seasoned crate-diggers and fresh-faced converts alike.


RV 1016CD

GRIFFITH, NANCI: Ghost in the Music CD (RV 1016CD) 17.00
Taped for KPFK-FM's FolkScene show in Los Angeles, this superb set captures the celebrated "folkabilly" singer-songwriter Nanci Griffith at a vital juncture in her career, as she transitioned from the low-key, folky nature of her first two albums to the more country-influenced sound of her major label debut, 1984's Once in a Very Blue Moon. Featuring songs from all three, as well as a handful of others, this complete radio broadcast of Griffith's performance is presented here in digitally remastered sound with background notes and images.


RUM 2011095LP

BABY WASHINGTON: That's How Heartaches Are Made LP (RUM 2011095LP) 20.00
Justine "Baby" Washington's 1963 soul classic That's How Heartaches Are Made was the Harlem raised singer's first and only chart entry in the Billboard Top 40, and her finest moment. A delectable slice of uptown soul, the title track stands as one of the greatest R&B hits of the early '60s. The rest of the album is no slouch, however, as it's rounded out by 11 more tasty nuggets of sweet femme soul, most notably the Spector-inflected "Leave Me Alone" and the organ-driven groover "A Handful Of Memories." Another R&B essential unearthed by Rumble.

RUM 2011101LP

BEACH BOYS, THE: Surfin' USA LP (RUM 2011101LP) 20.00
Released in 1963, Surfin' USA is the second studio album from The Beach Boys. Though not yet fully formed, the genius that Brian Wilson had on display on 1965's Pet Sounds was beginning to show through here, as he began experimenting with double tracked vocals and took a stronger production role overall. Featuring the classic title track, as well as "Shut Down," and their version of "Misirlou," and with the timeless cover photo of surfing legend Les Williams riding a monster wave, Surfin' USA is a stone surf classic.


RB 015-5EP

TENSNAKE: In the End (Remixes) 2x12" (RB 015-5EP) 23.00
Tensnake's 2009 standard In the End (I Want You to Cry) gets not one but seven remixes. In a nod to the good old remix-double-pack craze of the '90s, they're spread out here over two plates. Ranging from a classic Tiger & Woods treatment to Prins Thomas quirkiness via Lone's happiness, two versions by Shan, one from the timid DJ Oyster, and Pete Herbert and Dicky Trisco's respectful rearrangement, this one has it all -- disco, techno, jungle (almost!), house, cheese, and chocolate!


SPEC 015-01EP

DECKA: Begyndelsen 12" (SPEC 015-01EP) 14.00
Decka, a producer from Bristol who's 21 years old at the time of this release, delivers the first release on Berlin-based artist Darwin's imprint. Infected acidic cyber techno. Early support from Ben UFO, Hodge, A Made Up Sound/2562, Scuba, Benjamin Damage, and Daniel Avery. Deluxe clear PVC sleeve in neon print. Mastered by Helmut Erler at Dubplates & Mastering in Berlin.



BRAME & HAMO: Clockwerk EP (Remastered) 12" (SPSQ 001EP) 14.00
The sleepy seaside town of Sligo, on Ireland's Atlantic coast, seems an unlikely location for a deep house label -- yet this debut 12" from the Sligo-based Splendor & Squalor label comes from two residents of the town, longtime DJ buddies and hip hop/deep house fusionists Brame and Hamo. The EP delivers beats that swing, sensual strings, chunky bass, and pads that wrap themselves around your body. The duo's collaborative "Clockwork" -- arguably the pick of the bunch -- is remixed by Session Victim (think ultra-deep goodness), while Hamo's sample-heavy "S.O.U.L." offers the perfect balance between smiling deep house and classic hip-house.



VA: Stil vor Talent Berlin: Teufelsberg CD (SVT 155CD) 17.00
The second installment in the Stil vor Talent Berlin compilation series brings forth a group of carefully selected artists, gathered under the umbrella of another underground Berlin hotspot. The former NSA station on the Teufelsberg hill is an emblem of Berlin's tumultuous past, and a modern-day pinnacle for alternative partygoers. Offering the best panoramic view of the city, the 400-feet high artificial rise has been a constant source of creative flux, bringing together artists from all media. As always, music is the common denominator and Oliver Koletzki delivers the perfect soundtrack with this release. Art by Chrisse Kunst. Includes tracks by Butch feat. Hohberg and remixed by Adriatique, Benotmane remixed by Karmon, M.A.N.D.Y. remixed by Tim Green, Several Definitions remixed by KlangKuenstler, Sonic Future, Oliver Koletzki, Sian remixed by Oliver Huntemann, Channel X, Eric Sneo, Koletzki & Schwind, Marcus Worgull & Peter Pardeike, and HVOB.


HVOB: Tender Skin/The Anxiety to Please 12" (SVT 157EP) 12.50
The third and final EP from HVOB's 2015 album Trialog (SVT 150CD/LP), an interdisciplinary art project that Thump labelled an "Album of the Year Contender" by Thump, and which has also been featured on influential blogs and media such as XLR8R, Resident Advisor, i-D, and ARTE after charting high on Beatport and iTunes, not to mention prompting an invitation to perform a Boiler Room set in Vienna. With his remix, Scuba transforms the fragility of "The Anxiety to Please" into a subdued power, while DJ Tennis's remix of "Tender Skin" is similarly powerful and technoid.


SR 400LP

KNIZAK, MILAN: Broken Music LP (SR 400LP) 17.00
Milan Knízák's 1979 masterpiece reissued on vinyl for the first time; presented in a gatefold with the original design. Milan Knízák (born April 19, 1940) is a Czech performance artist, sculptor, musician, installation artist, dissident, graphic artist, art theorist, and pedagogue of art. Before everyone else -- Christian Marclay, Philip Jeck, eRikm, Martin Tétreault, Yoshihide Otomo -- there was Milan Knízák. In 1964, Knízák, a member of Fluxus from behind the Iron Curtain, sat down on a sidewalk near the Charles Bridge in Prague, laid down a paper carpet right into the street, and starts tearing pages out of books and burning them. Around the same time, he began to create music from defective, worn, damaged, or broken LPs. These Broken Music compositions, his classic collages of noises created during performances and happenings, are widely regarded as important sound art documents. Knízák recalls, "In 1963-64 I used to play records both too slowly and too fast and thus changed the quality of the music, thereby creating new compositions. In 1965 I started to destroy records: scratch them, punch holes in them, break them. By playing them over and over again (which destroyed the needle and often the record player too) an entirely new music was created -- unexpected, nerve-racking, aggressive and even humorous. Compositions lasting one second or almost infinitely long (as when the needle got stuck in a deep groove and played the same phrase over and over). I developed this system further. I began sticking tape on top of records, painting over them, burning them, cutting them up and gluing different parts of records back together, etc. to achieve the widest possible variety of sounds."



LYONS, PETER: Oh, To Pull You Up 12" (TAPCLB 071EP) 12.50
Oh, To Pull You Up is the first EP from UK producer and artist Peter Lyons, half of pop-folk duo Peter and Kerry, who were featured on Bonobo's LateNightTales (2013) and have toured with the likes of Laura Mvula and Lianne La Havas. A convergence of pop music influence, classical instrumentation, and intellectually savvy electronic production, Oh, To Pull You Up sits somewhere between what one might expect to hear from the Erased Tapes stable and the left-leaning vocals and songwriting of artists such as James Blake and LA Priest.


TR 324CD

FORSTER, ROBERT: Songs to Play CD (TR 324CD) 16.00
In 2008, Robert Forster, one of Australia's most respected singer-songwriters, released The Evangelist, a work that was widely regarded as his best solo album; it more than lived up to the many high points of his legendary band The Go-Betweens. In 2015, seven years after that album, fans and critics alike may wonder what's been doing since. Quite a lot, as it turns out. Producer for acclaimed albums by Brisbane bands The John Steel Singers and Halfway. An extended stint as a music critic for the Australian periodical The Monthly that was so well received that a collection of his writings was published as The Ten Rules of Rock and Roll in 2009, and was reprinted in revised and updated form in 2011. Curator and compiler of G Stands for Go-Betweens: The Go-Betweens Anthology Volume 1 (2015), the first of three lavish box-set compilations charting the career of the iconic Australian band of which he was founding member, singer, and songwriter. Still, seven years is a long time, musically speaking. Time for writing songs, time for gathering musicians, time for preparing a refreshed creative direction that took shape as Songs to Play. Ten very different Robert Forster songs recorded on a mountaintop half an hour from his Brisbane home, in an analog studio, with a troop of young musicians: talented multi-instrumentalists Scott Bromley and Luke McDonald (from The John Steel Singers), Matt Piele (drummer from Forster's touring band), and violinist and singer Karin Bäumler. The resultant album is really like nothing he's ever done before, although it retains many of the qualities listeners know from his songwriting. His work remains highly melodic, with incisive, witty lyrics attuned to real people and real lives. The surprise is in the spirit of the record, its sense of adventure and fun -- especially after the meditative reflections of The Evangelist (recorded a year after the death of The Go-Betweens co-founder Grant McLennan). Seven years have brought a bolder, wilder approach to sound, and a set of truly inspiring compositions. Pop songs. Five minute epics. A bossa nova tune. Singer-songwriter classics. Experimental, detailed production assistance from Bromley and McDonald. It's no wonder that, from the album's opening lines on the super-charged "Learn to Burn," Forster is bursting to get out and tell his story. Seven years in the making. And worth every minute.

TR 324LP

FORSTER, ROBERT: Songs to Play LP+CD (TR 324LP) 23.00
LP version. Includes CD. In 2008, Robert Forster, one of Australia's most respected singer-songwriters, released The Evangelist, a work that was widely regarded as his best solo album; it more than lived up to the many high points of his legendary band The Go-Betweens. In 2015, seven years after that album, fans and critics alike may wonder what's been doing since. Quite a lot, as it turns out. Producer for acclaimed albums by Brisbane bands The John Steel Singers and Halfway. An extended stint as a music critic for the Australian periodical The Monthly that was so well received that a collection of his writings was published as The Ten Rules of Rock and Roll in 2009, and was reprinted in revised and updated form in 2011. Curator and compiler of G Stands for Go-Betweens: The Go-Betweens Anthology Volume 1 (2015), the first of three lavish box-set compilations charting the career of the iconic Australian band of which he was founding member, singer, and songwriter. Still, seven years is a long time, musically speaking. Time for writing songs, time for gathering musicians, time for preparing a refreshed creative direction that took shape as Songs to Play. Ten very different Robert Forster songs recorded on a mountaintop half an hour from his Brisbane home, in an analog studio, with a troop of young musicians: talented multi-instrumentalists Scott Bromley and Luke McDonald (from The John Steel Singers), Matt Piele (drummer from Forster's touring band), and violinist and singer Karin Bäumler. The resultant album is really like nothing he's ever done before, although it retains many of the qualities listeners know from his songwriting. His work remains highly melodic, with incisive, witty lyrics attuned to real people and real lives. The surprise is in the spirit of the record, its sense of adventure and fun -- especially after the meditative reflections of The Evangelist (recorded a year after the death of The Go-Betweens co-founder Grant McLennan). Seven years have brought a bolder, wilder approach to sound, and a set of truly inspiring compositions. Pop songs. Five minute epics. A bossa nova tune. Singer-songwriter classics. Experimental, detailed production assistance from Bromley and McDonald. It's no wonder that, from the album's opening lines on the super-charged "Learn to Burn," Forster is bursting to get out and tell his story. Seven years in the making. And worth every minute.



NOMINE: Inside Nomine CD (TEMPA 024CD) 12.50
A veteran of UK electronic music operating incognito, Nomine, by the time his debut was released in 2012, had already established the defining hallmarks of his sound -- an atmosphere of mingled dread and blissful calm, pulpy Eastern melodies, and tidal waves of sub-bass. Deep and meditative yet murder on a soundsystem, his tracks were vital firepower for a rejuvenated dubstep scene, and become regular secret weapons in figurehead Youngsta's record bag. This led to a string of 12"s on Tempa with which Nomine refined and expanded his aesthetic, keeping dubstep's bass-'n'-space ethos at the core while pushing far beyond its structural limits. Inside Nomine is the much-anticipated debut album from Nomine. It finds the enigmatic producer travelling beyond his acclaimed, soundsystem-demolishing 12"s to explore the deepest reaches of inner space. A reflection on the power of sound to reshape how we experience reality, it's a remarkable, immersive soundworld of an album -- delicate and contemplative, fleet-footed yet overwhelmingly forceful. Inside Nomine feels like the culmination of these musical voyages. As a former student and lecturer of sound design and advanced music technology, he draws upon a fascination with the psychologically-affecting qualities of sound. Although retaining a sonic kinship with dubstep, Inside Nomine occupies a genuinely self-defined musical space in which oceanic half-step riddims like "Shockwaves" and "Zen Force" collide with the thrillingly-exploratory broken techno of "Stickman" and "Menacer." Elsewhere, he leaves any notions of the dancefloor behind entirely; the eerie voiceover of "Nomine's Ego" coils through free space amid gorgeous harmonies and airlock hiss. At the album's heart is Nomine's astonishing command of space and atmosphere. On "Blind Man" and "Reticent Shadow," he matches simmering martial-arts-movie dialogue with music that bristles with Zen-like discipline and focus, while "84600" and "Hide & Seek" wield silence like a weapon, dropping pinprick melodies and percussion into the echo-chamber and remolding the air around them. The spaghetti-western freakout of "Dark Is the Night," meanwhile, recalls the haunting visual psychedelia of Alejandro Jodorowsky's cult 1970 film El Topo. Finally, the spine-snap drum 'n' bass of closer "Confusion" abruptly jolts the listener back to the club, bruised and elated -- a fitting return to physical reality at the end of an album that takes joy in subverting it at every turn.


SPHERES 015-17

CURRENT 93: Swastikas for Noddy/Crooked Crosses for the Nodding God 2LP (SPHERES 015-17) 31.00
Reissue of Current 93's seminal and liminal 1986 album Swastikas for Noddy, including the 1987 re-recording of the album, Crooked Crosses for the Nodding God. Packaged in a full-color gatefold bearing the original artwork plus a previously-unpublished photograph of Current 93 by Ruth Bayer, tinted by Ania Goszczy?ska. Includes insert with track listing, group line-up, and a photograph of Current 93 at the time of the recording, again by Ruth Bayer. One record is opaque green; the other is opaque lilac. Swastikas for Noddy has been unavailable on vinyl since 1987. Crooked Crosses for the Nodding God has never been available on vinyl. Both have been beautifully remastered by the bricoleur.


WIRE 380

WIRE, THE: #380 October 2015 MAG (WIRE 380) 9.50
"On the cover: Hieroglyphic Being (Opening a special feature on the stellar legacy of jazz visionary Sun Ra, Jamal Moss explains how the cosmic philosophy of the master has informed his approach to house and techno, locating new pathways out of grim reality). Inside the issue: Marshall Allen (Since first working with Sun Ra in the late 1950s, the alto saxophonist has been instrumental in spreading the galactic gospel of The Arkestra); Omniverse Sun Ra (A semi-legendary book on Sun Ra is being republished by longtime admirers Art Yard. Author Harmut Geerken and Art Yard's Peter Dennett tell the story behind the tome); Gilles Peterson (The DJ and collector talks about his new Sun Ra anthology); Ernest Berk (Following his flight from the Nazis, the DIY musique concrete pioneer drew connections between experimental composition and modern dance); Bites: Christina Vantzou (The composer and video artist adds strings to her bow); Global Ear: Budapest; Invisible Jukebox: Randall Dunn (The producer, engineer and Master Musician of Bukkake seeks enlightenment in The Wire's mystery record selection); Plus: Stephen O'Malley; W Mark Sutherland; Visionist."



TAEGGI, ANDREA: Mama Matrix Most Mysterious LP (TYPE 126LP) 20.00
Italian artist Andrea Taeggi's Mama Matrix Most Mysterious is a rich exploration of tense, rhythmic minimalism. Unlike his work with Koenraad Ecker as Lumisokea and his material under the Gondwana moniker, the album showcases Taeggi's interest in finding strength in simplicity. Taeggi was able to limit himself by working on old modular synthesizer systems -- the Buchla and the Serge, to be exact. "I needed to adapt to them," he admits. "I don't actually master them, which isn't necessarily a disadvantage." This playfulness buoys Mama Matrix Most Mysterious throughout, distancing it from the litany of self-involved modular synth LPs filling the shelves right now. The Serge and Buchla systems allowed the Italian producer to realize his rhythmic and timbric visions; Taeggi filters decades of beat-driven electronic music through these machines to come up with a record of chattering, bass-heavy experiments that sound like little else. You'd struggle to dance to it, but Taeggi's sound is so physical that you can almost feel the electricity running through the circuits. And isn't that exactly what electronic music should be about? Mastered and cut by Matt Colton. RIYL Pan Sonic, SND, Raster-Noton. Edition of 500.



HELIOS: Yume CD (UNSEEN 008CD) 15.00
Yume takes its title from the Japanese word for "dream" and delivers an otherworldly ambient-electronic hybrid that's cinematic in scope yet intimate in emotion. In making the album, composer and multi-instrumentalist Keith Kenniff (the sole artist behind Helios) has created a warm sonic tapestry from luminous guitar lines, elegant piano work, ingeniously-crafted rhythms, and lo-fi electronic elements. Though Kenniff's graceful maneuvering of mood and tone lends Yume a journey-like quality, the album offers pieces as captivatingly disparate as "Pearls" (which blends heavy beats and lilting piano melodies; cascading guitar riffs and airy atmospherics) and "Embrace" (which closes out the album with a glimmering expanse of sound). Built from both electronic experimentation and live instrumentation, Yume also constructs its richly-detailed textures by drawing from a repertoire of sound that ranges from toy tambourines to serendipitously-recorded environmental noises. Raised in rural Pennsylvania, Kenniff put out Helios's 2004 debut album Unomia while studying percussion at Boston's Berklee College of Music. Since then, he's released five more albums as Helios, in addition to collaborating with his wife Hollie Kenniff in the shoegaze-inspired pop duo Mint Julep and composing music for such clients as Paramount Pictures, Apple, Facebook, and Google. CD includes two extra tracks.


VA 062EP

SONS OF TIKI: Apologies for Being Lost 12" (VA 062EP) 14.00
Belgian duo Sons of Tiki bring the heat to the dancefloor with Apologies for Being Lost, featuring remixes by Malin Genie and Dorian Paic.



VA: Treasure Isle: Bond Street Special 1967-1974 CD (VOJ 005CD) 14.00
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. CD includes four bonus tracks by I Roy, Owen Gray, Max Romeo, and Derrick Morgan.

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