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Forced Exposure New Releases for 9/28/2015

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New music is due from Natural Snow Buildings, Duane Pitre, Steve Hauschildt, while old music is due from The Flippers, Bruce and Vlady, and Gregory Isaacs.


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IF 020LP

JESUS AND MARY CHAIN, THE: Sound of Speed LP (IF 020LP) 19.00
2013 release. "The Sound of Speed is the second compilation of singles, B-sides and rare tracks from The Jesus and Mary Chain, one of the greatest UK singles bands, and just as essential as its predecessor Barbed Wire Kisses (B-Sides and More) for its quality of songs and degree of variety. It's arguably just as influential and meaningful to fans, having been released just as a newly amassed alternative nation was sprouting up. Covering the period of 1989 to 1993, The Sound of Speed collects B-sides off classic singles from Automatic and Honey's Dead. 'Snakedriver' oozes classic Jesus and Mary Chain bluesy sleaze, while 'Write Record Release Blues' is a knowing knock at the record industry. The album serves up another batch of great covers, including the dirgey take on Leonard Cohen's 'Tower of Song,' the sweet pass at the Temptations' 'My Girl,' the distorted walk through Willie Dixon's 'Little Red Rooster,' the 13th Floor Elevators' 'Reverberation' and the left-field version of Jerry Reed's 'Guitarman.'"



JAZZ EPISTLES, THE: Verse 1+ LP (AIS 001LP) 26.50
Restocked, last copies. Superb and super-rare South African jazz featuring Hugh Masekela and Dollar Brand. 500 only pressed for the world. The Jazz Epistles were not only South Africa's first bebop band, but were also, rumor has it, the first black South African group to release an album. Very few copies of that album Jazz Epistle Verse 1 were made in 1960 (issued on the Continental label), and even fewer survive today. At the time members of the band were very active in the burgeoning South African jazz scene and had also made several recordings for John Mehegan, a self-taught white American jazz pianist and tutor who toured South Africa that same year. Mehegan soon found himself in trouble with the South African authorities for fraternizing with black musicians. The Jazz Epistles broke up soon after the Verse 1 recordings, with all members being offered work touring Europe with the hit African jazz musical King Kong, along with the Manhattan Brothers and vocalist Miriam Makeba. This tour came at a time when Sophiatown, the black suburb of white Johannesburg where the band lived and played, was about to be demolished. This, along with The Sharpeville Massacre marked the beginnings of forced segregation, violence, repression and a most turbulent time in their country -- a time when African arts would not be tolerated. Thankfully, the touring members of the Jazz Epistles found freedom, enlightenment, appreciation and the guidance of European musicians to further their musical careers. So in some ways, South African jazz flourished for the next few decades, but only in other countries. Listening now to these recordings we hear that the band's early mix of African and American jazz ideas, rhythms and swingin' tempos make their sound both unique and prescient, and can now be appreciated as a cornerstone and most important landmark in South African sounds. This unique vinyl release brings together selections from the classic Verse 1 album as well as other rare cues by members of the band, recorded for Mehegan in those lively 1959/1960 jazz sessions. Of particular note on this release is the sublime track, "Gafsa," summed up on its original release like so: "Another piano solo from Dollar Brand. It tells of a man who was madly in love with a wonderful woman. She dies, but her vision comes to him as he walks through the streets of Cape Town on a misty night."



LP version. On their third album, following How to Catch a Cloud (2011) and From the Inside of a Cloud (2013), Daniel Erdmann, Samuel Rohrer, Frank Möbus, and Vincent Courtois update their Swiss-French-German story. The group's spectrum is broad, focused on the collective rather than the self-promoting individual. At times luxuriously floating, then tremendously gripping again; always alert and artful and full of musical refinement. The quartet invites the listener into open spaces that it fills with measured, thoughtful strokes. Composition and improvisation balance each other out as the listener encounters grunge influences, chamber music cello, Morse code guitar, and free, melodic percussion. The saxophone sometimes assumes a rhythmic function, but also lets loose with an earthy power. The quartet's far-reaching yet highly concise music is captivating -- it's not about whether the sound is called jazz, rock, pop, or modern classical. What counts is the group sound, which develops with amazing depth of focus and becomes ever more coherent, causing moods, nuances, and details to lift off in a fresh way yet without losing touch with reality. With enormous elasticity, the group's organic structures intertwine with drive and drama. Each participant has been celebrated in various contexts as an extraordinary instrumentalist; together, their music requires this ability, without having to exhibit it. "Undreamed of tonal possibilities," commented one critic on their 2011 debut; another heard "unique, delicately compelling music" as "flights of fancy in various forms"; a "happening"; "enormously varied group interplay. Earthy, rich in detail, rocky, contemporary."



BRUNN, BENJAMIN: Gamma Delta Epsilon 12" (ARMA 010EP) 14.00
Moscow's Arma17 crew continues its musical activity through Arma Records, here presenting its tenth release. Benjamin Brunn builds an analog stairway with ascending rhythms, merging minimal techno and futuristic house sounds for a wonky and stylistically undefinable track, suitable for both your mind and your dancing needs. Alex Danilov, a well-known figure from Arma's label and other imprints, delivers a remix that brings down the tempo and creates a deep cosmic mood with dreamlike chords to carry you into the sunrise. Steve Summers's remix brings a punch and drive to the record, with rolling patterns that build the techno energy.



BRADOCK, PEPE: Le Fada 12" (ATA 016EP) 14.00
After an almost-two-year break since 2013, Pépé Bradock is back on the regular Atavisme catalog number order. Says Bradock about 016, Le Fada: "It's a tribute to a very precious gift sent from Bagdad to Aachen via Jerusalem/That would have never arrived in Northern Europe without an heroic Jewish Man from South of France."



FRANK, JACKSON C.: The Complete Recordings 3CD (BING 105CD) 20.00
"While Jackson C. Frank's eponymous 1965 album and other material has enjoyed numerous official and unofficial reissues, Jackson C Frank: The Complete Recordings is the first to compile his entire recording career. Released in conjunction with Jim Abbott's book, Jackson C. Frank: The Clear Hard Light of Genius, The Complete Recordings contains a total of 67 tracks, 24 of which have never appeared before. Every song has been mastered or remastered, a number of them straight from the original, brittle reel-to-reels on which they were originally laid down. Plagued by tragedy with the most haunting music to show for it, Frank's life can be heard through his music, which has been covered by the likes of Nick Drake, Simon & Garfunkel, Fairport Convention, Bert Jansch, John Renbourn, Robin Pecknold of Fleet Foxes, Colin Meloy of The Decemberists, John Mayer, South Korean jazz singer Nah Youn Sun, French singer Graeme Allwright, and sampled by Nas for 'Undying Love.' While never fully recognized as one of the great musicians of the '60s, Frank clearly had his fans."


NATURAL SNOW BUILDINGS: Terror's Horns CD (BING 108CD) 11.00
"After a string of Natural Snow Buildings reissues, each more elaborate then the last, Ba Da Bing presents their first ever release of new material from the band. For a group known for its use of horror imagery and lyricism, perhaps the most shocking thing of all is that this album clocks in at just under 45 minutes. If there ever was a release that served as the proper entry point for Natural Snow Buildings, Terror's Horns is it. It would be a stretch to call this Mehdi Ameziane and Solange Gularte's pop record, for Terror's Horns continues the duo's tradition of combining many layers into sometimes blissful, sometimes contemplative, often menacing conditions. Stringed instruments trill, percussion gongs, feedback hisses and vocals maintain near monotone as if in a cultish trance. The songs still unveil themselves slowly, and the album's progression lends the impression of descending down through the depths, past hidden cavities and chambers never to be unseen once experienced."


NATURAL SNOW BUILDINGS: Terror's Horns LP (BING 108LP) 19.00
LP version.



VA: Rodrigo D. No Futuro LP (BEAT 055LP) 21.00
Medellín, Colombia. Mid-1980s. The city was immersed in an everyday war ritual. Police, narcs, gangs ruled the streets without fear of death. Young people had very few chances to live free from this stuff, so most of them fell into this war against everything, as the easy thing to do. A massive exodus from small villages filled cities with people to deceive. It was in the midst of this absolute chaos and destruction that the first punk and metal bands of the region started to try to make something different. Everything was against them -- society, family, police, government. Handmade guitars, amplifiers, drums -- anything would work. Pestes, Mutantex, P-Ne, Amén, Ekrion, Agressor, Parabellum, Blasfemia, Profanación, Dexkoncierto, and Mierda appeared in the city and built this scene. Rodrigo D. No Futuro is a 1990 film with these same bands, and this is the first vinyl reissue of its soundtrack -- original copies are expensive as hell. Replica cover and insert with lots of info. 180-gram vinyl. Limited to 500 copies.



LUMINOUS BODIES: Luminous Bodies LP (BOXREC 015LP) 25.00
During Luminous Bodies' performance at Supernormal Festival 2014, lobster people shot foam with phallic water pistols at the audience -- an apt introduction to the band. Since then the band have continued to rampage across the land, including a standout performance at Raw Power Festival 2015, with their "scumbag lysergic racket." While it's easy to praise Luminous Bodies for their electrifying spirit, their songwriting-craft should not be overlooked. Beneath their occasionally tongue-in-cheek delivery is a band that has produced a superb debut rock record. It's an album that'll whip you up and leave you in high spirits. Luminous Bodies are Dan Hunt, Gordon Watson, Luca Zoo Franzoni, Tom Fug, and Tracy Bellaries. Recorded and mixed by Wayne Adams, Bear Bites Horse. Mastered by Sam Grant, Blank Studios. Artwork direction by Jussi Brightmore. Sleeve layout by Dirty DC. 180-gram vinyl; includes download code.



CARDOPUSHER: Manipulator 2LP (BNR 146LP) 23.00
Cardopusher is a Venezuelan-born and Barcelona-based DJ, producer, Red Bull Music Academy alumnus, and co-founder of the Classicworks label, which he runs with Nehuen. Inspired by labels like Warp, Schematic, Planet Mu, and Rephlex, and the diverse scene surrounding them in the early 2000s, he decided to begin creating his own productions. Since then he has been cranking out works in different genres of the electronic music spectrum, developing his vision in house, techno, acid, electro, and rave territories and gaining attention from established DJs and producers around the world. Following a couple of EPs on BNR Trax and contributions to Boyznoize's Miami Noize 5 (2014) and 6 (2015) compilations, he delivers his debut Boyznoize full-length, Manipulator. It's a ten-track, hardware-composed album inspired by early rave, '90s EBM/industrial, and lo-fi acid house/techno blended together with modern production touches. Perfect for peak-times or late hours, this record pays homage to underground music. Includes MP3 download codes.



PAGE ONE: Rock a Dub CD (BSR 993CD) 16.00
"Another fine dub album from Niney The Observer, also known as Page One, featuring riddims possibly mixed at King Tubby's Studio in Jamaica. Amazing and hard to find dub album from the 70s, now reissued on CD."


NINEY THE OBSERVER: Sledge Hammer Dub in the Street of Jamaica CD (BSR 994CD) 16.00
"Niney The Observer's Sledgehammer Dub In The Street Of Jamaica LP has always been considered to be a long lost gem with Dub collectors. Originally released in early 1977 and pressed in a limited quantity of between 300 to 400 copies the record was a compilation of Dubs devoid of vocals but high on rhythms - mixed with feeling and showcasing the talents of both musicians and mixing engineers. King Tubby's involvement is clear, as is that of all the other parties involved such as Niney, The Soul Syndicate and The Cimarrons to name but a few. The actual LP title was derived from how King Tubby mixed his tracks. Strong! Niney described the sound coming from the speakers as like having a sledgehammer hitting you on your head. Niney himself is steeped in Reggae history, making songs for the likes of Lee Perry, Bunny Lee, Joe Gibbs and Coxsone, producing the masterful Blood And Fire cut and being one of the first to experiment with sound in early reggae. Sledgehammer Dub In The Street Of Jamaica was pressed on Nineys own Observer label without a jacket and has become something of a holy grail for collectors of dub."



LP version. Includes CD. With a wealth of support from the likes of Gilles Peterson and KUTMAH behind them, Belgian experimental collective STUFF. unleash their eponymous debut album, featuring nine hip hop-influenced instrumental cuts of chopped drums and syncopated rhythms. The five-piece are a renowned live entity, known for masterfully crossing the border between broken hip hop and jazz-influenced funk. Since forming in 2012, the group have secured high-profile support-slots for the likes of D'Angelo and legendary jazz pianist Robert Glasper, in addition to recording live remixes for Jungle and Little Dragon as part of their residence at Belgium's most famous concert hall, Ancienne Belgique. Opening track and lead single "Event Horizon" (chosen by Gilles Peterson as one of his Worldwide Winners of 2015) begins with warped synths and wavy melodies before erupting into unparalleled free-form jazz. Staying true to form, the track is laced with ambient electronic womps and rhythms, a signature element of the STUFF. makeup. "Skywalker" follows suit with expanding atmospheric textures, yet has a more contemporary feel, with articulated snare hits laying the foundations. STUFF. encompasses all elements of the band's sound throughout, from the smooth jazz tones in the outro of "Sifa" and wonky hip hop of "Java" to the downtempo grooves of "Caves." An explosive live force and the first European live band to be invited to perform a Boiler Room session, this talented five-piece are truly an act not to be missed. Artwork by renowned Belgian artist Rinus van de Velde, whose fans include the designer Paul Smith. Mastered by Daddy Kev (Flying Lotus, Thundercat, Jonwayne).


C 3674LP

WRIGHT QUARTET, THE FRANK: Church Number Nine LP (C 3674LP) 23.00
This is the free jazz record that everyone wants. Its long, mythic history is shrouded and whispered about because of it rarity. Church Number Nine was recorded on March 7, 1970, but remained buried until it was released in 1973 on the Calumet label, a Parisian venture that instantly evaporated into thin air. Only 300 copies of the album made it into circulation; the rest were apparently destroyed. The line-up is one of free jazz's greatest, the same quartet as Frank Wright's legendary BYG Actuel outing One for John: Wright on tenor, Noah Howard on alto, Bobby Few on piano, and Muhammad Ali on drums. The opening track is a monumental 26-minute slab of holy-rolling free gospel. Heavily indebted to Albert Ayler, Wright's take on the spiritual is spiced up by adding additional percussion. This is when Wright and Howard are not blowing their horns to smithereens -- they both unleash an all-incinerating racket, an ominously heavy whirlwind of feverish, infernal blowing. Bobby Few is a standout in these sessions and exerts explosive and alternating churchy licks and furious clusters until the whole comes crashing down like the walls of Jericho under the blasts of the horns. The second piece comprises tight bursts of energy, ripping notes to pieces like there is no tomorrow. Possessed vocals from various members imbue the proceedings with an air of a possession ceremony amid the fractured tone-clusters of the torrential sonic storm. This record is heavy, ecstatic, and mind-blowing! Church Number Nine is without a single doubt one of the greatest free-blowing jazz discs ever to be put down on wax. One-time pressing of 300 copies. Faithful to the original.



BALLERINI, LUCA: Impressions of a Dawn 12" (COR 130EP) 14.00
Luca Ballerini pays respect to his role models Sven Väth, Carl Craig, and the masters of modern electronic techno art, Basic Channel, and follows the music of artists like Levon Vincent or Omar-S. These influences are apparent in Impressions of a Dawn, which comes with a slight mid-'90s vibe, but Ballerini merges them to create his own style, his own music. A true storyteller, he doesn't just focus on one simple bassline-beat combination. "Orizzonte" follows the vibe of big Guy Gerber or Tim Green productions; overall, this is great cinematic techno for all the epic and emotional moments on the dancefloor.



IN FLAGRANTI FEAT. CRAIG YAMEY: Double Talk 12" (CRE 047EP) 14.50
Since meeting in 1991 and forming In Flagranti, Alex Gloor and Sasha Crnobrnja have released their prolific catalog on imprints like Erol Alkan's Phantasy Sound and the French Kitsuné label, along with their own Codek Records Europe. "Double Talk" once again showcases their knowledge of quality disco grooves, with top-notch use of reminiscent samples and funky synths. Rigged up with a soulful, '70s-era vocal and a Sunday stroll bassline, it's truly timeless -- tied down to no trend or generation. Includes remixes by Andy Butler of Hercules & Love Affair, Dinamo of Azari & III, and Wolfram.



ZOMBIES IN MIAMI: Black Purple 12" (CORR 037EP) 12.50
Mexican duo Zombies in Miami make a powerful return to Correspondant with two originals that manage to capture the menace, drive, and excitement of their live show. "Black Purple" is a high-octane blend of rolling bass and motorik percussion. "Shadows" initially takes a more stripped-back approach, but quickly grows to darkly anthemic proportions, with echoes and stabs eventually giving way to vocals, spacious synths, and a truly hypnotic bass melody. Italian duo Marvin & Guy debut on Correspondant with their dramatic remix of "Black Purple," built around a pumping analog bass arpeggio with added layers of vocals and synth melodies.



VA: Bombay Disco: Disco Hits From Hindi Films 1979-1985 2LP (COS 008LP) 25.00
2015 repress. Gatefold double LP version. "The sound of Disco rose out of Philadelphia in the '70's before being nurtured in New York and later rising to the top of the pops. By 1979 it made its way to India, where it was blended with sitars, tablas and huge orchestras in a wildly inventive, and often boldly surreal, fusion of Purab aur Pachhim (East and West). When a film producer told Bollywood composer Bappi Lahiri, 'I want to have music like 'Saturday Night Fever', Bombay Disco was born. Soon nearly every South Asian film, it seemed, had a disco track blaring from cinema screens. Although disco's popularity waned in the west, it soared in the east throughout the '80's. Disco songs appeared in every type of film, from family dramas and historical epics to curry westerns and horror movies. Cultures Of Soul Records presents Bombay Disco, 13 selections excavated from the dusty bazaars of India by DJ Brother Cleve. The hunt even brought him to Bappi Lahiri's home, where India's 'Disco King' regaled him with music and stories. Bombay Disco showcases the unique musical hybrid that is Bollywood filmi music."


SHADOW: Let's Get Together 12" (COS 502EP) 13.00
2015 repress. "From Trinidad and Tobago comes the next release in the Cultures of Soul disco 12" series. We've licensed the monster cosmic disco track 'Let's Get Together' from the legendary soca artist, Winston Bailey a.k.a Shadow himself. The original track includes a deep hypnotic groove powered by a steady bass drum and snare combination, a pulsating rhythm guitar, echoy chanting vocals, and a savagely icy synth line. We've even added our own local favor to it by having Boston based producers, the Whiskey Barons, rework it."



RUSSOM, GAVIN: Body Minimalism EP 12" (CURLE 053EP) 12.50
Curle got to know Gavin Russom's music thanks to his amazing album with Delia Gonzalez, The Days of Mars, released in 2005 on DFA. Years later, Russom so loved Curle's 2014 release of Michele Mininni's trippy Endless Ceremony (Rocketnumbernine Remix) (CURLE 049EP) that he sent over a demo shortly after its release; that demo became this 12". First pressing on splattered 12" (transparent vinyl with pink, light blue, and black splatters).



MAYFIELD, CURTIS: Roots LP (CRS 8009HLP) 21.50
2015 repress; gatefold 180 gram vinyl version; exact repro reissue manufactured by Rhino. Originally released in 1971.

CRS 8009LP

MAYFIELD, CURTIS: Roots LP (CRS 8009LP) 18.00
2015 repress. Gatefold exact repro reissue manufactured by Rhino. Originally released in 1971. "Curtis Mayfield's visionary album, a landmark creation every bit as compelling and as far-reaching in its musical and extra-musical goals as Marvin Gaye's contemporary 'What's Goin' On.' Opening on the hit 'Get Down,' the album soars on some of the sweetest and most eloquent -- yet driving -- soul sounds heard up to that time. Mayfield's growing musical ambitions, first manifested on the Curtis album, and his more sophisticated political sensibilities, presented with a lot of raw power on Curtis Live!, are pulled together here in a new, richer studio language, embodied in extended song structures ('Underground'), idealistic yet lyrically dazzling anthems ('We Got to Have Peace,' 'Keep On Keeping On,' and, best of all, the soaring 'Beautiful Brother of Mine'), and impassioned blues ('Now You're Gone')." -- All Music Guide


MAYFIELD, CURTIS: Super Fly LP (CRS 8014HLP) 17.00
2015 repress. Originally released in 1972, this is a 180 gram vinyl exact repro of the Super Fly original motion picture soundtrack, written and performed by Curtis Mayfield. Manufactured by Rhino.


DFC 5507EP

With '80s hits like "Love Missile F1-11" and "21st Century Boy" (both produced by Giorgio Moroder), British new wave band Sigue Sigue Sputnik need no introduction. In 2015, lead singer Martin Degville returns with a new lineup: Sigue Sigue Sputnik Electronic. This 12" was produced by Moratto, Ricky Persi, and Riccardo "Ohm Guru" Rinaldi. If you're ready for a hard and nasty next-century track, "Timex Kid" is for you. Includes remixes by LDB and Paul Carpenter.



REVOLUTIONARIES: Musical Dub Attack CD (DKR 169CD) 15.00
"Killer and rare late '70s dub LP, which is in fact the dub companion to I Roy's Musical Shark Attack LP. If you know Channel 1 albums, then you know that LP is loaded with the hardest late '70s Channel 1 roots rhythms. What most people don't know however, is that I Roy's album was actually voiced over this dub LP, as it was completed and ready before Channel set about making a new I Roy album. This is one fantastic dub LP, now properly issued, direct from master tape, in a newly designed jacket made to match the I Roy album, a companion piece in design and music. Eleven killer slices of Revolutionaries dub from 29 Maxfield Avenue, this is a Musical Dub Attack!"



HASWELL, RUSSELL: As Sure as Night Follows Day 2LP (DIAG 024LP) 27.50
Double LP version. As Sure as Night Follows Day is Russell Haswell's landmark second album for the London-based Diagonal label. Consolidating a quarter-century at the forefront of extreme computer music, techno, and death metal in 19 tracks and 49 minutes, it's Haswell's most coherent yet varied burst of activity to date, zigzagging from improvised n0!se outbursts and asphyxiated R&B to a brace of thundering acid bullets that positively froth for the 'floor. The album was extracted over a fast-working period in late 2014, and is best perceived as a sort of fractured regression to his formative influences; one can hear the picnoleptic recollections of grindcore shows in the Black Country, the refracted shades of mega-raves at Coventry's Eclipse, the conflating toxic texture-memories of early Japanese noise, and the incandescent stomp of Mills and Hood in that early-'90s phase. Fortunately for the ravers, this album includes some of Haswell's most direct dancefloor attacks to date. "HARDWAX FLASHBACK," for instance, finds him in pure tekno panik mode -- a four-to-the-floor wrecking-ball groove that someone, somewhere, may even be able to mix. "GAS ATTACK" distils his penchant for all things Belgium into a vicious strain of new beat lactic acid. Haswell then doffs his cap to Detroit electro legends Drexciya on "Underwater Electronic Struggle" -- a story goes that he once thrashed a jet-ski all over the Mediterranean while listening to 'Wavejumper" in his 'phones -- before he does the salty freestyle electro flex ting on "Extended Industry Knowledge (for OSCAR)" while reminding his trusty apprentice Powell that he still has a lot to learn. Between these 'floor-flexers, one finds more freakish disturbances and intrusive drum-box improvisations: the modular mind-floss of "RAVE SPLURGE NOISE FM" or "Noise Rave," for instance, or the self-explanatory "Improvisation #1." "In the Air Today" investigates warehouse-ready electroacoustic percussion, while the chaotic clusters of "INTERLUDE" swarm and invade the senses with psychoacoustic incision. This is Diagonal and Russell at their most fucked up and fizzy, and an important reminder of the artist's stream-of-consciousness genius -- and the pressing need for more chaos and unpredictability in electronic music today. Mastered and cut by Matt "The Alchemist" Colton at Alchemy. Soft-touch laminate sleeve design by Guy Featherstone.



SOLOMUN: Zora 12" (DIYNAMIC 079EP) 12.00
"Not knowing when the Dawn will come, / I open every Door" --Emily Dickinson. Diynamic label boss Solomun kicks off Zora with the title-track, a deliciously deep and sensuously slow-burning track with trademark melodies, colorful synths, and a huge, sweeping bassline that will really get floors moving."Fantazija" features big, rubbery kick drums, jittery percussive patterns, skewed bass, and trippy synths that all work to hypnotize listeners as they ride up and down the scale. "Nada" features a gritty guitar riff riding above rolling drums as tender synth motifs dance around the edges of the track, adding a real sense of emotion.


DG 11003EP

ANDRAS & OSCAR: (I Know) What You Want 12" (DG 11003EP) 12.50
András & Oscar's "(I Know) What You Want" is a smoothly urgent house plea, with Oscar's yearning vocals soothed by András's warm, light-footed production. For fans of that early-'90s house vibe of Larry Heard, Frankie Knuckles, and Vincent Floyd. Includes remixes of "Looking Back" by Tornado Wallace and Zanzibar Chanel. Edition of 500.



HASWELL, RUSSELL: Tongue Dancer '85 12" (EMEGO 213EP) 14.00
Single-sided 12" with rubber stamp. Edition of 300. Recorded at EMS Elektronmusikstudion on March 19, 2015. Created with ALM, Tiptop Audio, Serge.



SHIGGAJON: Sela LP (EPR 026LP) 21.00
It's tempting to categorize Danish collective Shiggajon as a spiritual jazz ensemble. But while there's an element of ritualism present, there's also a postmodern tendency to absorb everything from Sufi music to krautrock and contemporary electronic drone. Heavily modulated guitar pedals and processed vocals accompany layers of flutes, strings, bells, and percussion as the most natural thing in the world. It's the kind of music that demands openness and surrender. These two long, multi-layered, cacophonous pieces occasionally come off as slightly abrasive and dissonant, but ultimately the music is a process resulting in joyful catharsis and healing.



GIGLI, GIORGIO: The Right Place Where Not to Be 3LP (EDLX 045LP) 27.50
Triple LP version in three-panel gatefold sleeve. LP "Ø" is single-sided. Limited to 350 copies; not to be repressed. Giorgio Gigli presents his debut album, exploring sophisticated ambient layers as much as obsessive and hypnotic techno landscapes. After spending time working on his own Zooloft label and crafting an evolved sound reflected in his DJ sets, Gigli presents his first full-length sonic movie, The Right Place Where Not to Be. It emerges from the depths of his soul and properly filters every musical input he's developed over the years. The album imagines a scenario in which all human and animal lifeforms have perished and only plants and minerals have survived. Gigli performs that concept by writing an ultra-detailed soundtrack to an imaginary movie, using rich textures that reveal new acoustics enhanced by alienating atmospheres that captivate the listener. The album is focused on obsessive rhythms cut on low frequencies, a persistent motion, and a stable tremor. The sky is darkened by laden clouds and stratified sonics that electrify the sound of space. Blooming sensations that cover a wide spectrum alternate from a feverish tension to the lightness of faith. Confines are rejected and techno meets ambient, purging our body of consciousness. A sonic bubble from a faraway era; a timeless atmosphere. The album brilliantly depicts a surreal concept without losing tension. The experience of the music is enhanced by the intricate artwork that expresses Gigli's concept. The black and white photographs were taken in the Dolomites mountain range with an old Hasselblad camera by Marcello and Alessandro Gianvenuti, and subsequently enhanced with watercolor-painted textures. The whole graphical project was curated by Studio Lord Z.


P 737363HLP

DONOVAN: Greatest Hits LP (P 737363HLP) 15.00
2015 repress. Exact repro reissue on 180 gram vinyl. Originally released in 1969, includes the long version of "Sunshine Superman" and the stereo version of "Mellow Yellow." "...The productions and the songs -- 'Sunshine Superman,' 'Jennifer Juniper,' 'Wear Your Love Like Heaven,' 'Season of the Witch,' 'Mellow Yellow,' 'Hurdy Gurdy Man,' 'Epistle to Dippy,' 'There Is a Mountain,' 'Lalena' -- have proven to be classics of the era, and this is the best place to get them all on one collection." -- All Music Guide



KARAMIKA: Karamika 2LP (ESP 022LP) 29.00
Karamika is an expansive collaboration between George Thompson (Black Merlin) and Gordon Pohl (Musiccargo), a soundscape that spans 12 tracks and a 375-mile commute between London and Düsseldorf. This double LP is the byproduct of a creative simpatico and the pair's quest to articulate a vision devoid of any defined lyrical or melodic language. The instrumentation is a balanced palette of hard and soft, light and dark, pristine and corroded, droning and orchestral; the duo crafts narratives out of unexpected elements so weathered and rich that each carries a lifetime of character within -- tin cans rusting in the desert dust, dewdrops pattering on overgrown foliage, swarms of locusts writhing in song. Abstractions culminate in a parallax view of the world through Karamika's eye. This is savage music, uncontrolled, unrelenting, impenetrable. Pressed on white vinyl.



FORGOTTEN FIGURES: Forgotten Figures 002 12" (FFIG 002EP) 14.00
Forgotten Figures 002 picks up where Forgotten Figures 001 (FFIG 001EP) left off, delivering raw techno inspired by the cold, dark surroundings of Copenhagen.


GET 51293LP

CYPRESS HILL: Cypress Hill LP (GET 51293LP) 21.00
2015 repress. "Somewhere in between the rock-star mischief of the Beastie Boys and the slow-creeping funk of Dr. Dre, Cypress Hill introduced their hazy-eyed sound to the world on their self-titled 1991 debut and things have never quite been the same since. The original Cypress Hill album captures the group at their risk-taking best, mixing gangster posturing, LA street politics, Latin flavor and warped humor to-gether under a thick cloud of weed smoke and innovative beats. Nasal-voiced rapper B-Real and his partner Sen Dog, backed by the adventurous production styles of DJ Muggs, produce classics records like 'How I Could Just Kill a Man,' 'Pigs,' 'Stoned is the Way of the Walk' and 'Hand on the Pump.' Since its release, the album has won acclaim as one of Rolling Stone's 'Essential Recordings of the 90s' and 'Top 100 Best Rap Albums' by The Source magazine. Get On Down is proud to present one of the most influential and important hip-hop albums ever, Cypress Hill, in this special red vinyl release, featuring audio remastered from the original source tapes."

GET 51305LP

MOBB DEEP: Hell On Earth 2LP (GET 51305LP) 26.00
2015 repress. "By the time Mobb Deep hit with their third album -- Hell On Earth -- they were solidified street legends. Coming off the critically acclaimed The Infamous, Havoc and Prodigy hit the lab and came back with a soundtrack that is fitting to its title. Havoc's production is atmospheric; laced with his trademark drums loops and sharp pianos stabs. Add Prodigy's trademark flow and it's evident that the pairing is such an amazing match. While Hell On Earth is essentially a continuation of The Infamous you can still hear the growth in both performers and Hell On Earth stands as some of their best work. The album features guest appearances by Nas, Raekwon, Method Man, and frequent collaborator Big Noyd."


SPECIAL ED: I Got It Made 7" (GET 728EP) 11.00
"'I'm kinda young / But my tongue speaks maturity.' Thus stated Special Ed, on his 1989 smash hit, 'I Got It Made.' And he backed up that brag throughout his trademark anthem, which featured laid-back brags that MCs a half-decade his senior couldn't mess with. The Brooklyn MC was only 16 when it was released, making him one of the youngest rappers -- especially at the time, before the 90s brought us Kris Kross and Lil Bow Wow -- to ever have a hip-hop hit. The song itself, which floated over a perfectly hooked up slice of Ripple's 'I Don't Know What It Is, But It Sure Is Funky,' was produced by Hitman Howie Tee, who also made waves in the late '80s with his cousin, Chubb Rock. When Ed and Howie combined, it was a match made in heaven, and the song exploded in New York before taking over worldwide. Eventually becoming sample fodder on dozens of later songs -- from Fat Joe to Kendrick Lamar -- the track still invokes heavy head-nods today from crowds of all ages. Also included on this special 7-inch is the 'Businesslike Version' of the song (also produced by Howie), which also appeared on the original 12-inch. Featuring a minimal, synth-driven backdrop and a quicker pace, it offers an excellent new way to experience Ed's forward-thinking lyricism."


RAEKWON: Criminology 7" (GET 742EP) 13.00
"Criminology is rap at its finest. The second single released from Only Built 4 Cuban Linx features Raekwon and Ghostface Killah trading bars over one of RZA's hardest beats. Add some Scarface samples and -- well, what else do you need? The combination of Raekwon and Ghost is undeniable but don't forget to flip the record over for 'Glaciers Of Ice' which combines frantic beats and 'Meyer Lansky raps', add a Masta Killa verse and this might be this singles crowning jewel. Now available for the first time ever in a 7 inch pressing from Get On Down."



Limited repress. This French psychedelic masterpiece by Philippe Besombes and Jean-Louis Rizet, originally released by Pôle Records in 1975, is a stunning piece of work created with synths of various kinds (VCS 3 AKS, Synthorchestra Farfisa, Mellotron 400, etc.), occasionally backed up by drums and other sounds. Lauded by artists like Julian Cope and Etienne Jaumet (Zombie Zombie) and diggers around the world, Pôle takes the listener on a trip like the gods of psychedelic music intended, from IRCAM's laboratories to German krautrock; from Faust to Cluster & Eno. The original double LP release is reissued here as a single LP (including download code for original album track "Synthi Soit-Il," absent from this LP). Pôle is ideal for a thorough shamanic journey without any new age namby-pamby. After previewing the opening track ("Haute Pression"), listeners might choose to enjoy the album while tripping, rediscovering that dark and fuzzy side of unknown '70s French avant-garde music.


DR(DR)ONE: Lyrebird LP (NFS 007LP) 20.00
Formed in 2008 as an improvisational, experimental free jazz collective, Dr(Dr)one comprises Peter Combard (guitar), Guillaume Perret (saxophone), Colin Johnco (electronics), Stan Grimbert (drums), and Eat Gas (guitar). With this four-song LP, the French band combines drone with jazz and uses analog synths, modulators, and droney guitars to create a world where Terry Riley could meet Earth while Miles Davis detoxes with Chet Baker. Free drone.



VAI: Son of Idaia 12" (HOLGER 008EP) 14.50
With its eighth release, the Leipzig-based Holger label introduces Vai, an artist who has previously been active with various production teams and aliases. Son of Idaia is his most intimate work to date; a highly personal record that interweaves fragile elements to create a sound somewhere between ambient, electronica, and ghostly techo. It seems removed from its club origins and yet still reverberates with these roots. A deep trip down the rabbit hole, dubby, immersive, and glowing in all its calm beauty. This release also introduces a series of Holger cover art by Lukas Mehling.



AUNTIE FLO: So in Love 10" (HUNTLEYS 020EP) 14.50
Auntie Flo follows his critically acclaimed Future Rhythm Machine album (Huntleys + Palmers, 2012) with So in Love, a limited 10" preview of his 2015 Theory of Flo album featuring the smasher "So in Love (feat. Shingai)" and the spellbinding "Waiting for A (Woman) (feat. Anbuley)." Theory of Flo spans continents, genres, languages, and cultures for a wholly unique listening experience. It features long-term collaborator Esa Williams as well as collaborations with the incredible Ghanaian singer Anbuley (who appeared on Auntie Flo's 2014 Autonomous Africa hit "Daabi") and Shingai Shoniwa (Noisettes, The Matthew Herbert Big Band, Dennis Ferrer).



PITRE, DUANE: Bayou Electric LP (IMPREC 421LP) 25.50
LP version. Edition of 500. Bayou Electric is the final installment in an unplanned trilogy, with Feel Free (IMPREC 349CD, 2012) and Bridges (IMPREC 390CD/LP, 2013) making up the first and second installments in the series, respectively. All three works share similar characteristics, compositional processes, alternate tuning schemes, instrumentation, and a certain ethos that the composer views as cohesive whole. There is a progression toward refinement over the course of this trilogy, in the overall sound of the albums and in their dependence on other musicians to realize them (each less dependent than its predecessor). Bayou Electric, which contains a single, calming, and cathartic composition (of the same title), brings this cycle to a gentle and unhurried finale. Pitre captured the field recording utilized in Bayou Electric on a late night in August, 2010, at the edge of Four Mile Bayou, Louisiana, which has been in Pitre's family since January 14, 1922. Upon listening to what he'd captured, Pitre became enthralled by the fabric of sound that the wildlife on this waterway had created. It evoked many feelings, reminded him that his ancestors had lived among these same sounds and walked the same land, and created a powerful connection and a sense of timelessness. Pitre was set on finding a way to use this field recording in his music, but wanted to do so without simply adding it to a composition as just another layer of sound or by molding it (via processing) into something easier to work with. Instead, Pitre decided to start with the unaltered field recording and build the instrumentation around it, in a highly sympathetic manner, with the musical portion becoming accompaniment to the sounds of this remote land. This was the catalyst of Bayou Electric and of primary importance to him, as a way to artistically connect to his Cajun heritage. For synthesizers; sine tones; amplified violin, viola, and cello; field recording; and custom software. Written, recorded, reconfigured, and mixed from July through October of 2014 in New Orleans.



2015 repress. 180 gram exact repro reissue in a gatefold sleeve, originally released on Impulse! in 1963. Ofically licensed through Verve/Universal. Featuring Elvin Jones (drums), McCoy Tyner (piano), Prince Lasha (clarinet and flute), Sonny Simmons (alto sax and English horn), Jimmy Garrison (bass) and Charles Davis (baritone sax). "Recorded in 1963 and co-led by John Coltrane's drummer and bassist (Elvin Jones and Jimmy Garrison), the music is most significant for introducing Sonny Simmons (alto and English horn) and Prince Lasha (flute and clarinet), who are joined in the sextet by underrated baritonist Charles Davis and Trane's pianist McCoy Tyner. Each of the musicians except Jones contributed an original (there are two by Davis); the music ranges from advanced hard bop to freer sounds that still swing. While Garrison's contributions are conventional (this was his only opportunity to lead or co-lead a date), Jones is quite powerful. However, it is the playing of both Simmons, who tears it apart on English horn during 'Nuttin' Out Jones,' and Lasha (when is he going to be rediscovered and recorded again?) that make this early 'New Thing' date of greatest interest." -- All Music Guide



PADILLA, JOSE: Lollipop 12" (IFEEL 046EP) 15.50
180-gram vinyl. Remixes of "Lollipop" from Balearic legend José Padilla's 2015 So Many Colours album (IFEEL 042CD/LP). In autumn 2014, Padilla invited four the best contemporary producers (Mark Barrott, Wolf Müller, Tornado Wallace, and Telephones) to the island of Ibiza and developed an album that covers beach life, nightlife, and simply watching the sunset. Following the release of lead single "Day One" (IFEEL 039EP), "Lollipop," with its floating melody and rolling groove, is treated to luscious remixes from I:Cube and Dream 2 Science, plus a special 12" version from original producer Telephones.


PRIVATE AGENDA: Paralysed (incl. Tuff City Kids Remix) 12" (IFEEL 047EP) 14.50
180-gram vinyl. Private Agenda follow their acclaimed 2015 debut single, Déjà Vu (IFEEL 037EP), with Paralysed, a record filled with confidence and direction. "Paralysed" pays homage to piano-led Italo house by way of French boogie grooves; amid the bright, staccato piano stabs and tongue-in-cheek vocal lines, you'll hear funk guitar sifting between delicately layered Afro-Cuban percussion. Tuff City Kids hop on with a remix of "Paralysed" that propels it further into cosmic, trippy, and hedonistic dimensions. "Little Bird" slips into a different gear; if you like your balearic beat breezy and carefree, then there's plenty to love here (plus a euphoric sax moment to boot).



CONOR: Power Exchange 2x12" (JOLLY 024EP) 25.00
Conor's an extremely influential yet somewhat mysterious figure in San Francisco's disco and house underground, known for his enviable collection of disco on wax. Along with SF's Solar, he's booked, hosted, and played alongside a long list of the world's best underground electronic, house, and disco artists at his party series No Way Back, and his taste and talent for curating artists, and selecting records, is widely acknowledged to be some of the best around.


KH 9034LP

DAVIS QUINTET, MILES: Harmon Gymnasium, University of California, Berkeley CA, April 7th 1967 LP (KH 9034LP) 23.00
Repressed. This remarkable 1967 concert finds Miles Davis playing with his second quintet: Wayne Shorter (tenor saxophone), Herbie Hancock (piano), Albert Stinson (bass), and Tony Williams (drums). Recorded for broadcast on KALX radio, it features the only live recording of "Dolores" by this group, and their last known recording of "Stella By Starlight." An incendiary document of a great artist at the peak of his powers, it's presented here with background notes and images. Digitally remastered.


KS 048EP

TOGO ALL STARS: Way Out of Sadness 12" (KS 048EP) 15.50
Two steaming Afro-funk rollers from Togo All Stars, who hail from Togo's capital, Lomé. Serge Amiano, a tireless talent scout, paved the way for the formation of Togo All Stars, in which the supreme rhythms of younger musicians join rough voices of the past -- in the same way as he did for celebrated French Afrobeat collective Fanga. Togo All Stars combine an exuberant rhythm section, liquid guitars, and devastating horns with three sturdy voices deeply rooted within the Afropop traditions of the independence era, be they highlife, Afrobeat, funk, reggae, or even gospel music.



WEVAL: It'll Be Just Fine/Grow Up 12" (KOM 344EP) 14.00
Dutch duo Weval follow their acclaimed 2014 Kompakt debut, the Easier EP (KOM 318EP), with another record of incredibly catchy arrangements infused with rarefied pop magic, featuring two glistening cuts that marry serious beat-science with heartfelt lyrics and soaring melodies. On "It'll Be Just Fine," Harm Coolen and Merijn Scholte Albers interweave powerful synth hooks with lyrics that unfold over intricate rhythmic patterns. "Grow Up" slows down the tempo and takes a slightly more direct approach to percussion, adorning its steady throb with immersive vocals and existentialist melodies -- again hitting the duo's sweet spot between melancholy and hope.



HAUSCHILDT, STEVE: Where All Is Fled CD (KRANK 198CD) 13.00
"Steve Hauschildt's new album is his first since the late 2012 release of Sequitur. Although Where All Is Fled sonically harkens back to his earlier albums such as Rapt for Liquid Minister and Tragedy & Geometry, it slowly becomes apparent that it is also a divergence from those recordings. Both the artwork and the music on this new work were heavily inspired by surrealist landscape paintings, early alchemical emblems, and recurring visions Steve had from dreams. The result is a pristine series of cascading melodies, fantastical terrains of layered lattices, and overlapping patterns of synthesizers superimposed with orchestral instrumentation. Hidden in the crevices of the album are processed crowd sounds, re-sampled text-to-speech synthesis, piano, and animal noises which reveal themselves after repeated listens and blur together notions of artificial and natural sound. While slowly unfurling, each sound is given it's own place and space, never hurried, never cluttered. The album is a modern kosmische milepost, and the most accomplished statement of Steve Hauschildt's vision yet."



FARR & MARTYN HARE, JOE: Mode EP 12" (LEYLA 002EP) 14.50
The second release on Leyla Records is a meeting of techno minds -- the UK's Joe Farr and Martyn Hare deliver three blistering cuts shaped from a classic British industrial mold. "The Inside" is a workout for the body and mind. A mournful lead rises over a subtly skittish rhythm as the pressure builds toward an ecstatic yet impossible release. On "Go Fourth," icy, angular melodies grate against rock-solid foundations in a series of switches that keep the listener on the edge. "Safe Mode" closes proceedings with a gentler touch, a meditative moment full of rhythmic flourishes.



OLDHAM, SPOONER: Pot Luck LP (LITA 125LP) 23.00
LP version. Housed in deluxe Stoughton tip-on gatefold jacket. "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.'"


LLBOX 001-7

GHOSTFACE KILLAH: Twelve Reasons to Die II: The Deluxe 7" Box Set 6x7" BOX (LLBOX 001-7) 100.00
"Adrian Younge and Ghostface Killah's latest collaboration, 12 Reasons To Die II, is now available as a deluxe 7 inch box set! The set includes six singles in full color jackets with two of the singles being both picture discs and Serato controllers!"



PSIGLO: Ideación LP (LBR 004LP) 25.00
Originally released in Uruguay in 1973 by Clave label and then reissued through the Sondor label in the '80s, this is the debut album by Psiglo, one of the most important and influential bands of South-American progressive rock. Ideación, widely considered a masterpiece of '70s Uruguayan rock, achieved huge sales upon its initial release. This remastered reissue is pressed on 150-gram vinyl and includes an insert with an updated biography by historian Fernando Peláez, author of De las Cuevas al Solís, a history of Uruguayan rock from 1960 to the mid-'70s. Edition of 500.


PSIGLO: Psiglo II LP (LBR 005LP) 25.00
Psiglo II is the second and final LP by legendary Uruguayan progressive rock band Psiglo, recorded in Buenos Aires, Argentina, in 1974 and originally released in 1982 by the Clave label. The original release excluded the song "Héroe de Papel," which is included here. This remastered reissue of this essential record offers a window into the evolution of '70s Latin American rock. 150-gram LP; edition of 500.


MATEO, EDUARDO: Cuerpo y Alma LP (LBR 006LP) 25.00
Cuerpo y alma was Eduardo Mateo's second record as a soloist, recorded between 1981 and 1984 and originally released by Sondor in 1984. It finds Mateo experimenting with percussion and drawing influence from Hindu music. Eduardo Mateo was one of the most important figures in the history of the Uruguayan music, known for mixing beat, jazz, bossa nova, and candombe. He created the "candombe beat" and was a member of the legendary band El Kinto. This first-ever vinyl reissue of Cuerpo y alma is pressed on 150-gram vinyl and limited to 500 copies.


BUITRES DESPUES DE LA UNA: Deliciosas Criaturas Perfumadas LP (LBR 007LP) 25.00
Originally released on CD in 1995 by the Uruguayan Orfeo label, and later reissued on CD by the Uruguayan Bizarro label, Deliciosas Criaturas Perfumadas is the fourth album by Buitres Después de la Una. Recognized as one of the most important Uruguayan rock bands since their formation in 1989, Buitres Después de la Una have released more than a dozen studio and live albums. Gabriel Peluffo (vocals) and Gustavo Parodi (guitar) have been active as a duo since 1983, beginning with influential '80s post-punk band Los Estómagos. This 150-gram LP is the first vinyl edition of the potent mixture of melody and distortion that is Deliciosas Criaturas Perfumadas. Edition of 500.


Sangre (Blood) is Hablan por la Espalda's fifth album, recorded between 2014 and 2015 in Montevideo, Uruguay, and produced by Nicolás Demczylo (Santé Les Amis guitarist). Musically, the album continues the legacy of its predecessors, Macumba (2009) and Celebración (2012), deepening the psychedelic rock and post-punk connection with local influences from Afro-Uruguayan candombe. On a philosophical level, the album was inspired by dramatic circumstances that members of the band experienced between 2012 and 2013. Hablan por la Espalda is one of the most important bands in the Montevideo rock scene. The band formed in 1996, when its members were merely teenagers, and were pioneers in the then-burgeoning local DIY hardcore scene. With time, the band's sound mutated from rudimentary punk toward a form of psychedelia, born from the fusion of blues and hard rock, along with other visceral expressions such as candombe, the ritualistic sound of the Afro-Uruguayan drums. HPLE have been known for their wild stage antics, which earned them a bad reputation in their early years; they were banned from many venues in the Uruguayan capital. That didn't stop the group, which has since expanded into a septet including percussion and organ, from touring much of South America, Europe, and United States. 150-gram LP. Edition of 500.



KOWTON: On Repeat/Holding Patterns 12" (LIVITY 017EP) 12.50
Livity Sound foundational artist Kowton makes an emphatic return with his first solo 12" for the label since 2012, following his 2014 hit track "Glock & Roll" on Young Turks offshoot Whities. His music's been remixed by Karenn, Kassem Mosse, and Surgeon; he's remixed work by Paul Woolford, Tessela, and Untold. Kowton has played across Europe both live with Livity Sound (alongside Peverelist and Asusu) and as a solo DJ. In typically reductive mode, Kowton layers pulsing subs with weighty percussion and enveloping synths on "On Repeat"; "Holding Patterns" is a streamlined modulating techno workout of abrasive drums and rotating rimshots.



VA: Luv.Twelve 12" (LUV 012EP) 14.50
Love Unlimited Vibes presents its 12th release, continuing its promising focus on warm, soulful vibes somewhere between indie, house, soul, and downbeat. Some well-known producers showcasing their soft skills with their own productions or any edits or reworks they've ever wanted to do. Vinyl only; limited edition of 500 in clear plastic sleeve.



SALAZAR, SANTIAGO: Chicanismo 2LP (LWYFL 001LP) 25.00
"As it's first full length release, Love What You Feel is proud to present Chicanismo, the debut album by Santiago Salazar. Known for his work with Underground Resistance, ICAN Productions, as well as solo releases on many notable labels, Santiago brings his working man's house and techno into the world in its most pure form on this album. His use of a variety of rhythms and beautiful melodies puts him in the upper echelon of dance music producers today, and the results here are just as satisfying at home as they are in on the dancefloor. By mixing his Chicano roots with his time spent in Detroit, Santiago has created a timeless musical statement on behalf of the underdogs whose contributions to house and techno are often paid lip service to, but are much more rarely realized. The groove here is just as important as the harmonies, and they work together to achieve something very special on Chicanismo. This is music that lifts the spirit to a higher plane, the true definition of soul music."



FRAK: Primitive Drums 12" (LXRC 024EP) 14.00
Your favorite foil-faced machine-heads, Frak, on Lux Rec. The Nordic woods are a dangerously primitive place. Fueled with madness and delirium, Frak deliver three slow, acidic numbers with a barbaric, crude attitude. Relentless drums. Fierce, hypnotic synthesizers that get you lost in your own mind. Suddenly sinister, disastrous images populate your consciousness. And then one last strange, twisted wave track. New places, new adventures.



TENSE: Disconnect Myself (Beau Wanzer Adjustment) 12" (MNQ 067EP) 14.50
In 2011, Chicago's Beau Wanzer reshaped the angry body-music of the now-defunct Houston duo //TENSE// into an eight-minute claustrophobic TR-909 workout with heavy synth basslines. The track never saw the light of the day on vinyl... until now. Imagine Wax Trax!-era sounds fused with Wanzer's notorious grit. Guaranteed to pummel. Edition of 300 on 160-gram single-sided black vinyl.


MF 2004LP

KMD: Bl_ck B_st_rds 2LP Pic. (MF 2004LP) 32.00
"MF Doom's first group and their controversial sophmore release Bl_ck B_st_ards is now available in a deluxe double vinyl pressing. One of the LPs is a red vinyl pressing with the second LP being a picture disc featuring the group's longstanding mascot. The gatefold jacket includes a pop featuring the KMD mascot and the set is rounded out with the inclusion of full liner notes by Brian Coleman. The words 'lost classic' get thrown around from time to time, but KMD's sophomore album, Black Bastards, truly fits the bill. Originally scheduled for release in the spring of 1994, their label unceremoniously shelved it at the eleventh hour due to controversy over the provocative cover art. Surviving group member MF Doom (then known as Zev Love X) -- as fans know, his younger brother Subroc was killed in 1993 -- tried to release the album on other labels, but met more dead ends. Sadly, it languished in hip-hop purgatory until six years later. Even then, the album had only a limited release via small indie labels. Beyond the fact that the controversy surrounding the cover -- featuring the group's long-standing mascot being hanged by a makeshift gallows -- was unfair, the group's fans being denied access to this album only compounded the injustice. Because musically and lyrically, it was a truly amazing record, full of youthful creativity, tinged with the stress of growing up as black men in urban America. Unlike on the group's 1991 debut, Mr. Hood, Subroc had fully come into his own as both a producer and an MC on Black Bastards, and his untimely death made the album's shelving that much more tragic."



RUSHIN, JEFF: A Figment of His Imagination 12" (MOTE 044EP) 12.50
Amsterdam-based producer Jeff Rushin's Mote Evolver debut opens with "Coda," which flawlessly builds anticipation as a shivering sequence slowly creeps in and out of the listener's headspace, accompanied by sharp claps and huge subterranean kicks. "Facing the Truth" combines the same commanding kick sound with busy cymbal shivers. "Enigma" applies Rushin's calm but forceful approach to what feels like a journey through a forest of translucent filaments. "A Figment of His Imagination" has the EP's hardest edge, with intense hydraulic pumping and titanium-plated industrial pounding, yet Rushin's deft programming and arranging skills elevate the track beyond a rote exercise in aggression.



MOUSE ON THE KEYS: The Flowers of Romance LP (MUSIQ 189LP) 23.50
LP version. Mouse on the Keys, the Japanese trio of Daisuke Niitome (piano, keyboard), Akira Kawasaki (drums, piano, keyboard), and Atsushi Kiyota (synths, piano, keyboard), are an energetic, hard-to-pigeonhole Tokyo-based group that combine the sound of diverse pianos and synthesizers with out-there drumming. Their locomotive American hardcore rhythms and virtuosic post-rock grooves dance fearlessly with jazz, contemporary classical, and shreds of electronic music. Since their foundation in 2006, the band has released on such labels as Japanese imprint Machu Picchu Industries and acclaimed German label Denovali Records, and toured Europe, Canada, Brazil, and Asia. As their main influences, the musical libertines name a miscellaneous range of labels, artists, and bands including On-U Sound, Burt Bacharach, Claude Debussy, Bad Brains, Kreator, Material, Johann Sebastian Bach, Beastie Boys, Napalm Death, and Steve Reich, all of whom left their traces on the group's third album, The Flowers of Romance, an irrepressible amalgam of spontaneous ideas and precisely written harmonics. While recording in Tokyo and the little coast town of Izu, in April and May of 2015, the trio worked for the first time with material that they had not written together. Each member wrote songs by himself, and the band collaborated with guests like violinist Atsuko Hatano, trumpet sorcerer Daisuke Sasaki, guitarist Masahiro Tobita of the legendary Japanese hardcore band Envy, and many more singers and musicians, enlisting contrabass, clarinet, and saxophone. Together they turned in a live sound that gives the compositions a human touch and brings them to a higher level. The pieces have moments of post-rock and free jazz, occasionally recalling the music of Tortoise or John Zorn. A virtuosic mix of alert piano-playing, intense drumming, chamber music, synth grooves, celestial ambient structures, and beautiful abstract melodies. The Flowers of Romance also includes a composition by their hero, Maurice Ravel, and the band claim that western philosophers like Ferdinand de Saussure, Sigmund Freud, or Karl Marx had a major influence on the writing process. It's a multi-layered superstructure and an exhilarating utopian masterpiece made with precision, fidelity, and frankness for ears with a deep sense of the intense, the radical, and the playful.


MC 016EP

RED AXES: Waiting for a Surprise 12" (MC 016EP) 12.50
Israel's hottest exports follow excellent EPs on Hivern and I'm a Cliché (CLICHE 059EP) with Waiting for a Surprise -- rich, deep, trippy, and organic, yet precise and lethally effective in the club. "Waiting for a Surprise" builds around a mid-tempo disco bassline with tough percussion and rugged synth stabs, but it's the eerie vocals of Brazilian collaborator Abrao that bring everything together. "Hope (feat. Zidan)" kicks off with resonant, delayed toms and adds a haunting howl and synths before dropping into a wild, clanging, carnivalesque frenzy. "The Metal Bender" slows the tempo but ups the vibe into an elated, slow-burning space-disco anthem.


MR 023LP

CANCER MOON: Flock, Colibri, Oil LP (MR 023LP) 19.50
180-gram vinyl; remastered for this reissue; presented in facsimile gatefold sleeve. "Delayed due to their unusual and ill-fated relationship with the Polar label, Cancer Moon's second album arrived in 1992. The dubious dealings of their previous company had significantly increased the band's prejudices with regards to the music industry. The intimacy of the bubble in which they lived triggered their suspicions towards label owners, bigwigs and anyone who tried to intervene in the nourishing and destiny of one of their children, their songs... band members Jon Zamarripa and Josetxo Anitua took charge of a quick and cheap production work in which they sacrificed the bigger clarity of their previous album for a meatier sound. That sonic hyper rawness stressed the idea among music journalists that Cancer Moon were the fathers of Spanish noise. But they weren't such thing, or at least they weren't aware of it. The truth was that Zamarripa was that type of instinctive and visceral guitar player, more magical than skilled, who had been brought up on mid-70s proto-punk. He would create a tangled mess when playing which was utilised on this album more than ever before, which resulted in that sonic wall that somebody described as noise. Listening to the album again, I'm especially surprised that the overused psychedelia tag comes to mind more than I remembered, a lot more than with their previous and next records. Even though I used to roll up joints for them while they were crafting these songs at Zamarripa's house, I didn't remember them sounding so trippy. And as memory often traces coherent connections, I've automatically remembered delirious listening sessions at night with Jon and some other friend when we would inevitable end up playing Screaming Trees lying on the floor, when our bodies had given in to the weight of the night, and we would float away night after night thanks to their hypnotic rock. Although we liked the whole Seattle sound and loved Mudhoney, our favourites were always the Trees, whom you'll clearly recognize in these grooves. And forgive me for daring to make a comparison to such a unique band, but even in the moments when Cancer Moon sounded more similar, they always produced a distinctive element, which was Josetxo's wonderful voice: powerful, persuasive, in total symbiosis with those contortionist guitars which were such a feature of the album." --Fernando Gegúndez

MR 329LP

LOS SAICOS: Demolicion: The Complete Recordings LP (MR 329LP) 21.00
2015 repress. LP version with a 12-page full-color booklet with extensive notes and unseen photos. "With only six singles released between 1965 and 1966, and from an apparently remote place such as Lima, Peru, Los Saicos created a raw, wild and visceral sound, the Southern Hemisphere equivalent of the garage rock that was coming out of the U.S. Northwest at the same time. Theirs is the same DNA shared by The Sonics, The Cramps and Black Lips. This release compiles all their recordings and tells their amazing story. This snarling maelstrom of nihilism was cut in Lima when the rest of the world was wetting itself over The Beatles, direct links to both The Stooges and The Cramps here and several more equally-enthralling combos. The latter spawned several generations of individuals who would dig deep to previously (mostly) unheard seams of music and other forms of culture that have since become part of the mainstream fabric. Another strong case of the same kind of happenstance to my mind is that which preceded the much-vaunted 'punk' explosion of the '70s." --Lindsay Hutton

MR 7271EP

JAPANESE GIRL, THE: You Should Have Switches/Telephone Operator 7" (MR 7271EP) 8.50
Portuguese band The Japanese Girl forged a raw, powerful sound somewhere between garage rock and psych lo-fi with two guitars, an organ, and vintage drum machines; they have since been joined by a drummer who hammers through their opiated layers of reverb. They have played with Jacco Gardner, The Wand, and Girls Names, and as part of the Reverence Festival Party. This 7" features "You Should Have Switches," which sits somewhere between early The Jesus and Mary Chain and Thee Oh Sees, taken from their 2015 Sonic-Shaped Life album (forthcoming at the time of this release). It's backed by an exclusive, unexpected version of Pete Shelley's "Telephone Operator."


NMG 5763LP

SLUM VILLAGE: Fantastic Volume II LP (NMG 5763LP) 25.00
"After the success of Slum's 1997 studio debut, Fan-Tas-Tic Vol. 1, the group went to work on their follow up. Though the project was completed in '98, label turmoil kept the project on ice until 2000. By the time Fantastic Volume II hit Dilla was well on his way to his status as a hip hop legend having produced cuts for Common, Busta Rhymes, Erykah Badu, A Tribe Called Quest and many more. Later works from Slum Village may have had more of an impact sales-wise (in the immediate) but Fantastic Vol. 2 had fans and many critics saying that Slum Village, and Dilla in particular, may 'single-handedly save rap music.' Perhaps that statement is hyperbole but many consider Fantastic Volume II to be Slum Village's finest work ever to this day. Ne'Astra Media Group now presents the album reissued on vinyl, for the first time in several years. Every wobbling bass note of J Dilla's production has been preserved to maintain the legacy of this hip hop rap classic and maintain the legend of one of hip-hop's greatest beatsmiths."


NW 80763CD

"Susan Allen, solo harp; with Ellie Choate, Marilu Donovan, Jillian Risigari-Gai, Jaclyn Urlik, harps; and Colton Lytle, bowed vibraphone. The harp is a strange and compelling instrument that in its technological ancientness beckons composers and listeners alike to bask in its heavenly aura. Like hand drums and acoustic guitars, the immediacy of a harp's sound production demands an intimate, one-on-one relationship between listener and instrument/performer. This intimacy is why composers of all stripes write music for harp -- it strips away habit and affectation. Its limits are challenges that distill the essence of a composer's style and technique and reflect them back as if from a mirror. John Cage (1912-1992) composed In a Landscape in 1948. The work's title is revealing: Cage places both sound and its hearing in an environment. Typical of Cage, his insight and his humor, the environment itself is left up to the choice of performer and/or listener, whether they realize it or not. There is no perspective imposed upon the music by composer or title, there is simply the fact of being in a landscape. James Tenney's (1934-2006) Harmonium No. 3 (1980) brings three harps together in an ensemble that deceives the ear, sounding like a single instrument. Tenney achieves this effect by writing a single line that crosses all three parts. The need for three harps is created by the piece's unique tuning scheme. Alexander Tcherepnin (1899-1977) lived a musical life that spanned the globe. His music reflects his diverse experiences and the many cultures in which he came in contact during his life. Tcherepnin's Quatre Caprices Diatoniques (1977) are brief musical bonbons originally intended for the non-pedal Breton harp. They work equally well on modern pedal harps, as played here by Ms. Allen. Gloria Coates's (b. 1938) score for Perchance to Dream (2014) is deceptively simple. Her use of triadic harmonies and diatonic melody is modified by altering the tuning of the harp and the bowing of the vibraphone. These key characteristics create the piece's hallmark otherworldly quality. Postcard from Heaven (1992), for one to 20 harps, was one of Cage's last works. The work consists of a collection of 'ragas' (predetermined scale patterns featuring set pedal configurations for the harp) that the performers are free to choose how many and in which order they wish to play. Performers are instructed to begin and end the piece using e-bows, a magnetic device that causes steels strings to vibrate without being plucked. The e-bow creates a soft, sustained tone one would rather expect for a postcard from a destination such as heaven."

NW 80766CD

VIERK, LOIS V.: Words Fail Me CD (NW 80766CD) 15.00
"The majestic beauty and savage turbulence that one often beholds while witnessing an awesome act of nature is also evident in Lois V Vierk's (b. 1951) vigorous and delicate music. In her meticulously wrought works, she enfolds the rapture of opulent expression in the elegance of formal rigor, a combination that derives much of its power and grace from a sensitive integration of Western experimental practices with the traditional classical music of Japan. 'I've always felt equally drawn to the West and to the East,' Vierk explains, 'in terms of my analytical training in Western music and the musical principles I learned during twelve years of actively studying and performing gagaku, ancient Japanese court music.' Because both musical cultures occupy such prominent places in Vierk's musical imagination, she recognized important points of intersection, including structural clarity and timbral sensuousness -- musical elements that she had inherited from the previous generation of composers. Three elements -- glissando as a formal function, extreme sensitivity to timbre relationships, and exponential structure -- are evident in the works on this recording, but the composer's primary intention has always been the clear, direct, physical presence of sound as a mode of expression. 'In my own music,' she insists, 'pure sensuous beauty is often a starting point. I work with emotional expressiveness and with many kinds of sound relationships as well, to build form and structure.' Also, although Vierk's music is not overtly programmatic, she often draws formal and poetic inspiration from dualistic images of the natural world, including the astronomical phenomenon of an eclipsing binary star, the border of a forest at elevation, and the mysterious power of the sea below its calm surface."

NW 80770CD

WEN-CHUNG, CHOU: Eternal Pine CD (NW 80770CD) 15.00
"The series of works featured on this album ushers in a new orientation for Chou Wen-chung (b. 1923) because it marks his first direct engagement with traditional East Asian musical ensembles. The genesis of Eternal Pine came about in part by his longstanding friendship and scholarly exchange with the eminent Korean musicologist Lee Hyeku. Owing to the persistence of a gayageum master, Yi Ji-young, Chou first composed Eternal Pine I for the Korean ensemble in 2008. The other versions soon followed: one for a Western musical ensemble in 2009, the duo version for Korean instruments in 2010, and the last for Chinese Sizhu ensemble in 2012. Eternal Pine refers to the beauty and strength of pine as a symbol for longevity and eternity in East Asian cultures. This imagery is foreshadowed in his earlier work Windswept Peaks (1990), where Chou refers to the gnarly pine trees on mountain peaks, swept by the wind for hundreds of years. In such a context, the pine trees also symbolize the spirit of wenren -- the indefatigable spirit of literati who have survived all sorts of persecutions throughout Chinese history. In his meticulous preparation for composing music, Chou gives attention to minute details to create an artistic experience comparable to seeing 'the universe in a grain of sand.' At one moment, an informed listener may hear echoes of Anton Webern in the brevity and contrapuntal mastery of musical lines in Chou's music; at another moment, s/he may be enthralled by the discovery of an infinite expression in the utterance of one sound."

NW 80771CD

MOORE & ANDIE SPRINGER, JAMES: Gertrudes CD (NW 80771CD) 15.00
"Music for violin and resonator guitar by Robert Ashley, Lainie Fefferman, Paula Matthusen, James Moore, Larry Polansky and Ken Thomson. Longtime friends and collaborators James Moore and Andie Springer began performing as a duo in 2011 while on tour with playwright Richard Maxwell's Neutral Hero. This anthology comprises compositions by their friends and colleagues, all written or adapted for the duo and their unconventional instrumentation of violin and steel-string resonator guitar. Larry Polansky's (b. 1954) 10 Strings (9 Events) (2011) is part of a set of works that explores his idea of morphing, a kind of procedure in which a 'source' musical element is gradually transformed into its 'target' through a series of intermediate iterations. Paula Matthusen's (b. 1978) in absentia (2008) features an electronic accompaniment that gradually becomes more harmonically complex. Over the still harmonic canvas, only marginally disrupted by the beating tones from a pair of closely-tuned crystal glasses, guitar and violin weave a filigree of sustained tones, fragmented melodies, and feeble harmonics. The title of this album, Gertrudes, alludes to Gertrude Stein, author of the three poems that served as an inspiration and title to James Moore's (b. 1979) compositions (Suspicions, Look Like, A Wish [2014-2015]) included therein. These pieces, each a single page in length, function as springboards for improvisation, the notation oscillating between being fully specified and merely indicative of gesture and contour. The title of Ken Thomson's (b. 1976) Deafening Irrelevance (2011) alludes to his concept of the piece as a sort of primal scream, a guttural expression of his frustrations with the loudness and short-sightedness of the contemporary world. Lainie Fefferman's (b. 1982) Fiddly Tune (2012) begins with an improvisation that gradually coalesces into a theme from an imaginary tradition, its Dorian color evocative of Celtic idioms. Two-against-three polyrhythms (both between and within the instrumental parts) explode the surface simplicity into kaleidoscopic metrical patterns; the same concept translates to timbre and texture in the final section, when the players double their parts by vocalizing a monosyllabic chant. Robert Ashley's (1930?2014) For Andie Springer Showing the Form of a Melody, 'Standing in the Shadows,' by Robert Ashley (2010) opens with a rhythmic recitation of the entire title, a device that brings to mind Ashley's long-standing interest in the intrinsic musical qualities of everyday speech. Subsequently, the piece unfolds as eight sections, each sixteen bars in length, gradually sounding out a lilting melody in 3|4, accompanied in this recording by a bowed ostinato downbeat on guitar."


NA 5065LP

VA: Those Shocking, Shaking Days 3LP (NA 5065LP) 28.00
2015 repress. Deluxe 3LP version: packaged in a six-panel triple gatefold jacket with a 16-page full-color booklet. Subtitled: Indonesian Hard, Psychedelic, Progressive Rock and Funk: 1970-1978. "The untold story of Indonesia's various underground 70s musical scenes; extensive liner notes, photographs and ephemera; fully restored and remastered audio; officially licensed." Artists: Panbers, The Brims, Rollies, Shark Move, Golden Wing, AKA, IVO's Group, Ariesta Birawa Group, Terenchem, Benny Soebardja and Lizard, Super Kid, Koes Plus, The Gang Of Harry Roesli, Black Brothers, Rasela, Freedom Of Rhapsodia, Rhythm Kings, Duo Kribo.

NA 5132CD

RODINIA: Drumside/Dreamside CD (NA 5132CD) 16.00
"Ambient Krautrock in line with Cluster, Popul Vuh, Tangerine Dream. Now-Again Records has enjoyed a long and creative partnership with Munich-based multi-instrumentalist JJ Whitefield, creative force behind the Poets of Rhythm, Whitefield Brothers and Karl Hector & The Malcouns. Rodinia, his latest project, is quite different than anything that's come from his oeuvre to date, but follows in the line of the Poets of Rhythm's great Discern/Define, as it reaches back to Krautrock's experimental heyday but pushes its boundaries with a post-hip-hop approach. That's to say that everything you read in the header above is true, but the ambient sound Whitefield and his Rodinia collaborator -- saxophonist and keyboardist Johannes Schleiermacher -- reached for found itself morphing over the course of a year. What was originally recorded in a two-day studio lock-in, which found Whitefield and Schleiermacher hooking up 'all our vintage synths (Korg MS-20, Moog Prodigy, Roland Juno 60, Jen SX 1000, Korg Polysix), triggering everything with a vintage Korg rhythm box, absorbing some mind altering substances and jamming out,' was later turned into two, side-long suites, with over-dubbed reeds, drums and guitar, and self-made Moroccan field recordings introducing the project on its Drumside."

NA 5132LP

RODINIA: Drumside/Dreamside LP (NA 5132LP) 21.00
LP version. Includes download code.



HOLM, MICHAEL: Mark of the Devil I & II LP (OWS 009LP) 27.00
"Deluxe LP limited to 1000 copies worldwide, comes with obi strip. Packaged in a deluxe gatefold tip-on jacket with artworks by Silver Ferox. Comes with insert containing extensive & exclusive liner notes. One Way Static Records is proud to bring you their latest release, one where we had the chance to work with German composer Michael Holm. Mark of the Devil was released in 1970 and is certainly a film that has achieved a real cult status, it is notorious and known by many horror fans for being given the first ever 'V' for violence certificate (or was it a 'V' for vomit, since vomit bags were handed out at screenings of the film). A sequel was also produced in 1973, both soundtracks are featured here on this release. The musical score penned here by Michael Holm is surprisingly melodic for a horror movie, but also contains dramatic and atmospheric compositions. It has that sort of luxurious and haunting sound, very European and romantically slanted and maybe a little pop orientated. The central theme evokes the feel of Riz Ortolani's theme for Cannibal Holocaust, which ironically was only written ten years later. Even spaghetti westerns of the 1960s and 1970s written by composers such as Morricone and Bruno Nicolai come to mind when experiencing this album. Strings & the use of a spiteful and venomous Slavic sounding electric violin on this score (which literally scratches out the jagged and virulent variation of the romantic theme) has the effect of making the hairs on the back of your neck stand up. Almost in a similar fashion to that of composer Jerry Goldsmith in his more mischievous and threatening sections of Gremlins and Legend. The second soundtrack included on this release is Mark of the Devil II, which was released in 1973. The main music for this particular movie was the work of Don Banks, John Scott and Sam Sklair."


KROG, TIM: The Boogeyman LP (OWS 013LP) 34.00
"Deluxe limited edition color vinyl (color in color vinyl) limited to 1000 copies worldwide. Comes with a bonus CD-RECORD to be played on your turntable. Packaged in a deluxe gatefold tip-on jacket with artworks by Silver Ferox. One Way Static Records is proud to be bring you their latest release, one where we had the chance to work with German director Ulli Lommel and composer Tim Krog. In 1980 Lommel directed The Boogeyman starring John Carradine, which became a 'slasher genre' hit and made the UK's banned 'Video Nasties' list. Two sequels were also produced in 1981 and 1983. To underscore his film, Lommel needed a soundtrack that fitted the times like the synth based John Carpenter styled soundscapes used in Halloween. By the late seventies, electronic music had achieved new heights of popularity. Technological innovations such as the Mini-Moog became a weapon of choice for new composers, churning out chilling electronic music that showed the industry its full creative potential. For this he turned to Tim Krog and his team 'Synthe-Sound-Trax' composed out of Jan Barlett and Ed Christiano. This trio produced a soundtrack far more progressive and unique than one might expect. Moving easily between traditional melodies and more experimental textures, The Boogeyman's score is a superb example of an economical but highly effective scoring style that would be prevalent throughout the ensuing decade. As you listen to these soundscapes, remember one thing: 'The Boogey man' will get you if you don't watch out."


OM 029EP

GOLDEN FILTER, THE: PS1103 12" (OM 029EP) 14.00
The Golden Filter debut on Optimo Music with a four-track EP. Penelope Trappes and Stephen Hindman originally hail from opposite sides of the planet (Australia and America) but have united to create a distinctly unique electronic sound. Following several previous releases, their sound has progressed into a deeper, richer, advanced hypno-sound with state-of-the-art synthetic sound-design and vocal phrases ricocheting around the mix. It's hard to pull off tracks that constantly morph and develop over the course of a few minutes but The Golden Filter accomplish this with apparent ease on PS1103. Music for nightclubs and far beyond...


OT 017EP

GOLDEN FILTER/MORGAN HAMMER, THE: Heavy Bastard 12" (OT 017EP) 12.50
When The Golden Filter sent Optimo Music six tracks to choose from for the 2015 PS1103 12" (OM 029EP), the label decided to take all of them and release the two more DJ-friendly tracks on Optimo Trax. "Heavy" (it is!) and "Outimacy" are both tried and tested in the clubs; two wild electronic signals with advanced synthetic sound design and monumental production. Morgan Hammer's "Arrogant Bastard" is a modern update of the Belgian electrobeat sound with Morgan's wildly deadpan vocals. Her "Killer Nighter" is a year-round delight, but surely destined to be a future Halloween standard.



GLASS, PHILIP: Beauty and the Beast CD (OMM 105CD) 20.00
"Following the recent successful albums of his transcriptions of music by Philip Glass, pianist Michael Riesman presents a new album of solo transcriptions and arrangements from Philip Glass's opera Beauty and the Beast. In Glass's music, the power of the creative and the raw world of nature, represented respectively by Beauty and the Beast, finally emerges and allows the world of imagination to take flight."


GLASS & STEVE REICH, PHILIP: Minimalist Guitar Music CD (OMM 106CD) 20.00
"Italian guitarist Massimo Menotti showcases a recital of the most rigorous Minimalist music from the 1960s by Steve Reich and Philip Glass. Menotti records each layer of the music himself, performing and recording above the previously recorded tracks using all the various techniques that were pioneered by Reich and Glass, two founders of the Minimalist movement, including phasing and open and closed forms."



ISOLEE: Floripa 12" (PAMPA 026EP) 14.00
Isolée's long and celebrated discography has taken him from seminal microhouse compositions through lush, deep, and dubby productions to the melodically rich sound design of 2013's mindblowing Allowance (PAMPA 013EP). Here, the title-track takes shape around a thick and dub-drenched bassline that moves and morphs with fluidity as tiny percussive elements orbit an instant-classic synth melody. The track's midsection showcases airy, spatial sound-wizardry, with shimmering cosmic riffs on the core melodic phrase. "Favouride" unfolds with metallic percussive accents and spectral synths; smooth and sleekly produced, yet introspective and complex, the layers of rhythm and melody combine here for extra emotional impact.



ALCE, KAI: Quiet Revenge 12" (POEM 001EP) 14.50
NDATL Muzik boss Kai Alcé delivers the debut release on the Atlanta, Georgia-based People of Earth imprint. People of Earth was founded by Michael Scott, who formerly headed up SOCO Audio and was a founding partner in the Brooklyn-based Scissor & Thread label. This release precedes People of Earth's second, by Reggie Dokes.



GARCIA, SIMON: Ataraxia EP 12" (PFR 166EP) 14.00
"Ataraxia": "a state of serene calmness." An appropriate title for two tracks that epitomize Simon Garcia's singular vision of the hypnotic potential of house. Following his residency at Madrid's MOTEL club and high praise from an array of luminaries including Laurent Garnier, Garcia's "Ataraxia" opens with a pounding kick and busy hats before a slow crescendo of drones and pulsing synths. "A Hot Drink in the Desert" casts a tropical feel with its bustling beat and dancing xylophone. This is soon disrupted by high-frequency Hitchcockian drones, ominous piano strokes, and undulating bass tones, taking the tune into haunting soundtrack territory.



RAAM: Raam 003 12" (RAAM 003EP) 12.50
Raam follows his two previous EPs (RAAM 001EP, 2014; RAAM 002EP, 2015) with some warm, gritty, analog fuzz. On the heavy, chord-driven "Padme," a thick synth stab builds up over a tight 909 beat and wooden percussion to a big crescendo -- a peak-time techno banger. With his remix of "Padme," Art Alfie of the mighty Karlovak label dubs out the synth stab so it rolls like distant thunder over a fat, chunky beat. The result is a fine, dark, driving house track that really works the club. "Crest" is a warm, deeply floating house track with a subtle disco flair.



MOSCOMAN: Dévoué EP 12" (RENATE 004EP) 14.00
Israeli producer Moscoman delivers three yacht rock killers on acid, opening with "Girls Down South" and one of his first productions, "Deluded Heart," featuring dreamy, MDMA-esque synth action galore. On "Dévoué," Moscoman shows how smooth his oscillations can get. Lithuanian madman Manfredas delivers a behemoth of a remix chopped up in a sampler he bought at a yard sale in 1992. Face-melt city.



DEAD FADER: Glass Underworld LP (RER 021LP) 25.50
Dead Fader is the alter ego of John Cohen -- former Brighton resident, now based in Berlin -- who has worked relentlessly since 2007 to realize his vision of electronic music. His tracks are characterized by pioneering sound explorations, which on one hand oscillate between sonic extremities and on the other hand carefully craft cinemascope sound worlds. Glass Underworld became a very personal exploration for Cohen; the themes investigate emotional states, and the writing process was predominantly influenced by falling in love while making the album. Furthermore, the 2014 film Interstellar visually influenced the album, mapped as an image for Cohen's tracks to exist in. "I have watched his talent, his confidence in his ability and his output just grow and grow beyond what most humans are capable of imagining, never mind making. I think that comes from a place of wonder and exploration, a place where emotion, energy and experience are important; the long and narrow, the deaf arena, the blood forest and the glass cathedrals. Dead Fader rips you backwards through the portal as existence explodes around you, but you don't perish in the fire. It's just a ride." --Barry Prendergast, former partner in Dead Fader



VA: SH-03 12" (SAMPLE 003EP) 14.00
The Berlin-based Sample + Hold label follows well-received EPs by label-owner Patrik Skoog and Craig McWhinney with four tracks from three artists. Rotterdam's Radial occupies the full A-side; one track is an utterly monstrous machine of rhythm, while the other shows quite a contemplative side to his music. The flipside goes into an entirely different realm with Skoog's "Slip," which combines distorted, roughly drawn sound-sketches with continuous streams of paranoid sequences flowing overhead. The Chain duo debut under this name with an instantly recognizable and somehow nostalgic techno track "Sunstorm," recorded in a single improvised take.



STEWART, CLINT: Shelter 12" (SNDST 011EP) 12.00
Clint Stewart's Shelter is the first Second State Audio release to include a remix, which is delivered by the label's own Stephan Hinz. "Shelter" is an excursion into the ethereal; a hypnotic pulse, long blasts of deep bass, and racing percussion thrust the listener into the void. Ideal for deeper dancefloor antics. "L714" is a relentless cosmic ride, with eerie string-like tones and massive low-end bursts setting the stage for a narcotic, swirling lead. Hinz takes "L714" to new heights while staying undeniably true to the original; his colossal drums create the tension of an otherworldly, cinematic masterpiece.



NOVOA, CORA: Fight Love Faith LP (STV 002LP) 25.50
The charismatic, restless Cora Novoa presents Fight Love Faith, an album that swings between electronic, indie, and experimental pop, and diverges from her past work -- an emphatic turning point sure to surprise both her followers and the industry at large. In the five years since her 2010 first album, The Secret Garden, the Galician artist has dived deeply into the complexity of mythology and occult sciences, disciplines that have directly influenced the narrative, composition, and creation of Fight Love Faith. Cora Novoa has been experimenting, locked up in her studio, with unexpected sounds in order to shape and create this album, blending broken beat rhythms, detailed melodies, and far from mainstream vocals into soulful music with a techno heart. With tracks shaped using Roland machines and synthesizer sequences that take the listener directly back to the early '80s, Fight Love Faith delivers Novoa's new age-influenced synthpop like never before. Its melodies, splashed with psychedelia, are deeply influenced by the most underground electronic sound. It's loaded with symbolism and references to the occult, all of which have been precisely stitched through the whole narrative, with no loose ends, in a sincere declaration of intent that invites the listener to unravel the true meaning of Fight Love Faith. Features contributions from Tom Havelock and Sam Tucker. Clear vinyl. Includes download code.



KOEHLER: Sacred Realm 12" (SKUDGEW 011EP) 12.50
Raving. Daniel Koehler (also occasionally spotted on Berceuse Heroique) back with another strong one for Skudge. Comes with an insert.



EGAL 3: Altfelnu/Sidebyside 12" (SOV 006EP) 14.00
Egal 3 returns to Sound of Vast, following 2014's The Shades (SOV 001EP), with two even stronger tracks. "Altfelnu" opens with a strong beat and a deep, dubby bassline before a kicking piano melody unexpectedly appears -- the combination between deep bass and piano is just perfect. On analog-only track "Sidebyside," you can feel the deep, tight groove made with an analog drum machine and a modular synth -- guaranteed to work on the floor, touching peoples' ears and hearts.



HAMO: The Cotton Club EP 12" (SPSQ 002EP) 14.00
Hamo delivers his debut solo EP and the second EP on his and Brame's Splendor & Squalour imprint, following the pair's staggering EPs on Dirt Crew Recordings (including DIRT 078EP (2014)) and Detroit Swindle's Heist label. "Cotton Club" is a jazzy deep house jam with a hip hop vibe; "Wonce" is more on the melodic side; "In Control" features hip hop trio This Side Up, from Sligo, Ireland; and "The Black Lodge" is a dusty house groover with delightful hi-hats and sampling. Kickflip Mike (Box Aus Holz) adds a much clubbier vibe to "Wonce" with his remix, a real early-morning bomb.


SA 015EP

PFIRTER/KANGDING RAY: Caos Y Orden Superior/Wars 12" (SA 015EP) 12.50
2015 repress. Split release from Pfirter and Kangding Ray on Stroboscopic Artefacts. Pfirter's "Caos y Orden Superior" is a weighty odyssey spread across nine minutes. Its opening is languid but somehow relentless as strange synthesized sounds are interrupted by insistent beats. Kangding Ray takes over duties with "Wars," a fragmented meditation on the darkest side of human nature. Created from hues saturated by the pain of mistakes and regrets, it pulses, rocking gently, swooning in and out.



HOLM, ERIC: Andoya LP (SUB 011LP) 25.00
2015 repress. Subtext presents the debut album from the London-based American electronic musician Eric Holm. The release brings together a collection of recordings produced on the Arctic island of Andøya, an outpost 300 kilometers north of the Arctic Circle. Developed entirely from a single contact mic recording from a remote telegraph pole that connects the island's array of military listening stations, Holm crafts a detailed expansion of this solitary sonic moment, shaping the sound into an immersive meditation on man, nature and isolation. The telegraph pole connected to a seemingly endless network of traversing lines harnesses the dense ambiance of the landscape, both absorbing and distilling the essence of Andøya's harsh beatific character, and considers the position of microphone as witness within a vast cycle of physical transition and terrestrial flux. The release sonically frames Holm's adept technical crafting of his source material, bringing to mind both the glacial recordings of Chris Watson and the expansive mechanized textures of classic Chain Reaction.


EMPTYSET: Signal 12" (SUB 015EP) 15.50
Emptyset present a live recording of their performance project Signal, which explores the effects of atmospheric propagation and transmitted sound. Developed between Bristol and Berlin over the course of 2014, the performance took place in Berlin on February 1, 2015. The project worked with long-distance high-frequency radio transmission in order to bounce audio composed of sine wave structures across the atmosphere, in a process that ornamented and shaped the signal in accordance with physical fluctuations in the ionosphere, atmospheric noise, and solar radiation patterns. The signal path for the performance transmitted the audio across a real-time 2000-km circuit; the multiple atmospheric bounces imprinted into the audio introduced complex transformations of sound.


SV 013LP

MX-80 SOUND: Hard Attack LP (SV 013LP) 19.00
"MX-80 Sound is one of the real oddities in American music. Their debut album, Hard Attack (released in the UK on Island Records), found little-to-no audience in the States upon its release in 1977, yet remains a key document of the mid-'70s proto-punk zeitgeist. Hailing from Bloomington, Indiana, MX-80 Sound was lead by guitarist Bruce Anderson and defies simple classification with relentless riffs, dual drummers and vocalist Rich Stim's absurdist prose and dizzying sax. Assimilating the avant-rock of Captain Beefheart and conjuring the ghosts of Albert Ayler, MX-80 Sound evokes what free jazz would sound like if born in Bloomington. Mastered from the original analog tapes for the first time since 1977 and remixed by the band, this deluxe reissue will soon become the definitive version for longtime fans and newcomers alike. The singular and staggering innovation of MX-80 Sound still harkens to rock's future potential."



ISAACS, GREGORY: Poor Man in Love 12" (TABOU 001EP) 21.00
"Gregory Isaacs is one of Jamaica's top 5 artists, with his unmistakable crooning voice. Over a career spanning 4 decades, he has never stopped singing about love, and poverty. In 2006, he recorded 'Poor Man In Love' at Harry J studios in Kingston, where Sly & Robbie were producing an all acoustic session the old school way: one take, no overdubs, all live playing in the studio.He did his song in one take, with no lyric sheet or anything. Pure inspiration, a genius still at the top of his game, enjoying the moment with his old pals with whom he had recorded numerous hits. Musicians played on and on, clearly savoring each other and grooving on the rhythm as if onstage. The lineup reads like a who's who of Reggae music: in addition to Sly & Robbie, Ansel Collins, Robbie Lyn and Wally Badarou handle keyboard and synthesizer duties, while Dougie Bryan adds an African-like touch on lead guitar. Sticky Thompson and Skully Simms add percussions to the mix. Godwin Logie, who had mixed Gregory's masterpiece album 'Night Nurse' way back in '82, was picked to mix this absolute jewel of a song."



VA: Tempa100 2x12" (TEMPA 100LP) 34.00
Tempa presents its landmark 100th release, a double-pack of essential classics to mark the occasion. Limited to 500 copies. Founded in London in 2000, Tempa swiftly evolved to become one of the most vital and influential labels in UK dance music. At the epicenter of dubstep as it evolved from a mutant offshoot of garage into its own unique scene and sound, Tempa has fostered many of the genre's best-known names and some of its most powerful. For its 100th release, it marks that legacy by casting an ear back into its rich archives. Two 12"s with represses of a selection of pivotal tracks from Horsepower, Skream, Digital Mystikz, Benga & Coki, DJ Abstract, High Plains Drifter, and SP:MC, which, together, chart the history of dubstep's emergence. Tempa100's first disc gathers together the heady, dark, percussive sounds of the genre's early years, rich in smoky atmosphere. It opens with a track from the very first Tempa 12", the slinkily-robotic freakout of Horsepower Productions' "When You Hold Me," before drifting through DJ Abstract's humid and romantic "Touch," High Plains Drifter's "Sholay (feat. Goldspot Productions) (Epic Mix)," and Digital Mystikz's ultra-stripped-back early roller "Give Jah Glory." The second plate ups the ante with a clutch of dubstep's most iconic dancefloor bruisers -- Skream's seminal "Midnight Request Line," Benga & Coki's anthemic "Night," the cybernetic halfstep of SP:MC's "Trust Nobody," and the dub disorientation of Coki's "Tortured." Just as powerful as when they were first released, the tracks on Tempa100 are both a celebration and a reminder of the label's ten-tons-heavy contribution to UK music history. Designed by long-time collaborator and art director Give Up Art, the packaging contains two unique printed inner sleeves, and includes previously-unpublished photos from the archives of photographer Shaun Bloodworth.



FAT BOYS: Fat Boys LP (TPA 102LP) 21.00
"The Fat Boys were the highest profiled hip hop group in the early 1980's next to Run DMC. They were part of the first corporate sponsored rap concert (Fresh Fest), they were featured in the movie Krush Groove, one of the first rap groups to travel to Europe, and they sold hefty amounts of records and continued to balloon throughout the decade. Their beginnings were humble like most but quickly catapulted into full stardom. Appearances on radio, TV, full tours, magazine spreads and they even had their own embroidered satin jackets! Their first single; 'Reality' under the name Disco 3 was released unnoticed and that's when their fearless management of Charles Stettler and Lynda West decided to bring in one of the hottest names in rap at the time to produce; Kurtis Blow. The single 'Fat Boys' with Kurtis became a instant hit and it also became the new name of the group. Kurt enlisted his music team to assemble what became the debut album by the Fat Boys. Larry Smith (Run DMC's producer and arranger), Davy DMX, Don Blackman, and a whole slew of other session players laid the raw backbeat for the three boys from Brooklyn to rock the house! What separated their album from the majority of other rap records at the time was the pure rawness of the songs. The humorous element dominated the record but there was a prime roughness to their style that gave them a hardcore edge. Songs like 'Stick 'Em,' 'Fat Boys,' 'The Place To Be' & 'Human Beat Box' easily display their boisterousness."



CTRLS: Two Worlds 12" (TOKEN 055EP) 12.50
Ctrls, who has released all of his records to date on Token, continues to meld turbo-charged rhythms with celestial synth-work on this ethereal two-tracker. "Two Worlds" gracefully builds elysian synth-soundscapes before glitched-up drum loops arrive at the opportune moment, stumbling alongside a simmering reduction of the opening section. The flipside ventures into harder territories, with thumping low-end and biting melodies showing a similar mix of timbres. "Onto Them" is laced with close-cut delays and groaning spring reverbs, adding a characteristic layer of roughness to Ctrls' precisely engineered production.



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



"Junior Thomas is a songwriter, musician, vocalist, and producer born north of Minneapolis, MN. He developed a sincere devotion to classic Jamaican music at a young age, listening to such artists as Dave Barker, The Bleechers, The Wailers, Phyllis Dillon, and Alton Ellis. 'I wanted to make a record that was honest and true to the golden era of Jamaican music' says Thomas. The Volcanos are a collective of Southern Californian musicians specializing in Reggae's late 60s early 70s sound."


LP version.



EDGAR, JIMMY: Shine 12" (LVX 020EP) 12.50
Jimmy Edgar has been experimenting in sound structure and design since the early 2000s, utilizing an array of digital and analog hardware on releases for Warp, !K7, and Hotflush. The Detroit--born space-cadet launched his enigmatic Ultramajic label in 2013, and now presents Shine. dealing in pulsating chunky house chords with an industrialized varnish. The gargantuan brawn and weight of "Let Me Tell U" delivers crowd-pleasing thump, which then slightly diverts with the synthetic minimalism of "The Dip Chair" and "Two of Wands." Edgar harkens back to earlier influences with "Feel What It Is," embodying Detroit house through R&B elements.



TERRY: Talk About Terry 7" (UTR 074EP) 9.00
White vinyl. Terry is Al Montfort (UV Race, Total Control, Dick Diver, etc.), Amy Hill (Constant Mongrel, School of Radiant Living), Xanthe Waite (Mick Harvey Band), and Zephyr Pavey (East Link, Total Control, Russell Street Bombings). Inevitably, Terry likes to make noise. Drums, guitars, and all his voices come into play, making a solid raft for Terry's melancholic musings to navigate the languid rapids. This all unravels at its own pace, a conversation with the commonplace. Talk About Terry marks the band's first venture into the recorded domain, collecting three of the greatest misshapen glam pop tunes Melbourne has to offer.



BRUCE AND VLADY: The Reality CD (VAMPI 163CD) 17.50
Going by the sleeve alone, it's clear that this record has all the right ingredients: hypnotic artwork, enigmatic title, unusual Hammond and drums line-up... However, the album didn't sell well upon its original 1970 released in Sweden, and has been long-forgotten since then. This is the first ever reissue of American Hammond player Bruce Powell and Polish drummer Wladyslaw Jagiello's wonderful, unique record of hypnotic progressive jazz. Its story is also told here for the first time, thanks to Powell himself: "I was introduced to trumpeter Ernie Englund. He told me he needed an organist who could read music and had his own instrument... he hired me to play with his big band at the Grande Hotel in Stockholm. That was December 1969. My Hammond B-3 was somehow damaged on the trip over and Ernie decided to send me back to the United States. My wife, however, had arrived two days after I got there, so I decided to stay in Stockholm and make a go of it on my own... I met Vlady one night at a rock club. He and I both were sitting in with another band. He liked the way I played and I liked him... We got hired for several engagements at [Klub Ernst]. A friend of Rune Wallebom [Svensk American Records co-owner] heard us one night and told him about our music... Rune came to hear us and loved it. He came up after the show and offered me a recording contract... I don't remember the name of the studio but I do remember that we did four takes. After reviewing them all, we decided upon the ones that appear on the album. There are two more takes out there somewhere. I had the tapes from the sessions but they got lost over time... Not long after, Rune came to me with a sad face and told me his wife was divorcing him. She was co-owner of Svensk American Records and was dissolving the company. This happened just after the album was released; therefore it went no further. The promotion and distribution ceased. I never received any monies or royalties for my work... When my grandmother passed, I decided to return to the United States (September 1970). I lost track of Vlady and never was able to contact Rune about what happened to the album."


BRUCE AND VLADY: The Reality LP (VAMPI 163LP) 17.50
LP version.



FLIPPERS, THE: Psicodelicias LP (MRSSS 535LP) 25.00
The origin of The Flippers goes back to 1964 when Arturo Astudillo (guitar) and Carlos Martínez (bass) started The Thunderbirds. One year later, with Miguel Durier (guitar and vocals) and Guillermo Acevedo (drums) on board, they changed their name to The Flippers, after the American TV series featuring the famous dolphin Flipper. After paying their dues on stage playing covers of British beat bands, they released their first album, Discothèque, in 1966, featuring covers sung in both English and Spanish (of songs by The Yardbirds, The New Vaudeville Band, Larry Williams...) as well as trademark surf instrumentals full of reverb and fuzz, including "Impromptu Jazz a Go-Go" and "Master Flipper." Their second LP, Psicodelicias, came out the following year, again on the Codiscos label. It was sleeved in a psychedelic cover and contained 12 tracks; three original compositions and nine covers, among them The Beatles' "With a Little Help from My Friends" and "Sgt. Pepper's Lonely Hearts Club Band," Mitch Ryder's "Sock It to Me - Baby!," The West Coast Pop Art Experimental Band's "Shifting Sands," The Blues Magoos' "(We Ain't Got) Nothin' Yet," and The Lords' "Don't Mince Matter." Psicodelicias also features compositions by the band, including "La Carta" (a fuzz ballad with a Cuban flair), "Con Su Soledad" (another intimate and heartfelt moment), and what could be considered their flagship song, "Flipprotesta," a wild and screaming punk beat number close to the Nadaist movement to which their compatriots Los Yetis belonged. The Flippers are, along with The Speakers and Los Yetis, one of the outstanding bands of the Colombian garage beat scene, and Psicodelicias is a classic album performed with raw, direct energy and enhanced by simple production. Presented here in its first-ever facsimile reissue, it offers a broad survey of the hits and genres (soul, surf, garage, psychedelia) popular at the time in Colombia and around the world.



LEGRAND, MICHEL: Qui Etes Vous Polly Maggoo? 7" (WRWTFWW 006EP) 10.00
Reissue of Michel Legrand's 1966 cult classic original soundtrack EP -- a must-have! Includes two important, previously-unreleased-on-vinyl bonus tracks. A true time-capsule of the effulgence of the '60s, Qui êtes-vous, Polly Maggoo? (1966) is an arthouse movie spoofing the fashion world and its excesses. The movie developed cult status thanks to its gyrating scenario satirizing politics, fashion, the media, and more aspects of the mid-'60s French society, and its detours into fantasy sequences and animated segments. In William Klein's movie, fashion often takes on a religious connotation, which is well underlined by Legrand's superb soundtrack. Michel Legrand was behind the music of The Thomas Crown Affair (1968), Summer of '42 (1971), Yentl (1983), Never Say Never Again (1983 (Sean Connery's last Bond film)), and hundreds of other soundtracks, and has recorded with Frank Sinatra, Ella Fitzgerald, Charles Aznavour, James Ingram, Barbra Streisand, and Sarah Vaughan, to name a few.


WER 6766

KURTAG, GYORGY: Játékok: Complete Works for Piano Duo and Selected Transcriptions CD (WER 6766) 26.00
"This recording features the Bugallo-Williams Duo playing György Kurtág's complete works for piano duet and two pianos as included in the eight published volumes of Játékok (Games). The work's original concept was as a collection of pedagogical performance pieces, and the composer has been adding to the series since 1973. Eight volumes had been published as of 2010, and volumes IV and VIII are for piano 4-hands or two pianos. In addition to a focus on rhythm and time, Kurtág also addresses techniques including using palms, fists and forearms as a means of exploring the keyboard."



MUELLER, MARIAN: And Only That 12" (WIR 025EP) 14.00
WIR returns with a senior member of the Cologne techno scene. Marian Müller, cofounder of Mueller & Mitch, presents a sample-based track reminiscent of his past as a hip hop producer. With its relaxed, deep, and driving feel, it's perfectly for an outdoor scenario. The first remix comes from Florence-based live act Giorgia Angiuli. She's known for releases on Crosstown Rebels, Souvenir, and Harry Klein Records as well as performances all over Europe. Tim Engelhardt, 17 years old at the time of this release, contributes the second remix, following numerous releases on labels like Parquet, Babiczstyle, Traum, and Poker Flat.



BRUNN, BENJAMIN: Untitled 12" (WOOD 003EP) 14.00
140-gram vinyl. Includes crossword puzzle to reveal track titles. A1 is trippy trip house with stomping bass and soft, ever-changing, trumpet-like synths. A2 is slow, slow, slow, but strong, powerful, and dirty. B1 is loopy house with non-loopy synth and bassline. The beehive sound of B2 accompanies a hand-played lead synth on top.



REWORK: Acid Control 12" (YKZ 003EP) 12.50
180-gram vinyl. The Barcelona-based Yakazi label follows Ain't Made 4 U by Tripmastaz (YKZ 002EP, 2015) with a blistering EP by German trio Rework (Daniel Varga, Michael Kübler, Sascha Hedgehog), who follow releases on Visionquest, Playhouse, Items & Things, Meant, and more. Here, they continue to reinvent their fresh and funky reimaginings of new wave disco; with "Acid Control," they find themselves in even darker territory than before, making things much more intense. Venezuelan duo Fur Coat (Sergio Muñoz and Israel Sunshine) deliver an Aphex-esque remix of "Acid Control," pairing deep, dark, driving beats with a rolling groove.

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