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Forced Exposure New Releases for 10/26/2015

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New music is due from Land, Atom™, Black Mecha, and Terence Fixmer, while old music is due from Pino Donnagio, Loscil, and Apparat.


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50 042EP

DAMAGE & DOC DANEEKA/BICEP, BENJAMIN: Kansas/Closing Sequence 12" (50 042EP) 14.00
180-gram vinyl. For the third 12" in 50 Weapons' 11-part finale, Benjamin Damage & Doc Daneeka return to the label with a dark, futuristic, warped techno tune. "Kansas" builds on a bouncy bassline and classic house hi-hats and manages to incorporate a twisted version of an old-school house organ and some sweet, uplifting pads while maintaining an otherworldly touch. Bicep contribute another hybrid that tends more to the funky side of things. Its beautiful arrangement of synth arpeggios and shiny hi-hats are sure to bring out that last drop of energy and a smile on the ravers' faces in the early morning hours.


AA 678LP

MARLEY, BOB: Legend in Dub LP (AA 678LP) 11.00
2015 repress; 2004 release. Not really a Bob Marley album, but rather a collection of his tracks played by non-Jamaicans at a studio in Long Island, New York (the not-legendary "Pro-Jam Studios").



T.RAUMSCHMIERE: T.Raumschmiere LP (ALB 007LP) 17.50
LP version. Includes download code. There is a purpose behind ambient music: it is utility music. Brian Eno made that clear once and for all with Music for Airports -- the utilitarian nature of this music can already be found in the title. But way before that, in 1920, Erik Satie composed "Musique d'ameublement" -- furniture music. The purpose of his furniture music was also to bridge the awkward gaps in conversation in social situations. In turn, Eno's airport music is meant to serve as background music while sounding interesting enough for listeners to become absorbed. If we go by Eno's definition, the music on T.Raumschmiere's new album is not ambient. Although -- or in fact, because -- each individual track on this album immediately and effortlessly generates atmospheres, it is impossible not to be drawn in. Clearly a new meaning of the term ambient is needed to describe the music on this album more accurately. It is music that never sounds deliberate yet at the same time is so compelling, which might have something to do with the fact that Shitkatapult label founder Marco Haas aka T.Raumschmiere is the one behind it. As T.Raumschmiere, Haas produces a sound with influences ranging from bass music and punk rock to industrial. A darkly beating pulse works like a machine through the surging pads of "Dampfer". Synths drone languidly on "Anker". T.Raumschmiere deftly manages to avoid succumbing to the kitsch that often arises from these kinds of sounds. "Grotznogg" has an inner stillness within the rustling and scattered clattering and clanging. The track "007" is a post-industrial masterpiece -- warm, heavy, and latently threatening.



DIE GOLDENEN ZITRONEN: Flogging a Dead Frog LP (AVM 055LP) 17.50
LP version. Includes printed inner sleeve, lyric sheet, and download code. Die Goldenen Zitronen ("The Golden Lemons"), born a punk band in 1980s Hamburg and since developing into a seminal art punk collective, present their 2015 album Flogging a Dead Frog. After 11 long-players and countless collaborations with artists such as Peaches, Wesley Willis (with whom the band toured the US), Chicks on Speed, Françoise Cactus (of Stereo Total), Mark Stewart (of The Pop Group), DJ Koze, and Michaela Melián, Flogging a Dead Frog is their first release on Altin Village & Mine. The album collects instrumental and, for the first time, English reworkings of songs from their most recent albums. Far from being a complacent "best of," the album directly plugs into the band's impressive body of work. Flogging a Dead Frog unfolds a re-contextualization in two senses. First, its instrumental tracks emphasize the fact that the band's sound has always been much more than a musical accompaniment for the unrelenting social commentary of singer Schorsch Kamerun, bringing out the band's tremendous nomadism between punk, techno, and krautrock and mirroring the diverse engagements of the six members in theater and film projects. On the other hand, in the English versions of songs such as "If I Were a Sneaker," a song about European immigration policy, or "The Investor," Flogging a Dead Frog proves a consequent re-adjustment of the band's political scope, opening discourse on matters that have disastrously proven to not be exclusively pertinent to Germany. As is typical for Die Goldenen Zitronen, these two perspectives -- one concerning the band's oeuvre, the other its environment -- are inseparable and testify to their political aesthetics, a political aesthetics of which Flogging a Dead Frog is not a review, but a substantial extension.



BRAHMS, JOHANNES: Brahms: Works for Piano CD (ARB 103CD) 11.50
1996 release. A tireless teacher and performer who hated practicing piano, Walter Gieseking was recorded playing most of the piano's major works. Unlike the marathon studio sessions, his few and rare live appearances have a different character, a spontaneity and fire that the studio inhibited. Arbiter found a war trophy: two movements of a Brahms piano concerto from Berlin in 1944. A year later, when Germany was defeated, the Red Army seized Berlin radio's contents (including the furniture) and spirited all off to Moscow, where it languished until perestroika effected the return of all acknowledged stolen property; Arbiter was the first to notice its return. Gieseking's Brahms is a welcome relief from the sanctimony plaguing his music nowadays! This CD includes recordings from 1939-1956. These recordings of the Piano Concerto No.2 in B-Flat, Op. 83, feature Robert Heger and the Berlin Philharmonic.


VA: Kapell in Recital CD (ARB 108CD) 11.50
1997 release. "The singleness of his passion for the art we both loved was almost frightening, even to a composer like myself" --Aaron Copland. Previously unpublished live recordings of pianist William Kapell, including his first documented playing, of Beethoven at age 15. New light on a legacy that ended when he perished in a plane crash in 1953 after the 31-year-old had finished an Australian tour. Notes include interview excerpts with his wife and letters about his artistic aims. Also includes performances of Modest Mussorgsky's Pictures at an Exhibition. These recordings of Beethoven's Piano Concerto No. 3 in C Minor, Op. 37, feature Leon Barzin and the National Orchestral Association; these recordings of Shostakovich's Piano Concerto No. 3 in C Minor, Op. 37, feature Eugene Ormandy and the Philadelphia Orchestra.


TCHAIKOVSKY/ANTON RUBINSTEIN/ALEXANDER GLAZUNOV, PYOTR: The Sirota Archives: Rare Russian Masterpieces CD (ARB 110CD) 11.50
1997 release. Leo Sirota studied with Ferruccio Busoni, who once commented, "after such playing, I don't wish to hear anyone else today." In his family archive, a box was thought to have contained a few radio recordings made during his years in St. Louis. Many were concerned that the great playing on his 1920s 78-RPM shellacs was under-represented. After a decade of stasis, a box was retrieved and found to contain nearly 30 hours of his playing. This rare repertoire launched Arbiter's rescue of Sirota's piano mastery. This first publication of live radio recordings from 1955 includes performances of compositions by Pyotr Tchaikovsky, Anton Rubinstein, and Alexander Glazunov.


BACH, JOHANN SEBASTIAN: Bach Recital: English Suite No. 2/Partitas Nos. 2 & 5 CD (ARB 113CD) 11.50
1998 release. "He played Bach like he was composing it" --Murray Perahia. First publication of recital recordings of pianist Mieczyslaw Horszowski, made in Italy from 1958-1986. Although he was four foot ten inches, Horszowski scaled the Matterhorn three times and reached equal heights in his Bach playing. Some colleagues begged Horszowski to drop all other composers and focus on Bach. His teacher advised that he was meant for Mozart. An elderly Roman musician wrote that the young pianist that his was the closest to Chopin's own playing, which he had always remembered. Horszowski covered the entire range of the piano's literature, and here Arbiter offers his essential Bach.


BEETHOVEN, LUDWIG VAN: Horszowski Plays Beethoven: Four Piano Sonatas - Historic Recital Recordings CD (ARB 119CD) 11.50
1999 release. Pianist Mieczyslaw Horszowski (1892-1993) was taught by a pupil of Beethoven's assistant Czerny; he is but three steps from the composer himself and his own insight guides him to a high interpretive level. Arbiter traced these performances from archives in Parma, Italy and Philadelphia, presenting them here in their first publication. Horszowski played the entire solo Beethoven piano works as a cycle and kept many sonatas in his repertoire, but few were recorded. Arbiter continues to recover and refurbish his Beethoven legacy.


BRAHMS, JOHANNES: Schnabel Trio & Duo - Brahms: Chamber Music (with Szigeti & Fournier) CD (ARB 121CD) 11.50
2001 release. A legend in his time and ours, pianist Artur Schnabel epitomized the height of Beethoven playing and continues to influence all who come in contact with his complete cycle of the piano sonatas and concertos. Throughout his life Schnabel actively played chamber music, and Arbiter's discovery of previously unpublished 1947 concert recordings reveals a side never captured in the formality of studio performances. These recordings capture Schnabel performing Brahms with violinist Joseph Szigeti and cellist Pierre Fournier, an ensemble that Schnabel raved about in his private correspondence.


VA: Tokyo Farewell Recital/Liszt Broadcast CD (ARB 123CD) 11.50
2001 release. Pianist Leo Sirota lived and performed throughout Europe, but after a first visit in 1928, he taught and performed in Japan from 1929 to 1946. Sirota barely made it through the war and was persuaded to return in 1963 to give a farewell recital tour. This release of the first part of his farewell piano recital in Tokyo is presented alongside performances of two of Liszt's masterworks. Sirota's daughter was Beate Gordon, who, at age 22, wrote the section on women's rights for Japan's postwar constitution. It is thanks to her that these recordings were saved. Also includes performances of compositions by Domenico Scarlatti & Carl Tausig, Beethoven, and Schubert.


VA: The Chaliapin Edition, Volume 1: 1902-1908 CD (ARB 125CD) 11.50
2001 release. This first disc in Arbiter's Feodor Chaliapin series finds him in a St. Petersburg hotel room singing unaccompanied folk songs, Russian arias, and more. The recordings date from 1901 and are among the earliest examples of the Russian singing that raged throughout Europe. Several unissued test discs were accessed, and Arbiter has yanked these unique copies out of their isolation and given new life through restoration. Includes performances of compositions by Theo Koeneman, Mikhail Slonov, Genary Korganov, Charles Gounod, Pyotr Tchaikovsky, Mikhail Glinka, Manikin-Nestruev, Arrigo Boito, Modest Mussorgsky & Igor Stravinsky, Gioacchino Rossini, and Leo Délibes.


VA: The Chaliapin Edition, Volume 3: 1911-1914 - La Scala Recordings CD (ARB 127CD) 11.50
2001 release. Arbiter's third volume of Russian opera singer Feodor Chaliapin's complete early recordings documents his intense work from 1911-1914 at La Scala opera house in Milan, Italy, singing in several languages and taking his unique approach to folk songs. Once major rarities, these discs are now finally accessible. Includes performances of compositions by Alexander Borodin, Anton Rubinstein, Mikhail Strokin, Robert Schumann, Modest Mussorgsky, Vincenzo Bellini, Gioacchino Rossini, Arrigo Boito, Giacomo Meyerbeer, Gaetano Donizetti, Giuseppe Verdi, Rouget de L'Isle, Grigory Lishin, Johannes Brahms, Pyotr Tchaikovsky, and Nikolai Rimsky-Korsakov.


VA: Pachmann: The Mythic Pianist - 1907-1927 Recordings CD (ARB 129CD) 11.50
2002 release. Pioneering recordings of eccentric piano genius Vladimir de Pachmann dating back to 1907. While he behaved outrageously on stage and sometimes in the studio, Pachmann self-consciously played at his best to provide a legacy for future listeners. While hunting for his lost archive in Rome, Arbiter discovered a pupil of his who revealed that Pachmann's unique Chopin playing came from private studies with a retired assistant of the composer's who lived in Florence, Italy. Nineteenth-century listeners identified him with Chopin, even leading some to call him a "Chopinzee" after his wild on-stage stunts. Also includes performances of compositions by Felix Mendelssohn, Joachim Raff, Robert Schumann, Johannes Brahms, and Franz Liszt.



RUSSELL, ARTHUR: Another Thought 2LP (ALE 001LP) 25.50
2015 repress. Originally released on CD in 1994 and reissued in 2006, this is the first time Arthur Russell's Another Thought has been released on vinyl. Arthur Russell's Another Thought was first released posthumously in 1994, two years after his death. The tracks date from between 1982 to around 1990, catalogued from over 800 tape reels by Mikel Rouse for Point Music, and produced by Don Christensen. While it is a collection of tracks in various stages of completion, often sparse and direct, it is perhaps the most sonically coherent album ever released of Russell's material. Another Thought includes appearances by trombonist Peter Zummo, percussionist Mustafa Ahmed, additional vocals by composers Julius Eastman and Elodie Lauten, plus Joyce Bowden, Jennifer Warnes, and Steven Hall. Double vinyl in kraftliner sleeves printed in white litho, with art paper inners. Artwork by Jennifer Lucy Allan. This is the first release on Arc Light Editions, a label curated by Jennifer Allan in collaboration with Multiverse Music.


A&L 032EP

STEINBERG, DANIEL: Left-Handed Part 1 12" (A&L 032EP) 12.50
Berlin DJ and producer Daniel Steinberg's Left-Handed Part 1 is a kaleidoscopic trip through house, electronica, and jazz imbued with the artist's trademark warmth and adventurous musical spirit. "Corn Dog" is a melting-pot of Latin, tech, funk, rap, and jazz, preceding the Chicago-inspired "State of Mind" and "Bones" and the bluesy nostalgia of "Peace." They all work beautifully as a cohesive whole.


BEC 5156077

CERRONE: The Golden Touch (Cerrone IV) LP+CD (BEC 5156077) 23.50
Gold-colored LP in gatefold sleeve with printed inner sleeve; includes CD. The idea that France once had a genius and let him go to California where he was more welcome and appreciated than in Paris is, in the digital era, commonplace. Every web entrepreneur heads toward Silicon Valley to develop ideas. During the '70s, this was less ordinary. Back then, the music world witnessed the departure of a very talented guy for the United States, a country that quickly understood he was a star. Marc Cerrone, a trained drummer and disco phenomenon who sold more albums than many other artists put together, saw his career magnified by America but also slightly twisted by France, which quickly reduced him to a style -- disco music -- without trying to understand who he was and how relevant his talent was. His path went through two phases; two complementary moves. The Golden Touch was released in 1978; its composer is one of the spiritual fathers of the dense '70s disco era.

BEC 5156078

CERRONE: You Are the One (Cerrone VII) LP+CD (BEC 5156078) 23.50
Yellow vinyl; includes CD. The first years of Marc Cerrone's career, from his first album in 1976 (BEC 5161904) to his seventh in 1980, were fueled by an exemplary sense of creativity and a free-spirited vision. Against everyone's advice, Cerrone was never reluctant to compose long and pure trance disco tracks that were not exactly radio-friendly but did incredibly well because they encapsulated the hedonism of the day and were far more than a trend. For instance, "Love in C Minor" and "Supernature" (BEC 5161908) have become unbeatable classics, featured regularly in the best pop, disco, and dance selections. Such a success would have burnt the wings of most artists, but at the beginning of the '80s, when he decided to unleash his creativity on stage, Cerrone managed to rebound with his You Are the One studio album, originally released in 1980.

BEC 5156079

CERRONE: Give Me Remixes 2LP+CD (BEC 5156079) 25.50
Double LP in screenprinted recycled cardboard sleeve; includes CD. Marc Cerrone became the star of incredible live experiences in Paris and elsewhere, as if, after having spent the first years of his musical career elaborating his repertoire, he'd chosen to devote the second one to make it live permanently. Firstly on stage, then through younger generations; when Bob Sinclar samples his music or invites him to collaborate, it's a new way for Cerrone to keep making crowds dance. It's a talent that's inspired his younger fans, including Todd Terje, Prins Thomas, James Murphy, and a whole generation of cosmic disco lovers. From 1976 to 2014, Cerrone, whose discography makes so many others jealous, never stopped playing. And if disco music had to be summarized by one artist, one creator, it would be him and nobody else. This exclusive double LP is something of a tribute to his prolific discography, containing incredible remixes by Dimitri from Paris, The Reflex, L'Impératrice, Sacha Mambo, Alan Braxe, Joey Negro, Frankie Knuckles, Kevin Saunderson, A-Trak & Codes, and Get a Room!.

BEC 5156235

GODIN, NICOLAS: Widerstehe Doch Der Sünde 12" (BEC 5156235) 14.00
Arranged by Nicolas Godin, the original track was written by Georg Christian Lehms, composed by Bach, and adapted from Bach's cantata Widerstehe doch der Sünde, BWV 54. Here Bach's church cantata for solo voice meets languid Gainsbourg and Birkin (embodied in vocalists Gordon Tracks and Dorothée de Koon), albeit in German, with exquisite choir and strings. Godin says, "This piece starts with a very strange chord, which was avant-garde for its day. Bach's scores are outside any rules, which I wanted to exploit." Includes remixes by Justin K. Broadrick, Mmoths, and Lapalux.


CDR 12013EP

SHADY P: Speaker for the Dead EP 12" (CDR 12013EP) 20.00
Co-founder of How to Kill Detroit, one of Clan Destine's favorite labels, Shady P delivers some prime Detroit techno sludge with his Speaker for the Dead EP. "A Man in Reverse" features Drowned.

CDR 12014EP

VA: Dark Acid V 12" (CDR 12014EP) 21.00
Shady P contributes the gloriously fucked-up "X Is Whole." Marshall Applewhite drops a total acid banger with "Prostrate," and The Friend throws down the skewed acid tech of "How R U." Glasgow's Gregor Garnutsi (Upstanding Monk) changes up the vibe with the creepy electronica of "Access Granted" and France's Orphan Swords bring a killer mix of noise and techno with "Astaroth."


CT 112LP

ANDY, HORACE: Pure Ranking LP (CT 112LP) 11.00
2015 repress. Reissue of this 1979 album, mixed at King Tubby's Studio. Tracks: "Pure Ranking," "I've Been Around," "What Eyes Don't See," "African Liberation," "Jah Gift To Man," "Modern Babylon," "Totally Free," "Change Your Ways," "No Love In The City," "Jah Is The One," "Natural Mystic" and "Strictly Ranking (Ghetto Style)."

CT 119LP

SCIENTIST: Scientific Dub LP (CT 119LP) 11.00
2015 repress; 1995 release. "A virtual wizard of the mixing desk, Overton H Brown has been one of the key figures in dub since the late 1970s. Getting his start as a teenager at King Tubby's legendary studio in Waterhouse, Brown was known as 'The Scientist' because his imaginative approach to the mixing desk and electronic gadgetry seemed to derive from magical powers that linked him to some intangible, futuristic realm."

CT 999LP

2015 repress. Tracks: "Militant Man," "Longer Way," "Kung Fu Man," "What Can I Do," "Silver Locks," "Episode 3," "When Notty Came," "Dread Locks," "Johhny Reggae" and "Golden Rocks."


LEVY, BARRINGTON: Poorman Style LP (LPCT 125LP) 11.00
2015 repress. Some of Barrington Levy's most significant (and enduring) recordings from Channel One Studio, mixed by Scientist. "It's difficult to overstate the transformative effect that Barrington Levy's earliest recordings had on the sound of Jamaican music. In late 1979, Levy's spare, hauntingly arranged early singles completely overtook Jamaican dancehalls and streetside sound clashes. By the time Levy released Poor Man Style in 1982, he was arguably Jamaica's preeminent vocalist. Poor Man Style features a set of punishing rhythms from the crack studio outfit The Roots Radics, with production work from singer?turned?label owner Linval Thompson and former King Tubby protégé Scientist. The title track?a crisply observed sufferers' tale full of tragic notes and indelible details from everyday life?hits particularly hard."



FIXMER, TERENCE: Depth Charged Remixes 12" (CLR 091EP) 14.00
Following his profound and forward-thinking 2015 album Depth Charged (CLR 014CD/LP), Terence Fixmer returns with Depth Charged Remixes featuring Ostgut Ton's Answer Code Request and UK underground techno hero Steve Bicknell. "Elevation," originally the final track of the album, emotional and reflective, is kicked up a notch by ACR's Patrick Gräser by adding ponderous drum patterns making it perfect for the floor. Conversely, Steve Bicknell takes on "Unforeseen." With its fast-paced rolling bass, it is now put into top gear, shivering with feverish reverberations. Fixmer's own live versions, which have energetically filled dancefloors throughout his tour, complement each variation.



STEFANIK, DANIEL: I Wonder 12" (COR 131EP) 14.00
Daniel Stefanik presents a true tech-house-monster as his return to the Cocoon label. With "Twilight Zone," Stefanik moves away from his Detroit-influenced background but stays true to his oldskool-flavored vibe. Wild 909 beats and an overall atmosphere that is dry as a bone let this one communicate pure musical madness. "Twilight Zone" has been a climax of label head and Cocoon master Sven Väth's sets. "I Wonder" breathes the air of Octave One's "Black Water" merged with cool and dubby Basic Channel influences.



MARBERT ROCEL: In the Beginning 2LP+CD (COMP 474LP) 22.00
Double LP version. Includes CD. A place far away from everything, yet right around the corner. A vision close enough to touch, yet so far away. Surrounded by keys, hatches, pots, and small fragmented parts, Marbert Rocel lie down, discuss, and dance through the winter of 2015. In this environment, in their studio in Leipzig, the band ties together the songs, which first saw the light of day in a small spot enclosed by woods in the summer of 2014. Each decision goes through every head and each chord is listened to a hundred times, from front to back and in reverse. This is not an album fueled by pompous string arrangements, but by the notion of a consensual nod, which has evolved within Marbert Rocel over the years. In the Beginning is the fourth album by Marbert Rocel. It's a delicately sculpted work with deft percussion and synth pads forming songs that welcome you like good friends. Like Tinker Bell, Spunk's voice guides listeners through this strange, familiar world, moving past big feelings and small gestures to where it all started: In the Beginning.



Compost Allstars (Christian Prommer, Roland Appel, Jan Krause (Beanfield), and Compost Records founder Michael Reinboth), celebrate the 2014 20th anniversary of Compost Records with "Good Day," a top-notch, impulsively deep tech-house track with vocals by legendary Fingers Inc. vocalist Robert Owens. The mighty SHOW-B contributes a versatile peak-time rework and an instrumental. Also includes a dub by Prommer.



TIGERSKIN: Time of Descent 12" (DIRT 092EP) 14.00
Time of Descent by Alex Krüger aka Tigerskin ranges from deep and tech house through techno, with influences from all over. "Faint (feat. Grambow) is a bright and soulful dancefloor gem of melodic Detroit-style house track. "Stay" is a subtle, classy deep house cut perfect for the early morning. "Descent" resides in more spacious territory, steady and deep with acid and techno undertones. Vinyl-only bonus track "This Place Is Empty Without You" is Tigerskin's biggest hit, originally released in 2012 as a digital offering.


DL 019EP

PILOOSKI: Isola 12" (DL 019EP) 12.50
For Isola, Pilooski (Discodeine, Dirty Edits) has called upon four contributors, with eden ahbez's Eden's Island. Jarvis Cocker (Pulp) reads from Carl Gustav Jung's The Red Book (1915-1930); Judah Warsky reads his own homage to the sun and the moon; Narumi Hérisson (Tristesse Contemporaine) reads a passage from Ango Sakaguchi's Sakura No Mori No Makaï No Shita (1947); and writer Simon Liberati (Anthology of Apparitions (2005), Jayne Mansfield 1967 (2011), Eva (2015) reads a fragment from one his 113 Studies of Romantic Literature (2013). Features Clément Froissart (flute), Axel Lecourt (percussion), and Julien Vichnievsky (guitar).



H.O.S.H.: Cilantrophy EP 12" (DIYNAMIC 080EP) 12.00
Longstanding Diynamic family member H.O.S.H. follows his well-received Forever Young EP series (DIYNAMIC 066-A/B/C/D, 2013-'14) with his first release of 2015. "Cilantro" is a deep, bubbly tech house number with scurrying drums and hi-hats, surging synths, and wavy chords. "Camino" gets more late-night and tripped-out, with rich harmonies and melodies raining down on a hip-swinging kick-clap combo. It's a colorful, neon tune that bristles with great detail and is sure to make for magical moments on the dancefloor. The epic "Cambia" evokes a cosmic, jungle-like atmosphere with sweeping synths and cooing bird sounds married to rubbery beats and rattling percussive patterns.


Stimming and Johannes Brecht each serve up one solo track, with a collaborative track in between. Brecht's stirring "Breathe!" is full of glistening melody and richly musical chords, with plenty of bass and slick percussion. Stimming's uniquely freaky "Quecksilber" is an atypical, intricate affair full of great sound design and unusual textures, with bendy tones, deep drums, woody hits, and hiccupping grooves. Their collaborative "Stekker" (based on elements of the pair's improvised live set at the 2014 Studio Stekker Festival) is a spine-tingling affair that marries jangling chords with distant trumpets, little funky hand claps, finger clicks, and more.



HESS, LUKE: Adventures in Deep Space 12" (ECHOCOL 032EP) 12.50
Adventures in Deep Space reflects on humanity's existence a planet somewhere in the universe, stranded and searching for meaning and purpose. "Pillars of Creation" represents the beauty of the stars on a clear night and the inspiring feeling that staring at the galaxy gives. "Gravitational Effects" is about the parallel between the physical properties of science and creation. The music speaks to the deep connection that is possible between humans. "Crate Digging on Planet Omnom" is about a hike in the alien mountains, a dip in some hot springs, and some space-dancing around a neon green campfire.



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.


EM 1138LP

JEE JEE BAND: Glass Fish LP (EM 1138LP) 16.50
LP version. Here's a tasty treat for all fans of DIY pop music: a multinational confection, the perfect blend of sweet and smart. Based around core members Matt Jones, originally from Western Massachusetts, and Busan native Jee Eun Lim, who met in Korea in 2011, the Jee Jee Band fuses simple pop structures, airy instrumentation, and breathy vocals with clever lyrics, in both Korean and English, often of a satirical or political nature. Based in Northern California, the band quietly celebrates Korean culture while also evidencing a cosmopolitan classic pop sensibility, blending K-pop and other Asian pop elements with a classic and yet contemporary US/UK pop feel. The songs on Glass Fish, all very fresh-sounding, feature performers from South Korea, America, and, on one song, the Khmer-language vocals of Cambodian filmmaker Vanntey Morn. Jones's Western Massachusetts pop roots allowed him to enlist the skills of former members of Sunburned, Sebadoh, and others to help record this charming and refreshing release, sure to appeal to fans of K Records, DIY sounds, and pure pop. Liner notes by Byron Coley.



COSMIN TRG: III 12" (FIZIC 003EP) 14.00
Romanian DJ and producer Cosmin TRG presents the third release on his Fizic label, taking abstract inspiration from musique concrète and J. G. Ballard's 1975 novel High Rise. "Sever" is a stripped-back bit of basement funk with scurrying alien sounds, frosted lo-fi textures, and propulsive kick drums; the forceful dub of "Redus" is riddled with abstract lifeforms and distorted radio frequencies; the synths of "Sirena" howl and spray like a UFO in a storm over a burrowing groove; and "Motoric" goes arctic with cavernous chambers of sound full of echo and reverb. Music and artwork by Cosmin Nicolae. Mastered by Matt Colton.


GET 51297LP

NAS: Illmatic LP (GET 51297LP) 24.00
2015 repress. "In 1994, hip-hop was going through a painful growth spurt. Since N.W.A. and Ice-T's ascent in the late '80s, the rap game was no longer owned by the east coast. After the worldwide popularity of Dr. Dre's The Chronic in 1992, things were looking even worse for hip-hop's hometown. The east coast/west coast feud that would indirectly claim the lives of Biggie and Pac was still in its infancy, but New York needed a shot in the arm. And as soon as the first lines of 'N.Y. State of Mind' kick in, bolstered by perhaps DJ Premier's darkest beat of all time, the entire east coast breathed a collective sigh of relief. God's son had arrived. Backed by an absolute all-star cast of New York's top-shelf producers -- Premier, Pete Rock, Large Professor, Q-Tip, and a youngster named L.E.S. -- the album never lets up. Serious to a fault, and lyrically dense to an extent that has possibly never been matched, the 20-year old Nas stood on the shoulders of his predecessors and proudly proclaimed, 'Don't f*** with the east? we are back.' It was a dark, hard record, made for heads in New York, not teeny-boppers in Des Moines. There were no dance beats, no crossover love songs. Just boom-bap and rhymes, skills, and heart."

GET 54042LP

WATERS, MUDDY: After The Rain LP (GET 54042LP) 21.00
2015 repress. "The second of two electric-blues albums released on Chess Records and Cadet Concept imprint in the late '60s, Muddy Waters' After the Rain has achieved cult-like status amongst blues fans in the years since his death in 1983. After taking a backlash from critics with first attempt at adopting psychedelic influences on Electric Mud, Muddy made adjustments for the follow-up, despite keeping a majority of the same session players. This time, he toned down the psychedelic elements and put them in balance with his classic Chicago blues sound, and the results yield some vintage tracks that glow with fuzzy guitars and bass: 'I Am the Blues,' 'Ramblin' Mind,' 'Bottom of the Sea,' and 'Blues Trouble.' After being out of print for years, Get On Down is proud to present this rare classic from Muddy Waters pulled from the original masters and presented on LP with Japanese-style OBI and double-sided poster."



WIESE, JOHN: Deviate from Balance CD (GGGR 077CD) 8.00
"CD version, housed in tip-on gatefold jackets. John Wiese's long awaited Deviate From Balance is the artist's first album since 2011's Seven Of Wands (PAN). Recorded throughout Europe/UK, Australia, and the US, the album includes scored ensemble pieces including over 20 musicians on each, recorded in Melbourne and Portland, as well as audio documentation of installation pieces Wind Changed Direction, a four-channel sound piece presented in the garden of the Getty Center (curated by Liars), and Battery Instruments, an eight-channel piece presented at HSP in New Zealand, now heard for the first time. Also included are various collaborations and recordings from live performances. Musicians appearing include Joseph Hammer, Ikue Mori, Evan Parker, C Spencer Yeh, Joe Preston, Smegma and countless more. The material is extremely diverse and services as a comprehensive and detailed document of this prolific individuals work over the past several years."


PEDESTRIAN DEPOSIT: Eleventh Hour LP (GGGR 081LP) 13.00
"Originally released as a tour cassette on Monorail Trespassing, Eleventh Hour features two side-long tracks that serve as excellent examples of the diverse sounds Pedestrian Deposit use to construct their work. There are moments of somber melody, near silence, electro-acoustic assembly, drone and harsh noise. The material is dynamic and extreme, at time in regards to restraint and at others in terms of volume and catharsis. Previous releases on Hospital, Hanson and A Dear Girl Called Wendy. Edition of 300 in screened jackets."



AUNTIE FLO: Theory of Flo 2LP (HUNTLEYS 025LP) 23.00
Auntie Flo returns with his Theory of Flo masterpiece, his first release on Huntleys + Palmers since 2012. Following his critically acclaimed 2012 Future Rhythm Machine album, Theory of Flo is a bold step ahead, taking the listener on the trip of a lifetime spanning continents, genres, languages, and cultures to create a wholly unique listening experience and one that's only possible in 2015. Auntie Flo created the album with long-term collaborator Esa Williams; Theory of Flo also features collaborations with the incredible Ghanaian singer Anbuley (who appeared on Auntie Flo's 2014 Autonomous Africa hit "Daabi"), Shingai Shoniwa (Noisettes, The Matthew Herbert Big Band, Dennis Ferrer). It was recorded over a lengthy period between Havana, London, and Glasgow, with outstanding results. Scratch the surface and it becomes clear that by interweaving the rhythms and traditions of Africa and Latin America with more familiar western club sounds and four-to-the-floor electronic house music, Auntie Flo's interplanetary projects can break down barriers for fans on both sides of the electronic/world music divide. Fans of Daphni, Débruit, or Spoek Mathambo are all too aware of the tendency for media and critics to sub-categorize and pigeon-hole. Auntie Flo is building his own artistic response, one that re-energizes house music and looks outward but is very much indebted to the vibrancy of the Glasgow club scene. With regular appearances on the foremost underground dance music filter Boiler Room and a monthly show on Rinse FM, Auntie Flo has earned the respect to take the marimbas of West Africa and the palenque of Colombia to the unsuspecting. Two 180-gram LPs in double-gatefold sleeve with download code.



LOZANO, LUCA: Gun Fingers 12" (HYPE 047EP) 15.50
Klasse Recordings and Grafiti Tapes impresario Luca Lozano rolls up to Hypercolour with a 12" of genre-blending future dance grooves following releases for Sex Tags UFO, Optimo Trax, and Crème Organization. "Gun Fingers" is a strictly heads-down affair, with luscious synths and tantalizing breaks sandwiched between pounding kicks. "Calling All Dancers" is laced with the familiar components of the golden era of UK dance. Kindred spirit DJ Sotofett weighs in with two versions of "Gun Fingers" exclusively for the vinyl edition of this release. Those who know Sotofett's killer style will know the score here, and he certainly does not disappoint.


FLUGEL, ROMAN: Monday Brain 2LP (HYPE 048LP) 28.50
Very few artists have influenced the sound of house and techno as much as Roman Flügel. Active since the early '90s under various aliases, Flügel is widely revered as a DJ, live performer, producer, remixer, intellectual, and record label owner. The record labels he helped found -- Ongaku, Klang, and Playhouse -- are pivotal imprints in the electronic music scene, and his ability to gracefully incorporate and master most styles of 4/4 has seen him create in genres ranging through techno, house, electro, ambient, IDM, downtempo, and acid house. Respected both as a solo artist and collaborator, this veteran of the scene now presents an incredible double vinyl release for Hypercolour. Monday Brain contains six tracks of highly polished techno/electronica covering a range of tempos and styles. Flügel demonstrates his ability to morph his sound with the times, and displays his breadth of sound-design magnificently over the release. Opener "Teenage Engineering" explores cosmic IDM sensibilities and builds in harmony and texture for a fine example of Flügel's melodic sound, while "Make It Happen" captures more psychedelic touches over a solid groove. "Man Sees the Face, God Sees the Heart" goes as deep as its title suggests, as rhythmic sounds melodically ride over minimal beats and luscious bass in a stirring slice of modern electronica; "Church of Dork" wigs out like the very best Chicago house records, its synth motif worming around the jacked-up beats. "Picnic for Players" comes ready with blissful and melancholic riffs, dipped in warm reverb for a classic-sounding piece, before the work closes in fine style with the shadowy "Vegetarian Leather Jackets." Flügel once again displays his effortless knack for creating timeless dance music.



L A N D: Anoxia LP (IMPREC 429LP) 25.50
LP version in combination offset/screenprinted jacket. Edition of 500. The second L A N D album, Anoxia, sees Daniel Lea return alone with an outing that marks a shift from the industrial-inflected jazz-noir of 2012's Night Within into distinctly new terrain. Mixed by Ben Frost at Greenhouse Studios, Reykjavík; mastered by Rashad Becker at D&M, Berlin. CD packaged in a combination offset/screenprinted jacket. "Anoxia" means "total absence of oxygen," and in Lea's hands the term heralds aural environments that are full of the dreams of humanity yet may well be devoid of its living presence. The Anthropocene era in which we live has seen the rise of many human-made monuments that add up to a total presence that humanity will leave behind; Lea's labyrinthine arrangements are a soundtrack to such a world, one without humanity that is nevertheless fully marked and constructed by humans. From the very first moments of the pummeling djun djun skins and the growing bowed rototoms of "Labyrinthitis," the direction is one of a more radical constructivist sound rooted in modernist architecture. Lea has elevated his practice to the point at which he cleaves space sonically, and Frost is the perfect person to mix such spaces. The results are visions of a brutalist world slowly decaying, but with the mellifluous harmonics of vegetation and fluid matter entwining through the ruination. Other tracks rise up like towers in a city, growing from the metallic chimes and structured percussion; one sees visions of the Balfron Tower or the Genex Tower, but such associations do not tether this work to geographical real-world locations. Anoxia may well be in a time outside of time. On "Anoxia," cello harmonics swing their head and screech like prancing komodo dragons, marking the entry to the final track, the "End Zone," with which Lea carries out his own initiation ritual, a dance between those edifices left beneath the growing millennial weeds and forests. Monuments that will long outlast their creators. Daniel Lea: sound design, field recordings, processing, electronics, composition, production. With Rupert Clervaux: drums, percussion, aluphone, crotales, copper pipes; Jamie McCarthy: cello on "Metamorphosis," "Equinox," "Transition," and "Anoxia" and bowed percussion and copper pipes on "Equinox" and "Anoxia"; Clive Bell: shakuhachi on "Drop City," "Equinox," and "Anoxia"; Leo Abrahams: processed guitars on "Neutra," "Transition," and "End Zone"; Mark Wastell: tamtam on "Neutra," "Equinox," "Transition," "Anoxia," and "End Zone"; and Dom Garwood: clarinets on "Labyrinithitis."



BIRCHALL, NAT: Invocations LP (JMAN 082LP) 23.50
LP version. The music of saxophonist Nat Birchall joins a long-flowing conversation in jazz. His chosen tongue is that of the spiritualized musical discourse with a vital source that can be found in the sacred testaments of John Coltrane, and which was channeled most directly by his fellow travelers Albert Ayler and Pharoah Sanders and his wife Alice. Many others followed where Coltrane led, giving voice in music to the esoteric renewal of the soul and mind that lent spiritual strength to the black counterculture and complemented the political radicalism of the late 1960s and 1970s. This rich vein of spirit-music has rarely been tapped by British jazz musicians, and Birchall is one of the few to have been drawn to it with the conviction of heart that it demands. For these are the sonic and spiritual spaces where the colossi of an earlier age declaimed and confessed with sacrificial passion, from within the flames of revolution. Ultimately, it has been the sonic pathways offered by jazz that have provided Birchall with the clearest way to channel the resonances of the higher heights, wherefrom timeless musical messages might be revealed. "It seems to me that's it's the most direct way of tuning in to this higher source," reflects Birchall. "That music seems to me to display this connection to whatever this higher source, this higher energy, might be... You can hear it in other musics to a certain degree sometimes, but this seems to be almost purely of that nature. That's what really motivates me the most." All music is a spiritual communion -- it speaks to the old and the young in a language that is beyond language, it expresses and elicits emotion and thought at once, it is both bodily and mental, noise and silence, intention and accident. It is the dissolution of opposites, the fleeting noise made eternal prayer, the transubstantiation of spirit into sound. Music is the expression of unity, in which difference is both accepted and resolved, and from which a mended world might be born. To make music is, as Roland Kirk observed, to talk with the spirits. We are lucky that the music of Nat Birchall allows us to hear the sounds of their world once more. Played with Adam Fairhall: piano; Tim Fairhall: bass; Johnny Hunter: drums; Christian Weaver: congas, batá drum, various bells, shakers, and other percussion.



BAHAR, SADAR: Tik Tok/At the Concert 12" (KKS 004EP) 14.00
After a furious release from Cuttlefish & Asparagus (Hang On in There (KKS 003EP, 2015)), Kalakuta Soul presents a 12" from Sadar Bahar, one of the major influences on the label's work. Listeners who are still dancing and sweating to his unforgettable Chicken Wing Edits series may have been wondering what he's been doing. Well, Soul in the Hole's true soul and DJ's DJ Sadar Bahar has been travelling the world giving everybody a serious lesson in soul music that he calls disco beatdown. Some would also call Sadar's ceremonies "exorcism" -- pretty apt for the fantastic disco tracks here.


KK 086EP

23S, THE: Los Manos Arriba! 12" (KK 086EP) 12.50
Four remixes of mysterious German one-man act The 23s' 2015 album Flamingo (KK 084CD/LP). Canadian disco-techno-blender The Mole transforms "Any Second" into a slow, banging sort of trip hop experience. The now-defunct German experimental electronic trio To Rococo Rot, long-term friends of The 23s, twist "The Scene Where the Car Was Blown Away" into a futuristic, balearic trip with cool guitars and unfolding rhythms. Gilles Aiken aka Edward (White, Giegling) delivers a rattling remix of the same track, with a prominent double bass and an absorbing psychedelic atmosphere. Christian S (Cómeme) remixes "Any Second" with percussive rhythms and bewitching chords.


KR 031LP

TELLAVISION: The Third Eye LP (KR 031LP) 20.00
180-gram vinyl. The Third Eye is the third album by Hamburg's Tellavision aka Fee R. Kürten, who has been deeply rooted in DIY culture right from her start in 2007. Kürten calls her original aesthetic "hardware post-pop," work which she uses to deconstruct borders between (anti-)pop and avant-garde, and between high and low art. The Third Eye follows 2011's Music on Canvas (FTR 111EP) and 2013's Funnel Walk, which was recorded with Tobias Levin (Tocotronic; Mutter; Ja, Panik). Developed and produced during a stay at the Whitehaus, one of Boston's self-governing cultural centers, the tracks play with Tellavision's reception across different genres; too punk for an arty audience, too arty for the punks, Kürten, who studied arts at the Hochschule für bildende Künste Hamburg (attending classes taught by Jutta Koether and Felix Kubin, among others), follows an interdisciplinary approach that combines visual arts, film, and music, taking in a wide range of pop-cultural references, rejecting them, and finally mashing them up for new positions in contemporary arts that defy conventions. Defied too is the concept of the traditional A-side and B-side; instead, The Third Eye is split into two named sides. Ease Tikky Tab continues and refines Tellavision's atonal, dub-infected trademark sound, while Cryptic Snash Man crystallizes as an oscillating field of krauty repetition and industrial ambiences. Oppressive, dissonant soundscapes, created by a reduced set-up of analog synthesizers, percussive elements, and fragmentary field recordings, go along perfectly with Kürten's elegic, soulful voice. It's a unique sound that situates the young artist, 27 at the time of this release, among like-minded lo-fi-advocates Ariel Pink and John Maus, the rhythmic grooves of ESG, and a generation of female artists including Fatima al Qadiri, Inga Copeland (whom Kürten has supported in concert), Gazelle Twin, and Klara Lewis.


KH 9059LP

PAVLOV'S DOG: Of Once and Future Kings... Live LP (KH 9059LP) 23.00
Pavlov's Dog are one of the most revered prog outfits to have emerged from 1970s America. This WABX-FM radio broadcast of their performance at the Ford Auditorium, Detroit, on May 14th, 1976, is an extremely rare document of the original band, boasting the unique vocals of David Surkamp, as well as Steve Scorfina (lead guitar), Doug Rayburn (Mellotron, guitar), Tom Nickeson (keyboards), Richard Stockton (bass), and Kirk Sarkisian (drums). The material is culled from their classic albums Pampered Menial (1975) and At the Sound of the Bell (1976). Includes insert with background notes and rare images.



TERRANOVA: Restless Remixe 2 12" (KOM 342EP) 12.00
Terranova's second remix EP for their 2015 Restless album (KOMP 123CD/KOM 327LP) opens with a reimagining of "Skin & Bones" (featuring captivating vocals from Lydmor & Bon Homme) by Karl Friedrich, an up-and-coming producer from Halle, Germany. Terranova's Fetisch follows up with his own version of "Kepler186f," an energetic groover feeding off its thriving percussion and powerful bass injections. Stereo MC's revamp "Twisted Souls" featuring Cath Coffey, and turn the source material into a thrilling club drama in its own right, using only a Roland 808, a Bell Delay (one of the earliest samplers), and a Juno.


HUNTER/GAME: Speicher 87 12" (KOM EX087EP) 12.00
Italian producers Hunter/Game follow their sneaky club anthems "Hexagon" and "Bermuda" (KOM EX083EP) and their strong rework of Weval's "Gimme Some" (Total 15, KOMP 125CD/KOM 340LP) with their second Speicher release. They dig even deeper into the hardware circuits while cranking up the momentum a notch or two; opening banger "Adaptation" doesn't ease you into the experience, instead dropping you right in the middle of its frenzied staccato synth throb. Meanwhile, "The Path" opts for rich, saturated colors and epic melodies, slowly building its case until it's ready to blow its lid.



LOSCIL: Plume 2LP (KRANK 096LP) 20.00
"This is the first vinyl issue of the classic fourth loscil album originally released in May of 2006. from the original onesheet: Scott Morgan notes: Compositionally, many tracks on Plume are similar in approach to First Narrows; they started with a harmonic root from which sounds were processed into a loose structure over which the live players could improvise. There was substantially less editing this time around with the live tracks. I opted to choose the better improvised passes and merely mix them in and out rather than cut them up. I think this leaves a lot more natural space and balances the heavily structured and repetitive electronic elements with more organic performed layers. Jason Zumpano returned from the First Narrows ensemble and I also recruited long time friend Steve Wood and my partner Krista to play some ebow guitar as well as Josh Lindstrom to play some xylophone and vibraphone which added some new elements into the mix. Thematically, I stuck with things that are quintessentially loscil; flow, subtle movement, gradual transition, growth. Also of significance to this album is the family connection. 'Charlie' was composed after seeing and hearing my daughter Sadie through ultrasound while still in the womb. The track was also composed as a womb-like sound experience for her to sleep to after she was born, hence the heart beats."



EVIL BLIZZARD: Everybody Come to Church CD (LTW 010CD) 14.50
Like Hawkwind on even more acid or Sunn O))) meets Butthole Surfers/P.I.L. with four bassists and droning powerful songs... Those masked marauding architects of cacophonic, bombastic, psychedelic, bass-bothering rock have been at it again, making another album of unrivalled and quintessentially unique rock music. To say that Everybody Come to Church has been eagerly awaited in many quarters is an understatement; fellow Northwest England-based musician Mr. Mark E. Smith, who's been heard to say of the Blizzard, "I like Evil Blizzard, they give me hope that music is alive and kicking," would no doubt agree. The Guardian are also huge fans of the band, having featured them on their cover and described them as "a fearsome collision of Hawkwind, krautrock, molten noise, dazzling psychedelic lights and weird, gnarly looking masks." The album was "recorded live in one day with minimal overdubs at Magnetic North Studios... a fierce, spontaneous outburst of evil noise." They had only four songs written before entering the studio and the rest of the album just happened around ideas they'd had kicking around. Everybody Come to Church features eight tracks of brooding, sinister psychedelic rock that will melt your mind and soul.


MIG 1305EP

FRED BANANA COMBO: Manana 12" (MIG 1305EP) 14.00
Kult kraut band The Fred Banana Combo remixed by none other than Ralf Hildenbeutel, the legendary innovative mastermind behind Sven Väth's early-'90s works ("L'Esperanza," "An Accident in Paradise," "Harlequin," "Robot," "Ballet-Dancer"...) and one main ingredients of Eye Q Records. With both of his (rare) remixes, Hildenbeutel goes back to the roots of techno and underground dancefloor music; his ultramodern style still stands out and would fit in on a finer Pampa release. His remixes are the first in a series of Fred Banana club reworks, with no less than Richie Hawtin and Luciano to follow.



HOMELESS HOUSE: Irrational Beat Up EP 12" (MOC 005EP) 12.50
Homeless House (Moire Patterns and DJ Kriton) develop live-session sounds into a specific old school techno sound. "Irrational Beat Up" delivers a dirty kick and bass followed by catchy percussion and chords. The trance-inducing "Astronaytis" is branded by rough sounds and vocals, with snare breaks taking perception back to reality. On "Sous Sols," intense chord progressions collide with solid beat structure and a slight bassline to show a lighter side.



DAPAYK SOLO: #nofilter 2x12" (MFP 079LP) 25.00
Producer Niklas Worgt aka Dapayk Solo presents his fourth album, #nofilter. Since 1996, Worgt has been regarded as one of the most creative and versatile protagonists of Europe's club scene. Several projects for his label Mo's Ferry Prod., like the I Love Vinyl festival or his work on Dapayk & Padberg releases, have kept him busy since 2010. He finally got some solo time in the studio, and after having explored a more melodic and gentle side on his last two albums with Padberg (Smoke (MFP 067CD/LP, 2013) and Smoke (Family Remixes) (2014)), he now turns to more experimental, edgy productions. "I wanted the sound to be very focused," says Worgt about #nofilter -- more straightforward, more reduced, more analog and dirtier than "anything I have done before." On #nofilter he combines elements from his early days in breakbeat and drum and bass with minimal and tech-house, resulting in his very own unique signature sound, far off the beaten club-sound track. Worgt aims to challenge his audience, willing them to see that there is more than just one way of doing things. He's aware that "some of the tracks might not be for everyone at first glance. But it's always good to do things in an unexpected way, to change the listener's perspective." Worgt also shows his provocative and humorous side with the album title, statistically proven to be one of the most commonly used hashtags. "I wanted to look at the cliche of the big, gloomy nightclub, where everyone has to be credible and cool all the time, with a hint of humor. I think it's important to show people that there are different levels on which they can have fun and just enjoy themselves." #nofilter is a perfect demonstration of how much Dapayk Solo is enjoying himself and his work. "If you had asked me ten years ago where I would have seen myself today, I wouldn't have been able to give you a straight answer. If someone asks me that question now, I can say that I will definitely be making music."



KINNARI: Kinnari 12" (MLV 002EP) 12.50
Infused with elements of 2-step and ambient textures, these tracks' minimalist directions also evoke reflections of the pastoral. In ancient tradition, Kinnari is the poetic embodiment of virtuous musicianship. She is the goddess of love and perpetual pleasure. With her lover she transcends the boundaries of aural pleasure with extraordinary grace. "Tigris and Euphrates" features Blue Nile. Mastered at Transition Mastering UK.



MUSK: On and On 12" (MUSIQ 190EP) 14.00
Musk debuts on mule musiq after excellent remixes for KZA and Kuniyuki . "On And On" is a massive Chicago house track and "Mysore" has a modern Berlin house sound.


NA 5097LP

HELIOCENTRICS, THE: 13 Degrees of Reality 2LP (NA 5097LP) 21.00
2015 repress; Double LP version. "The Heliocentrics' debut album, Out There (2007) was a confounding piece of work. Drawing equally from the funk universe of James Brown, the disorienting asymmetry of Sun Ra, the cinematic scope of Ennio Morricone, the sublime fusion of David Axelrod, Pierre Henry's turned-on musique concrète, and Can's beat-heavy krautrock, Out There pointed the way towards a brand new kind of psychedelia, one that could only come from a band of accomplished musicians who were also obsessive music fans. Drummer Malcolm Catto and bassist Jake Ferguson are the Heliocentrics' masterminds and producers, and guitarist Ade Owusu, percussionist Jack Yglesisas, and keyboardist Ollie Parfitt hold constant presence within this ever-evolving ensemble. They have been playing together for over a decade and their collective drive is to find an individual voice. The Heliocentrics search for it in an alternate galaxy where the orbits of funk, jazz, psychedelic, electronic, avant-garde, and 'ethnic' music all revolve around 'The One.' Back at Now-Again with 13 Degrees of Reality, the Heliocentrics have returned to develop this epic vision of psychedelic funk, while exploring the possibilities created by their myriad influences -- Latin, African, and more.The Heliocentrics have realized that their strongest statements are made somewhere between the persistent fuzz of Owusu's distorted guitar, Catto's impossible syncopation and Ferguson's looping bass lines."

NA 5103LP

WITCH: Introduction LP (NA 5103LP) 21.00
2015 repress. "Our comprehensive overview of Zambia's premier garage-, psych-, prog-, funk-,Afro-rock ensemble Witch, We Intend To Cause Havoc!, is now sold out in its 6LP box set form. So we are making the first four Witch albums available in archival reissue form. As with our box set, the audio is nigh-perfect -- restored and remastered from the original master tapes. The entirety of Witch's first album, restored and remastered from master tapes, and presented as an archival reissue. Witch's musical arc is contained to a five year span and, in retrospect, is a logical one. The band's first two, self-produced albums - released in unison with the birth of the commercial Zambian recording industry -- are exuberant experiments in garage rock, and are as influenced by the Rolling Stones as they are James Brown. Thus Introduction, their first, is the perfect starting point for anyone interested in delving into the Witch band, or Zamrock in general."

NA 5104LP

WITCH: In The Past LP (NA 5104LP) 21.00
2015 repress. "In The Past, their second album, is the perfect follow-up for anyone exposed to the Witch band through their landmark Introduction."



SHIFTING SANDS, THE: Cosmic Radio Station LP (FISH 015LP) 25.50
LP version. If you went up and over the hill behind Port Chalmers, Dunedin, New Zealand, you might stumble across the rundown shack and converted woolshed whence the Cosmic Radio Station was first beamed into the Pacific ether. Head back to Port Chalmers itself and there stands Chick's Hotel. Tiny it may be, but it's hosted shows by Sebadoh, Stephen Malkmus, J Mascis, Sharon van Etten, and Parquet Courts, among many others, and it's also the epicenter of the vibrant Dunedin pop underground. The venue is run by the three members of The Shifting Sands -- Mike McLeod (guitar, vocals), Tom Bell (bass), and Jake Langley (drums) -- who, even with the responsibility of providing radio for the cosmos and bringing bands to Dunedin, still managed to undertake a 2014 US West Coast tour supporting David Kilgour & The Heavy Eights. The eye-popping sleeve of Cosmic Radio Station, by renowned Port Chalmers artist Jim Cooper, gives some idea of the psych-dealing within. This is an album that drips sundazed melody through a shifting haze of fuzzy, chiming guitars, shimmering strings, and vocal harmonies, with the aforementioned Mr. Kilgour lending his inimitable guitar to two songs. Recorded in a woolshed in Whareakeake and a decrepit crib overlooking Mapoutahi. Overdubs recorded at Chick's Hotel. Recorded, mixed, and mastered by Thomas Bell.


EVERLASTING YEAH, THE: Anima Rising LP (HATI7DF 040LP) 25.50
LP version. That Petrol Emotion were one of a kind; a myriad of influences, a back-catalog stuffed with brilliant songs, a group blessed with gifted songwriters, a killer live act, and, above all, a bunch a friends who were (and still remain) fans of music. Now four members of the final line-up (Ciaran McLaughlin, Raymond Gorman, Brendan Kelly, and Damian O'Neill) have returned with a new sound as The Everlasting Yeah. The emphasis is on the collective -- this time the whole tribe sings. Since 2013 they have been playing sporadic but ecstatically received gigs in London, Oxford, and Glasgow. In 2014 and '15 they recorded their debut album, Anima Rising. Of course, there are echoes of the Petrols' signature sound in the album; however, this is very much an upgrade on the classic template of melody-harmony-beat-noise -- some call it keltic kosmische music.


180-gram LP version in gatefold sleeve. One of music's most elusive and enigmatic acts lifts the veil (a fraction) to present Beauty Will Save the World. Since forming in the mid-1980s, the reclusive Revolutionary Army of the Infant Jesus have confounded musical classification and studiously declined every invitation to explain their unique form of musical and artistic experimentation. Initially, the Liverpool outfit built their reputation on their extraordinary immersive multimedia performances, which combined multiple layers of visual imagery with elements of ritual, enigmatic samples, field recordings, and mesmeric live music. Their cult status was further reinforced with the release of the now-much-sought-after two studio albums The Gift of Tears (1987) and Mirror (1990) and two EP collections, Liturgie pour la Fin du Temps (1992) and Paradis (1995). Now, in 2015, the appearance of a new RAIJ album and the apparent relaxation of their strict vow of silence are generating predictable excitement and expectancy. Beauty Will Save the World does not disappoint. RAIJ's intoxicating mix of ethereal beauty, dazzling soundscapes, and oblique mystery reach new levels of intensity and subtlety. The album title -- a quotation from Russian novelist Fyodor Dostoevsky -- is one of the many literary, cinematic, and spiritual references underpinning RAIJ's unexpected comeback. Founding members Paul Boyce, Jon Egan, and Leslie Hampson, joined by a fresh wave of collaborators, have crafted an album of unique beauty and originality. Prolonged silence seems to have deepened rather than dimmed their creative impulse. As ever, it is the breadth of musical genres, cultural references, borrowings, and retrieved sounds that defines the RAIJ aesthetic, but there is also a more consistently meditative and melodic strain that underpins the album's integrity and purpose. In a rare insight into the RAIJ's creative method, Jon Egan explains, "Although our work takes elements and inspiration from many disparate sources we have never viewed it as deconstruction. We are looking for the thread that connects every manifestation of beauty, however fragile, transitory and seemingly accidental." "There is renewed interest and appreciation of our music and that's great," says Leslie Hampson. "We have never tried to cultivate obscurity or anonymity, we simply wanted to avoid having to explain and justify a creative process that isn't necessarily premeditated. Isn't it enough to listen to and experience it?" CD includes one extra track.



VA: [Cease & Desist] DIY! Cult Classics from the Post-Punk Era (1978-1982) 2LP (OMDIY 001B-LP) 23.50
[Cease & Desist] DIY! Cult Classics from the Post-Punk Era (1978-1982) collects 15 UK 7" singles recorded between 1978 and 1982, compiled by JD Twitch to showcase the DIY spirit of those times. "If Punk was the nuclear detonation, the fallout that came after was where a lot of the most interesting music of that era was made. People who would never have thought to release a record before realised it was something they could do, and the end result was a DIY explosion. I've always loved music that doesn't try to fit in a particular genre, that is anti-canonical and doesn't care what else is going on in music at that time, that takes risks and is full of imagination and ideas that may or may not make any logical sense but that resulted in something unique, that ignores conventions about how a record SHOULD be produced and that was created simply because its creators felt the urge to express themselves and share the results with some other people. This compilation compiles 15 tracks that fulfil all those criteria. None of them had any success, most are (unjustly) obscure but every one of them has inspired me and would be in my ultimate 7" singles box" --JD Twitch. This release has been a real labor of love, involving tracing long-lost artists to far-flung corners of the globe, persuading them that the modern world needs to hear the music they made several decades ago, tracking down masters -- lovingly restoring 7"s in place of lost masters in some cases -- and conceiving an elaborate package with detailed sleeve notes to house the double album. Unfortunately, the original choice of title for this release infringed on the copyright of a series of well-known pop compilations released by a certain major label. They sent a cease and desist letter (hence the title of this edition), and did not accept proposed modifications to the original sleeves, so this edition is released in a more conventional package than was intended. Gatefold sleeve with printed inner sleeves containing sleeve notes and detailed overviews of each individual track by JD Twitch and an introduction by New York's DIY expert Dan Selzer. Includes tracks by Tesco Bombers, Sara Goes Pop, People in Motion, Nancy Sesay & the Melodaires, The Distributors, Dorothy, Thomas Leer, Visitors, The Murphy Federation, The Cro-Tones, Fatal Microbes, Spunky Onions, The Fakes, and The Prats.


OH 028LP

TERAKAFT: Alone LP (OH 028LP) 19.50
Alone was born out of a need to maintain sanity in times of broken dreams and lies. It might be Terakaft's most rock-oriented album to date, but at the same time it is their most poetic. While their 2010 album Aratan N Azawad, and even their 2012 follow-up, Kel Tamasheq, found them still full of hope, in 2015 the soil that was supposed to blossom is burnt by selfishness and rivalry. "There are too many characters in the picture, too many chiefs and not enough people," says member Diara when asked about Mali's political development since the group's last album. He used to sing political songs in the days in his rebel youth, when he was still playing guitar with Tinariwen. Since then he has begun to watch a new feeling growing inside him: ténéré, which translates to "alone." In the days when Diara sat in the dunes drinking tea with high hopes for the future, singing songs into the night, his nephew Sanou would sit next to him, still a young boy. Occasionally the uncle would hand his guitar to the nephew, so he could play along with the others. Just before the international success story of Tinariwen started, Diara got stuck on his way to Bamako and his place in Tinariwen was taken. Meanwhile Sanou had set up his own band, Terakaft. Diara and Sanou are now the backbone of Terakaft; the guardians of desert blues. Diara is the spirit of the band, as strong as a rock. Sanou is the band's heart. He brings the life to its spirit. Diara, the elder, lays out heavy rhythms pulsing through his guitar. Sanou has become the natural heir to the sound of "assouf," with his intense rock riffs and an uplifting attitude toward life. Alone is Terakaft's fifth album. It was produced by Justin Adams, one of the musicians from Europe who has delved deep into Tuareg music. Adams is known as a musician and producer through his work with Robert Plant, Tinariwen, and Juldeh Camara. He has geared up "The Caravan" (as Terakaft's name translates) to reach new shores and hit the dancefloors. In these troubled times, they have made an album together that presents the deep Saharan rhythms as a vital contemporary heartbeat. Standing on the ruins of their people's dreams, they sing to their brothers and sisters about true friendship and tolerance. Includes printed inner sleeve.



VA: The Secret Museum Of Mankind Vol. I 2LP (OUTRE 1001LP) 25.50
2015 repress. Subtitled: Ethnic Music Classics: 1925-48. This series of archival 78 transfers was originally released in 1995 on CD only. Now for the first time on vinyl, a deluxe gatefold presentation in a limited edition pressing. Produced by Hisham Mayet (Sublime Frequencies) in conjunction with Yazoo Records. Compiled here are many of the greatest performances of world and ethnic music ever recorded. This volume represents a trip around the world, stopping at each port to sample one of that country's finest recordings of its indigenous music. Each of these recordings was captured at a period during the golden age of recording when traditional styles were at their peak of power and emotion. Included inside are extensive notes and beautiful period photographs that work together with the music to communicate an exciting sense of discovery. "One of the most consistently rewarding world music compilations in years, the cuts range from Macedonian fiddle jaunts to Puerto Rican Christmas tunes, from Abyssinian religious chants to ominous Japanese court music. The instruments include Ukrainian sleigh bells, Sardinian triple pipes, Vietnamese moon lutes and Ethiopian one-string violins...a profound artistry lurks beneath the alien vernaculars." --Village Voice; Vol. 1 contains music from Nigeria, Sardinia, Russia, Ceylon, Rajahstan, Cuba, Rumania, Vietnam, Macedonia, Morocco, Society Islands, South Africa, India, Japan, Jamaica, Fiji, and more.


VA: The Secret Museum Of Mankind Vol. II 2LP (OUTRE 1002LP) 25.50
2015 repress. ...Ethnic Music Classics: 1925-48. This series of archival 78 transfers was originally released in 1995 on CD only. Now for the first time on vinyl, a deluxe gatefold presentation and limited edition pressing. Reissue produced by Hisham Mayet (Sublime Frequencies) in conjunction with Yazoo Records. Compiled here are many of the greatest performances of world and ethnic music ever recorded. This volume represents a trip around the world, stopping at each port to sample one of that country's finest recordings of its indigenous music. Each of these recordings was captured at a period during the golden age of recording when traditional styles were at their peak of power and emotion. Included inside are extensive notes and beautiful period photographs that work together with the music to communicate an exciting sense of discovery. Early 20th century recordings from Bulgaria, Puerto Rico, India, Mozambique, Ukraine, Trinidad, Kazakhstan, Ceylon, Tibet and elsewhere, compiled by archivist Pat Conte.


VA: The Secret Museum Of Mankind Vol. III 2LP (OUTRE 1003LP) 25.50
...Ethnic Music Classics: 1925-48. Restocked. Outernational Records is pleased to announce the third volume of this legendary series is now available on the vinyl format. This series of archival 78 transfers was originally released in 1995 on CD only. Now for the first time on vinyl, a deluxe gatefold presentation and limited edition pressing. Reissue produced by Hisham Mayet (Sublime Frequencies) in conjunction with Yazoo Records. Compiled here are many of the greatest performances of world and ethnic music ever recorded. This volume represents a trip around the world, stopping at each port to sample one of that country's finest recordings of its indigenous music. Each of these recordings was captured at a period during the golden age of recording when traditional styles were at their peak of power and emotion. Included inside are extensive notes and beautiful period photographs that work together with the music to communicate an exciting sense of discovery. Early 20th century recordings from Poland, Spain, China, Angola, Turkey, Mongolia, Russia, the Congo, and elsewhere, compiled by archivist Pat Conte.


VA: The Secret Museum of Mankind: Central Asia 2LP (OUTRE 1004LP) 25.50
...Ethnic Music Classics: 1925-48. Restocked. Outernational Records is pleased to announce the fourth volume of this legendary series, now available on vinyl. This series of archival 78 transfers was originally released in 1995 on CD only. This volume from Central Asia has to be one of the most revelatory volumes yet presented. Concentrating on a singular geographic region, this volume unearths some of the rarest recorded artifacts of music from the Central Asian countries of Mongolia, Uzbekistan, Kazakhstan, Kyrgyzstan, the Caucasus region, Tadjikistan, Azerbaijan and others. Of all the recent excavation projects inspired by our voracious musical culture, none is more fascinating than Pat Conte's Secret Museum series for Yazoo. Until now, a Western listener's familiarity with ethnic music from the distant past has depended on unsexy field recordings of relatively recent vintage, produced in a spirit of near-scientific inquiry by anthropologically-minded musicologists. When the commercial record business really began to expand in the late '20s however, just about every national style of music was sought out and captured for a growing marketplace. This was true "world music," dressed in its Sunday best perhaps as performed by ambitious locals, but still more vital than the academic, folklorist approach that followed. Just as Harry Smith compiled early commercial blues and country records for his monumentally influential Anthology Of American Folk Music, so Conte has gathered even rarer 78s from all over the globe. Thanks to excellent remastering, we can hear vividly how an ensemble sounded in India or Japan more than a half-century ago or a klezmer orchestra right before the Nazis destroyed that bit of local culture. It's like owning your own time machine. Gorgeous gatefold Stoughton tip-on sleeves with newly-discovered vintage color photos not available on the original CD issue. This is a limited edition one-time pressing of 1,000 copies.



TOZZI, LUIGI: Calipso 12" (OUTIS 008EP) 14.00
Luigi Tozzi, a Roman artist 23 years old at the time of this release, possesses a profound musical knowledge apparent in his productions, which also reflect Rome's distinct musical style purveyed by artists who are considered icons within the international techno scene. "Calipso" elegantly adds subtly trance-like traits to a classic 4/4 beat before the deep, sophisticated, and refined "Ambrosia." "Nostos" is a substantial, hypnotic tool. Outis Music founder Dino Sabatini remixes "Nostos" and provides a different point of view in his own classic and unmistakable style.


MODERN HEADS: Chapter II (The Beginning) 12" (OUTIS 009EP) 14.00
"It all began about ten years ago in a basement in the heart of Rome; the story of a crew of people who followed a musical ideal and created an original sound and an unmistakable style. After the return of Modern Heads with Chapter II (OUTIS 006EP, 2014), memories once again led me to friends I made during the period of the first productions on Elettronica Romana, and I asked them for personal interpretations of the track 'Beginning.' From the youngest, Claudio PRC, to the veterans. Donato Dozzy and Giorgio Gigli, all together on an amazing release." --Dino Sabatini



40 THIEVES FEAT. QZEN: Permanent Vacation Classic Vol. 2 12" (PVC 002EP) 12.00
The second edition of Permanent Vacation's Classic Series is all about San Francisco-based DJ/producer collective 40 Thieves' fantastic cover (with the amazing Qzen on the mic) of disco classic "Don't Turn It Off" by Hot Chocolate. 40 Thieves' version was originally released in 2008 on Permanent Vacation; Brennan Green released his remix of it in 2009 on his Chinatown imprint and Greg Wilson's edit of the cover appeared on his 2010 Credit to the Edit Volume 2 sampler. All three versions, long sold-out in their original formats, are now available on one record, with an exclusive Greg Wilson dub.



KYOKA: Is (Is Superpowered) (Deluxe Edition) LP+CD (R-N 153LTD-LP) 25.50
Limited deluxe edition of Kyoka's 2014 album Is (Is Superpowered) (R-N 153CD). 180-gram LP packaged in handmade cardboard slipcase with silkscreened Kyoka logo designed by Hamburg-based illustrator Alex Solman. Includes CD and download code for the 12 tracks on the CD plus a Japan-only bonus track. On Is (Is Superpowered), Kyoka uses her own voice much more often than usual, in the form of short snippets as well as longer sung melodies. These elements are set and arranged as if they were an autonomous instrument. Sometimes these voices give the impression of being a Babel-esque language mix-up, or even a kind of cryptic message for the listener, as found in the song "Meander." The production process of the record was heavily supported by her label-mates Frank Bretschneider and Robert Lippok -- a unique production team in the history of Raster-Noton. While Lippok focused on preserving the roughness and complexity of Kyoka's compositions, Bretschneider concentrated on refining their fluidity and focus. Both tried to keep the vitality and hyperactivity of the initial tracks without losing their distinctive eccentricity. Although Kyoka's sound is often somewhat chaotic, it is by no means stressful, but energizing and easy to enjoy. The only exception to this can be found in "Piezo Version Vision," the noticeably roughest track of the record. Her particularly progressive style is best reflected by the song "Re-pulsion," a rolling groove combined with unusual clicks and snares and topped with crazy-sounding voice fragments. The album thus further deepens what she initiated with Ununpentium/iSH (R-N 115EP), released in 2012 as part five of Raster-Noton's Unun series. It presents a stylistically broader spectrum of Kyoka's music, but at the same time exhibits the fresh and positive, sometimes even child-like attitude for which she is already known.

R-N 155DVD

ATOM TM: HD+ DVD-ROM (R-N 155DVD) 23.50
Universal DVD data disk, mainly for playing on computers only (there is no NTSC or PAL format or region designation for data DVDs). HD+ is a data DVD documenting the visual aesthetics of Uwe Schmidt aka Atom TM for the first time. The conceptual engagement with and the critical yet diverting examination of pop music, delivered with a twinkle in the eye, is a central topic of this musician's diverse creative work and is certainly included in this visual presentation of it. Together with the second remix EP, Riding the Void (2015), HD+ marks the provisional completion of Atom TM's HD cycle. In addition to tracks from the HD album (R-N 147CD), the video collection also contains other Atom TM recordings such as "Streuung," originally released on Winterreise (R-N 140CD), and tracks taken from external releases such as "Praezision." In order to present the video material in high resolution and at the best quality, no special formatting was used, but for playing the videos, the following system requirements have to be met: OS: Mac OSX 10.5 or later, Windows 7 or later; processor: 2.4 GHz Intel Core 2 Duo or faster; RAM: minimum 2 GB; video RAM: minimum 512 MB. The following people helped realizing this complex work: vector rescanning renderings: Nathan Jantz; video tech advisor: Karl Kliem; video conversion: Nibo.


DASHA RUSH: Sleepstep (Deluxe Edition) 2LP+CD (R-N 158LTD-LP) 47.50
Limited deluxe edition of DJ and producer Dasha Rush's 2015 album Sleepstep (R-N 158LP). Two 180-gram LPs in a handmade cardboard slipcase with art print. Includes CD and download code for the 16 tracks on the CD. Limited to 100 copies. Sleepstep's subtitle, Sonar Poems for My Sleepless Friends, describes its underlying concept -- Sleepstep is a trip through electronically alienated micro-compositions and sound collages that, interwoven with text passages, aim at creating a dream-like atmosphere. The album's journey strives for oblivion of time, an immersion, a drifting in universal states -- moving through the stations of death, life, birth, grief, desire. The titles often appear to be raw sketches; fugitive, surreal short stories. The musical arrangements are rather subtle and fragile, and, though the pieces are electronically manipulated, no production technique pushes itself to the fore. Dasha Rush's sonar poems for her sleepless friends are feminine, subtle, and personal reports. A musical dream journey in the form of a classical concept record, and an album that also stands in the tradition of ambient music. Dasha Rush is already known as a techno DJ and producer. Here on Sleepstep, she celebrates her alter ego.

R-N 160EP

ATOM TM: Riding the Void 12" (R-N 160EP) 14.00
Atom TM's Riding the Void EP is, together with the visual works of HD+ (R-N 155DVD, 2014), the conclusion of his critical yet delightful examination of pop music and culture on Raster-Noton. Like the previous EP Ich Bin Meine Maschine (R-N 146EP, 2014), Riding the Void is designed for functionality and club use. Techno maverick Scuba remixes "Riding the Void" into a straight, dense march, whereas Atom TM himself shakes the groove out of the track with his own two lighthearted remixes. His "Nought Remix" presents itself as slimmed-down yet vibrant, while "Tool" is a perfectly dancefloor-ready reinterpretation.

R-N 166CD

SENKING: Closing Ice CD (R-N 166CD) 17.00
Senking follows his 2013 album Capsize Recovery (R-N 152CD) with Closing Ice, drawing listeners back into the depths of his musical creativity. The album's nine tracks are intently dedicated to Senking's distinctively bass-heavy and atmospheric compositions, forming trips into the dark recesses of the human psyche. The mid-tempo grooves leave plenty of room for his sawing, war-declaring sounds that unfold into expressive soundscapes, gloomy yet also warm. Every now and then, like a distant echo, a pacifying melodic fragment gives comfort and hope. However, the open and seemingly improvised songs always follow their inner musical logic. "Serpent" or "Lighthouse Hustle," for example, could indeed be interpreted as conventional arrangements -- in general, the riffs and melodies on Closing Ice are rooted in a profound tradition of rock and pop music. With Closing Ice, Senking delivers exactly what the title promises: a balancing act between danger, hope, and destruction, and an eerily beautiful companion into the innermost spheres.

R-N 169CD

LICHTENBERGER, GRISCHA: La Demeure; Il Y a Péril en la Demeure CD (R-N 169CD) 17.00
La Demeure; Il Y a Péril en la Demeure is the opening to a five-part complex of works by artist Grischa Lichtenberger. "La demeure" -- "the residence" -- could be understood as referring to a sense of intimacy in the possibilities of isolation. The focus of the work is the joy of being isolated and having the chance to work, explore, and, most importantly, experiment, free from economic, temporal, or social restraints. The tracks and their components are constantly broken, disassembled, and reassembled again. Some parts may remind the listener of hip hop and breakbeat; others may evoke associations with a broken music box -- something mechanical that is not working as it should. In his very own way, Lichtenberger is examining limits, new experiences, and unfulfilled expectations. This unfiltered rawness, as well as the album's lack of a specific target audience, is what is fascinating about La Demeure; Il Y a Péril en la Demeure. It is a luxurious, Kafkaesque collection of materials; an uncensored archive of a seeker. This CD is released in advance of three vinyl EPs, as well as a second album focused on Il Y a Péril en la Demeure -- danger in delay.


LE 003LP

LEROY: Skläsh LP (LE 003LP) 19.50
LP version. "It's more timeless than fashionable" is a line, or at least sentiment, that artists often spout about their own music -- more often than not, it's rooted more in fantasy or delusion than reality. But when LeRoy (the one-man project of Munich-based Leo Hopfinger) says it of Skläsh, an album crammed with krautrock dub, lo-fi funk, esoteric jams, and DIY sparseness, it seems almost irrefutable. Hopfinger reflects, "My approach to creativity is diverse. It's like collecting pieces of various puzzles... Tools, strange ambient sounds, noises, field recordings. I put unusual things together and try to feel how they react on different levels." The result is a vast, unpredictable, and rich sonic depth that often sounds like the work of multiple artists. "I try to spread the gap between abstract and pop as far as possible," Hopfinger says of the musical disparity of Skläsh. "I see this album more like a collection, a musical chronicle. Like a DJ who is digging some strange tunes, no matter which era they are from." There is a refined quality to the record; while it's diverse and stylistically broad (opener "Like a Disease" sounds like a long-lost Faust classic), there is a plain, straightforward approach to the album that evokes a long-lost bedroom recording dug up in parts over decades. As Hopfinger puts it, "I started to restrict things. To become very simple and focused... Straight up, no gimmicks... For me it is important to keep all the mistakes in the songs because they make the sound more human and sympathetic."



APPARAT: Multifunktionsebene, Tttrial and Eror, Duplex 3LP (STRIKE 155LP) 34.50
Triple LP version. Includes download code. The Shitkatapult label reissues Apparat's first three albums, originally released in 2001, '02, and '03. Hardly any other musician at the interface between electronic and pop is as greatly cherished and passionately admired as the Berlin-based Apparat. He merges the inexhaustible sound-worlds of electronic music with the emotional depth of indie. He makes music to rock out to and to drift away to, to sing along to and to dive into. With Moderat, his collaboration with Modeselektor, he has commanded numerous festival stages. In 2015, he created the score for the 2015 film Equals, and is working on the third Moderat album at the time of this release, as well as his second collaboration with theatrical luminary Sebastian Hartmann. Most people got to know Apparat through his albums Walls (STRIKE 084CD, 2007) and The Devil's Walk (2011), and don't know much about his early, quintessentially electronic music dating back to just after the turn of the millennium. In his early 20s at the time, Apparat created an autonomous, radical sound-universe on those albums -- long out of print -- that is just as fascinating today as it was then. For this combined reissue, Mike Grinser painstakingly remastered each album and Carsten Aermes, a comrade-in-arms from Apparat's early days in Quedlinburg, East Germany, designed the cover based on Apparat's own original graphic design. Apparat's debut album, Multifunktionsebene, was released in 2001. With its intricate grooves and floating soundscapes, it defines a differentiated, tuned-down emotional spectrum. It is a recorded moment from another era entirely, which is exactly what makes it so powerful and captivating. Tttrial and Eror, from 2002, is his electronic magnum opus. Apparat mangles the grooves and develops rhythms with a complexity that makes Aphex Twin seem dull by comparison. And yet from within these tremendous, brutish tracks emerge minute, cautious sounds. On his third album, Duplex (2003), his world of sound explodes as he adds acoustic instruments to the electronics. Throbbing basses create an absurd contrast with saxophones and clarinets. He continues to define his acoustic space, which is reminiscent of classical chamber music; intimate and tactile. This is where he lays the foundation for Apparat as we know it. One can only marvel at the consummate and broad understanding of music that Apparat had already achieved in his youth.



VA: Boom-A-Lay: Blues & Rhythm, Popcorn, Exotica & Tittyshakers Volume 7 10" (STAGO 070LP) 16.50
Repressed; Vinyl-only 10" release. Stag-O-Lee presents Boom-A-Lay: Blues & Rhythm, Popcorn, Exotica & Tittyshakers Volume 7, released alongside Chug-A-Lug: Blues & Rhythm, Popcorn, Exotica & Tittyshakers Vol. 8 (STAGO 071LP) and following volumes one through six, which sold out almost immediately. Amazing, danceable tunes from the late '50s and early '60s -- a handful of popcorn dancefloor smashes, a few grinding tittyshakers, awesome rhythm and blues, most of them with an exotic twist! Includes tracks by Plas Johnson & His Orchestra, Chance Halladay, Nick Anthony, Nicky de Matteo, David Seville, Ted Jarrett & Band, The Astro-Jets, Titus Turner, Ronny Savoy, Malcom Dodds, Alan Arkin, and the Dave Brubeck Quartet.


VA: Chug-A-Lug: Blues & Rhythm, Popcorn, Exotica & Tittyshakers Vol. 8 10" (STAGO 071LP) 16.50
Repressed; Vinyl-only 10" release. Stag-O-Lee presents Chug-A-Lug: Blues & Rhythm, Popcorn, Exotica & Tittyshakers Vol. 8, released alongside Boom-A-Lay: Blues & Rhythm, Popcorn, Exotica & Tittyshakers Volume 7 (STAGO 070LP) and following volumes one through six, which sold out almost immediately. Amazing, danceable tunes from the late '50s and early '60s -- a handful of popcorn dancefloor smashes, a few grinding tittyshakers, awesome rhythm and blues, most of them with an exotic twist! Includes tracks by Dick D'agostin & The Swingers, Don Carroll, Mike Shaw, Chance Halladay, Deane Hawley, Jim Burgett, The Viscounts, Bobby Scott, Malcolm Dodds, Trini Lopez, Jimmy Ricks, and Oscar Perry.



KARMIL, MATT: Dans Maxi Fran Nacksving 12" (BARN 033EP) 14.00
Matt Karmil was born in 1979 near the giant pre-historic glockenspiel/mythical Neolithic monument known as Stonehenge. His debut EP for Studio Barnhus, following 2014's masterful remix of Talaboman, is an homage to the Nacksving studio in Gothenburg, another mythical place that Matt calls home.



The Death of Rave is proud to host the initiation of Black Mecha with AA, their sci-fi vision of heavy electronics strongly informed by the outer limits of black metal and a cryptic, esoteric Weltanschauung. Official communiqué from the Grand Lodge of Internal Masonry: "Black Mecha AA provides fragmented metaphoric sci-fi audio conceptualization based around some of the formative ideology developed by the Grand Lodge of Internal Masonry. With centralized focus on the deterrence and defence technique aspects of Internal Masonry, namely, Black Ray and its resulting Architecture Antithesis, or AA, mental effect, the six tracks create a realm conducive to execution of thought rumination, and an embankment for sharp inner pathways." Black Mecha does not exist safely within any pre-defined idiom. It is by nature a noumenal gesture in the void, projecting uncharted escape beyond staid, putative perceptions of genre. Fascinating for its sense of discipline and focus, AA is poised in the balance between meditative hypostasis and raging yet controlled emotion, characterized in the bellicose momentum of "Starship Aspicio" or the strobing, stately majesty of "Altruego," and to cataclysmic impact with the eviscerated electronics of "Black Ray." But make no mistake; it's not showboating industrial noise or melodramatic angst -- the sense of control amid panic and dread is palpable and compelling in a way hardly experienced with such elemental force. For listeners of a steeled disposition and open mind there is a logic and ingenuity at play in this record that begs the rarest private consideration. But overall, enjoy this music in your own way, because that is the only way of Black Mecha!


WIRE 381

WIRE, THE: #381 November 2015 MAG/CD (WIRE 381) 9.50
"On the cover: Magma (The monumental msic of the fabled French ensemble has been pouring from the mind of its leader Christian Vander for more than four decades. Keith Moline travels to north east France for an audience with the man behind the mythos). Attached to the cover: The Wire Tapper 39, the latest volume in our series of experimental and underground music compilations is given away free with every copy of the new issue. Inside the issue: Kamasi Washington +Thundercat (The Flying Lotus associates are applying their virtuosity to develop a strain of cosmic fusion that's accessible to all); Heather Leigh (The former Charalambides member is recasting the pedal steel as a means to warp the fabric of space, time and the human voice); Rabit (The Texan producer casts a post-industrial hex on the dancefloor); Seth Cooke (Ex-Hunting Lodge drummer takes a hands-off approach); Elaine Mitchener (Intimate moves underpin the work of the London singer); Global Ear: Austin (Norwegian bassist Ingebright Haker Flaten has galvanized the Texan capital's underground scene); Invisible Jukebox: Jam City (Dj and producer Jack Latham lays aside his early cares to face The Wire's mystery record selection)."


TEG 75502LP

DEL THA FUNKY HOMOSAPIEN: I Wish My Brother George Was Here 2LP (TEG 75502LP) 21.00
2015 repress. "In the early '90s hip hop took a turn and gangsta-style rap dominated, making waves off the West Coast that rattled throughout the world. The East Coast's dominance was descending despite the success and positivity of Native Tongues acts like De La Soul and A Tribe Called Quest, who favored thought-provoking humor and cleverness over gangsta rap's grittiness and grim outlook. It was in this landscape that Oakland, CA's Del the Funky Homosapien emerged in 1991, with his debut release I Wish My Brother George Was Here. Cribbing equally from the East Coast's irreverence and wit, and the West Coast's P-Funk inspired production, (the album was produced by Del's cousin Ice Cube) Del's debut has rightly been heralded as a benchmark album for underground hip hop. I Wish My Brother George Was Here not only produced the underground classics 'Dr. Bombay' and 'Mistadobalina' (#9 on the 1992 Hot Rap Tracks Charts), but also set the scene for the success of the other less gangsta West Coast artists like The Pharcyde, Digable Planets, and of course Del's compatriots in Souls of Mischief. Above all else, Del is credited with injecting some much needed light-heartedness at a moment when it was truly needed. Traffic Entertainment now presents I Wish My Brother George Was Here as a special double LP reissue, featuring the original artwork, and all of The Funky Homosapien's witty and innovative rhymes intact."

TEG 78509LP

BIG L: Lifestylez Ov Da Poor & Dangerous 2LP (TEG 78509LP) 20.00
2015 repress. "In 1995, fresh off the success of Nas's landmark debut album Illmatic the year prior, Columbia Records released Lifestylez Ov Da Poor & Dangerouz, the first LP by a relatively unknown Harlem MC named Big L. Few at the time would realize that Lifestylez -- which was only a modest commercial success at the time -- would go on to be considered a true classic of the era, comparable to Illmatic itself. Armed with a cocky Uptown attitude, a sharp wit and production from the likes of Lord Finesse, Buckwild and Showbiz, Big L established himself as one of New York's hip hop heavyweights with an album that balanced radio appeal with uncompromising hardcore lyricism. Remastered from the original tapes and pressed on loud double vinyl."


BEC 5156124

51 BLACK SUPER: 51 Black Super LP (BEC 5156124) 23.00
LP version. Two-and-a-half minutes of drums rolling under a whirlwind of cranky guitars and vocals arguing from the bottom of a 1990s boom box -- that's 51 Black Super. Eleven tracks and 30 minutes to cross the USA, from California with Pavement and Weezer to Ohio with Guided by Voices and The Raspberries... 51 Black Super isn't a band to get lost on its way, or in futilities. Written, composed, recorded in an emergency, with short and intense sessions, the debut album by 51 Black Super is made in the image of its creators: spontaneous and eager to get things out there. "Sounds like The Strokes with less cocaine and more facial hair," said a Californian rock critic after listening the two first few tracks. "A big compliment," he added, for good measure.


WG 027EP

LA FLEUR: Make a Move EP 12" (WG 027EP) 14.00
La Fleur's Make a Move EP bridges classic aesthetics with future concepts. "Make a Move" hits hard with vintage house hi-hats and top-end percussion balanced perfectly with a grand bassline that is as memorable as it is gripping. "Just in Time" seamlessly blends the wash of lush pads with a rolling and unrelenting bassline as a looping female vocal circles the room. "Result" grooves hard with live natural drums while a cosmic flute-like wind instrument calls out through the dense yet soft bass.



DONAGGIO, PINO: Tourist Trap (Original 1979 Soundtrack) LP (WAXWORK 014LP) 34.00
"Includes: 180-gram blood-red-and-black-swirl vinyl; composer liner notes by Pino Donnagio (Carrie, The Howling, Body Double); director liner notes by David Schmoeller (Puppet Master, Crawlspace); all new artwork by Marc Schoenbach of Sadist Art Designs; a heavyweight old style tip-on gatefold jacket; an 11"x11" art print. Waxwork Records is proud to announce the deluxe soundtrack reissue to the 1979 horror gem, Tourist Trap. For decades, the original 1979 pressing of Tourist Trap has become not only incredibly difficult to locate, but also prohibitively expensive. Due to this fact, Waxwork has poured themselves into tracking down the original masters, re-storing, re-mixing, and re-mastering for vinyl. Waxwork Records has created the most high quality release of Tourist Trap to date. This eerie soundtrack has never sounded better! Tourist Trap kick started the mannequin horror film, and is still as creepy today as it was upon it's initial 1979 release date. This horror movie is as spooky as they come. The score that accompanies it composed by the legendary Pino Donnagio (Carrie, The Howling, Body Double), is a riveting, masterful work of retro horror soundscapes. Harpsichords and breathing female vocals a-plenty."


WC 006EP

LAUTEN, ELODIE: Miracle 2 12" (WC 006EP) 10.50
Wilde Calm Records is honored to present the final project with the late Elodie Lauten (1950-2014), a new version of the spiritual club classic "In the Light of the Miracle." The original version was co-written with fellow downtown luminary Arthur Russell in the early 1980s and appeared on his posthumous 1994 album Another Thought. Numerous club-friendly remixes of "In the Light..." were released as promotional white-labels in the 1990s and helped bring this amazing proto-house song to the dancefloor. This version picks up where the white-label remixes left off, as Lauten had always intended to record her own dancefloor version and found a kindred spirit in Brooklyn producer Pocketknife. The track features Lauten on vocals and keys, Nirosta Steel (Steven Hall) on additional vocals, Peter Zummo on trombone, and production and arrangements by Pocketknife. Reworks were done by two long-time fans of Lauten, LA's Gifted & Blessed (Technoindigenous Studies, Wild Oats, Eglo) and Brooklyn's Bryce Hackford (PRAH, DFA). Gifted & Blessed references Lauten's classic post-minimalist compositions with his remix and takes the dancefloor of "Miracle 2" out into the cosmos. Hackford focuses on the instrumental track, extending it way out and roughing it up with heavy Bushwick Body Actualized-vibes. Also includes an a capella version. White vinyl. Artwork by Josh Gurrie. Hand-stamped and numbered edition of 400.

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