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Forced Exposure New Releases for 11/2/2015

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New music is due from Anthony Childs, Phase, amd Victories at Sea, while old music is due from Brian Eno and Harmonia, Sun City Girls, and Lascelles Perkins.


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4MG 007LP

VA: Iná Hudba: Experimental Studio Bratislava Series 1 LP+CD (4MG 007LP) 23.50
A milestone; an incredible historical recording never before issued in any format. This is the first release of the work of Slovak composers who were active in the '60s and '70s, a missing link in the history of musique concrète. The first in a series of three released in celebration of the 2015 50th anniversary of the Experimental Studio Bratislava, Slovakia. "In 1965 the Experimental Studio Bratislava was founded by the Czechoslovak broadcast service... Composers like Peter Kolman, Jozef Malovec etc. started on a 'do it yourself' level and built the equipment which was then not available through the Iron Curtain themselves. However, the studio's vicinity to Budapest eventually made it easier for the Slovaks to source the equipment they needed as Hungary had a more free interpretation of the socialist marketsystem. The artists were thus able to make improvements that allowed them to experiment with Musique Concrète and electronic sounds... Interestingly Exs had, for various reasons, never released a record in their own name in spite of vivid exchange with likeminded artists in European studios like the Electronic Studio Stockholm (EMS), founded the same year, 1965, Budapest, Warsaw etc. Recordings made in Exs appeared for example on Hungaroton SLPX-11851: Hungarian Electronic Music; Supraphon SUA 10951: Electronic Music; Supraphone 1111423: From Czech Electronic Music Studios; CBS-S3461144: Musique Tchecoslovaque Nouvelle just to mention a few. We therefore feel it is overdue and more than appropriate to let the increasingly interested world of analog electronic music aficionados know about the hidden gems of vintage electronic sounds and Musique Concrète created behind the iron curtain two generations ago. This is our first release -- Experimental Studio Bratislava, Series 1 - 2 - 3 -- in a small series of 3 with unreleased master tracks from Slovak composers recorded in the Exs between 1965 and 2005. The next releases will be out in about 6 months and 12 months, respectively. Each release consists of one vinyl LP with a CD included -- while on the vinyl some of the tracks will be shortened, the same tracks on the CD will always be in full original length" --Peter Doggwiler, producer. Limited numbered edition of 500. Includes tracks by Roman Berger, Pavol Simai, Ilja Zeljenka, Ivan Hrusovský, Jozef Malovec, Miro Bázlik, Ivan Parík, Peter Kolman, and Tadeás Salva.



SUN CITY GIRLS: Torch of the Mystics CD (ABDT 055CD) 14.00
Torch of the Mystics, the most popular and revered Sun City Girls album, was recorded in the summer of 1988 and became the first LP released on the Majora label in January of 1990 in an edition of 1000 copies (the original CD version was released by Tupelo Recording Company in 1993 and is long out of print). Reissued here for the first time, this record has influenced and inspired a wide variety of musicians and artists and continues to blow the minds of those hearing it for the first time today. Arguably as unique a 'psychedelic' statement as anything else that has appeared since the early 1970s, Torch of the Mystics cannot easily be compared to any other album you've heard. Here is Byron Coley's original review from the May 1990 issue of Spin magazine:"Just out of the box, and so majestic that it makes my brain do out-skull jigs across my sizzling, glass-strewn floor, is the Sun City Girls' new LP, Torch of the Mystics. As the heppest of you undoubtedly know, the Girls are a death-defying improv-rock band from Arizona who number no females amongst their membership, but who still bleed profusely on a near-monthly basis. Their recordings tend to be scattershot fiestas of lump-rich style gumbo, and Mystics is easily the richest, lumpiest puddle of guh they've yet emitted. The sounds on this record have moments of style-lifting, however, that should endear them even to fans of olden-days out-rock (a notoriously Luddite audience). At one point you'll 'hear' the circa-65 Mothers chanting 'Help I'm A Rock' while being pushed into a kettle of boiling oil by the West Coast Pop Art Experimental Band; at another you'll swear that your head is stuck in a lardy commode while one of the Fugs' ESP recording sessions rages around your sweat-soaked and heaving trousers. ET-fuckin-CETERA. But these 'cops' are not central parts of the whole. They pop up, rather, amidst swirling, psychedelic ethnic forgeries that will make Can fans renounce post-Landed Kraut Rock wax. Combined with this is greasy, long-wound-out puling that could come from nowhere but the small Arizona trailer park that birthed these honchos. The mix is nothing short of bo-weaving and I can't imagine that this disc will have many equals in 1990."CD in digipak with eight-page booklet. Remastered by Mark Gergis.


SUN CITY GIRLS: Torch of the Mystics LP (ABDT 055LP) 17.50
Limited edition LP version with insert. Torch of the Mystics, the most popular and revered Sun City Girls album, was recorded in the summer of 1988 and became the first LP released on the Majora label in January of 1990 in an edition of 1000 copies (the original CD version was released by Tupelo Recording Company in 1993 and is long out of print). Reissued here for the first time, this record has influenced and inspired a wide variety of musicians and artists and continues to blow the minds of those hearing it for the first time today. Arguably as unique a 'psychedelic' statement as anything else that has appeared since the early 1970s, Torch of the Mystics cannot easily be compared to any other album you've heard. Here is Byron Coley's original review from the May 1990 issue of Spin magazine:"Just out of the box, and so majestic that it makes my brain do out-skull jigs across my sizzling, glass-strewn floor, is the Sun City Girls' new LP, Torch of the Mystics. As the heppest of you undoubtedly know, the Girls are a death-defying improv-rock band from Arizona who number no females amongst their membership, but who still bleed profusely on a near-monthly basis. Their recordings tend to be scattershot fiestas of lump-rich style gumbo, and Mystics is easily the richest, lumpiest puddle of guh they've yet emitted. The sounds on this record have moments of style-lifting, however, that should endear them even to fans of olden-days out-rock (a notoriously Luddite audience). At one point you'll 'hear' the circa-65 Mothers chanting 'Help I'm A Rock' while being pushed into a kettle of boiling oil by the West Coast Pop Art Experimental Band; at another you'll swear that your head is stuck in a lardy commode while one of the Fugs' ESP recording sessions rages around your sweat-soaked and heaving trousers. ET-fuckin-CETERA. But these 'cops' are not central parts of the whole. They pop up, rather, amidst swirling, psychedelic ethnic forgeries that will make Can fans renounce post-Landed Kraut Rock wax. Combined with this is greasy, long-wound-out puling that could come from nowhere but the small Arizona trailer park that birthed these honchos. The mix is nothing short of bo-weaving and I can't imagine that this disc will have many equals in 1990."Remastered by Mark Gergis.



T.RAUMSCHMIERE: T.Raumschmiere CD (ALB 007CD) 15.50
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.



CORNER, PHILIP: PoorManMusic LP (ALGA 048LP) 25.00
PoorManMusic (1966)The simplest materialsand the things your own body isand doesclaps, slaps, stamps. Rubbing and scratching: body, allparts, and clothing if anyvoices. And all the sounds your voice and breath and throatmay makeexcept words. Although a mightbe rare&special one-sound deep word and meaning/ warning, affectations show up. If sincere, express.Better a middle and easy utterance of like naturalsoundings& thus beyond outside things, but the matter might be simplesticks of every day life. The small stones and the fabricspapers and textures, easily picked up. Rattle, rattles, nutslittle bells, seedsthis is not quite all of homemade noisemakers.Homemade noise made by, among others, Philip Corner, Max Neuhaus, Steve Reich, James Tenney, Malcolm Goldstein, Jackson Mac Low, Dick Higgins, Alison Knowles, Carolee Schneemann, Jerome Rothenberg... the Technicians of the Sacred. Gift Event III: A Celebration for poets, musicians, and dancers, based on the orders of the Seneca Indian Eagle Dance and performed at the Judson Dance Theatre, Judson Memorial Church, New York City, March 21 and 22, 1967. A part of the Spring Happenings.The group cohesion and reentering and listening (ensemble sensitive)Out of flux of differing individual tempi, to fuse into oneFelt agreed beat(this is easier, very easy, than it may seem)In period of pulse - polyphony... non-rationalizable multipllicity of the beats.And the whole at ease. If ever at extremesof intensity, and moving towards their implications of passions,let it relax and tend intowards the mean, just the energy andthe continuing which is devotion in every day life and works.Historical recording of previously unpublished Fluxus classic masterpiece available now in a limited edition of 300 copies. Pulse polyphony!


In one of the last projects he conceived, interrupted by his premature death in 2002, Davide Mosconi chose to absolutize as "concrete" sonic data the complete cycle of Wagner's Ring. Mosconi, an artist equally divided between the sonic universe and the visual sphere, perhaps could not resist the temptation of picking up the torch -- to intentionally fan the flame -- of he who made the Gesamtkunstwerk one of the theoretical groundings of his futuristic ideology and therefore inspired a never-more-to-be-soothed utopia in the phenomenology of contemporary arts. It is not surprising that even John Cage in one of his rare but precisely aimed iconoclastic incursions intended to refer to the Wagnerian tetralogy to ensure the translocation of this speculative object to a metalinguistic mimesis: in 1987, with the complicity of the director Frank Scheffer, he reduced Wagner's Ring to a short film in which The Ring of the Nibelung's prologue and three days breeze by in a single sequence accelerated to a spasm, finally approaching the approximate duration -- a detail not irrelevant -- of his celebrated silent piece (4:24 vs. 4'33"). MOSCONI WAGNER shares, by analogy, a similar metamusical inclination, but, opposed to Cage's openly negative paradigm -- which nullifies the context by nullifying the text -- accepts a confrontation with the hypertrophic Ring concept, which it subsumes in its entirety. Mosconi, by a rigorous procedure of montage following a logic of stratification, is perhaps trying to obtain a paroxysm of unheard-of violence in the musical material, nourishing itself on Wagner's music -- which is still structurally perceived as such -- almost like an organic lymph. He pushes to an extreme limit all the aesthetic and ideological pulsations that come together in Wagner's concept of music drama and react like a muddle of inextricable opposing forces. Digipak CD limited to 300 copies; includes full-color booklet containing photos by Mosconi from the "Polvere" series as well as liner notes by Gabriele Bonomo, who supervised the final mix of MOSCONI WAGNER using the recorded material prepared by the composer and following his prescriptions.



ARKTAPES: Arktapes001 12" (ARKTAPES 001EP) 12.50
Arktapes whispers its papers from the southern hemisphere. His compositions make for fine, spaced-out, atmospheric jams, strongly grounded in deadly grooves. A sweeping homage to the roots of the genre, with a taste for novelty.



AIM & QNC: The Habit of a Lifetime (And How to Kick It) CD (ATIC 014CD) 15.50
The crisp sound of golden age hip hop is enjoying something of a renaissance. Grand Central producer Aim has always held true to classic underground hip hop, and The Habit of a Lifetime (And How to Kick It) finds the beat-maker working alongside like minds. Long Island's dynamic duo Q Ball & Curt Cazal (QNC) work the rhymes on the album, a project that owes its roots to the duo's appearance on "The Force" from Aim's landmark 1999 album Cold Water Music. Four years in the making, The Habit of a Lifetime (And How to Kick It) includes 11 Aim-produced future classics and features appearances from B-Luv, Grand Puba, Dimes, Niko, and the late Sean Price, who worked on the album before his death in August 2015.



CHARLES, SIDNEY: Psyjack (incl. DJ Sneak RMX) 12" (AVOTRE 018EP) 12.50
Since emerging in 2011, German producer Sidney Charles's full, fat, chunky house offerings have become staples in DJ sets. "Psyjack," the second album single following his retrospective full-length House Lessons album (AV 002CD, 2015), is a full-blooded bit of jacking house with tough drums, icy hi-hat loops, and rib-rattling bass that thumps out a sweaty groove while tripped-out melodic breakdowns offer intricate musical moments. I'm a House Gangster label boss and Chicago house pioneer DJ Sneak's remix is pricklier and hypnotically loopy. Raw house guaranteed to make dancefloors sweat, with vocal stabs; barreling kick drums; loose, DIY-sounding percussion; and shooting synth lines.


SANTE: Dusty Roads 12" (AVOTRE 019EP) 12.50
Avotre boss Santé opens this EP with "Dusty Roads," a grainy, lo-fi house jam with free-wheeling synths, firm kicks, and expert hi-hats. Butch delivers a remix more techy in nature, with forceful snares, kinetic percussion, and an upwardly mobile drum line. DJ Hell's remix is an electro-fried cut with frazzled synths, stuttering bass, and paranoid, droning synths -- a perfectly intense and heady trip. Santé's "Never Enough" is a deep, inviting, loopy number with carefully exploding melodies and tons of sonic detail. Emanuel Satie goes for a barreling, full-throttle remix with fat drums, vocal stabs, and rattling percussion.



PARKER, MIKE: Transgression and Punishment EP 12" (BALANS 018EP) 12.50
Balans welcomes the mythic Mike Parker for his debut on the label, a four-track EP exemplifying his abstract style of eccentric analog resonance. "Transgression and Punishment" is characteristic of Parker's classic fluctuating rhythms; the hypnotic, driving "Smoke from Burning Fields" conversely opens with a solid, striking bassline highly suitable for a damp and dark dancefloor. "The Freezing Process" dives deep into the unknown where frequencies, submerged underwater, travel through the unfamiliar depths of the deep dark sea. "The Midnight Zone" launches into ceaseless high-pitched oscillations, with a marching beat propelling the mind into a mesmerized state.


BEC 5156226

DJANGO DJANGO: Pause Repeat 12" (BEC 5156226) 14.00
Django Django follow the 2015 release of their acclaimed second album Born Under Saturn with four remixes of album single "Pause Repeat" (plus the original). Débruit's indie dance remix pairs an African beat with Parisian synths; Night Slugs label co-founder Bok Bok offers stop-start disco-infused euphoria; Italy's Clap! Clap! brings in off-kilter rhythms and infectious bubbles of analog bass; and JD Twitch, half of legendary Glaswegian duo Optimo, heads into deep, dubby, and progressive techno territory.


BS 007LP

KALMA, ARIEL: Osmose LP (BS 007LP) 25.00
2015 repress. Born and raised in Paris, Ariel Kalma studied electronics, computer science, music and art in Paris, he performed with several bands, then toured the world and visited Europe, Japan, India, Eastern Canada, and parts of the USA. Apart from rhythm & blues, pop and jazz, he acquired assorted experiences in Middle Age French, electro-acoustic, and modal music. All the travels broadened Ariel's musical horizons tremendously; listening to and playing with different styles, people, and instruments, intricate scales, techniques, timing and rhythms. After learning circular breathing from a snake charmer in India, Ariel practiced it on soprano sax (for many sleepless nights) in the basement of a cathedral in New York, when he was not playing upstairs on the large harmonium. Returning to France in late '76, Ariel could include those endless notes into his own long-delay-effect system with which he toured, playing solo concerts. Ariel contributed to the birth of (then) new music genres: minimalist, space, ambient, new age, and electronic. In 1977, Paris, Ariel Kalma was preparing an album of new music. Through an INA connection, Ariel was recommended to Richard Tinti, who had just come back from Borneo (Papua New Guinea) with hours of rainforest ambiences in high quality recordings (on a Nagra recorder). To their amazement, birds and keyboards, flutes and crickets, saxophones and frogs, war drums and (very vintage) drum machines had much in common in terms of pitch, rhythms, effects (i.e. crickets and fast flanged synthesizer). Ariel decided to blend his new compositions with the rainforest atmosphere, and thus Osmose was created.

BS 017LP

M. ZALLA (PIERO UMILIANI): Problemi d'Oggi LP (BS 017LP) 25.00
Repressed. Italian maestro Piero Umiliani, during his period of fascination with psychedelic and electronic atmospheres, composed a good number of musical portraits dedicated, as this title reveals, to the problems of his time. In the early '70s, Italians were worried about the mafia, terrorism, and social conflicts; and one can sense that the music represents these anxieties in its experimental nature. Dark, disturbing, and unique in the long and extremely productive career of Piero Umiliani. And if, in 2015, titles like "Mondo in Crisi," "Problemi Sociali," "Azione Sindacale," and "Mafia Oggi" sound sadly relevant, it's even more surprising to find that the music of Problemi d'Oggi (Problems of Today) still sounds alien and unique. The record, released under Umiliani's M. Zalla alias in 1973, presents various styles, from Pink Floyd atmospheres (or The Braen's Machine, if you prefer...) to compositions characterized by a great use of drum machines and Moog synthesizers. One listen to the beginning of the opening track "Produzione" justifies the words of Sean Canty (Demdike Stare), citing the music as the first techno/trance track in history. But between the grooves of this record, reissued here for the first time, it's easy to find moments that many other artist and musicians -- from The Residents to Aphex Twin and Four Tet -- may have caught during their careers.



JC SATAN: JC Satan CD (BORNBAD 075CD) 15.50
Brutal and complex, furious and spirit-evoking, spiking and descending, French band JC Satan's self-titled fourth album nails black-garage-gospel with the hammer of the Viking gods, in the midst of a storm of decibels. The album follows three full-length albums released between 2010 and 2012, and a 2014 7" on the Trouble in Mind label. Imagine Queens of the Stone Age backing Serge Gainsbourg during Mexico's Day of the Dead.



EMPFANGER: Lost Track 12" (BORN 018EP) 12.50
Swedish duo Empfanger (towLie and Sling) delivers a slab of demented mongo EBM. Creepy asylum music!


BSX 8836CD

MORRICONE, ENNIO: A Time to Die CD (BSX 8836CD) 12.50
"Set in the final days of the Second World War, A Time To Die tells the story of Michael Rogan, a young American revolutionary (Albert) who loses his wife and comrades in a Nazi raid on her village. After being left for dead by the cruel Colonel (Harrison) responsible for the massacre, Rogan goes on a quest for vengeance after the War is over, killing off his former German captors, one at a time. A Time To Die features music composed by the great Ennio Morricone, here continuing a creative relationship with director Matt Cimber that included two other films, Butterfly and Hundra. BSX Records presents the original motion picture soundtrack to A Time To Die, featuring music composed and conducted by Ennio Morricone. While the film also contained additional music composed by Robert O. Ragland, this release only contains Morricone's contributions to the film."


BB 207CD

ESB: ESB CD (BB 207CD) 17.00
In 2010 Lionel Laquerrière (Nestorisbianca, Geysir) joins Yann Tiersen's live band. To break up the tedium of soundchecks, they begin to improvise analog synth versions of Tiersen's songs. The concept of an all-analog project soon takes root. An offer to play at Acusmatiq Festival finds the duo in need of a third mind to complete the circuit and bring the concept to life. Friend, fellow synth-obsessive, and producer Thomas Poli (Dominique A., Miossec, Olivier Mellano, Montgomery, Laetitia Shériff) joins and Elektronische Staubband is born. The next few years see further well-received festival appearances across Europe, followed in 2013 by the release of (the now abbreviated) ESB's first original material on a 7" single for the Thore? Single Club. Finding time between their countless other music projects in 2014, the trio finally have a short window to record their debut album. Convening at Tiersen's studio, each member chooses two weapons from his analog armory and plugs in for ten days of intense, immersive, cosmic jamming. ARPs glide. Korgs drone. Moogs throb. Electricity breathes life into the strange, tangled melodies. Common influences swirl around. Michael Bundt to Tim Hecker, Klaus Schulze to Fennesz, Popol Vuh to Loscil, Kraftwerk to Fuck Buttons, Delia Derbyshire to Grouper, NEU! to Föllakzoid. Accidents are appreciated. Unexpected meetings are welcome. Every track is composed on the fly and recorded in the moment. By turns danceable and sinister, human and alien, the songs extend and warp, are allowed time to grow and to lead the musicians down unexpected roads. The finished songs offer a cracked, kaleidoscopic view of some exotic, retro-futuristic world. Mixed in Rennes, France, by Poli and mastered at Translab Studio in Paris by Chab.

BB 207LP

ESB: ESB LP+CD (BB 207LP) 23.00
LP version. Includes CD.



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



SWINDLE: Peace, Love & Music 2LP (AIRMILES 002LP) 25.00
Peace, Love & Music is the result of Swindle's experiences touring globally over 2014 and '15. Constantly meeting other talented musicians and seeing new places helped naturally form an album that brings friends and family from across the world together for the first time. The album visits four continents along the way, toasting the grime roots in London with JME, saluting Swindle's love and respect for Glasgow and Mungo's Hi Fi alongside Flowdan, and stopping in Bristol for an uptempo work out with TC and a 16-bit intro from Joker. Los Angeles is close to Swindle's heart as he lived there for two months in 2014, meeting and making music with Ash Riser. The infamous Sub.mission party in Denver is featured on "Denver @ Cervantes (Denver, CO)," with music dedicated to the people who have made it a home away from home for Swindle. His connections in East Asia are strongly represented via Tokyo and the DBS crew, the Philippines with Hilarius Dauag, and the Electric East crew in Shanghai. There's still time to visit Cape Town and Nonku Phiri and link up with the Guerilla Speakerz crew in Amsterdam before heading home to London to finish off with his Swindle live family -- Terri Walker, Joel Culpepper, Jay Wilcox, and his dad, who plays guitar on "Sing Like You're Winning (Outro)." Peace, Love & Music also serves as a homecoming of sorts for Swindle to the Butterz label, which he has been a part of since its inception in 2010. In 2015, the label holds a prestigious Fabric club residency in London and is one of the premier brands in UK underground music. Peace, Love & Music is the first album to be released on Butterz, a landmark release for the label. Musically, Swindle continues on the jazzy path that his records on Gilles Peterson's Brownswood Recordings and Mala's Deep Medi Musik put him on the map for, but expands on the live instrumentation, the tempos, and the breadth of talent featured. Swindle has brought together as many people as possible who share his practice of spreading a positive message through music.



KREBS, PETE: Brigadier LP (CSR 019LP) 23.00
"Brigadier is Pete Krebs debut solo record. Pete Krebs front-man signer/songwriter for many acclaimed bands such as Thrillhammer, Hazel, Golden Delicious, Stolen Sweets, The Earnest Lovers... Special 20th Anniversary Limited Edition LP package of only 300 copies. The stark and stripped down instrumentation, arrangements and genius songwriting, informed by the dark and damp city, caught the ear of the underground -- and aurally marked a specific time and place; 20 years ago -- 1995 Portland Oregon."


CH 128LP

CRAYON FIELDS, THE: No One Deserves You LP (CH 128LP) 17.00
LP version. Includes download code. Crayon Fields, Melbourne's own euphoric pop icons, return with their third album, No One Deserves You, their first since the epochal 2009 classic All the Pleasures of the World (CH 066CD). All the Pleasures was a worldwide phenomenon, one of the first Melbourne albums of the modern era to reach an international audience. The album led to Pitchfork raves; tours of the US and Europe; releases in Japan and the UK; shows with Spoon, Best Coast, First Aid Kit, and Stereolab; and appearances at Australian festivals like Laneway, Golden Plains, and Big Day Out. Coming off their third overseas tour in 2010, the band took a break that turned into more of a hiatus, although calling it quits was never in the cards. Frontman Geoffrey O'Connor launched his celebrated solo career with 2011's Vanity Is Forever (CH 088CD/LP) and 2014's Fan Fiction (CH 119CD/LP), but all the while Crayon Fields continued quietly working on another album. The result is a glorious pop record. No One Deserves You presents Crayon Fields in vibrant technicolor, full and free and self-assured. All the classic Crayon Fields trademarks are there -- the vocal harmonies, guitarist Chris Hung's fearsome fretwork, Brett Hudson's nimble basslines, and O'Connor's sly, debonair songwriting. But it is also Crayon Fields as you've never heard them before -- grown-up, knowing, and with a slight swagger in their step. They've always contrasted their structured, detailed pop arrangements with an impulsive, irrational approach to romance. But this aspect has only become more pronounced as their musicianship develops and singer O'Connor becomes all the more willing to exploit every reflection on love, positive or negative, for the sake of entertainment. The album is as significant a development as All the Pleasures of the World was from their fey, wispy 2006 debut Animal Bells (CH 056CD). Lead single "She's My Hero" is the band at their most exuberant, but "Love Won't Save You" reveals how a six-year gap has replaced innocence with something more worldly. On "No One Deserves You" and "Give Him Nothing," O'Connor gives clear voice to his romantic obsessions, while album closers "Somewhere Good" and "Good Times" seem more resigned than optimistic. Crayon Fields formed as a high school band in the early 2000s. Over the years at different points they've been scrappy kids, wide-eyed ingénues, and magical pop sprites, and now take their final form as assured pop conquerors.



KELLY, MAMADOU: Djamila CD (CLE 012CD) 12.00
Mamadou Kelly comes from Goundam near Timbuktu, the heart of the Niger River inner delta. Having played alongside its masters, Kelly and his group Ban Kai Na bring a new sophistication to the desert blues genre. With his 2013 album, Adibar (CLE 007CD), Kelly stepped onto the international stage to present his own repertoire as soloist and band leader. He received accolades when he toured North America, performing at major festivals and concert halls while recording this album. His band members are old friends: Alpha "Hama" Sankare, revered genius on calabash and longtime collaborator; master of the monochord djourkel Brehima "Youro" Cisse; and the young, gifted bassist Baba Traore. For Djamila, Kelly wanted to expand the sound and invited western musicians to contribute to the groove. Calling in some neighbors from Woodstock, NY, producer Chris Nolan added Pete Levin on keyboards, Duke McVinnie on electric guitars, and Jane Scarpantoni on cello. Also on hand at the sessions was Leila Gobi, prominent vocalist from Ménaka in Northern Mali, who provides chorus backup on three of the tracks. Kelly's smooth vocals and deceptively effortless guitar playing quickly charm his audiences. Steeped in rich historical background, his lyrical style combined with Ban Kai Na's virtuosic delivery makes it all sound so easy. Yet at the time of these recordings they all had just witnessed severe political unrest and social violence in Mali. It was a real presence during the sessions. You can hear it, the real source of the blues.



KAMIXLO: Demonico 12" (CDS 002EP) 16.50
Kamixlo lands on PAN and Visionist's relaunched Codes imprint with his debut EP. Kamixlo is a key member of South London's roaming Endless party. Following an appearance on collaborator Blaze Kidd's 2014 Exclusivo mixtape, Demonico is a stark, raw, and militant opening statement. From the satanic drones of opener "Otra Noche," Kamixlo's club-forward approach combines Latin influences of reggaeton and bachata with punishing crunch and spat percussion. Visionist re-grids "Lariat" with signature cut-and-paste techniques and glacial synths. Mastered by Matt Colton at Alchemy. Artwork by PWR Studio and Bill Kouligas with additional art by Daniel Swan.



VAINIO & VIGROUX: Peau Froide, Léger Soleil 2LP (COSMO 003LP) 25.50
Double LP version. Peau froide, léger soleil is the result of a three-year recording process initiated by Mika Vainio and Franck Vigroux after a series of shared live experiences, beginning with a show in Paris in 2012. Their collaboration is an exercise in sensitive intensity, drifting through the whole space between minimalist meditations and maximalist kinetics. Vainio's signature brutalist production resonates throughout the album, constructing a psychic scenario for Vigroux's researches in spatial abstraction and tonal radicalism. Densely built through free-from structural limitation, this intense nine-track album is the third installment in the catalog of Berlin-based label Cosmo Rhythmatic, and acts as new chapter in the label's construction of an uncompromising sonic identity. Mastered by Denis Blackham at Skye Mastering. Lacquer cut at D&M, Berlin. Front cover photograph by Umut Ungan. Back cover photograph by Diego Jr.



THEE HEADCOATS: Elementary Headcoats (The Singles 1990 - 1999) 2CD (DAMGOOD 178CD) 19.50
A retrospective compilation of singles released on a multitude of different labels throughout the '90s. A fitting tribute to one of the greatest bands ever; highlights include "(We Hate The Fuckin') NME," "My Dear Watson," and "Every Bit of Me." Thee Headcoats were mainly Billy Childish (guitar, vocals), Bruce Brand (drums), and Johnny Johnson (bass). They formed in 1989 after Billy Childish's previous band, Thee Mighty Caesars, gave up the ghost. By 1992 they had already released something like six albums and 15 singles, one of which was DAMGOOD 1, a split single with Thee Headcoatees.


THEE HEADCOATS: Elementary Headcoats (The Singles 1990 - 1999) 3LP (DAMGOOD 178LP) 31.00
Triple LP version in triple gatefold sleeve.


BROKEOFFS, THE: Brain Damage/Eclipse/House of the Rising Sun 10" PIC DISC (DAMGOOD 443EP) 14.00
First-ever single from The Brokeoffs (Lawyer Dave, frequent collaborator with Holly Golightly), a 10" picture disc. Side A contains a combined cover of Pink Floyd's "Brain Damage" and "Eclipse"; the B-side contains the traditional classic "The House of the Rising Sun," made famous by The Animals and also recorded by John Otway.



VA: In the Streets Part II EP I 12" (DVR 028EP) 12.50
The Deep Vibes crew presents the second installment of the In the Streets series, begun in 2008 with the In the Streets double 12". Dope tunes from The Zars, Slack Society, and Henry L & Ingo Sänger.


VA: In the Streets Part II EP II 12" (DVR 029EP) 12.50
The Deep Vibes crew presents the second part of the second installment of the In the Streets series, begun in 2008 with the In the Streets double 12". Dope tunes from Ezikiel (voice by Seydou Badji), Melon, and Sascha Dive.



HARMONIA & ENO: Edward Versions 12" (ORKL 006EP) 14.00
Gilles Aiken aka Edward reinterprets two '70s krautrock excursions. Harmonia (Michael Rother of NEU! and Hans-Joachim Roedelius and Dieter Moebius of Cluster) released "Sehr Kosmisch" on their 1973 debut, Musik von Harmonia. In September 1976 Brian Eno and Harmonia recorded "Atmosphere" at the band's studio in Forst, Germany, but the song was not released until 1997. Edward, who mostly works within house and techno templates while echoing krautrock figures like Conny Plank, is recognized for producing filigreed club tracks with a spiritual edge; he's a mainstay of the Berlin-based White label as well as the esteemed Weimar-based Giegling crew.



Starting with this release (despite the fact that its catalog number numerically precedes ZEITC 017CD), Die Schachtel switches its Zeit Composers series to the vinyl format and begins opening up to international artists besides the usual Italian suspects. This LP features the collaborative effort of Belgium-based composer Giovanni di Domenico (of Italian origins) and avant-everything master Jim O'Rourke. A long composition for strings and electronics, Arco is a piece for sustained tones and drones, vividly immersive and almost physical. The subtly shifting tones, the way the overtones interact with each other, the evolution of the piece, are all impeccable, much in the vein of acclaimed composers like Catherine Christer Hennix, Éliane Radigue, and David Behrman, although with a "warmer" soul. It explores the antinomy between stillness and movement, building toward a hypnotic (and rewarding) aural experience. In Giovanni di Domenico's words: "Arco is born out of two necessities, strongly interrelated: 1) creating a sonic space where the concept of waiting (patience?) can turn into form, and 2) doing this together with Jim O'Rourke, a musician who finds in form and its use his true greatness; The structure of the composition is quite simple: it is based on a cell of four repeated notes (the 'DNA' of the piece), forming a melodic/harmonic texture which slowly freezes into suspended, levitating chords, in which the passing of time itself becomes a sort of harmonic extension, and in which the strings and the splendidly rich sonic palette of the electronics fuse into the true essence of Form." Each LP contains a 90x30cm-long tri-folded silver-and-black offset art print designed by Dinamomilano. Edition of 350. Giovanni di Domenico: string score; Jim O'Rourke: electronics. Ananta Roosens and Benoit Leseure: violins; Nicole Miller and Jef Durdu: violas; Marine Horbaczewski and Jean-Philippe Feiss: cellos.


"Chamber Rites is an encounter based on sharing emotions, on audio-visual exchange, on the practice of radical improvisation, characterized by a location or context, of which we define a part of its mobile architecture. Ours is a ritual whose coordinates -- spatial, temporal and performative -- are traced by signs, at the same time enigmatic and visible, sedimented in time" --Fabrizio Casti and Elio Martusciello, 2015. Fabrizio Casti: prepared piano; Elio Martusciello, computer. Fabrizio Casti is an Italian experimental music composer operating in both acoustic and electroacoustic improvisation, and the author of vocal, instrumental, chamber, and symphonic works for instruments and live electronics. He teaches Elements of Music Composition and Analysis at the State Music Conservatory of Cagliari, Italy, is Artistic Director of Spaziomusica, and is on the board of SpaziomusicaRicerca, Cagliari. Both associations conduct musical research and promote composition of contemporary and experimental music. His works have been published by RaiTrade, Ricordi, and Ut Orpheus and recorded by ECM, Stradivarius, LIMEN, Ricordi-Nuova Fonit Cetra, Warsaw Autumn, and Spaziomusica. Elio Martusciello is an Italian electroacoustic and experimental music composer, musician, and visual artist. He teaches electronic music at the Naples Conservatory of Music, Italy. He studied photography with Mimmo Jodice and visual arts with Carlo Alfano, Armando de Stefano, and Rosa Panaro. His aesthetics are inspired by acousmatics, but he also composes for instruments and live electronics and operates in installation art, multimedia, visual arts, and electroacoustic improvisation. His works have been recorded by Recommended Records, Staalplaat, Die Schachtel, Ambiances Magnétiques, FMP, GMEM, Institut International de Musique Electroacoustique de Bourges, and others.



VA: 10 Years Eastblok Music 2CD (EBM 025CD) 18.00
At the beginning of the millennium, party sounds from Eastern and Southeastern Europe began to conquer the metropolises of the world. In Berlin, the Russendisko and Balkanbeats parties were becoming the talk of the town. The only missing piece was the soundtrack to take home from these parties -- so two friends decided to set up the Eastblok Music label. The label's first release was 2005's Ukraina Orange: Songs of the Orange Revolution compilation. Next was Café Sputnik: Electronic Exotica from Russia (EBM 004CD, 2005), which turned out to be a long-term seller and is still considered one of the label's most original compilations. The time was ripe for BalkanBeats. For four compilations (including EBM 003CD (2005), EBM 007CD (2006), EBM 011CD (2008)), Eastblok accompanied DJ Robert Soko's successful party series of the same name on vinyl and CD. The music world started to recognize the label, and in 2006, Eastblok was one of the Top Label Award winners at the World Music Expo. The label's first band album was by Hungarians Little Cow, and several other bands followed including Shukar Collective from Romania, folk rockers Haydamaky from Ukraine, La Minor and Markscheider Kunst from Russia, Shazalakazoo from Serbia, Italians Figli di Madre Ignota (who have more Balkan in their blood than most Croats), the politically explicit Lyapis Trubetskoy from Belarus, and the German-Russian band Skazka Orchestra from Berlin. Most successful, however, are the label's concept compilations. After BalkanBeats there came Balkan Grooves (EBM 016CD, 2010), Polska Rootz (EBM 015CD, 2009), Swing Diskoteka (2011), and Lunapark (EBM 023CD, 2012). For those who have neither the nerve nor time to dig the music of a whole country, Eastblok provides a nice way to start. This double CD presents an overview of the label's 26 releases from 2005 to 2015. Disc one is a sort of best-of collection of the label's first ten years. Disc two features exclusive tracks and remixes from label artists and their side projects. Includes tracks by Musika Dika, Colindat, Messer Chups, Little Cow, Shukar Collective, Haydamaky, Slavic Soul Party!, Watcha Clan, Figli di Madre Ignota, La Minor, Psio Crew, [dunkelbunt] & Cloud Tissa, Kiril, Markscheider Kunst, Lyapis Trubetskoy, Parov Stelar, Shazalakazoo, Megapolis, Skazka Orchestra (including a remix by KommodoreK), Kozak System, Intim Torna Illegál, Mov.Sessian Project, St.Petersburg Ska Jazz Review, Tresmuchachos & Companeros, Brutto, and Di Meschugeles.


EB 110CD

DUB SYNDICATE: Dub Is All I Got: A Tribute to Style Scott (Remix Clash) CD (EB 110CD) 12.50
In October 2014, Lincoln Valentine Style Scott was murdered in his house in Manchester, Jamaica. He was 58 years old. At that time he had just finished his work on Hard Food (EB 099CD/LP, 2015), the first album released by his Dub Syndicate since 2004's No Bed of Roses. Dub Syndicate's first studio album in 11 years, an event that was to be a joyous celebration with friends, has now become Style Scott's legacy. Now, one year after his death, the new dub scene of Europe pays tribute to this legendary drummer. The trademark song "Dub Is All I Got" appears here in 14 different versions as a kind of Remix Clash. With the death of Style Scott, the reggae world, and indeed the entire world, has lost one of its best drummers, while his music and lyrics remain as a testament to the warmth and harmony that enriched his life. As a special bonus, this CD includes tracks of Style Scott's drums and Flabba Holt's bass with which listeners can make their own remixes, in tribute to Style Scott. Includes remixes by Dubblestandart, Rob Smith aka RSD, Dubvisionist, Aldubb, David Harrow aka Oicho, Robo Bass Hifi, Oliver Frost, Dubmatix, Umberto Echo, Victor Rice, Fenin, Madaski (Africa Unite), Dub Spencer & Trance Hill, and Braindamage.



FLAMIN' GROOVIES: In the U.S.A '79 CD (ECHO 2036CD) 17.00
By 1979, The Flamin' Groovies were still riding high from their 1976 album Shake Some Action, a devastating record that shone a wider light on the band and guaranteed their status as underground icons. Their influence would be felt in the ensuing years with numerous alternative bands both at home and across the world absorbing the band's look, sound, and attitude. Eternal champions of the raw punk of the 1960s that re-emerged on Greg Shaw's Pebbles series and Lenny Kaye's groundbreaking Nuggets, The Flamin' Groovies paid homage to the sound and the songs with an explosive live set as is evident from their appearance at Keystone in Palo Alto, CA, in August 1979. The complete radio broadcast of this performance is presented here in professionally remastered sound with background liners and rare archival photos.


BEC 5156233

PARA ONE & THE SOUTH AFRICAN YOUTH CHOIR: Elevation 12" (BEC 5156233) 14.00
In the decade after producing Bâtards Sensibles by TTC (2004) and releasing his own classic Beat Down and Clubhoppn EPs (in 2003 and 2005), Para One has never stopped reinventing his art. "It gives us great pleasure to announce the signing of Para One to Ed Banger records. A new chapter in his career, a new challenge for the label, 12 years of breaking boundaries in electronic music ... Para One & The South African Youth Choir's Elevation precedes another single and Para One's third album" --Pedro Winter, June 26, 2015. Includes remixes by Todd Edwards, Gener8ion, and Boston Bun.



FOX, ROBIN: A Small Prometheus LP (EMEGO 206LP) 20.00
Robin Fox follows his 2010 solo album A Handful of Automation (DEMEGO 012LP) with A Small Prometheus, a significant work that exposes a very different audio-world to that previously encountered. In time since A Handful of Automation, Fox has been highly active with his widely acclaimed RGB (red green blue) laser show along with a collaboration with Atom TM (Double Vision), which premiered at Unsound Festival in 2014. A Small Prometheus was developed as a soundtrack to a dance work of the same name co-created with Australian choreographer Stephanie Lake. The outline here was to explore the themes of combustion and dissipating heat in various physical systems. Greatly extending the language of his creative output, Fox constructs a synthesis of electronic and acoustic sources to create a deeply nuanced excursion through space and time, timbre and texture. There is a subtle intensity to the works here: "A Pound of Flesh" is an industrial-strength spiraling drone, intoxicating and disorientating; "Antlers" takes the listener on an 11-minute ride through a vortex of pulsing and swirling electronics; "A Small Prometheus" is an unnerving combination of distressed field recordings, close-mic'd crackle, and a foreboding distant pulse. "Through Sky" starts out with a slow, menacing, rhythmic backbone that hosts an arsenal of small sounds before a certain wind supplants all in an admirable and somewhat haunted exchange. With its combination of vast caverns, spiraling counterflows, and microscopic investigations, A Small Prometheus opens up a new world of sound in Fox's personal trajectory. Limited LP version includes six tracks; two additional melodic, rhythmic bonus tracks can be sourced from Bandcamp, further expanding the rich, elaborate sound world of Robin Fox. Cover image by Robin Fox. Layout by Stephen O'Malley. Mastered by Byron Scullin. Heat recordings engineered by Byron Scullin.


CHILD, ANTHONY: Electronic Recordings from Maui Jungle Vol. 1 2LP (EMEGO 215LP) 29.00
Double LP version. After melting minds since the mid-'90s with his beat-based productions, renowned techno producer Anthony Child aka Surgeon now brings the fundamental components of electronic sound production to the fore with Electronic Recordings from Maui Jungle Vol. 1. Focusing on the development of timbre and texture, Child creates exquisite drones that offer insight into his improvisatory sensibility and dig deep into the potential of modular synthesis. As the title indicates, Child has chosen a very special setting for this endeavor; the jungle of Maui seems to have acted as a stimulus for this exercise in concentration and trance. The intertwining of the electronic instrument and the sublime sounds of nature opens up an intimate resonant chamber. Birds, insects, and raindrops are allowed to break through, and the listener can sense the thick, humid air and deep colors of the surroundings resonating in the pastose synth lines. Some tracks offer beautifully built overtone-drones, while others are structured by playful arpeggios that create a shining bright texture and seduce the listener into a state of disintegration. At the same time, Child gives priority to the graininess of the instrument, to emphasize the haptic quality and inner tension of the sounds themselves. In the end, these minimalist procedures have been compiled into an unpretentious collection of sonic and atmospheric micro-jewels, inviting us to give ourselves over entirely and exclusively to listening.



ORCHESTRE PAILLOTE: Sous la Direction de Traore Kélétigui LP (SLP 001LP) 25.50
One of four albums in a series of reissues that represent a unique moment in African music, all originally released on the Guinean state-funded label Editions Syliphone Conakry. Faithfully recreated from the best original sources. In the late 1940s West Africa was bursting with energy, as first Ghana, and then, in 1958, Guinea, gained their independence. In the case of Guinea, its birth was sudden and dramatic; France, the colonial power at the time, withdrew within one month of the vote for independence, famously taking "everything including the lightbulbs." Guinea had to start from scratch, not least in its approach to the arts, which the new state wanted to modernize while still remaining true to tradition. This policy was called authenticité. Music was its focus and Syliphone its record label, and Guinean music soon became a shining example for other emerging African nations. It even attracted artists and activists such as Miriam Makeba and her then-husband, ex-Black Panther Stokely Carmichael who, harassed by the CIA, moved to Guinea in 1968. Under authenticité, musicians were employed by the state, given instruments, and encouraged to create a new but traditionally-rooted music. A whole system of regional and national bands was established, with regular competitions to establish precedence. It's also worth noting that from the Guinean perspective, this "tradition" included Latin music, the African roots of which were considered so obvious as to be beyond debate. Very quickly, three bands rose to the top: Orchestre Paillote, later to become Keletigui et ses Tambourinis; Orchestre du Jardin de Guinée, later to become Balla et ses Balladins (SLP 002LP); and, perhaps the strongest of them all, Bembeya Jazz (SLP 004LP). This is the first vinyl reissue of the first full-length album recording from Orchestre Paillote, faithfully recreated as originally presented, sequenced, and released in 1967.


ORCHESTRE DU JARDIN DE GUINEE: Sous la Direction de Onivogui Balla LP (SLP 002LP) 25.50
One of four albums in a series of reissues that represent a unique moment in African music, all originally released on the Guinean state-funded label Editions Syliphone Conakry. Faithfully recreated from the best original sources. In the late 1940s West Africa was bursting with energy, as first Ghana, and then, in 1958, Guinea, gained their independence. In the case of Guinea, its birth was sudden and dramatic; France, the colonial power at the time, withdrew within one month of the vote for independence, famously taking "everything including the lightbulbs." Guinea had to start from scratch, not least in its approach to the arts, which the new state wanted to modernize while still remaining true to tradition. This policy was called authenticité. Music was its focus and Syliphone its record label, and Guinean music soon became a shining example for other emerging African nations. It even attracted artists and activists such as Miriam Makeba and her then-husband, ex-Black Panther Stokely Carmichael who, harassed by the CIA, moved to Guinea in 1968. Under authenticité, musicians were employed by the state, given instruments, and encouraged to create a new but traditionally-rooted music. A whole system of regional and national bands was established, with regular competitions to establish precedence. It's also worth noting that from the Guinean perspective, this "tradition" included Latin music, the African roots of which were considered so obvious as to be beyond debate. Very quickly, three bands rose to the top: Orchestre Paillote, later to become Keletigui et ses Tambourinis (SLP 001LP); Orchestre du Jardin de Guinée, later to become Balla et ses Balladins; and, perhaps the strongest of them all, Bembeya Jazz (SLP 004LP). This is the first reissue of the first full-length album recording from Orchestre du Jardin de Guinée, faithfully recreated as originally presented, sequenced, and released in 1967.


BEMBEYA JAZZ: Sous la Direction de Diaoune Hamidou LP (SLP 004LP) 25.50
One of four albums in a series of reissues that represent a unique moment in African music, all originally released on the Guinean state-funded label Editions Syliphone Conakry. Faithfully recreated from the best original sources. In the late 1940s West Africa was bursting with energy, as first Ghana, and then, in 1958, Guinea, gained their independence. In the case of Guinea, its birth was sudden and dramatic; France, the colonial power at the time, withdrew within one month of the vote for independence, famously taking "everything including the lightbulbs." Guinea had to start from scratch, not least in its approach to the arts, which the new state wanted to modernize while still remaining true to tradition. This policy was called authenticité. Music was its focus and Syliphone its record label, and Guinean music soon became a shining example for other emerging African nations. It even attracted artists and activists such as Miriam Makeba and her then-husband, ex-Black Panther Stokely Carmichael who, harassed by the CIA, moved to Guinea in 1968. Under authenticité, musicians were employed by the state, given instruments, and encouraged to create a new but traditionally-rooted music. A whole system of regional and national bands was established, with regular competitions to establish precedence. It's also worth noting that from the Guinean perspective, this "tradition" included Latin music, the African roots of which were considered so obvious as to be beyond debate. Very quickly, three bands rose to the top: Orchestre Paillote, later to become Keletigui et ses Tambourinis (SLP 001LP); Orchestre du Jardin de Guinée, later to become Balla et ses Balladins (SLP 002LP); and, perhaps the strongest of them all, Bembeya Jazz. This is the first reissue of the first full-length album recording from Bembeya Jazz, faithfully recreated as originally presented, sequenced, and released in 1967.


VA: Musique Sans Paroles LP (SLP 054LP) 25.50
One of four albums in a series of reissues that represent a unique moment in African music, all originally released on the Guinean state-funded label Editions Syliphone Conakry. Faithfully recreated from the best original sources. In the late 1940s West Africa was bursting with energy, as first Ghana, and then, in 1958, Guinea, gained their independence. In the case of Guinea, its birth was sudden and dramatic; France, the colonial power at the time, withdrew within one month of the vote for independence, famously taking "everything including the lightbulbs." Guinea had to start from scratch, not least in its approach to the arts, which the new state wanted to modernize while still remaining true to tradition. This policy was called authenticité. Music was its focus and Syliphone its record label, and Guinean music soon became a shining example for other emerging African nations. It even attracted artists and activists such as Miriam Makeba and her then-husband, ex-Black Panther Stokely Carmichael who, harassed by the CIA, moved to Guinea in 1968. Under authenticité, musicians were employed by the state, given instruments, and encouraged to create a new but traditionally-rooted music. A whole system of regional and national bands was established, with regular competitions to establish precedence. It's also worth noting that from the Guinean perspective, this "tradition" included Latin music, the African roots of which were considered so obvious as to be beyond debate. Very quickly, three bands rose to the top: Orchestre Paillote, later to become Keletigui et ses Tambourinis (SLP 001LP); Orchestre du Jardin de Guinée, later to become Balla et ses Balladins (SLP 002LP); and, perhaps the strongest of them all, Bembeya Jazz (SLP 004LP). Nine years later, in 1976, the situation was not so positive. Guinea's economy was struggling and political dissent had arisen. It is against this background that the fourth album in this series, Musiques sans paroles, was recorded and released. Entirely instrumental, it features a variety of groups, including Miriam Makeba's sometime-backing-band, the Quintette Guinéenne, and remains remarkably fresh today with, for example, "Tam-tam sax" referencing the free jazz sounds of Pharoah Sanders or Albert Ayler, while "Flute parlant" showcases the traditional flute of the Fula people. This is the first reissue of Musique Sans Paroles, faithfully recreated as originally presented, sequenced, and released in 1976. Also includes performances by Sombory Jazz, Ballets Africaine, Trio Papa Kouyaté, and Momo Wandel.



GIGLI, GIORGIO: The Right Place Where Not to Be CD (EDLX 045CD) 17.00
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.



GEIST, MORGAN: Megaprojects One 12" (ENV 039EP) 14.00
Environ boss Morgan Geist returns to his love for Detroit techno, Chicago tracks, and generally exceptional dancefloor music with the first EP in his Megaprojects series. "I chose the name 'Megaprojects' for this series partly because I am inspired and fascinated by imposing, surreal engineering and architecture: giant hydroelectric dams, soaring bridges and strange-looking, exposed-concrete government buildings. I also found the irony of such a grandiose name for this series amusing, considering megaprojects are by definition large-scale, high-tech and costing billions of dollars, whereas this is a collection of carefully-made but low-tech tracks, created with cheap little drum machines and rejected old synths."


ESK 507378

PRINS THOMAS: Paradise Goulash 3LP (ESK 507378) 39.50
This triple LP contains a selection of tracks used in Prins Thomas's 2015 three-CD mix Paradise Goulash (ESK 507275). Includes tracks by Il Guardiano del Faro, Gábor Szabó, Claude Speeed, Brian Bennett Band, Young Marco, Actress, C Cat Trance, Mistral, Richard Schneider Jr., Wally Badarou, Jan Akkerman, Siriusmo, Blacknecks, Johanna Billing, Krater, and Kurt Vile. "Dear Listener, Thank you for purchasing this trio of vinyl records. The music contained within is a delightfully diverse collection that I hope you will find pleasing to your ears. Much like a bowl of goulash, not all the ingredients may be to your liking. It is undeniably more rustic roadside tavern than refined dining, but I hope you trust me behind the pots and pans. I have been spoilt for choice by the many fine ingredients available to me and have become somewhat blinded in compiling the final tracklist. However, the end result has now been tested on my nearest and dearest for approval. And with that I present to you my own special Paradise Goulash." --Prins Thomas, July 28, 2015



JONSON, MATHEW: Fabric 84 CD (FABRIC 167CD) 16.00
Canadian Mathew Jonson is one of electronic music's most distinctive voices. Fabric 84 is a recording of his standout live set at Fabric's 15th birthday in October 2014. Performing in a Japanese bunny suit, Jonson opens with Cobblestone Jazz's "Northern Lights" before launching into spine-tingling live versions of his own classics like "Marionette," "Decompression," and "Learning to Fly"; a host of tracks unheard outside his live show; and his remixes for Subb-an (feat. S.Y.F.) and Kevin Saunderson's Inner City; plus his and The Mole's remix of "If" by Tobias. and "Octopus Brains" by Units and Measurements (feat. Deadbeat). Packaged in bespoke slipcase containing die-embossed tin.



MAURICE, CHARLES: AOR Global Sounds 1977-1982 CD (FVR 108CD) 16.50
Following the success of French Disco Boogie Sounds (FVR 101CD/LP, 2015), DJ and producer Charles Maurice is back on Favorite Recordings, this time engaging a musical world tour in search of hidden productions with a touch of AOR style. The result is AOR Global Sounds, a compilation of eight forgotten and rare tracks produced between 1977 and 1982 in all parts of the globe. At the end of the '70s, many artists all over the world were deeply influenced by such AOR stars as Steely Dan and their classic Aja LP and strove for the same attention to sound production and detail; this specific West Coast style mixed with pop rock standards, soul, disco, and jazz influences. From Erik Tagg in the Netherlands and Ulla in Poland to Diane Tell in Quebec and Nohelani Cypriano in Hawaii, Charles Maurice has found a real link between these great songs and artists in their music clearly infused with this special AOR touch. Fully remastered from the original versions. A must-have for rare-groove collectors. Also includes tracks by Junior Mendes, Loredana Berte, Placa Luminosa, and Paul Hart.



DAWSON, JULIAN: Living Good CD (FLED 3090CD) 17.00
Julian Dawson: possibly the UK's most overlooked singer-songwriter. Julian Dawson is well-known on the Continent, especially in Germany, where he has had many chart successes, but in the UK, his recordings have often slipped under the radar. Over the years, collaborations with an eclectic roster of stellar musicians including Gene Parsons, Toots Thielemans, Richard Thompson, and Lucinda Williams have remained a recurring feature of his recorded and live activities. After 22 solo albums, Dawson returned to his friend Dan Penn's studio in Nashville for this entirely analog recording, Living Good. It's a sonically beautiful guitar/vocal performance with a handful of well-chosen guests and spontaneous harmony vocals from the legendary producer. Dawson is a world-class harmonica player, at home in classic UK pop, folk, country, and blues music circles. He has also found success as a record producer for Wolfgang Niedecken and country legend Charlie Louvin, and as an author, with his definitive biography of Nicky Hopkins. The infectious arrangements and joyous tunes on Living Good, including two co-writes with Dan Penn, are destined to bring Dawson's music to a wider audience.


KIRKPATRICK, JOHN: Tunes from the Trenches: Songs from the First & Second World Wars CD (FLED 3099CD) 17.00
Squeezebox maestro John Kirkpatrick has recorded a glorious selection of songs from World War I and II in a program that highlights two different kinds of material -- there's a smattering of the popular hits of the day, interspersed with a selection of songs sung on the front line by service personnel. "In the main this is a celebration of the comradeship and spirit that allowed those previous generations to Keep Smiling Through. These are the songs these people sang at the time, with the straightforward attitude that was prevalent amongst our glorious forebears -- we're all in this together, so buck up and get on with it." It's a sensational and occasionally poignant musical feast.



MOUFANG/CZAMANSKI: Live in Seattle 2CD (FUR 050CD) 20.00
In May 2013, at a nondescript Seattle space called 1927 Events, two-thirds of Magic Mountain High -- Germany's David Moufang aka Move D and the Netherlands' Jordan Czamanski of Juju & Jordash -- teamed up for the kind of live performance during which you say to yourself, "I hope to hell somebody's recording this." Thankfully, somebody was doing just that, and the 99-minute Live in Seattle is the sterling result. People throw around the word "deep" to describe electronic music with cavalier frequency, but in the case of Moufang and Czamanski (who also records as Jordan GCZ), that adjective barely encapsulates the kind of fathomless sound they create. Live in Seattle captures them working at the zenith of their improvisational powers for a rabid crowd. The show begins with anticipatory cymbal taps and a beautifully morose melodica motif that wouldn't sound out of place in an Ennio Morricone soundtrack. A few minutes in, faint pulses enter earshot and a minute later the clap-enhanced beats and synth-bass burst into the forefront to form a strutting mid-tempo rhythm with a subliminal drone swirling beneath it. Masters of dynamics, Moufang and Czamanski incrementally intensify and ingeniously arrange the elements, especially that underlying keyboard drone, until you're in a state of panic and ecstasy. Over the course of the set, the two producers flaunt their expertise for pacing. They avoid the obvious and subvert expectations throughout the performance, sporadically letting the beats drop out in order to luxuriate on a particularly alien organ oscillation, a sinister bass rumble, an ominously pulsating synth, an unsettling thumb-piano motif, or a mind-warping 303 acid ripple, to name just a handful of examples. Of course, Moufang and Czamanski also keep things danceable for stretches of time, and about 78 minutes in, they even shift out of their foundation of oddity and into heavenly techno mode with a gloriously ascendant melody. For their well-deserved encore, Moufang and Czamanski reprise the intro's mournful melodica reverie and then infiltrate it with a series of percolating and disorienting bleeps and a celestial drone worthy of new age legend Laraaji. This stellar ambient coda reflects Moufang and Czamanski's exceptional, eccentric musicality. Techno is not known for its live albums, but Live in Seattle sets the standard for the format, with its abundant, sublime tunefulness, textural richness, and enchantingly enigmatic tangents. Mastered by Rashad Becker at Dubplates & Mastering.



ROCKET ROBERT: Rocket Robert LP (GKL 004LP) 25.50
LP version in tip-on sleeve. Those who've dirtied their fingers searching high and low for analog synth nuggets can rejoice at the arrival of under-the-radar synthesizer maverick "Rocket" Robert Moore. This first-time reissue is less a reissue than an exhumation, as Moore originally released his singular, unique 1982 Rocket Robert LP in edition of 142 hand-screenprinted copies on his own Salem, Oregon-based Future Records; few copies circulated outside Oregon. Rocket Robert drifts in the backward-looking sounds of early synth innovators while also mining the kraut-tinged moments of punk-era instro-synth explorers and the first breaths of synth-pop -- rather than carrying similarities to the new wave that was then taking hold of the masses. Moore's debut is simultaneously lighthearted and shot through with ominous oscillations, and offers up a darkly-throbbing, otherworldly vibe that is sure to ensnare synth-heads, beat-diggers, and those searching the margins of the private-press phenomenon alike. RIYL Delia Derbyshire, Fad Gadget, Mort Garson, Gershon Kingsley, Martin Rev, Morton Subotnick, etc. Includes two previously-unreleased, spaced-out electro-pop songs from the album sessions. Insert features informative liner notes by Dave Segal (staff writer for Seattle's alternative weekly The Stranger) based on interviews with Moore, as well as rare photos from Moore's archives. Original master tape sound.



MANCO, BARIS: 2023 LP (GUESS 106LP) 29.00
2015 restock. From 1975, this is Baris Manço's masterpiece. Stunning cosmic, psychedelic, groovy conceptual album with fantastic electronics and a strong Turkish folk flavor, as usual. Legit deluxe release. Comes with the original gatefold cover, a reproduction of the full-color booklet, and an insert with extensive liner notes. 350 gram carton cover and pressed on 180 gram vinyl.



WHY BE: Snipestreet 12" (HALC 002EP) 16.50
Rabit's Halycon Veil label swerves left with a freakish release from the Korean-born, Danish-raised Why Be (DJ Hvad's Syg Nok, Janus regular, Total Freedom's 2012 Blasting Voice compilation). Grime, bumpy techno, and internet-world electronics add up to a frictional but fluid batch. "Heroin Hat" crosses wires between ersatz Afro melodies and sublow techno with the playful dexterity of Physical Therapy; the massive blackened mass of "Whalin (Kyselina OST)" proves an impressive aptitude for beatless, abstract sound-design. He glances askew at ballroom house from a loop vortex with "Deeq"; its bitch-slapping counterpart "Late (Laser Ha)" throws down limb-synched edits for the voguers.


HW 011CD

O.R.K: Inflamed Rides CD (HW 011CD) 16.50
Drawing on the singular talents of vocalist and producer Lorenzo Esposito Fornasari (Berserk!, Obake), innovative guitarist Carmelo Pipitone (Marta Sui Tubi), and internationally renowned musicians Pat Mastelotto (King Crimson) and Colin Edwin (Porcupine Tree), O.R.k's Inflamed Rides is an intriguing collaborative album that defies easy categorization yet remains gratifyingly accessible. The debut album fuses primordial energy with playful acoustic psychedelia and precise math rock, but with an added seasoning of intense ambient electronica. O.R.k illuminate a deep subconscious landscape, rich with controlled chaos and populated with archetypal forms and characters. Highlights include the mezmerising "Pyre" and the jarring urgency of "Funfair," which promises entertaining rides in the most intimidating manner. Imposing, but also encompassing a hypnotic, powerful beauty, Inflamed Rides is a forward-thinking, mischievous slap to the head of complacency, and a captivating listen from start to finish.



LOKIER: Gate Masters 12" (HAKT 014EP) 14.00
Mexican DJ and producer Yoan Rodriguez aka Lokier presents Gate Masters, a heavy EP of uncanny dance. "Blind Flow" opens into a whopping current of elliptical surrealism à la Terrence Dixon. "Gate Masters" features a rippled bassline and high-pitched Suspiria synths that turn a dark piece of club functionality into a retro fever-dream. "Hel's Reaction" begins with a classically spooky synth arpeggio and mounts to a macabre big-room stomper. London-based producer South London Ordnance replaces some spook with extra thump for a beefy remix of "Gate Masters."


HH 3018CD

METHENY GROUP, PAT: Phase Dancer... Live, '77 CD (HH 3018CD) 17.00
Having played with Gary Burton, Jaco Pastorius, and other leading fusion musicians, the prodigious Pat Metheny made his solo recording debut in 1976. The following year he released Watercolors, marking the start of his long collaboration with pianist Lyle Mays. That summer they played various dates (together with bassist Mark Egan and drummer Danny Gottlieb). The superb tracks featured here include material from Watercolors and the Pat Metheny Group album (which would be released in 1978), and were originally broadcast on KJAZ-FM. The complete broadcast is presented here in digitally remastered sound with background notes and images. "Phase Dancer," "Watercolors," and "Wrong Is Right" were recorded at the Great American Music Hall in San Francisco on August 31, 1977; "San Lorenzo" was recorded at the Seattle Opera House on September 4, 1977.

HH 3020CD

DAVIS, MILES: Sun Palace, Fukuoka, Japan October '81 CD (HH 3020CD) 17.00
Following a six-year absence from music while he rebuilt his health, Miles Davis erupted back onto the live scene in 1981 with a new, young band comprising Bill Evans (sax, flute), Mike Stern (guitar), Marcus Miller (bass), Al Foster (drums), and Mino Cinelu (percussion). This incendiary set was taped for FM radio broadcast at the Sun Palace in Fukuoka, Japan, on October 11, 1981; the complete broadcast is presented here in digitally remastered sound with background notes and images.

HH 3023CD

SZABO, GABOR: Magical Connection CD (HH 3023CD) 17.00
Born in Hungary in 1936, Gábor Szabó became a major name on the emerging US jazz fusion circuit in the 1960s. By the mid-'70s he was firmly established as one of the most popular guitarists in the style, influencing Carlos Santana, George Benson, and many others. This superb live set was taped at the Agora Theatre in Cleveland in 1976 for broadcast on the Agora Radio Network's New World of Jazz show, to coincide with the release of Szabó's classic 1976 Nightflight LP. The complete broadcast is presented here in digitally remastered sound with background notes and images.



HIP EDITS: Edits 02 12" (HIPEDITS 002EP) 14.00
More Hip Edits, this time provided by Edit Piafra and Johannes Albert. Unlimited vinyl only with music to make you cry -- ahem -- dance. These tunes were rediscovered in a lonesome backyard in Monza, Italy. Straight recorded from original cheese plates and Abletoned up for today's DJ needs. Now stop the talking please. Play it, say it!



VOM GRILL: Lerend Luisteren 7" (HOL 073EP) 12.00
Two tracks fitting the best format to choose when you have to capture the music of Dennis Tyfus, the Antwerp-based hyperactive artist who draws, paints, takes photographs, makes films, plays music, sings, and creates books and magazines. The A-side of this single -- "Leren zwijgen" -- is an organ-melancholic-glitched song diving on a fanatical shrieking crowd. The flip -- "Lederen spelen" --starts with a limping accordion and ends with a choral multi-track warped vocalization. Edition of 100.


Third -- and sadly last -- chapter of the archival recordings fixed on tape by Hartmut Geerken during his stay in Kabul in the '70s. Insistency! was recorded at the Goethe-Institut Afghanistan in Kabul on same day as the duo session of Hindukush Serenade (HOL 071LP) -- May 22, 1977 -- but also sees Maqsud Schukurwali and Ghafur Rasul -- members of the Free Jazz Group Kabul -- joining Geerken and John Tchicai and playing an insistent anthem, also featuring an eight-year-old Olaf Geerken on congas. On side B, the music gets quieter and Tchicai finds the perfect moment to release his yelled, ecstatic chant, slowly turning into a hypnotizing song. Edition of 250.



DOUGHTY/THE SINGING SONS OF WASHINGTON, D.C., CAMILLE: Elijah Rock/Jesus Will Be with Me 7" (HJG 001EP) 12.50
As a divine harbinger of Honest Jon's Records' dazzling survey of the Gospel Roots label -- out at the end of 2015 -- here's Camille Doughty from Columbus, Ohio, in full flight over a gritty funk-rock version of the gospel evergreen most famously recorded by Mahalia Jackson 20 years earlier; with some hard-grooving, Sam Cooke-style testifying on the flip, from The Singing Sons of Washington, D.C. Beautifully sleeved; in limited numbers.



AKITSA: Grands tyrans LP (HOS 442LP) 25.00
"Five years in the making, Montreal's Akitsa delivers their fifth album of spirited and inevitable black metal fatalism. A respected and passionate disciple of the black metal underground from its earliest days, Akitsa's Outre-Tombe has remained true to the spirit of the genre, while carving out a personal space within it. Akitsa was founded in an environment of isolation. A pre-Akitsa Outre-Tombe gained experience from early maneuvers out of the DIY cassette culture of the early 90's experimental mail circuit, and he eventually transmuted this abstraction and freedom back into misanthropic black metal -- and Akitsa was born. This passionate yet primitive North American black metal pioneer came into existence regardless of any local indifference to the need for it. Fusing a love for industrial noise, punk, and creepy synth soundscapes with pure raw black metal, Grands tyrans is the most challenging, powerful, and fully realized synthesis of these various strands to date. While sonically Akitsa has matured into a perfect amalgamation of extreme music (metal, punk, experimental), Outre-Tombe's voice has the rude and fearless energy of youth expanding upon the diversity of emotions that black metal festers in the complex mixture of violence and introspection. Grands tyrans masterfully strikes with urgent immediacy like the falcon springing through frost covered branches commencing the hunt."


MORELLI, RON: A Gathering Together CD (HOS 477CD) 14.50
A Gathering Together is Ron Morelli's second full-length for Hospital Productions, a "techno" cacophony brought to its granular detail and reduced to its most elemental tonal depths. A cohesive fusion of surreal and feverish déjà-vu loops, brittle noise, fucked rhythms, scrap-metal percussions, pro-one metal synths, and an injection of near-buried Dr?no vocal samples, it's a fearsome celebration of brokenness and of amplified surroundings, with stereo-shifting drones and driving rhythms that tell the stories of those now gone -- more a soundtrack for a wake than 4/4 crafted for the dancefloor. There's a naked anxiety at work that doesn't turn away from loss but runs with an excited melancholy toward a future that won't exist. The boldness of the gestures is not to be confused with exuberance. With this effort Morelli has shown remarkable restraint and patience, most notably highlighted on title-track "A Gathering Together," an intense cut born from rapid-paced dead-end urban environments that force people together. It's a calling to do more, include more, and celebrate the many forms within those inconspicuous places. Upon numerous listens, it's clear that the sound-design is a reflection of heavy compositional themes that suggest a greater whole. This is hard, dirty techno -- humid, reduced, bare-bones, yet dense and dissolved to its electronic soil. Heavy without being oppressive, it is the culmination of many elements pulled from all spheres of modern electronics, eaten, digested, and spit back out. Produced at the end of 2014, with final mixdown and additional production in spring 2015 by Krikor Kouchian and Ron Morelli in Paris. Mastered and cut by Matt Colton.



ANALOGUE COPS, THE: Monkey Suits 12" (HYPE 046EP) 15.50
Italian producers Lucretio and Marieu aka The Analogue Cops split this 12"; "Vampire Killer" is Lucretio's ode to bit-crushed techno, with 135+ beats-per-minute of face-melting drum machine funk and beautifully distorted melodies (taken from the MSX2 game Vampire Killer). The bitty melodic phrases of Lucretio's "Shinobi" push the track into orchestral territory, with heady arpeggios and feel-good melodies. Marieu's "Corona" takes things into harder, darker territory with deep sine-wave bass and impeccably mixed drums. "McGraw" waltzes into vintage Chicago territory; with looping funk samples and slamming drums, this track proves you don't need 20 channels to make a burner.



L A N D: Anoxia CD (IMPREC 429CD) 14.00
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."



THROBBING GRISTLE: Heathen Earth: The Live Sound Of Throbbing Gristle LP (IRL 004LP) 23.00
2015 repress. Gatefold LP version. Originally released in 1980, Heathen Earth is a crucial live document of industrial pioneers Throbbing Gristle. In member Chris Carter's own words: "You had to have been there. Which is what we always say about TG. TG on record and TG live are two completely different things." This album is probably the closest approximation of the two you'll ever get: it's a "live in-studio recording" made in front of a small audience and the event was filmed by Monte Cazzaza with the intention of also releasing it on video. The majority of the set is instrumental, fluctuating between the raw electronics of their early work and the band's more melodic material. Tracks include a rework of early classic "After Cease To Exist" and Brion Gysin fave "Dreammachine." The newly cut 180-gram vinyl editions include painstakingly restored cover artworks, using original source material from the Industrial Records visual archive. In addition, each of the vinyl releases includes an exclusive large format 8-page color booklet featuring an abundance of Throbbing Gristle archival material, including some previously-unpublished photos of the band. .



BLACK SPUMA: Oasi 12" (IFEEL 048EP) 14.50
180-gram vinyl. Black Spuma are Fabrizio Mammarella (Telespazio) and Phillip Lauer (Tuff City Kids). Oasi opens with "Hype Around," which combines old and modern Italo and balearic house with a D&B bassline and a few delicious pads. "Spumatix" lowers the BPM and adds a Lee Perry Space Echo, while "Black Spuma" takes us back to Rimini, framing the classic sound in a modern context. "Emizioni Miste" brings the EP to a close with a tribal machine groove, funky bassline, and popcorn keys.


LEISE, LEN: Lingua Franca LP (IFEEL 049LP) 22.00
180-gram vinyl. Respected balearic imprint International Feel introduces its series of mini-albums with Len Leise's Lingua Franca. The series consists of six-to-eight-track albums, allowing each artist to show more of their musical identity without the constraints of the traditional album format. Lingua Franca precedes a beautiful release from Canada's CFCF, an ambient album from Jan Schulte, and the return of Gatto Fritto. Len Leise is Australian -- that is known. Does he exist? Maybe in the mind of his creator. Lingua Franca follows three beautiful EPs centered around a natural musical theme built on emotion, times, and spaces. Lingua Franca, his first long-form work, shows the varied palette of his listening habits, from ambient jazz through Afro disco; the likes of Yasuaki Shimizu, Jake Sollo, and Ike White. Rare names for a rare sound. Lingua Franca is all about travel and progression, in both physical and emotional senses. It's an imaginary journey based on real experiences, though, as with his name, what is real and what is not doesn't matter. Morocco appears in the deep ride of "Forlorn Fields," Spain in "Leaving Llucmajor," and Russia in "Route to Reutov." Ever on the move, trade language is necessary -- a lingua franca. India finds its way here via the chimes of "Madala Maksim," Brazil in the disco sound of "O Camino," and Africa in the slow, thoughtful pace of "El Modelo." Sometimes a visual element brings the music to life; sometimes a thought or feeling. It's music to keep and get lost in, a spiritual ride across the world's paths and percussions. These sounds are true to Len Leise and Lingua Franca has been designed to delve inside his mind. A spreading of wings, changing pace for a chance to indulge in those wispy, smoke-filled thoughts. Artwork comes courtesy of The Material Collective, responsible for International Feel's switch back to full cover art. Each mini-album in this series has a similar look, as part of a diverse series of interlinked journeys through the sonic spectrum of each artist's imagination.



IACOUCCI, GERARDO: Simbolismo Psichedelico LP (INTER 001LP) 25.50
Gerardo Iacoucci attended the Berklee College of Music in Boston and, later, founded the Scuola Popolare di Musica di Testaccio in Rome, but he is mainly remembered as an excellent jazz pianist. During his long career, the musician born in Veroli, Italy, explored -- with great dedication and talent -- various different music genres and recorded many libraries, many of which qualify as small masterpieces. One of the most famous is Simbolismo Psichedelico, originally released in 1970 by the small Deneb label (home of other heavyweights such as Alessandro Alessandroni, Amedeo Tommasi, Stefano Torossi, and Daniela Casa), and also pressed in France by the St Germain des Prés label with the title Symbolisme Psychédélique. These 11 tracks tirelessly explore the boundaries of an "expressive urge," which is the signature style of a master like Iacoucci. The disturbing atmospheres of "Fantasmi Lunari," the avant-garde drive of "Ipnosi" and "Inibizioni" (two short sketches at the end of the album), and the free mood of "Psicopatologia" are just a few among the best and most essential moments of this gem. There are no limits or fears in Simbolismo Psichedelico -- this is an incredible, and truly hallucinatory, sensory experience. Edition of 300 copies; first-ever reissue; remastered sound.


Originally released in 1975 by Italian label Octopus Records, a label devoted to thematic libraries, Angoscia is one of the best works by Italian composer Alessandro Alessandroni. Famous for his film-score work -- often with such masters as Piero Umiliani and Ennio Morricone, with whom he collaborated to create some truly immortal soundtracks (especially those written for Sergio Leone) -- Alessandroni also developed a parallel career as an author of library music, freely crossing and touching every music genre. Alone, or together with friends and pupils like Rino de Filippi (aka Gisteri) and Giuliano Sorgini (aka Raskovich), he always managed to push the boundaries of experimentation, but with great taste and personality, never giving up on the majestic orchestrations characteristic of his art. Angoscia, released when Alessandroni was at his creative peak, features 12 tracks revolving around the album's core theme of angoscia, or anguish; the pieces move through dismay, desperation, uncertainty, pride, resignation, frustration, desolation, agony, prostration, obsession, and, finally, fear. Thirty minutes of anguish have never seemed so enticing and nuanced... Edition of 300 copies; first-ever reissue; remastered sound.



LEE, ALAN: An Australian Jazz Anthology CD (JMAN 078CD) 14.50
There are few Australian originals in jazz, but vibraphonist Alan Lee surely ranks among the best. Australian jazz is and always will be an interpretation of the American art form, but throughout his long career Lee has ploughed his furrow undaunted; as he puts it, "What I want is the fire! Whether it's John Coltrane's 'Blues Minor' from Africa/Brass or 'Backwater Blues' by Leadbelly, I want the emotion, the gut wrenching pain, the cry from within!" A musician and bandleader who cut a number of jazz sides for small independent Melbourne labels from the early 1960s to the mid-1970s, Lee has always searched for this fire, evident in the broad styles he's covered throughout his career. From '60s soul jazz to the deep modal sounds of the early '70s and cross-genre experiments exhibited in his chamber jazz, the tracks included in this anthology -- the first of Lee's music -- were recorded by various incarnations of Lee's band and are taken from three albums recorded in 1973 and 1974 -- Lee's sole albums as a bandleader and collectors' items in their own right. The deep modal version of "Love Song" and Freddie Hubbard's perennial spiritual jazz standard "Little Sunflower" are both taken from the 1973 LP The Alan Lee Jazz Quartet. The 1973 album Gallery Concerts 1973, which was recorded for Bruce Clarke's jazz sub-label Cumquat Records, provides us with a fierce electric-jazz version of Igor Stravinsky's "Dance of the Adolescents" from The Rite of Spring, plus the plaintive chamber jazz of John Lewis's "Sketch" as well as two tracks featuring vocalist Jeannie Lewis -- "Bachianas Brasileiras No. 5" and the beautiful "Bailero." Completing this compendium is a cover of the Milt Jackson-penned "Enchanted Lady" taken from the 1974 follow-up recording for Jazznote, The Smilor. This anthology is filled out by Lee's stories, including his correspondence with fellow vibraphone player Gary Burton on how to achieve advanced extended techniques for the vibraphone (resulting in pages of technical diagrams) and a story about travelling across the US to purchase an original 1940s Deagan Imperial vibraphone from the Chicago Symphony Orchestra "just to get that Milt Jackson sound." There are moments of deep introspection and intellect in Lee's playing; this is emotional music that contains and shares a common spiritual oneness, seeking the thrill Lee experienced after first listening to Lionel Hampton and The Benny Goodman Quartet. CD includes four extra tracks.


BIRCHALL, NAT: Invocations CD (JMAN 082CD) 14.50
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.


KH 9054LP

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



PERKINS, LASCELLES: Sings Studio One and More CD (KSCD 059CD) 14.00
Lascelles Perkins was one of the first stars of the Jamaican music scene, Studio One's leading balladeer, and one of the most underrated singers from that time. Perkins sang sentimental ballads and scored massive local hits for Coxsone Dodd's Studio One label with tracks like "Lonely Moments" and "Together Forever." Other big hits followed, including "The Mighty Organ" (a duet with Hortense Ellis, Alton Ellis's sister), "Destiny," and a whole catalog of standards. Perkins could sing any song, make it seem effortless, and, at the same time, address it in his own unique style. Perkins was present at the birth of Studio One, at the initial sessions carried out in 1959 alongside the other big singers of the day, Alton Ellis and Basil Gabbidon. The session took place at Federal Studios and, as was standard at the time, the studio had one mic hanging down in the middle of the room. The singer would be nearest to the mic, and the musicians, depending on how loud their instruments were, would place themselves accordingly in the room, recording everything together in a single take. The singers and the musicians would have to be at the top of their game and would be paid for each side they cut. Doing things over would mean fewer songs finished. Time and money was tight, but this discipline made the great records we know today. This set includes Perkins on some lost tapes from producer Bunny Lee's archive, singing some of the big Studio One hits of the day, including "Rain from the Skies," "Stick by Me," "Love Me Forever," and "No Man Is an Island," alongside other great tunes from the time like "Dancing Mood," "Pledging My Love," "Take My Hand," "Never Never," and "Dinner for One." CD includes five bonus tracks.


PERKINS, LASCELLES: Sings Studio One and More LP (KSLP 059LP) 15.50
LP version.



BLOND:ISH: Welcome to the Present CD (KOMP 127CD) 15.50
After establishing their rule over the 12" format and turning your run-of-the-mill dance EP into a miniature opera in its own right, Blond:ish were bound to come up with a debut full-length at some point, but even so, Welcome to the Present drops as a major surprise. Flexing the psychedelic and spiritual influences that informed their Lovers in Limbo EP (KOM 253EP, 2012), Inward Visions (KOM 268EP, 2013), and Wunderkammer (KOM 308EP, 2014), this material presents itself not so much as the collection of DJ-ready peak-time bangers that some would've expected, but as what one might admiringly call a total trip. Here, each track is part of a bigger story, accomplishing its role in a vibrant, colorful mix of electronic moods, field recordings, traditional instruments, and polyglot vocals. Things start off in the most unassuming manner, as opener "Shy Grass" lives up to its name and gently introduces a few fleeting chords to what sounds like a recording of casual child banter. The first real bass drum takes its sweet time to hit, and when it does, it does so like the wind caressing your cheek. It's only halfway through lead single "Endless Games" -- itself morphed into a special album-only version -- that the first actual club beat appears. That's not an accident, but a very deliberate aesthetic choice; the result of what seems like the duo's very own alchemic procedure of turning a multitude of disparate folkloric snippets into a blueprint for a unique kind of ambient-infused dancefloor. As the trip continues through the sneaky Rhodes showcase "Nada Brahma," the mysterious electronic fairy tale "Moonvalley," and a slightly adjusted version of vintage hit "Velvet Wave," it suddenly becomes clear that the heat's been rising all along, thanks to the labyrinthine percussion, imploring vocals, and uncanny instrumentation of "Myein Caravan" and the shadowy funk of "Jupiter & Jaguar," all culminating in the powerful, incessant groove of "Inner Jungle." These seething cuts reflect "every road that we have taken to come to this point in time," as the duo explains -- spanning spiritual and physical travels to South America, Mexico, and India. Recording the album in a makeshift studio in Tulum, Mexico, where they have also found a new home, Blond:ish make expert use of the format's greater runtime to build pace and play with release, transgressing the conventions of electronic club music in favor of a mystical tour de force.



LOW: Christmas LP (KRANK 153LP) 14.00
2015 repress. "First time vinyl release for this classic Low holiday recording. We would suggest that few bands from an ostensibly 'indie rock' background should release Christmas music, if not out of respect for the holiday or material then at least out of a sense of self-esteem. Low, however, were made for this. Their attention to musical detail combined with the heavenly vocal harmonies of Alan Sparhawk and Mimi Parker are perfectly attuned to both traditional carols like 'Silent Night' and more contemporary tunes such as 'Blue Christmas.' Christmas contains a selection of seasonal songs, including four originals by the band, mostly recorded at Low's 20º Below studio in Duluth, MN. 'If You Were Born Today' and 'Blue Christmas' were released as a 7" single in 1997 on the English Wurlitzer Jukebox label, while 'Taking Down The Tree' is taken from a 1998 compilation of live recordings issued by the Dutch VPRO radio station."



ADMX-71: The Redacted Files 12" (LIES 052EP) 12.50
Adam-X should need no introduction as he and his brother, Frankie Bones, pioneered techno in a post-disco, pre-Giuliani New York City through the late-'80s and onward past the '90s with countless productions under their belts and renegade parties throughout the five boroughs. Their record store, Sonic Groove, served as a hub for purchasing cutting-edge electronic music from across the globe. Here, as ADMX-71, he delivers a subdued yet extremely tense vibe. These tracks present a unique take on the traditional EBM sound, in which, upon every listen, one will discover something new. Highly recommended for those into the darker territories.


ADMX-71: Coherent Abstractions CD (LIES 067CD) 15.50
Adam X is back with his third album release under his industrial guise, ADMX-71. Following releases with the legendary label Hands and his own imprint, Sonic Groove Experiments, Adam paired up with L.I.E.S Records in 2014 for The Redacted Files, a 12" of slowed-down and tense EBM wizardry. Adam now returns to the L.I.E.S. front with Coherent Abstractions, an album of singular experiments that pull from every corner of electronic music's landscape into a comprehensive and propulsive full-length. Coherent Abstractions pulsates with fractured rhythms, vacillating melodies, and mesmerizing compositions that showcase Adam's impressive history working in all aspects of the underbelly of electronic music. Noise and industrial elements seep into the album's 11 songs, churning the cold and abrasive into feverish new territory. Though Coherent Abstractions operates primarily in sounds of solitude, guest vocalist Janina joins "Bound and Broken" for a rare vocal collaboration on an ADMX-71 track. We also hear a frantic vocal performance from the producer on "Nearing Obliteration," which is undoubtedly the apex of the album. Throughout the album the music sweeps from breakbeat noir and anxious electronic dub to reflective industrial modes, making Coherent Abstractions an engaging and varied listen, updating a late-'80s EBM tone into modern sound design environments while pushing a reverence for the past and heading into the deep unknown of the future. For those unfamiliar with Adam's deeply rooted history in the New York underground, he and his brother, Frankie Bones, pioneered techno in a post-disco, pre-Giuliani New York City through the late '80s and onward past the '90s, producing countless records under various guises and finally opening their own shop and record label, Sonic Groove. At the same time they began throwing renegade parties, known as Storm Rave, throughout the five boroughs -- a practice that was unheard of at the time in such a major US metropolis and opened the door for what was to come.


ADMX-71: Coherent Abstractions 2LP (LIES 067LP) 21.00
LP version.



TURMAN, ROBERT: Macro LP (LDLP 001LP) 27.50
"Macro was originally going to be titled Roots, because it really goes back to what I was doing 40 years ago, just more modernized technique. I had always taken small snippets of tape and records, repeated them, slowed down, modified, and layered etc. Macro was all done on the computer. I'd been thinking about how in the old days, pop songs were always between two and three minutes long. Most of my music has always been longer extended pieces. I wanted to recreate the feel of noise in the pop song format, so I specifically created an album's worth of songs, all at exactly three minutes, a concept album I suppose. Micro samples were cut, copied, pasted, and totally whacked out. As with all of my music, I have always defied anyone to identify the samples" --Robert Turman. Previously released on cassette by Fabrica Records in 2012, with the separate tracks crossfaded to make each side a continuous track. Here, the individual tracks are divided as originally conceived. Limited edition of 218 screenprinted and numbered copies.



KASETA, DJ ASSAM & LIEM, JOHAN: Back Quality 12" (LHLT 003EP) 14.00
180-gram vinyl. The opener is a Johan Kaseta aka Gravity Hannes aka DJ Tapee Tapey Tape flip of an older DJ Assam aka Nizza Overload aka DJ Alley Loop tune. "Back Quality" is a bomb settling somewhere between early morning weirdness and deep and freaky warm-up game-changer. It's complemented by a storming Times Are Ruff remix -- drums, drums, drums. "Kord Dreyer" is a triple-combo of Johan Kaseta, DJ Assam, and Liem aka Lars Lavendel aka Fatso Frolunda -- a straightforward groove affair, were it not for those unsettling, beautiful chords and the sudden change of mood during the break.


LL 097EP

MUMBAI SCIENCE: Black Hole (Floorplan RMX) 12" (LL 097EP) 12.50
Belgian electronic duo Mumbai Science follow their acclaimed 2014 album Déjà Vu (LL 014CD) with "Black Hole" remixed by Robert Hood -- Hood's first-ever remix as Floorplan. Founding member of Underground Resistance, arguably the most important techno act in the world, and of the M-Plant label, Hood paved the way for a wave of stripped-down dancefloor minimalism that directed much of techno's path throughout the late '90s. His remix of "Black Hole" deconstructs the original track and rebuilds it in the relentless techno landscape of Floorplan to perfectly complement the original.



KING CHEETAH: Endurance 12" (LBW 001EP) 12.50
King Cheetah is a shining star from the Motor City, and here he presents three tracks inspired by techno vinyl digging in the late '90s. Though this is King Cheetah's first official release, he has been making music since the mid-'90s in seclusion on the west side of Detroit. This is also the first release on Light Body Works. Light Body Works is a label that intends to release club music that induces hypnotic states through repeated melodic movements and straight rhythm patterns.



VA: This Record Belongs To ________ CD (LITA 145CD) 15.00
"We are pleased to announce that Light In The Attic & Third Man Records are joining forces to show impressionable, young minds the virtues of good music and vinyl records with our exclusive children's compilation, This Record Belongs To______ available November 6th on LP and CD accompanied by Third Man Record's new portable light-weight children's turntable with built in speakers and a USB port for converting vinyl records to digital. Parents everywhere rejoice! What if your favorite children's book were not only a timeless story but came with a soundtrack of tunes that kids and grown-ups alike would love? Hold onto your boots... it's here! This Record Belongs To______ is the antidote to your standard kids compilations. You won't find boy bands, princesses, or purple dinosaurs here. Instead the record consists of two halves?an upbeat side for daytime dancin' and a mellow side for bedtime lullabies. Among the many gems featured include songs from Carole King, Woody Guthrie, Donovan, Harry Nilsson, Jerry Garcia, Nina Simone, Kermit The Frog and more. Inspired by the classic Little Golden Books Series and Sesame Street's In Harmony albums, This Record Belongs To ______ stems from a love of music, reading, and a passion for teaching future generations the interactive experience of holding an album in your hands, putting needle to groove, and immersing yourself in the pages of a record's sleeve as the music plays. The compilation was compiled and sequenced by DJ and friend, Zach Cowie, who is as dear to our hearts as this collection of songs (previously passed around as a gift between friends) and is the soundtrack for many LITA & TMR offspring. These kiddos now all have undeniably excellent taste in tunes. The record is accompanied by an original, full-color storybook illustrated by acclaimed artist, Jess Rotter, which tells the tale of five forest pals who find a mysterious object -- a round, flat disc that they proceed to investigate. The animal friends finally solve the mystery and learn how to play a record and let their bodies move to the groove (within the grooves)."


VA: This Record Belongs To ________ LP (LITA 145LP) 22.00
LP version.



BROOM, MARK: Stunned/Decay 12" (MPM 026EP) 12.50
It's a rare moment in the life of Robert Hood's M-Plant label when he hands things over to another producer, but it's no surprise that he should pick Mark Broom for this release -- he's previously been entrusted to provide edits of Hood's tracks for the label's 20th anniversary celebrations (MPM 019EP). The original version of "Stunned" was released on Broom and Dave Hill's renowned Pure Plastic label in 1997. This "97 Mix" started as a live mix of the track, which Broom has now tweaked for maximum dancefloor devastation. On the flipside, "Decay" delivers the kind of tough, raw techno that sits perfectly on M-Plant.



PIERCE, SEAN: Sutro 12" (MNQ 077EP) 14.50
Sean Pierce debuts on Mannequin Records with an intense, dark EP of modular synth techno. Currently operating out of Portland, Oregon, Pierce is one half of ASSS, who put out two acclaimed singles on Mannequin Records parent label Haunted Air Records in 2014. Check the monster dancefloor slasher "Immodest Force." Limited edition of 300 copies.


MAZZOCCHETTI, MAOUPA: Untitled 12" (MNQ 078EP) 14.50
Hailing from Brussels, Maoupa Mazzocchetti debuts on Mannequin Records with three killer tracks of industrial electro, released in advance of his 2016 full-length debut. Deep, dark, and stripped-down, Mazzocchetti's tracks regurgitate the lessons of the '80s Belgian EBM/minimal synth legends with a fresh, nervous musical urgency. Limited edition of 300 copies.



GHAZALAW: Ghazalaw CD (MARVEL 002CD) 14.50
Ghazalaw, the eponymous debut album from the Wales/India collaboration, is the second album to be released on Cerys Matthews's Marvels of the Universe label. Ghazalaw is a sublime musical meeting between acclaimed Indian ghazal singer and musician Tauseef Akhtar, from Mumbai, and Gwyneth Glyn, from Criccieth, North Wales, one of Wales's leading singer-songwriters. The music is a marriage of two great traditions of love poetry and traditional music: the ghazal singing of the Indian sub-continent and the folk song of Wales. Though the traditions may seem distant at first glance, dig deeper and you'll find that Welsh folk and Indian ghazal evolved from common ancient poetic forms, specifically Sanskrit. Tauseef Akhtar served a ten-year apprenticeship with the greatest ghazal singer of modern times, the "Ghazal King" Jagjit Singh. Gwyneth Glyn is steeped in the linguistic and poetic richness of her homeland, inspired by the landscape of Wales and centuries of tradition. Yet she stands at the forefront of a new Welsh generation keen to seek out and celebrate the many affinities that tie two distant parts of the world together. Akhtar and Glyn are joined from India by Ashish Jha (tabla), Manas Kumar (violin), and Sanjoy Das (guitar), and from Wales by Georgia Ruth (harp, vocals), who earned two BBC Radio 2 Folk Award nominations in 2014 following the release of her 2013 debut album Week of Pines.



BAILEY, MARCO: Pere Lachaise 12" (MBRLTD 008EP) 12.50
Marco Bailey returns to his prolific MBR Limited imprint with another killer single titled "Pere Lachaise." Includes remixes by ROD, who delivers two incredible reworks exemplifying his intelligent sound, and Stuttgart's heavyweight Raphael Dincsoy.



DE LA CALLE, EDUARDO: Computational Behaviours 12" (MNSX 004EP) 14.00
Eduardo de la Calle takes a tougher stance than on his silkier productions, heading into rough, raw, analog terrain for Midnight Shift's MNSX series. The relentless, pulsating, slithering acid bassline of "Roswell Case" makes it a peak-time earworm roller. On "Synthesized Priorities," the soul of the machine makes itself heard -- another hypnotic builder. "Mexican Madness" is a twisted journey led by an analog synth; a peculiar product waiting to wreck insane havoc on the floor. On his remix of "Mexican Madness," Jacob Martin aka Hodge turns the opening synth groove totally rugged -- another winning move from the Bristolian producer.


MVD 7668LP

LILES, ANDREW: Life Is an Empty Place (Gold Vinyl) LP (MVD 7668LP) 35.00
"Brilliant new album by ANDREW?LILES (Current 93 / Nurse With Wound), one of the best eclectic musicians in the UK. The album is a mix of electronic, experimental and surreal tracks. It comes out in deluxe gatefold cover (tobacco's paper) and gold vinyl, strictly limited to 400 copies. Fantastic cover made by Steven Stapleton / Babs Santini / Nurse With Wound."


MVD 7588LP

DOUM & THE FARYDS, AL: Al Doum & The Faryds LP (MVD 7588LP) 35.00
"Re-release of their sold-out debut album, in gatefold tobacco's paper cover and in transparent/black vinyl 180 grams. One of the most cosmically spaced band in the European scene, they play traditional African instruments and invoke desert landscapes with melodic and intense atmospheres. Post-psych and post-Afrobeat sounds, simple structures; guitar and sax, percussion and woodwind groans. The result is a fusion of Krautrock and psychedelic rock with African influences and the cosmic sounds of Sun Ra or Ash Ra Tempel."



SHIFTING SANDS, THE: Cosmic Radio Station CD (FISH 015CD) 16.50
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 CD (HATI7DF 040CD) 16.50
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.


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.



TERJE, TODD: It's It's Remix Time Time 12" (OLS 011EP) 14.50
Repressed. Boasting a star-studded cast from all over the globe, this Olsen blockbuster is sure to leave you excited and delighted after a breathless half hour of fun. Pepe Bradock delivers disorienting mixes of "Inspector Norse" and "Swing Star"; both interpretations bump, bleep, and come on stronger than a tripped-out cheese dream. Joakim embraces his inner diva with a jacking ballroom house rework of "Strandbar," complete with bright vamps and deep bass impact. Eric Duncan delivers the grand finale, hitting the special-FX budget harder than late-career Michael Bay, while the "Strandbar" piano and bassline loop into infinity and beyond.



ONE TRACK BRAIN: Kitten Play/Dust Devil 12" (OTB 005EP) 14.50
One Track Brain is back with his third EP, with jazz drums and the trustworthy 808 kickdrum at its heart. On the A-side, "Kitten Play," a whirlwind of rhythms, evokes an untampered lust for life with a spontaneous structure. On the B-side, we find "Dust Devil," another energy pill based primarily around rhythm. A sweet little melody is juxtaposed against a thick layer of bustling drums. A stormy track with a mermaid's melody calling out from afar. One Track Brain, clearly not a rookie, remains a shadowy quantity with the focus wholly on his music. Limited hand-stamped vinyl.



LE TOUGH, MANO: Trails CD (PERMVAC 142CD) 15.50
Mano le Tough spends a lot of time in the club. In 2014, the Irish-born artist played more than 100 gigs all around the world -- landing at number eight on Resident Advisor's annual DJ Poll in the process -- but when the time came to make Trails, the follow-up to his lauded 2013 debut album Changing Days (PERMVAC 105CD/LP), he knew that a little time away from the dancefloor was in order. As such, he took a break from DJing, decamped to the Swiss countryside, and adopted a new routine, one that involved waking up at dawn each day and taking long meditative runs through the hills and forests overlooking Lake Zürich before planting himself in the studio. The resulting flood of inspiration produced Trails. It's full of slow-brewing, melody-driven tracks, many of them featuring Mano's emotive vocals; for fans of Changing Days, Mano's earlier EPs, or even Maeve, the rising label he runs alongside close friends The Drifter and Baikal, there is plenty to love here. While there's never been much doubt about his skills as a producer, Mano's career was largely forged in the DJ booth, and his many extended sets in clubs such as Berghain and Trouw have gradually lent his production work an impressive sense of patience. The songs on Trails swell and blossom at a deliberate pace while blurring the lines between house, techno, new wave, ambient, and classic pop music. DJs may gravitate towards the album's soaring club cuts ("I See Myself in You," "Sometimes Lost"), but songs like "Half Closed Eyes" and "Empty Early Years and the Seed" find Mano deftly balancing his pop impulses with the demands of the dancefloor. Elsewhere, "Trails" channels new wave while employing a hooky no wave guitar riff, and "Meilen" offers up a bit of balearic bliss. Then there's the "Energy Flow," a track that puts Mano's vocals front and center and just might be the most emotionally naked thing he's ever produced. Granted, this sort of variety has long been a staple of Mano's DJ sets, but Trails is perhaps the first time that his diverse tastes have been so coherently reflected in his own music. Without question, the album is Mano le Tough's deepest, most personal, and most potent work to date, and while it's undoubtedly been influenced by his time in -- and reverence for -- the club, its reach goes far beyond the dancefloor.



PORT & JENNIFER TOUCH, ADAM: This Time EP 12" (PETS 059EP) 14.00
"This Time" is the product of a fruitful relationship between Adam Port and vocalist Jennifer Touch, who grabbed Adam Port's attention with her standout vocals on New World's 2013 Night Stalker EP on Riotvan (RVN 006EP). Full of dark, new wave pop sensibilities and edgy, dancefloor nuance, "This Time" is highlighted by Jennifer Touch's haunting vocal delivery. Sei A delivers a punchy, bassy remix; a darker, techno-leaning excursion into full-force peak-time territory. Adam Port's remix focuses on percussion and a deep, ethereal sub-bassline, while chopping and splicing Jennifer Touch's vocals for hypnotic techno workout.



SELDA: Vurulduk Ey Halkim Unutma Bizi LP (PHS 017LP) 25.50
2015 restock; LP version. Housed in a gatefold sleeve; with liner notes insert. There were female Turkish folk singers before Selda Ba?can, but none whose hot-blooded voice carried such righteously angry words and none who also accompanied themselves on guitar. She began her career singing at her brothers' Beethoven nightclub in Ankara while she went to school for physics during the day. Her first album had help from the cream of the crazy Istanbul pop scene, and cuts from the same sessions were also released on this second one in 1976. While the direction is folky overall, there's fuzz, zooming synthesizers, and heavy flute to be found. When Selda performed the title-track in 1977 in a coastal town not far from Istanbul, her protest lyrics, though taken from an old poem, got her heckled by audience members who screamed that she should go back to Moscow. Find out why this brawny mama couldn't be stopped by a military government that put her on trial nine times, and could call herself the bitter voice of the Turkish people. Remastered sound, insert/booklet with liner notes.



GAINSTAGE: Gainstage 12" (PRTLS 002EP) 25.50
Evoking the old spirits of the Earth using modern technology, Pierce Warnecke and Arik Hayut embody the truly terrible and awe-inspiring aspect of Gaia in their tribalistic doom-tech rhythms. Metallic crashes of industry, the warning wail of sirens, the chug of steel engines pounding the landscape into waste and ash. On this post-necropolictic plane, the ritual fires of Gainstage still burn. Featuring a murky remix from Cut Hands, reshaping "Obsidian Organ" into a clattering, serpentine slice of militaristic jungle-techno. Orphan Swords offer a different perspective on "Sun Burnt Cloud" -- weighty, slow-burning sci-fi-laden dance music for the grimmest of futures.



MM/IMAABS: Body Horror II 12" (PTP 004EP) 14.50
On side A, MM (formerly Miss Modular), co-founder of the London-based Her Records, opens with "Charly Tek," spilling a liquid metal mixture of percussive bursts, bashment chants, and a rogue whistle to form a relentless stop-n-go riddim that is nothing short of bonecrushing. "Ohmu" furthers the midtempo exaltation with lines of manic brass and concussive bass. Side B sees N.A.A.F.I.'s Chilean club ambassador Imaabs controlling the atmosphere with trance-inducing minimalism. The ghostly bells of "Disyuncion" slip into a throbbing dembow-meets-stutter-step sequence before the sitar and frisky bassline of "Clinamen" braid melody over a heavy set of skin percussion and snare-clap combinations.



GRIENKHO: Path of Exile EP 12" (PUSH 012EP) 14.50
The mysterious Grienkho presents his debut EP. Solid, raw underground techno with Drexciyan influences. Includes a killer remix by Detroit-inspired hardware warriors Xenogears aka The Analogue Cops. Vinyl only.


RH 002LP

VA: Gerne Als Swap Oder Auch Gegen Ein Bisschen Geld LP (RH 002LP) 19.50
Munich-based imprints Raketenbasis Haberlandstrasse and Schamoni Musik present their first joint release, Gerne als Swap oder auch gegen ein bisschen Geld. Containing music by Munich-based artist BELP and tracks produced by Sascha Schierloh aka Jean Bach under various alias including Genoveva DMS, Leprozid Pfarrhaus, David Sardelle, and Mortobello Steril, the album resuscitates the age-old and seemingly forgotten concept of the vinyl megamix and offers a seamless yet quite quirky blend of tracks on each side. But instead of focusing on pop, Italodisco, or dance -- genres predestined for the megamix format -- this novelty record focuses on the leftfield side of the electronic spectrum and presents a variety of styles including industrial electronics, slowcore armchair techno, unambient, electronica, abstract electro, and more, all mixed up, clashing, trainwrecked -- as well as additional loops and layers taken from radio and television recordings, plus German schlager music. Sound like a rollercoaster-ride? It is, and a demanding one, even for those in love with plunderphonics and illbient. Check it out if you're up for a challenge!



I ROY & THE AGROVATORS: The Godfather LP (RRT 030LP) 23.00
Reggae Retro continues its series of reissues of rare and hard-to-find original 1970s roots vocal, DJ, and instrumental albums produced and arranged by Bunny "Striker" Lee with The Godfather by I Roy, originally released on the Third World label in 1978. The album features the ever-popular DJ on hard roots Bunny "Striker" Lee-produced and King Tubby-mixed rhythms. I Roy's 1973 album Presenting I. Roy, recorded with producer Gussie Clarke, is considered a reggae classic. The Godfather was recorded at Channel One, Jamaica; mixed at King Tubby's studio, Jamaica. Engineered and mixed by King Tubby. Produced by Bunny "Striker" Lee. All rhythms by The Agrovators; featured musicians include Sly Dunbar (drums), Robbie Shakespeare (bass), Earl "Chinna" Smith (lead guitar), Carl Harvey (rhythm guitar), Geoffrey Chung (rhythm guitar), Winston Wright (organ), Jackie Mittoo (organ, piano, strings machine), Keith Sterling (piano), Bobby Ellis (horns), Tommy McCook (horns), Skully (percussion). All ten tracks included here are the original mixes, presented in the original running order. This reissue includes revised original and new artwork. LP on colored vinyl in heavy card picture sleeve and poly outer sleeve.



PIEETE, ANTON: The News Remixes 12" (REJ 045EP) 12.50
Anton Pieete follows his acclaimed 2014 The News double 12" (REJ 033EP) with a collection of remixes of its tracks. UK sensation Mosca takes on the deep, mysterious "Next Year," toughening and twisting the original with reversed sweeps. Pieete's fellow Dutchman Tom Ruijg remixes the title-track, stripping things back only to rebuild it as a tense, minimal techno outing. Pieete himself joins forces with Awanto 3, layering their wonderful vocal lick over "Next Year" to give it a fresh and addictive face. Detroit's Rolando also takes on "The News," filtering things down while pushing his beats and snare to the fore.



VA: Chekhov's Band - Eastern European Klezmer Music from the EMI Archives 1908-1913 CD (REN 129CD) 17.00
In Anton Chekhov's last play, "The Cherry Orchard," which Chekhov finished in 1903, just a few years before the Gramophone Company made these recordings in Odessa, Ukraine (mostly), the character Leonid Andreyevich Gayev hears off-stage "our famous Jewish orchestra. You remember, four violins, a flute and a double bass." In this period, klezmer music was venturing beyond its original role as Jewish wedding and celebratory music. It was proliferating in secular settings, sometimes disreputable, even underground. In The Odessa Tales (1923-'24), Isaac Babel mentions a bar with a house band of "old Jews with dirty beards playing Romanian and Jewish tunes"; and klezmer would have been the soundtrack of the local brothels, pretty much all Jewish-owned. (One track here celebrates a new treatment for syphilis, Preparation 606... even lavishing a trumpet on proceedings.) Tangy, precious, exuberant, life-affirming music, high and low, mostly for dancing, featuring virtuosi like violinist Jascha Gegner and clarinetist Titunshnayder, presented with excellent notes. Also includes performances by Jewish Wedding Orchestra, Giter's Kharkov Orchestra, Czernowitzer Civilkapelle, A.S. Olevsky's Orchestra, Veinbren's Orchestra, Stupel's Vilna Orchestra, and Oscar Zehngut.



GNOOMES: Ngan! CD (LAUNCH 082CD) 16.50
The Russian city of Perm takes its name from the Finno-Ugric word "para ma," which translates to "faraway land." Indeed, despite being a center of both culture and industry for the Ural region, at 700 miles from Moscow it was far enough away from the heart of the Russian empire to be used as a place of exile in the 19th century for those who fell out of favor with Alexander I. The three musicians who form Gnoomes hail from Perm, and have a deep connection with their home; indeed, their drummer, Pacha, is descended from the Komis, the indigenous pagan people of the area who lived there before Russian culture and orthodox religion overtook it in the late 15th century. Yet rather than being confined or frustrated by their surroundings, the three-piece outfit have used their origins as a springboard to the unknown, via the skysurfing radiance of their debut album for Rocket Recordings, Ngan!, an album suffused with a potent sense of wonder. It's bookended by the enormous twin psychic monoliths of "Roadhouse" and "My Son," which form dreamlike aural travelogues, clocking in at about 15 minutes each, and take influences as diverse as the fiery avant-six-string scree of Atlas Sound, the classic motorik of NEU!, and Kompakt techno, and sculpt them into a wide-eyed, kaleidoscopic sweep of sound that the band themselves, keen to break free of generic convention, dub "stargaze." It's a style that nods to the melodic sweetness of The Flaming Lips or Tame Impala as much as the synapse-shifting dynamics of Animal Collective or My Bloody Valentine. "Myriads" is a sweet, slightly dazed pop song, distantly related to the muse of Syd Barrett, yet filtered through the band's ambitiously hallucinogenic soundworld and propulsive rhythmic drive. Elsewhere, on "Moognes," the collision of melancholy vocal harmonies, luminous guitar melody, and in-the-red intensity makes for a sound as bracing as it is beatific. Ngan! is the sound of a band looking above and beyond modern archetypes of guitar-fueled noise in search of a strange and beguiling personal vision, and dissolving barriers of distance, cultural context, and geographical inconvenience with a confident and warm-hearted flourish. "For us this is the main mechanism of psychedelic music," the band explain. "To connect things, to join this particular experience into a global one." With Ngan!, Gnoomes seem to be on the verge of doing just that.


RV 2002CD

BYRDS, THE: The 1978 Reunion Concert CD (RV 2002CD) 17.00
By the mid-'70s, fans had given up hope of ever seeing Roger McGuinn, Gene Clark, and Chris Hillman sharing a stage again. But in 1977 and '78 they did just that, performing intermittently to rapturous crowds in both the US and Europe, both solo and in various combinations. This performance at The Boarding House in San Francisco on February 9, 1978, also features David Crosby on numerous tracks, much to the audience's delight. Originally recorded for broadcast on KSAN-FM, the complete broadcast is presented here in digitally remastered sound with background notes and images, and comes as close as anything ever did to a reunion of the original, immortal Byrds.


LE 003CD

LEROY: Skläsh CD (LE 003CD) 15.50
"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."



UNKNOWN: Shimmy Sham Sham 009 12" (SHIMMY 009EP) 12.50
Shimmy Sham Sham returns with an urgent need to throw everything to the floor and make out with the music. There's a distinct sense that the unnamed vigilante behind this deviant dispatch of disco-fied diatribes likes nothing better than to burrow deep into the ground, unearthing every honey-coated bass lick and simmering drum hook you craved but were afraid to ask for. Leave it to the Shimmy Sham Sham and its occult-enhanced band of beatsmiths to guide you toward the most righteous kind of party, and you too shall be spiritually sanctified. Let those sweaty numbers melt down any worries.



APPARAT: Multifunktionsebene, Tttrial and Eror, Duplex 3CD (STRIKE 155CD) 26.50
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.



MUSLIMGAUZE: Izlamaphobia 2CD (MUSLIM 001CD) 23.50
2015 rerelease of the 1995 first release in the Muslimgauze subscription series, with updated artwork. Edition of 500. Izlamaphobia starts with an aggressive blast, "Hudood ordinance." With a rhythm track consisting of extremely tweaked and processed electronic beats and bleeps and only the gentlest of Arabic string instruments deep in the mix to relate things to a more familiar Muslimgauze sound, the song sets the general mood for the rest of Izlamaphobia. This said, Bryn Jones's specific talent was such that even without that, this would still sound like him, his trademark care and obsessiveness in terms of percussion again evident. With a variety of romanticized (some might say stereotypical) song titles like "The eternal illusionist of oid Bachdad" and "Lahore morphine market," Izlamaphobia has two chief artistic themes, if anything. On the one hand, Jones's incorporation of hip-hop and funk beats was never stronger than on Izlamaphobia, providing songs like "Gilded madrasa" and "The public flogger of Lahore" with a wickedly fierce kick and drive. On the other, the strained, alien treatments on many of the songs would be right at home on innumerable Warp Records releases of the '90s, with squelching rhythms, undanceable dance tracks, and, quite unsurprisingly, a desire to avoid expected techno clichés. With these two strains combined on many songs by Jones, the results are wonderfully slamming, strange tracks such as "Khadija and fereshta." Not everything is quite so dramatically different from other Muslimgauze releases, with the incorporation of multilayered acoustic percussion cropping up more than once, such as on "Hijab muzzle." Everything is just that little bit dirtier in sound, though, and all the more intriguing for it.



VICTORIES AT SEA: Everything Forever LP (VAN 291LP) 22.00
Emerging from the concrete paradise of Birmingham, England, Victories at Sea fuse a vivacious combination of brutalist electronic hooks, soaring post-punk guitars, and dolorous wordplay. After being championed by the likes of the NME, The Guardian, Clash magazine, and XFM's John Kennedy, the band now present their debut album, Everything Forever. Written over 2014 and '15 at an abandoned steel mill in Digbeth and recorded in the damp basement of an old whistle factory in the depths of the city's industrial Northern quarter, the album inevitably embraces darker sounds and subjects. But with lyrics that often touch on matters of love, loss, and loneliness, this is a record born from a catharsis of hope and escapism, and a thrillingly taut and danceable journey. The band have toured their disco-noir extensively in the UK and Europe, earning the respect of their fans and contemporaries alike. Their 2013 debut EP, In Memory Of, earned the band the attention it deserved, particularly from BBC 6 Music, and in turn built the perfect foundation for this highly anticipated album. The band draws from influences that range from Mogwai through Factory Floor and Slowdive to The Chameleons, but Victories at Sea are far more than just the sum of their parts, with original, exciting songwriting that never loses its pop sensibilities. Standout tracks such as "Bloom," "Up," and "Poles Apart" showcase the band at their most danceable, with big chorus hooks and machine beats that timelessly devour and yet are impossible to forget. As the album builds ten tracks toward its crescendo, "Sirens" and "Future Gold" both see Victories at Sea explore more intricate musicianship and atmospheric soundscapes that build through layers of impressive electronics and heavily effected guitars. Sonically enthralling and physically moving in equal measures, this is a record with true multiplicity, depth, and heart. Limited edition of 300.



SCHWARZENBACH, THE: Nicht Sterben. Aufpassen. CD (STAUB 142CD) 17.00
This meeting was planned by the devil, because he wanted to do some good for a change: the avant-jazz-electronica-rock 'n' roll project Kammerflimmer Kollektief from Karlsruhe has been assembling a wide range of sounds, live and on record, ranging through unforeseeable noise, soft sighs of love, and exploding hearts of iron since 1996. Now they are making music with writer, journalist, and former Spex editor-in-chief Dietmar Dath. The musicians and the author chose their shared name in honor of the lesbian author and journalist Annemarie Schwarzenbach. Nicht Sterben. Aufpassen. contains nine songs; some intimate, some infatuated, some grim, and some relaxed, between spoken word, singing voices, and music blossoming as if by itself in every imaginable color. Literature does not want to be nowhere and never, but always and everyone. And music does not want to be nowhere and never, but here and now. Music is the absolute art of time. The encounter between these two ways of working, the always and everywhere of text and the here and now of music, can cause the kind of convulsive beauty that other people perhaps get from nowhere and never fantasies.



VA: Streets of Dakar: Generation Boul Falé CD (STCD 1084CD) 16.50
1999 release. Dakar: Africa's most vibrant city; hustling, bustling, dusty streets; searing heat and brilliant colors; the surreal juxtaposition of heaving markets and shanties with fancy restaurants and plush nightclubs; a metropolis positively teeming with young musicians boasting equal measures of attitude and talent. "Boul falé," they say: "Never mind." It's the terse expression of a Senegalese generation that's fed up with its lot and determined to be heard. Never mind -- music like this will be heard loud and clear. Includes tracks by Assane Ndiaye & le Raam Daan; Assane Mboup & le Mbouba Dialy; Ousmane Seck & le Raam Daan, Marie Ngoné Ndione; Fallou Dieng & le DLC; Gelongal; Bada Seck; Tata & Salaam Band; Mati Thiam Dogo; Fatou Guewel & Sope Noreyni; Alioune Kassé & Kassé Stars; Lemzo Diamono; and Assane Ndiaye, Thione Seck & le Raam Daan.


NYBOMA & KAMALE DYNAMIQUE: Nyboma & Kamalé Dynamique CD (STCD 3023CD) 16.50
2005 release. Nyboma Mwan'dido was one of the most popular singers in Zaire (now known as the Democratic Republic of the Congo) when, in 1981, he and his guitarist, Dally Kimoko, moved to Lomé, Togo, for a long-term engagement with the African All-Stars. There, under the name Nyboma & Kamalé Dynamique, they recorded Doublé Doublé, an album that blended Congolese soukous, West African highlife, Caribbean zouk, and American disco into a new dance sensation. A hit all over Africa, it was subsequently released in Europe and North America. Over the next four years Nyboma made four more albums with this band, which included guitarist Syran Mbenza, bassist Bopol Mansiamina, and drummer Ringo Moya. The ten Kamalé Dynamique tracks collected in this Sterns CD are now classics, the best representation of an exciting era when Congolese music became pan-African and went on to win fans around the world.



NACAO ZUMBI: Rádio S.amb.a CD (STCD 2015CD) 16.50
2000 release. "What would 'heavy' music sound like if its practitioners knew more than a couple of rhythms and, even better, how to blend them? What if headbanging wasn't a back-and-forth motion but worked in various degrees of side-to-side movements, too? What if metal had room for musicology? Nacao Zumbi, from Recife in northeastern Brazil, answered these questions and thrashed out their position in a deeply impressive midnight set at CBGB on Wednesday." --Ben Ratliff, The New York Times, July 28, 2000 (one week before the release of Rádio S.amb.a)


SA 006EP

KOPP/MARKUS SUCKUT, JONAS: Alkitran/Vary 12" (SA 006EP) 12.50
Repressed; 2010 release. Jonas Kopp takes the A-side with the punishingly good "Alkitran," and the flip side features Markus Suckut's "Vary." "Alkitran" writhes, hissing and spitting into existence. Snares lash across the opening, replaced by sub-aqueous grumbles. "Vary" takes the opposite tact; his dark tones are built amid structures that are suffused with light and dappled with grindingly ecstatic color. This is superbly elegant techno that has refused to sacrifice any of its hardness in order to achieve elegance.

SA 008EP

LUCY: Beelines for Working Bees 12" (SA 008EP) 12.50
2015 repress; 2011 release. The beelines of Tommy Four Seven, James Ruskin, Peter Van Hoesen, and Truss return to Lucy's hive, taking the most experimental and cross-pollinated paths. This 12" acts as a case-in-point for techno, melding and fusing genre boundaries to reveal new hybrid sounds. The artists chose the tracks that they wished to remix and fused their own defined sound identities with that of Stroboscopic Artefacts.

SA 016EP

DADUB: Preternity 12" (SA 016EP) 12.50
2015 repress. Preternity is an EP that collects four of the most dynamic artists in electronic music delving into tracks from Dadub's forthcoming album You Are Eternity (SA 003CD). Lucy, Lakker, Rrose, and Kangding Ray's remixes emerge as parallel versions of the original tracks. This vinyl is a unique look at the processes of four of electronic music's most keen experimenters and a taste of what's to come from Dadub's debut album.



KIANI & HIS LEGION PRESENTS FAR OUT RADIO SYSTEMS: Far Out Radio Systems Vol. 02 12" (TZB 002EP) 15.50
Far Out Radio Systems, a project by Kiani & His Legion (We Play House Recordings, DFTD), showcases a techno sound that lies somewhere between big rooms and basements. A-side "I See Squares" is a functional slice of techno music, heavy on the 909 drums, resulting in immediate dancefloor gratification. The flip has two tracks; "LV-426" focuses on a distinct 303 pattern combined with floating vocals, and "Ways to Fuck With Your Mind" is a very dark, vocoder-based weapon for the daring DJ's and equally adventurous crowds.



DIEUF-DIEUL DE THIES: Aw Sa Yone Vol. 2 CD (TBCD 020CD) 15.50
Teranga Beat proudly presents the second volume of previously unreleased early-'80s recordings by Senegalese band Dieuf-Dieul de Thiès, demonstrating their ability to move from Mbalax to Afro-Cuban and Afro-jazz ballads without losing any of their original psychedelic sound and unique identity. Five out of these seven tracks feature Bassirou Sarr, a truly exceptional singer. Whether he's singing a ballad or some explosive Mbalax, his voice is always full of emotion. One of the two other tunes, a great Latin cover sung by Assane Camara, shows the true skill of Dieuf-Dieul; the other, a powerful Mbalax track sung by the great griot Gora Mbaye, displays his strong links to the tradition of Senegal. These three singers, together with bandleader and guitarist Pape Seck, combined traditional rhythms from all the regions of Senegal with fuzz guitars, horn sections, and hallucinatory percussion to create an explosive mixture of electric psychedelia and the wisdom of local musical traditions. Aw Sa Yone Vol. 2 includes the rest of the recordings from the early-'80s session featured on Vol. 1 (TBCD 017CD, 2013), plus three tracks from a lost 1981 recording. CD includes 16-page booklet containing photos and liner notes outlining the amazing story of this lost treasure. Mastered and mixed from the original tapes. At the time of this release, Dieuf-Dieul are back together for the first time since 1983, preparing for their first international tour to prove that their fame is not merely an urban legend. Bassirou Sarr: vocals; Assane Camara: vocals; Gora Mbaye: vocals; Pape Seck: guitar; Cheikh Ndiaye: drums; Ibou Diallo: bass; Doudou Leo: rhythm guitar; El Hadji Diouf: percussion; El Hadji Ngom: percussion.



THING, THE: Shake CD (TTR 005CD) 17.00
In 2013, Swedish-Norwegian free jazz trio The Thing launched their The Thing Records label with their acclaimed Boot! album (TTR 001CD/LP); in 2015, they return with another heavy, wonderful monster of a studio album, Shake. Intense, passionate, and precise, they continue to define their own genre within a genre. Mats Gustafsson: tenor and baritone saxophones; Ingebrigt Håker Flaten: electric and double bass; Paal Nilssen-Love: drums and percussion. Additional guests on "Aim": Anna Högberg (alto saxophone) and Goran Kajfes (cornet). Recorded June 1st and 2nd, 2015, by Jørgen Træen at Duper Studio, Bergen, Norway. Mixed June-July 2015 by Johan Berthling and Andreas Werlin, Stockholm, Sweden. Mastered by Lupo at Calyx Mastering. Cover by Lasse Marhaug.


VF 199LP

Having established a reputation for hosting ambitious and experimental music in the evocative surroundings of London's Church of St John-at-Hackney, St John Sessions now inaugurates its ThirtyThree ThirtyThree label. The imprint, set up in collaboration with The Vinyl Factory, exists to showcase live recordings taken from St John Sessions, both home and abroad, as the series expands. ThirtyThree ThirtyThree kicks off with arguably the most impactful St John performance to date: Ryuichi Sakamoto and Taylor Deupree. The 2014 concert with sound-design-wizard Deupree and multi-disciplinary legend Sakamoto -- whose career has run the gamut from Oscar-winning film scores through daring proto-electronic records -- was notable not only for their kinetic understanding on stage, but also for the unforgettable soundscapes created by the church space. Continuing a creative partnership that has seen them release a string of works together since 2013, Live represents a rare opportunity to own the pair's work on vinyl. In August 2015, Sakamoto announced his return to making music after a hiatus spent recuperating from a 2014 throat cancer diagnosis, marking this release as the first to be fully coordinated and sanctioned following his return to health. Mixed and mastered by Taylor Deupree. Vinyl mastered and cut by Noel Summerville. Design and layout by Gareth Horn. Two 180-gram LPs (total runtime: 54 minutes) in bespoke clear foiled outer sleeve with 12" photographic print. Limited edition of 1000.



SIGHA: Our Father/A Better Way of Living 12" (TOKEN 056EP) 12.50
Belgian label Token, an ironclad operation continuously manufacturing unyielding techno, has, deep within its impenetrable shell, always had a soft spot for British techno. The label seeks out some fresh UK blood by inviting James Shaw aka Sigha to debut on the label. Following releases on Scuba's Hotflush, Shifted's Avian, James Ruskin's Blueprint, and Shaw's own Our Circula Sound, Sigha steps up to deliver Token a linear 12" full of cosmic flavor and warehouse attitudes that judiciously falls between the sonic aesthetics of Inigo Kennedy's twinkling melancholia and the interlocking kick drums and basslines of Ø [Phase].


PHASE: Alone in Time? CD (TOKEN 057CD) 17.00
Take a look over Ashley Burchett's back catalog and you'll find the Greater London resident has played an understated yet influential role in the evolution of British techno. Burchett's Ø [Phase] project debuted on Sheree Rashit and Steve Bicknell's Cosmic Records in 2000 and provided Cosmic ID with its final record in 2002; since 2007, Burchett has helped mold and define Token's sound by becoming the label's marquee artist. In 2013, the Belgian imprint finally coaxed the debut album from Ø [Phase], Frames of Reference (TOKEN 033CD), described in Tony Naylor's 4/5 review for Resident Advisor as "a techno album of real imagination and depth that, when it needs to be, is brutally functional." Now, in 2015, almost two years later, Ø [Phase] is back with Alone in Time?, his second studio album, adding to Token's continuous slew of unrivalled long-players. The music further demonstrates Burchett's deft skill in crafting linear arrangements to fit the warehouse frame, while painting a colorful, Detroit-influenced side to his productions to an unprecedented extent. This uncharted sound of Ø [Phase] can be found in tracks like "Remote," the album's homage to electro; the jittery, alien grooves of "Spacialize"; or "Mo_del" and "Nep-tune." There's big-room domination on productions like "Orbitron" and "R-Mash," while the album's title-track is a journey through Burchett's conceptual references to cosmology, time, and isolation. Burchett reflects, "Frames of Reference was about overcoming personal struggles and challenges, while Alone in Time? is more forward facing." With an extensive back catalog in his wake, Ø [Phase] has become a reliable source for the discerning techno DJ, and these expertly crafted club cuts add to his ever-expanding pool of productions.


PHASE: Alone in Time? 3LP+CD (TOKEN 057LP) 31.00
Triple LP version. Includes CD.



MADE TO BREAK: Before the Code CD (TROST 141CD) 17.00
Improviser, composer, and saxophonist extraordinaire Ken Vandermark's group Made to Break return with a new bassist and more energy than ever before. Made to Break's live performances continue to amaze audiences all over Europe and North America. On Before the Code, the quartet's improvisation reaches unprecedented flexibility and immediacy, solidifying Made to Break's status as a truly unique act in the world of free jazz. Ken Vandermark: reeds; Christof Kurzmann: electronics [lloopp]; Jasper Stadhouders: bass; Tim Daisy: drums. Recorded by Christoph Amann on November 11, 2014, at Amann Studios, Vienna. Mixed by Christoph Amann, Christof Kurzmann, and Ken Vandermark. Mastered by Christoph Amann. Album design by Frederico Penalva. Band photo by Vincent Hagnauer.



PERTH DRUG LEGEND: Bliss & Envy: Halfers on a Fishbowl 12" (TURBO 173EP) 12.50
Perth Drug Legend (half of innovative Scottish techno duo Clouds) tears off a solo EP of rugged, apocalyptic techno. "Balquhidder Ruins" is a stomping gate-crasher with the tempo pulled back just enough to feel the grit of industrial funk. "Monzievaird" swings heavily around a few twinkling bleeps and sparse, chunky kicks that thunder through the greased hats. "Clackmannanshire Crusaderz" pushes things even further into the dark corners with overdriven, haunting resonance. "This Is Tulloch Not Tibet, Pal" adds a mystical dimension with some inexplicable mountain flute before a bell breakdown zens things into a forceful yet tranquil climax.


TIGA VS BOYS NOIZE: 100 Remixes 12" (TURBO 174EP) 12.50
Vinyl-only remixes of "100" by Tiga vs Boys Noize (TURBO 171EP, 2015). UK producer Johnny Aux, fresh from a huge remix for DFA's Shit Robot, turns in an incredibly raw, heads-down techno mix, low-slung until after the break when a crunchy ride comes in to drive things into loopy mayhem. The Martinez Brothers highlight the package with their "Keep It 100 Remix," a 132-BPM jacker. Guaranteed club-conquering acid. Tel Aviv's brilliant Red Axes turn in a beautifully complex remix featuring big bells, guitars, and killer grooves.



Mindblowing double LP reissue of Maurizio Bianchi's impossible-to-find 1980 cassette, "decomposed" in October 1980 using cacophonelectronics and dedicated to the physical attraction to Sylvia Simonelli (September 1980/June 1981). "The genesis of this work is incredible. In the office where I worked, I had found a stamp with 'COMPRESA' (in English, included) written over it, and so I came to the starting point for a new experimental work. Erasing before the second, fourth, sixth and eighth letter, so I obtained the title 'CMRS,' on the other hand by deleting the first, third, fifth and seventh letter, I obtained the title 'OPEA,' and it fascinated me. I had recently bought a synth KORG MS20 and so I began to experiment with it, but having only one output jack, I had to connect it to an AKAI cassette recorder that had two inputs, so the inevitable consequence was a mono recording (something that was strictly maintained, but divided on two channels). The result that followed was a cassette format C-90, with very grim and voluptuous electronic sounds, and it was distributed only to a very few friends and followers. All this happened back in October 1980. Then this recording became virtually untraceable, until a few years ago when I was in contact with Vittore Baroni who wrote me that he had a recording that I had given him several years previously, precisely CMRS/OPEA! So this work of historical value will surely make a lot of my genuine fans happy" --Maurizio Bianchi, February 7, 2015. Originally issued as private C-90 cassette in about seven or eight copies, and distributed only to very close friends. Mastered with supervision by M.B., Milano, 2015. No changes of pitch were made in the mastering process.


LYOTO MUSIC: Lyoto Music LP (UMA 099LP) 23.50
Lyoto Music was a terrific collaboration between Pietro Mazzocchin (The New Sadism, Observation Clinique, Swastika Kommando) and Pierpaolo Zoppo (Mauthausen Orchestra), which manifested itself as a unique cassette released in 1984 by Aquilifer Sodality. This first-ever reissue is mastered from the original master tape kindly provided by Andrea Cernotto with the full permission of Mazzocchin. "As far as I remember, Lyoto Music was one of the most appreciated items and possibly one of the best-sellers in the (Aquilifer) Sodality catalogue. The music was produced by Pietro using cassettes (one cassette?) recorded by Pierpaolo. A friend from that area recently brought to my mind a forgotten concert by the duo somewhere in Emilia, the only time Pierpaolo (and maybe Pietro too) played live. If memory doesn't betray me, I was the only person in the audience." --Andrea Cernotto (The Sodality), April 18, 2015


MAUTHAUSEN ORCHESTRA: Necrofellatio LP (UMA 101LP) 23.50
Mauthausen Orchestra's Necrofellatio, originally released as a cassette in 1983, is now reissued on vinyl for the first time. It's one of a series of amazing tapes that Pierpaolo Zoppo released on Aquilifer Sodality in the early '80s. Tape after tape, Mauthausen Orchestra produced, in a few years, the backbone of what came to be known as an alienating and extremist style, made of metal nightmares and sonic torture often dilated, dissected, and extended to the limit of endurance. Conflict carries us, once again, as real rituals of a civilization without gods, in a pure world of suffering. Infinite modulations toward a sky that has now disappeared and become locked in concrete. A fierce nihilism that overflows into the undefined territory between mind and matter, marking the brain and skin. A single act of sensory rape in an effort to deconstruct any rational particle that approaches the sound composition. Mauthausen Orchestra was one of the most important musical projects of the Italian industrial scene and contributed to the birth of power electronics and harsh noise across the globe.


MAUTHAUSEN ORCHESTRA: From Homicide to Slaughter LP (UMA 102LP) 23.50
Mauthausen Orchestra's From Homicide to Slaughter, the original tape of which was recorded in 1982 and '83, is now reissued for the first time. It's one of a series of amazing tapes that Pierpaolo Zoppo released on Aquilifer Sodality in the early '80s. Tape after tape, Mauthausen Orchestra produced, in a few years, the backbone of what came to be known as an alienating and extremist style, made of metal nightmares and sonic torture often dilated, dissected, and extended to the limit of endurance. Conflict carries us, once again, as real rituals of a civilization without gods, in a pure world of suffering. Infinite modulations toward a sky that has now disappeared and become locked in concrete. A fierce nihilism that overflows into the undefined territory between mind and matter, marking the brain and skin. A single act of sensory rape in an effort to deconstruct any rational particle that approaches the sound composition. Mauthausen Orchestra was one of the most important musical projects of the Italian industrial scene and contributed to the birth of power electronics and harsh noise across the globe.

USHI 001-4CD

MAUTHAUSEN ORCHESTRA: First Essay: Sexual Depravity and Pleasant Atrocities 4CD BOX (USHI 001-4CD) 47.50
One of the key figures of the Italian industrial scene, Pierpaolo Zoppo started releasing tapes of his Mauthausen Orchestra project on the astonishing Aquilifer Sodality label in 1982. Zoppo didn't leave much to the imagination with the titles of these early works. Sex. Death. Blood. Dealing with such topics as sexual violence, perversion, torture, and murder without sounding cheap and careless is not an easy task. Mauthausen Orchestra's atmosphere, one of true debauchery and calculated sickness; and its raw recording procedures, authentic and true lo-fidelity, have yet to be matched. Mauthausen Orchestra remains one of the pioneering exploits from the incredibly macabre Italian industrial scene that began with Maurizio Bianchi and continued through Zoppo's project, Sigillum S, The Sodality, and the later work of Atrax Morgue. It's hard to ignore how the extremity of the poetics from the Italian scene literally bleeds beyond art and into life for many of these artists. This box set contains first-time CD reissues of four challenging Mauthausen Orchestra noise decimations originally released on cassette in the early 1980s, fully remastered from the original tapes. Anal Perversions (1985) communicates a fierce nihilism that overflows into the undefined territory between sex and maniac desire, marking our brains and our skin; a single act of sensory rape that tries to deconstruct any rational particle that might approach the sound composition. Host Sodomy (1985) represents an unprecedented noise assault and spares no form of perversion, relinquishing any moral obligation in the pursuit. Bloodyminded (1984) offers one side of oppressive noise devolving into anguished vocal terror, and another, slightly more nuanced side, adhering to a similar schematic. If nothing else is doing it for you, try this at your own risk. 2nd Movement (1983) carries us, once again, into real rituals of a civilization without gods in a pure world of suffering. Infinite modulations toward a sky that has now disappeared and become locked in concrete. Each CD is housed in individual mini-LP gatefold sleeves with new art. Packaged in a hard black box with white lettering ink. Limited to 199 copies.


VF 009LP

USUAH, MARY AFI: Ekpenyong Abasi LP (VF 009LP) 20.00
Repressed; LP version. A stupendous blend of scintillating highlife, smoking Fela, and spaced-out, funkdafied black jazz, from 1975, reissued for the first time. Mari Affiong Usuah from Oron, by way of Calabar, in southeastern Nigeria, fronting a knockout band led by Daniel "Satch" Asuquo from the Atomic 8 (and formerly of Bobby Benson's orchestra). The Afrofunk cuts are especially killer -- with James Brown just percolating through by the end -- but it's a stunning, magnificent album, through and through. Beautifully sleeved, too, with excellent notes by Uchenna from Comb & Razor.


WP 063

WAX POETICS: #63 MAG (WP 063) 11.99
"On the covers: front: Gary Clark Jr.; back: Raury. Contents: Leon Bridges, Boz Scaggs, Marilyn McLeod, Kamasi Washington, John Simon, Onra, Knxwledge, Norvis Jr."



SHLOMO: Avadon EP 12" (WLTD 027EP) 12.50
Paris-based Taapion Records co-owner Shlømo presents his Wolfskuil Limited debut. The complex rhythms of "Avadon (Part 1)" combine soft, atmospheric textures with heavy, pulsating bass and driving techno essentials. On "Avadon (Part 2)," similar elements translate through more erratic percussion for a cathartic spatial effervescence. Paris-based producer Antigone, also part of the Taapion family, flips "Avadon (Part 1)" upside down with his remix, making the key components more sensitive and emotional for a lasting impression.



NEGRO, JOEY: Le Freak: Music Inspired by Chic CD (ZEDD 037CD) 15.50
The Z Records label, run by Dave Lee aka Joey Negro, is arguably the contemporary go-to disco label, and it was only a matter of time before Lee would delve into his vinyl vaults and pull out a selection of tracks inspired by the late-'70s Chic sound. "Back when I was listening to commercial radio as a music-mad teenager in 1979/80, their records were omnipresent on the airwaves... when one of their own songs just dropped out of the hit parade, it was replaced by a production for another act -- be it Diana Ross, Sheila & B. Devotion, or Sister Sledge -- it was a constant stream of hits. When I heard songs like Norma Jean's 'High Society' (a solo release from one of Chic's singers) blasting out my transistor radio, I knew straight away it was an Edwards & Rogers production... the playing and sound of both the guitar and bass was a giveaway, along with the precise vocal phrasing, rippling piano, and discreet string parts. If it was the 12" mix then the bass breakdown and slow instrumental build up in the second half of the record was also part of the blueprint. Generally, Chic songs eschewed ad-libs or long solos; the style is more defined with each instrument having an exact placing -- including the vocals. Records like 'Good Times' and 'We Are Family' weren't just big club hits -- yes, they were massive on dance floors but they were also pop crossovers all around the world... even the rock guys I was friendly with (who generally despised disco) quietly liked Chic and admired their rock solid playing and grooves. I guess the best music has this universal appeal... The only track on here Edwards and Rogers were behind is Odyssey's 'Together,' which is one of their more obscure productions... The only actual cover is from Charanga 76 who released an album in 1979 which featured several raw, Latin disco-style Chic reworks, of which their 'Good Times' was perhaps the best -- otherwise, the likes of Delegation's, Van Jones's, and Michael Zager's are original songs, not pastiches -- just simply great music inspired by Chic's blueprint. Hope you enjoy" --Dave Lee aka Joey Negro, August 2015. Also includes tracks by Ann Margret, Firefly, GQ, Change, Nightlife Unlimited, SheUltra Naté, and Joey Negro & The Sunburst Band remixed by The Reflex.

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