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Forced Exposure New Releases for 11/9/2015

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New music is due from Arash Moori, Phork, and Tropic of Cancer, while old music is due from Continuum, Goblin, and Klaus Schulze.


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50 043EP

ADDISON GROOVE/ERRORSMITH: Allaby/Airbag 12" (50 043EP) 14.00
180-gram vinyl. For the fourth 12" in 50 Weapons' 11-part finale, Addison Groove delivers quite a 4/4 version of his sometimes-more-seriously-broken beat with "Allaby," featuring rattling juke claps, a bouncy kick, and cut-up shout-outs. A DJ-tool, highlight, and energy-refresher all at once. Errorsmith's intricate structures always come crowned with the crispest, finest, and bassiest sound-design you can imagine. "Airbag" is a lurky, wobbly monster with no tags applied. And if you tried to nail it, you'd fail. Errorsmith ain't dubstep, IDM, bass music, or industrial; he's just over the top -- he's the man himself.

50 044EP

BAMBOUNOU/MARGARET DYGAS: See You Soon/Popular Religions 12" (50 044EP) 14.00
180-gram vinyl. The fifth 12" in 50Weapons' 11-part finale is split between Bambounou and renowned Perlon artist Margaret Dygas. Dygas's "Popular Religions" merges the minimal aesthetics of her sound with 50Weapons' in a fantastic way! Bambounou bids farewell with the bubbly "See You Soon," a perfect match to Dygas's track.


77KS 001EP

77KS: 77KS001 12" (77KS 001EP) 12.50
180-gram vinyl. Argentine producer Leonel Castillo, an enigmatic, storied character, unveils yet another moniker with this eponymous 77KS series. Remaining the best-kept secret the Latin American electronic music scene has brought forward so far, Castillo is an icon and at the same time virtually unknown. A stylistic chameleon and an ultra-talented jack-of-all-trades, he is hard to pinpoint, and even harder to categorize. Surfacing at random, he's been releasing music as Leonel Castillo and under various aliases, including Arnold Slab, Boeing, and Unknown Artista, on labels as diverse as Ilian Tape, Sushitech, AirDrop, and his own Groovear imprint.



PRESIDENT BONGO: Serengeti LP (ALB 006LP) 17.50
LP version. Includes download code. Stephan Stephensen aka President Bongo wears many hats, but likes to refer to himself as an emotional carpenter. Throughout his illustrious career, President Bongo has built, tooled, shaped, and reconstructed reality in a manner that has touched upon the emotional spheres of thousands, greatly increasing their quality of life and inner harmony in the process. President Bongo began properly mastering his craft as a founding member of the pioneering electronic band GusGus, which formed in 1995. As GusGus evolved and progressed through the years, President Bongo remained a key element, making innumerable contributions to its ongoing success through his work, which ranged from design, film, and photography to singing, songwriting, and production. In spring 2015 President Bongo left GusGus to concentrate on his own solo career and now presents his first solo album, Serengeti. Every year, the beasts of the Serengeti region rush northwest across the endless plains in search of fields for grazing. It's a tremendous sight -- millions of mammals headed in the same direction like a river of majestic proportions, flowing across the vast land toward the ocean. Six months later the zebras, wildebeest, and gazelles return south, once again sealing an infinite loop. Animal hearts brimming with blood, thumping as they traverse Africa; this is the sensation Serengeti evokes for its listener. Ancient dust stirred by the great migration rises and settles in a new corner of the plain. The land is forever altered, yet the same. Whenever the wind blows, nature's rhythms are unaffected. They are undying, relentless, constantly shifting and we are all subject to them. No use resisting. Serengeti is a return journey. The winds change, the dust re-settles, one matures, the music morphs. Close your eyes; your mind rushes across the plains under the burning sun.



VA: African Scream Contest: Raw & Psychedelic Afro ...Sounds From Benin & Togo 70s 2LP (AALP 063LP) 23.50
2015 repress. Double vinyl version, in deluxe gatefold sleeve and printed inner sleeves which replicate all of the liner notes from the CD version booklet. Same 14 tracks as the CD. The mission of Analog Africa is clear: searching in dusty warehouses for forgotten music to keep it alive. All tracks have been officially licensed, usually from the artists who label-head Samy Ben Redjeb also met with for detailed research. Like most modern music in French-speaking West African countries, the music of Benin and Togo was influenced by a few main musical currents: Cuban, Congolese and local traditional music, as well as Chanson Française. Additionally, the geographical location of Benin and Togo -- sandwiched between Ghana and Nigeria -- exposed Beninese and Togolese musicians to highlife music. The cultural and spiritual riches of traditional Beninese music had an immense impact on the sound of Benin's modern music. Benin is the birth place of Vodun (or, as it is known in the West, Voodoo), and some of the rhythms used during traditional rituals -- sakpata, sato, agbadja, tchenkoumé and many others -- were fused to soul and Latin music as early as the mid-'60s and later to funk. That fusion is the essence of this compilation. There are countless stories to be discovered in the extremely well-researched booklet and the music is truly mind-blowing. So delve into the forgotten raw and psychedelic Afro sounds from '70s Benin and Togo and experience the African Scream Contest.


VA: Angola Soundtrack 2: Hypnosis, Distortions & Other Sonic Innovations 1969-1978 2LP (AALP 075LP) 23.50
2015 repress. Double LP version. In 2010, against all odds, Angola Soundtrack Vol. 1 (AACD 069CD/AALP 069LP) was awarded the German Record Critics' Prize in the category "Black Music." This victory was all the sweeter for its triumph over the predicted winner, Aloe Blacc's multi-platinum record, Good Things. Many were surprised that the award was handed to a compilation that covered obscure music, but it didn't surprise the team behind Analog Africa, who believed such an award should have come much earlier. Since discovering the music of Angola 15 years ago, styles such Kazucuta, Rebita, and Semba have become an addiction for Samy Ben Redjeb, the compiler, who proclaimed a serious warning in the first edition liner notes: "Listening to these tracks may cause addiction and provoke heavy rotation!" The unique blend of incomparable musicianship, passionate delivery and regional rhythms that make these tracks so combustible are no accident. An exceptional set of circumstances existed in the history of Angola before Independence that created the giant leap in the style and standard of bands and recordings of the time. When Portuguese repressive measures prevented the small Turmas, street musician groups, from being able to perform in Carnaval celebrations in 1961, a Portuguese civil servant, entrepreneur and Angolan music fan named Luis Montês was already in a position to capitalize on Luanda's need for a live music scene. His self-designed "Kutonocas," Sunday afternoon live music festivals, delighted a Luandan population hungry for a communication between the city and musseques (townships). It also forced groups to adapt to a different style of playing that would accommodate large stages and broader audiences. They equipped themselves with electric guitars, and fed on the musical influences from Cape Verde, Congo and the Dominican Republic, while staying patriotically true to their own musical legacy and unique rhythms. The intimacy of those participating in this musical revolution meant they playfully and professionally wanted to trump each other's style; communication between the groups was frequent as everyone studied each other's records and concerts and players were under a lot of pressure to outdo each other due to the limited recording and performing opportunities. Development of skill and ingenuity was a must, as well as addressing the highly politicized climate. The optimism of Independence can be heard in these recordings; a common goal between the audience and musicians. Upon reading the characteristically generous liner-notes of this Analog Africa release, you will be given more hints of the crucial melting pot that allowed this short period to have such an outstanding productivity. Featuring 44 pages acquired in coordination with the National Library of Luanda and the art magazine Note E Dia, Analog Africa head honcho Samy Ben Redjeb has managed to collect newspaper clips, extremely rare pictures of the bands onstage and printed interviews from the '70s. The stunning pages of passionate photography and artistic design also include interviews with many of the original artists and their families, biographies of the three labels that made it all possible, and of Luis Montês, who was the pulse of the live music scene in Luanda. This compilation is a dedication to the short-lived recording industry in Angola, a brief moment of history between 1969 and 1978 in which three recording companies produced approximately 800 records, mostly singles. They are rare jewels, each song with a significant story and feel behind it. You will hear exciting music blazed with the anticipation of emancipation, tracks fuelled with a sense of unity, community, importance and immediacy. This addictive, outlawed music from Angola shakes and grooves with the smoothness of staccato machine gun fire. Do yourself a favor and submerge yourself into some of the most the addictive music created by mankind.


2015 repress; gatefold LP version. Pressed on 180 gram vinyl; includes mp3 download. Cametá, a historical little Amazonian town on the shores of the river Tocantins, is the birthplace of the scorching music known as "Siriá"; a cross-pollination between the music of the inhabitants of the quilombos, a Brazilian hinterland settlement founded by escaped slaves of African origins, and the indigenous people of the Amazon rainforest. It is a breathing, pulsing, emphatic beat, and the modernized version of this local music, created by Mestre Cupijó, has been igniting street parties and traditional festivals across the state of Pará in Northern Brazil for decades. And at last in 2014, the combustible sound of Siriá will be celebrated internationally as the feverish, tropical sound of the summer. Foretelling his talent to flow between cultures, Cupijó was named after a local river when he was born in 1936, into a family of musicians. His father, Mestre Vicente Castro, was also known as Mestre Sicudera, the musical director of Centennial Euterpe, one of Brazil's oldest bands, founded in 1874. At 12, Cupijó started to play the clarinet. He also became proficient at the piano, mandolin and guitar, although the instrument that came to personify his sound was the alto saxophone. Waltz, bolero, cha cha cha and an assortment of dance hall music became part of Cupijó's repertoire, but it was Carimbó and Siriá, the music played by the black communities of Pará, that had the strongest impact on the young musician. To grasp the soul of this music, Cupijó went to its source and lived with the quilombolas (maroon) community of the Amazon. Upon his return, enriched by this life-changing experience, he founded the band Jazz Orquestra os Azes do Ritmo with the goal of reinventing Siriá and modernizing Samba de Cacete, Banguê and other folkloric music of the state of Pará. Airwaves from the Caribbean and Latin America had also brought the cumbia sound of the mighty Colombian orchestras, merengue from the Dominican Republic and Cuban music to the Amazon, all of which had an impact on the music of Northern Brazil, mambo especially! Mestre Cupijó took these influences and mixed them in with the ingredients he had studied in the Quilombos. That fusion -- as we are witnessing on this record -- had explosive effects. After the initial wave of enthusiasm, the first two LPs were recorded with rudimentary equipment in a dance club in Cametá. However, it was the third attempt, recorded in a studio in Belém, which would trigger a phenomenal success. "Caboclinha Do Igapo" and "Mambo do Martela," included on this record, became instant hits. A year later, "Mingau de Açai," one of Cupijo's most popular tunes, took the region by storm. In total six LPs were recorded by Mestre Cupijó. Analog Africa is ferociously proud and honored to have the chance to present these carefully-selected tracks from Mestre Cupijó's six studio albums, and hope that his music captivates you with the magic and bewilderment that it has them. Let go of your inhibitions and immerse yourself in the wonderful world of Mestre Cupijó... Segura!


VERCKYS & ORCHESTRE VEVE: Congolese Funk, Afrobeat and Psychedelic Rumba 1969-1978 2LP (AALP 077LP) 26.50
2015 repressed. Gatefold 180 gram double LP version. Congo's turbulent and exhilarating '70s: Nightclubs and dancefloors were packed to the brim in the capital, Kinshasa. Exuberant crowds, still giddy from independence achieved a decade prior, grooved to the sounds of the country's classics. In fact, the whole continent was submerged in the Congolese rumba craze. Encouraged by the fantastic productions of the Ngoma label, vibrant radio waves had been spreading the Congo's sounds from Léopoldville across the continent, making these tunes the country's top export. This unexpected success nurtured a wealth of talented musicians. One of them was Verckys, born Georges Mateta Kiamuangana. At age 18, he became a member of the country's most dominant and influential band: Franco Luambo's OK Jazz. This relationship was short-lived, however, as Verckys, now a versatile and potent multi-instrumentalist, had plans of his own: the formation of Orcheste Vévé in 1968, with the aim of reinventing and modernizing the Congolese sound. Blending the ever-influential prowess of James Brown with Congolese merengue, rumba, and soukous, Verckys stripped away the conventional approach that OK Jazz had pioneered, allowing his saxophone-laced melodies to dominate. Verckys also began recording young urban artists with guitar-driven cavacha sounds and releasing their work on his label, Les Editions Vévé; Les Freres Soki, Bella Bella, Orchestre Kiam, and others shot to stardom overnight, making Verckys quite wealthy. But that wasn't enough for a man with a vision. He built a sprawling entertainment complex called Vévé Centre and oversaw the construction of the Congo's most modern recording studio in Kinshasa, in which he recorded the legendary Tabu Lay Rochereau. Orchestre Vévé's popularity poured across borders and in 1974 the band traveled to Kenya for a two-month tour. James Brown, upon seeing Verckys perform that year, was moved to dub him "Mister Dynamite." "Bassala Hot," "Cheka Sana," and "Talali Talala" were some of the tracks recorded in Nairobi for the Kenyan market, songs which are now available to the ears of the world for the very first time. Analog Africa now has the privilege to present 11 tracks by Verckys et L'Orchestre Vévé at the height of their most funky capabilities, compiled over the course of many years in a land of hardship.



SYRACUSE: Liquid Silver Dream LP (ATN 023LP) 19.50
Full-length debut from this quirky French pair after a couple of very impressive singles. Antinote continues to delve into the world of experimental "pop" electronics. After a few years of intensive touring, Syracuse's Antoine and Isabelle finally spent some time in a studio to record new songs as well as ones that were born on the road. Liquid Silver Dream is the result of these studio sessions. From the opening track, "Vapeurs d'Équateur," to the last one, "Le Coeur en Naufrage," it seems that the whole album has been recorded in some secret cave under the sea. Maybe the hot, dry weather in Paris at the time of the recording and the fact that the studio lacked air conditioning can somehow explain the urge to liquidize every musical element -- Isabelle's voice, the instruments -- before pouring them into the album, turning each tune into a phial of intriguing essences. Syracuse's work serves as a reminder that sophistication doesn't necessarily mean complexity. "LOVE," for example, is a beautiful demonstration of this statement; the song has the genuine simplicity that any love song should have, with its only ornament an elegant opiate dub treatment given by a master of the genre, Iueke. The first track on the B-side, "Floating," allows you the listener one last deep breath -- somewhere over a still ocean where time has momentarily stopped -- before the ten-minute "Liquid Silver Dream," a big acid wave that gets at the listener before the wipeout in a roar of synths and crushed claps. Finally, "Le Coeur en Naufrage" resonates in the listener's ears; you are lying on the shore while the sea gently laps over your feet.



VA: Paul Jacobs in Recital: Beethoven, Busoni, Falla, Ravel, Chambonnières CD (ARB 130CD) 11.50
2001 release. In concert, pianist Paul Jacobs (1931-1983) unleashed a volatile side that was merely hinted at in his meticulous studio recordings. His examples of repertoire that had not been otherwise recorded reveal a fiery temperament and penetrating musical virtuosity that offer another perspective of a great artist. Also included is an example of his refined harpsichord playing. Jacobs had given these concert tapes to Teresa Sterne, his producer, who was also an early guiding light of Nonesuch Records; Sterne presented the tapes to Arbiter when she was mentoring the label during its inception. This is the first release of these concert recordings. Includes performances of compositions by Beethoven, Bach, Ferruccio Busoni, Manuel de Falla, Maurice Ravel, and Jacques Champion de Chambonnières.


BEETHOVEN, LUDWIG VAN: The Pietro Scarpini Edition: Beethoven - Sonata Op. 111/Concerto No. 4 (with Furtwängler & the RAI Roma Orchestra) CD (ARB 131CD) 11.50
2001 release. Pietro Scarpini was a founding modernist in Italy's pianistic traditions, one whose performance of Schönberg's Pierrot Lunaire astonished John Cage. His approach to music is guided by a deep probing intellect, finding a unique stylistic projection. A rare Italian tour by conductor Wilhelm Furtwängler featured Scarpini as the pianist in their legendary collaboration of Beethoven's Piano Concerto No. 4, with the RAI Roma Orchestra. Beethoven's last sonata is also heard, from a previously unpublished radio program.


VA: The Chaliapin Edition, Vol. 4: 1913-1921 - Song Repertoire CD (ARB 132CD) 11.50
2002 release. In performances, Russian opera singer Feodor Chaliapin distributed printed programs that included the many songs he performed and simply called out his choices. Arbiter accessed many previously unpublished recordings of Russian songs of which he was an unparalleled master, also having known several of the composers heard here. The sessions from 1913 and 1914 are extremely clear, as Arbiter had access to vinyl test pressings, making the century-old discs sound quite recent. These recordings from 1913-1921 include performances of compositions by Sergei Liapunov, Mikhaïl Slonov, Anton Rubinstein, Edvard Grieg, Nikolai Rimsky-Korsakov, Sergei Rachmaninoff, Johannes Brahms, Theo Koenemann, Franz Schubert, Nikolai Sokolov, Mikhail Glinka, Pyotr Tchaikovsky, Modest Mussorgsky, Eyvind Alnaes, Leonid Malashkin.


BERLIOZ/MAURICE RAVEL, HECTOR: Berlioz: Symphonie Fantastique/Ravel: Rapsodie Espagnole CD (ARB 133CD) 11.50
2002 release. Active in Vienna, where he was Mahler's protégée, conductor Bruno Walter often performed French music, yet few performances survive. His rare account of Berlioz's Symphonie fantastique finds Walter summoning forth the score as an elemental force, unique among his and most other recordings. This recording of the Rapsodie espagnole is his sole surviving recording of an orchestral work by Ravel. Most of Walter's recordings were made in the studio, where he was ordered by producers to change his tempi. Heard live, a truer picture emerges. Performed with the NBC Symphony.


VA: Busoni and His Legacy: Piano Recordings by Busoni, Ley, Petri CD (ARB 134CD) 11.50
2002 release. Advances in restoration technology have exposed for the first time all of the colors, shades of touch, nuances, and dynamics of pianist and composer Ferruccio Busoni's 1922 recordings. His first and few encounters with the horn made recording a detestable act for someone who preferred playing lengthy works. Although recorded into a horn before the advent of the microphone, the recordings capture the studio's Bechstein piano in its sonic projection into the room's space. Egon Petri's performances (with Hans Rosbaud and the Frankfurt Radio Orchestra, recorded in 1936 and 1932) survive as war trophies and reveal Busonian elements in his own interpretation; Petri was so influenced by his master that he could no longer distinguish between his own ideas and Busoni's, a problem for him but an insider's view for the listener. Busoni highly influenced the many who crossed his path, such as his pupil Kurt Weill; his talks with Edgard Varèse led Varèse to develop electronic music. This CD also includes performances by Rosamond Ley, recorded in 1942. Includes performances of compositions by Busoni, Bach, Beethoven, Chopin, and Liszt.


VA: First Recordings - Paris: 1936 & 1948 CD (ARB 135CD) 11.50
2003 release. French organist André Marchal lifted the heavy drapery off of Baroque organ music and exposed the counterpoint through ingenious registration and a highly developed articulation, creating a revival of the music that had been submerged into the heaviness inspired by late-19th-century organs. These recordings capture Marchal performing on an early neo-Baroque organ in 1936 as well as Cavaillé-Coll's masterpiece in Saint-Eustache, Paris, in 1948, and covering a vast repertoire while illustrating the stops on the Baroque organ. Includes performances of compositions by Marchal, Dietrich Buxtehude, Bach, Antonio de Cabezón, Santa Maria, Francesco Landini, Giovanni Pierluigi di Palestrina, John Blow, Henry Purcell, Jan Sweelinck, and Louis Vierne.


MOZART/LUDWIG VAN BEETHOVEN, WOLFGANG AMADEUS: Bruno Walter in Concert (With Huberman's Last Recorded Performance) CD (ARB 138CD) 11.50
2003 release. One of Polish violinist Bronislaw Huberman's last recorded concert performances finds him in company with his colleague, the conductor Bruno Walter, with their Viennese tradition transplanted into New York as they sought refuge from the Nazis. Walter's masterful conducting of the Philharmonic-Symphony Orchestra is heard here in a way that surpasses his studio recordings. A few years before this performance, Huberman had rescued musicians who had been fired and threatened throughout Europe by founding the Palestine Symphony as a refuge and life-saving engagement for many artists threatened with imprisonment and deportation to death camps. When heard live, Huberman takes risks and overwhelms through his passionate expressivity, in this case with a Mozart work he hadn't recorded in a studio. Also includes performances of Beethoven's Symphony No. 1 in C Major and Leonore Overture No. 3.


MOZART/BELA BARTOK/LUDWIG VAN BEETHOVEN, WOLFGANG AMADEUS: Hindemith as Interpreter: The Amar-Hindemith Quartet - Mozart, Beethoven, Bartók CD (ARB 139CD) 11.50
2003 release. The Amar-Hindemith Quartet, formed by the composer Paul Hindemith, existed from 1921 to 1929 and was the foremost ensemble for new music. Their performances were guided by the perspective of a composer's insight and thus reveal musical structure in a unique way. The recording of Bartók's String Quartet No. 2 is a premiere recording; also included are performances of Mozart's String Quartet in E-Flat Major, K. 428 and Beethoven's String Quartet in F Major, Op. 95. Due to Hindemith's rising prominence and activities, the group disbanded not long after these recordings were made. As their violist, Hindemith played the most central role, one preferred by Mozart and other string-playing composers who would forgo the prominence of playing first violin in order to pilot the music's inner workings.



JONSON, NATHAN: Towards the Sun 12" (AREAL 082EP) 12.00
Following years producing and DJing as Hrdvsion since the early 2000s, Nathan Jonson presents Towards the Sun under his given name. At what point does this world become too complex for its creator to be all-knowing and all-powerful? To create an ever-changing world there needs to be an ever-expanding complexity. We are changing therefore we can never be the same. Within this infinite expansion a complexity that has always been is now revealed.



AMBIQ: ambiq 2 LP (AMEL 708LP) 25.50
LP version. ambiq, the Berliner instrumental trio of Max Loderbauer, Claudio Puntin, and Samuel Rohrer, emerged onto the scene in 2014 with their self-titled debut album (AM 703CD/LP) of impressive sonic distinctiveness and technical ability. Drinking from a deep pool of influences that includes free improv, early electronic music, and spaced-out dub, the trio does what any great ensemble should set out to do; it becomes more than the sum of its parts, a single organism with its own unique expressive vocabulary and perspective. Proving that their debut was no fluke, the ambiq trio has already reconvened for a second full-length bubbling over with new timbral combinations, and with a sophisticated interpretation of the ancient art of tension and release. From the opener "The Spur," they bring the listener to a world where strange new tonalities seem to breathe freely; the nimble percussive shuffle, set in relief against a cascade of detuning electronic tones, is a fascinating intro, followed by "Introspective Kitchen," which expands the mood of the preceding track with cleverly delay-effected woodwind, remote organ swells, and yet more shivering percussion. The band then embarks on a more motoring, danceable journey titled "The Mother"; Rohrer's drumming, as always, is taut and confident, while Puntin's clarinet evocatively hovers with a kosmische feel that is all too absent from most realms of "post-rock" and electronics-aided improv. The interplay between Puntin and Rohrer eventually develops into the main dialogue of the album, though the sound events surrounding it change continuously enough to keep this a fully memorable and downright cinematic experience. The miniature piece "Naked George" is as full of humorous melody as the other pieces are of investigative curiosity; another short piece, "Mytoprill," is guided by queasy modular synth strains that impart a delirious kind of funhouse ambience. On "Parton's Double Vision," the lush space-violin-quavers familiar to vintage sci-fi fans play the supporting role, and the closing "Consolation" features a lulling bed of electronics that elusively shift in character the more attention one pays to them. Plenty of music exists for the open-minded, but not all of it has the ability to initiate the process of opening minds in the first place. ambiq does have that ability, and have come up with a musical formula that will melt away the defenses of the most hardened techno fanatic or avant-gardist, seeding new ideas not beholden to any one genre or lifestyle.


AUM 096-97CD

WARE, DAVID S.: Birth of a Being (Expanded) 2CD (AUM 096-97CD) 18.00
"Birth Of A Being (Expanded) presents the essential first studio recordings by incomparable jazz saxophonist David S. Ware as a bandleader. Recorded in New York, April 1977, the first disc features material originally released on LP by the Swiss label, hat Hut Records -- out of print for over 30 years. The second disc features a full additional album of top-shelf material from those same sessions that have never been released in any form. This definitive edition was sourced from the original analog 8-track tapes, and was newly mixed & mastered in 2015. Crucial material. Stunning performances & fidelity. Ware's band here, featuring Cooper-Moore on piano and Marc Edwards on drums, was known as Apogee. This long-standing & incessantly active collective trio formed in Boston (Ware attended college there) in 1970, relocating to NYC in the early 70s to create their own space within the jazz loft scene of the time. In 1973 they were invited by Sonny Rollins to open for him at the Village Vanguard. Not long after arriving in NYC, Ware began performing extensively with Andrew Cyrille's group Maono, and, together with Marc Edwards, joined the Cecil Taylor Unit. In 1977, at Ware's request, Apogee reconvened to document their essence in a proper studio setting. Birth Of A Being could not be a more perfect title for these recordings, as it was here that David S. Ware's concepts for jazz ensemble were first elucidated; concepts that would further blossom within the legendary David S. Ware Quartet which he launched a decade after the initial release of this work. Birth features Ware's compositions & the mesh of Apogee's deep foundation of collective synergy with his vision at time of recording. Exceptional clarity, control, and utter logic in elocution; with intent to get to the breathing heart of music itself. The tenderness and intensity of feeling on full display in all of his work here is humbling. This 2CD set is the fitting first in a planned series of David S. Ware archival releases on AUM Fidelity; its release date coincides with the 66th anniversary of his birth (November 7). First edition packaged in deluxe 8-panel digipak."


PARKER, WILLIAM: Great Spirit CD (AUM 098CD) 13.00
"Great Spirit again makes abundantly clear William Parker's multi-faceted talents as bassist, composer, poet, bandleader and =songwriter=. Raining On The Moon is the extraordinary group which seamlessly fuses all of these prodigious gifts: his long-standing Quartet with Hamid Drake, Rob Brown, Lewis Barnes is here exquisitely augmented by singer Leena Conquest breathing further compassion & dignity into William's lyrics, and pianist Eri Yamamoto for expert chordal support. Going back a few years, Corn Meal Dance (AUM043) is one of the most beautiful, potent, luminous, and true albums of all-original song ever made. The indelible melodies and rhythms; the words, unyielding and uplifting in equal measure; the performances by all six musicians; the recording quality itself. All are strictly top shelf. The January 2007 studio session which yielded that album was extraordinarily productive, and Great Spirit finally presents the entire balance of material recorded on that wonderful day."


AUS 1587EP

FOLD: Netflix & Chill EP 12" (AUS 1587EP) 14.00
Fold follows releases on ManMakeMusic and Electric Minds with his debut for Aus Music. "Calmer Mood" drives grubby and groovy samples over a rough kick before "Wallop" rattles off with powerful 909-drums and truncated samples, sure to please fans of Fold's 2015 track "Mr Wood." "Dreamscape" melds deftly chopped breaks with jazz melodies to set a rich, blue tone that's propelled into overdrive by splashing drum solos stitched together with flare. Workshop label owner Kassem Mosse introduces a subtle degree of melancholy to "Dreamscapes," linking rich, spectral pads with tumbling breaks and delayed sax.



GUN CLUB, THE: Mother Berlin LP (BANG 094LP) 21.00
150-gram vinyl in gatefold sleeve; limited to 500 copies. Yes, it exists! The Gun Club with leader Jeffrey Lee Pierce and Kid Congo Powers on guitar (The Cramps, Nick Cave and the Bad Seeds, The Butcher Shop) made these recordings in Berlin in 1987, as part of the sessions that would become 1987's Mother Juno (BANG 082LP). These recordings are much more raw, aggressive, and intense in their original form, and they are now finally collected and mastered as they were intended. Alternate recordings and one previously unreleased track ("Country One"). Deluxe gatefold sleeve includes lyrics.


HART, GRANT: Ecce Homo LP (BANG 095LP) 21.00
Grant Hart's acoustic live album Ecce Homo, recorded in Seattle in 1994 and released only in the USA on CD in 1995, is now available on vinyl for the first time. A truly intense and deeply passionate acoustic performance, with a selection drawing from Hart's solo career, his band Nova Mob, and, of course, Hüsker Dü. Ecce Homo is to Hüsker Dü as Johnny Thunders's Hurt Me (1983) is to New York Dolls. A recording filled with honesty, sincerity, and even desperation, this is a total must for all followers of '80s and '90s American independent rock. Pressed on 150-gram vinyl.


DREAM SYNDICATE, THE: Weathered and Torn (3½, The Lost Tapes 85-88) LP (BANG 096LP) 21.00
150-gram vinyl in gatefold sleeve; limited to 500 copies. This is The Dream Syndicate's lost album, recorded in Los Angeles between their third and fourth official albums and featuring Chris Cacavas of Green on Red. This album is the missing link between their Americana sound and the Velvets spirit of The Days of Wine and Roses (1982). Studio recordings with excellent sound quality, remastered for vinyl. Includes inner sleeve liner notes by Steve Wynn and Dennis Duck. A mandatory record for all lovers of the Paisley Underground sound and Americana.



V8: Un Paso Más en la Batalla LP (BEAT 056LP) 21.00
180-gram vinyl; limited to 500 copies. Between August and September of 1984, the Argentine band V8 entered the studio to record their much-anticipated follow-up to their mighty debut, Luchando por el Metal, the first metal album released in Argentina. This second album was the consecration for the band; their fans were already thousands but they got more and more recognition with this new LP. The band's reputation grew, partly by virtue of their lyrics, which reflected the dictatorship of the time and the pain and frustration of the whole society, and partly due to their commitment to play everywhere they could. The new songs were still fast and direct, and a little better played than the previous album's, so this album helped them to gain a cult status in their country and the rest of the metal world. This is the first vinyl reissue of this seminal album of South American metal. Replica cover art and insert.



TROPIC OF CANCER: Archive: The Downwards Singles 12" (BLACKEST 041EP) 17.50
The three original songs from Tropic of Cancer's two 10"s on Downwards, The Dull Age/Victims (2009) and Be Brave (2011) (now both out of print and highly sought-after), collected on one 12" with new artwork by Silent Editions. An artifact of a time and a place that can never be revisited or relived. The ultimate post-punk, post-techno death-disc. Written and produced by Camella Lobo and Juan Mendez. Recorded in Long Beach, CA, and Minneapolis, MN, 2008-2009. Mastered and cut by Matt Colton at Alchemy in London. 12" pressed at Optimal and housed in full picture sleeve printed on reverse board. Includes MP3/FLAC download code.


TROPIC OF CANCER: Stop Suffering 12" (BLACKEST 049EP) 17.50
Stop Suffering is first music to emerge from Camella Lobo's Tropic of Cancer project since her 2013 debut album, Restless Idylls (BLACKEST 005CD/LP). The towering, time-stopping title-track is the culmination of Tropic of Cancer's work to date; rarely does an arrangement so sparse exhibit such grandeur. Written and recorded by Camella Lobo in LA. Additional recording, production, and mixing by Joshua Eustis (Sons of Magdalene, Telefon Tel Aviv). Cover photograph by Jasmine Deporta. Layout by Oliver Smith. Mastered and cut by Matt Colton at Alchemy in London; pressed at Optimal; housed in black paper inner sleeve and full-color reverse board LP sleeve. Includes MP3/FLAC download code.



MANIK: NY2LA EP 12" (BPC 318EP) 12.00
New York-based DJ and producer M A N I K aka Christopher Manik follows releases for Ovum Recordings, Poker Flat, and Hot Creations with his debut for BPitch Control. Synth-funk track "Echo 3000" features a 4/4 beat enlarged by bouncing basslines, gritty kicks, and hypnotic vocal samples. "Acid Sandwich (feat. MC Kew G)" matches a pulsating 303 against some rough 909 claps, with M A N I K's vocals and the overall raw aesthetic recalling Green Velvet. "Power" evolves into a deep, pushing floor beast with rave arpeggios. The hefty chords of "House of Cards" also reflect the EP's old-school charm.


BB 214LP

KISTENMACHER, BERND: Head-Visions LP (BB 214LP) 22.00
LP version. It was Klaus Schulze's 1976 album Moondawn that altered the trajectory of Bernd Kistenmacher's life when he heard it on the radio at the tender age of 16. The sequencer patterns, melody lines, and soundscapes triggered all of his aesthetic receptors. From then on, this was the only kind of music he wanted to hear. He became a relentless venerator of Tangerine Dream and Klaus Schulze, particularly the latter. But his heroes evolved; their music changed with the advent of digital sounds and midification. Kistenmacher was not happy with the way things were going. And if his idols were no longer making the music he loved them for, then he had to take up the challenge himself. His father had shown him how to play the piano when he was a child and he had always been fascinated by the technology of synthesizers, so Kistenmacher decided to become a musician. Synthesizers were prohibitively expensive, so he started to build his own modular system. But before he finished, he realized that this method would also be inordinately costly, and that it might not allow him to achieve the results he strove for. As soon as he was able to pay for one, Kistenmacher bought a Korg Mono/Poly, which would become the cornerstone of his career. That was in 1982. He acquired more and more equipment until, in 1984, he finally released his first cassette (Dancing Sequences). Kistenmacher was now using his analog gear to create the sounds that Schulze and Tangerine Dream had played at the zenith of their careers. Two further cassette productions followed (Music from Outer Space and Romantic Times), as did various concerts, meeting with approval from radio stations and audiences. In 1986, the time came for him to release his first LP, Head-Visions, reissued here. The cover art features a work by the Berlin sculptor Rainer Kriester. The reaction was overwhelming. Radio plays, concerts, music for fashion shows and television formats indicated to Kistenmacher that he was on the right track with his repetitive sequencer patterns, soft melody arcs, and layered soundscapes, driven forward by rhythmic basslines driving the music forward. Minor keys dominated. In other words: Bernd Kistenmacher.

BB 215LP

KISTENMACHER, BERND: Wake Up in the Sun LP (BB 215LP) 22.00
LP version. It was Klaus Schulze's 1976 album Moondawn that altered the trajectory of Bernd Kistenmacher's life when he heard it on the radio at the tender age of 16. The sequencer patterns, melody lines, and soundscapes triggered all of his aesthetic receptors. From then on, this was the only kind of music he wanted to hear. He became a relentless venerator of Tangerine Dream and Klaus Schulze, particularly the latter. But his heroes evolved; their music changed with the advent of digital sounds and midification. Kistenmacher was not happy with the way things were going. And if his idols were no longer making the music he loved them for, then he had to take up the challenge himself. His father had shown him how to play the piano when he was a child and he had always been fascinated by the technology of synthesizers, so Kistenmacher decided to become a musician. Synthesizers were prohibitively expensive, so he started to build his own modular system. But before he finished, he realized that this method would also be inordinately costly, and that it might not allow him to achieve the results he strove for. As soon as he was able to pay for one, Kistenmacher bought a Korg Mono/Poly, which would become the cornerstone of his career. That was in 1982. He acquired more and more equipment until, in 1984, he finally released his first cassette (Dancing Sequences). Kistenmacher was now using his analog gear to create the sounds that Schulze and Tangerine Dream had played at the zenith of their careers. Two further cassette productions followed (Music from Outer Space and Romantic Times), as did various concerts, meeting with approval from radio stations and audiences. In 1986, the time came for him to release his first LP, Head-Visions (BB 214CD/LP). The cover art features a work by the Berlin sculptor Rainer Kriester. The reaction was overwhelming. Radio plays, concerts, music for fashion shows and television formats indicated to Kistenmacher that he was on the right track with his repetitive sequencer patterns, soft melody arcs, and layered soundscapes, driven forward by rhythmic basslines driving the music forward. He embarked on a second album, Wake Up in the Sun, which was released only one year later and was similarly well received. Reissued here for the first time on vinyl, it connects seamlessly to its predecessor: Berlin School par excellence.



GAD, PABLO: Trafalgar Square CD (BSR 996CD) 16.00
"1980 reggae album re-issued on CD in its original cover"


MICHAEL PROPHET: Certify CD (BSR 998CD) 16.00
"Michael Prophet's 1983 album Certify reissued on CD. This amazing roots reggae album features righteous vocal takes from Michael Prophet and gorgeous production help from Scientist."


ISAACS, GREGORY: Slum in Dub LP (BSR 999LP) 21.00
"1978's Slum in Dub album re-issued on 180 gram vinyl in its original cover. A brilliant mix of Isaacs' soulful vocals and Prince Jammy's dubbed out production."



VA: Plastic Dance 1: Domestic Synth Pop & Plugged in Punk Compiled by Andy Votel & Doug Shipton LP (CACHE 016LP) 25.00
Having lived off the small change and 45 adaptors of each other's pockets since 2005, Finders Keepers and Cache Cache co-founders Andy Votel and Doug Shipton spread their wings and pool their DJ bags for a series of sporadic various artists compilations focusing on the global punk and makeshift electro records that have kept their beer-soaked dancefloors and distorted sound systems moving. Meet the younger, sarcastic sisters of some of the classic Finders Keepers family and their spotty friends, then watch what happens when jazz-punk underdogs cock their legs to their overqualified elder brothers. Plastic Dance presents ten unacquainted and elusive slices of synthetic squat pop, angular funk, teapot kosmische, and fraudulent disco from self-propelled imprints and global co-ops. Named after Günter Bernas's obscure DIY anti-band, this ongoing series combines rare, unknown, and untraveled wax nuggets of nightclub punk, art school zeuhl, and quasi-political pop united by soldering irons, C-60s, and sarcastic synth tones. Featuring a cross-section of unobtainable, unreleased, unknown, and unwanted reluctant punk and snide synthpop with sleeve-notes by respected DJ/haç hack/Situationist addict John McCready and artwork by airbrush-legend Terry Pastor (Ziggy Stardust/Soft Machine/Arthur C. Clarke), Plastic Dance becomes flexible under heat. Includes tracks by Killing Car, Cybotron, 53 Bus, Plastictanz, Don Gere, Zed, The Tunes, Sirons, Biting Tongues, and Andrzej Korzynski.



MAGNE, MICHEL: Musique Tachiste CD (CACK 001CD) 10.00
2013 reissue; mid-line pricing. Originally released in 1959. The debut release on Finders Keepers' experimental/jazz/avant-garde imprint Cacophonic, Musique Tachiste is the first in a series of rare records by French experimentalist Michel Magne. One of the very earliest full-length French concept albums -- part radical manifesto, part pantomime -- it combines found sounds and industrial noise with piano jazz alongside imposing avant-garde orchestral elements and Magne's own hammered cimbalom flourishes, as a physically humorous reaction to the bourgeoning musique concrète movement. This unique debut LP also provides an early insight into a fruitful soundtrack/conceptual jazz career that would see Magne collaborate with Jean-Claude Vannier, Martial Solal, and Artie Kaplan, and found the residential recording studio at Château d'Hérouville, nicknamed Strawberry Studios, where French artists like Magma, Catherine Ribeiro, Brigitte Fontaine, and Ange shared space with Terry Riley and Pink Floyd. As a dedicated producer of thematic composition, anti-intellectual experimental performance, and modern jazz, Magne was also a well respected pioneer of France's signature film score sound of the late '60s. His self-initiated debut, Musique Tachiste, marks a stylistic crossroads where the likes of Egisto Macchi, Harry Partch, Rolf Liebermann, and Igor Wakhevitch overlap with the work of future collaborators and understudies like Jean-Claude Vannier and Martial Solal. This album is an essential forefather of European conceptual pop made at the start of a career that later furnished France with one of its most important residential studios and a discography of challenging LPs before Magne's untimely suicide in the 1984. Presented here for the first time since its initial humble pressing in its unabridged entirety complete with its collectible illustrated sleeve art, this album stands as the perfect debut release and musical modus operandi for the Cacophonic imprint.


GOEYVAERTS, KAREL: Karel Goeyvaerts CD (CACK 002CD) 10.00
2013 release; mid-line pricing. Karel Goeyvaerts was born in Antwerp in 1923. After receiving a humanistic education in Antwerp, he took courses at the Lemmensinstituut in Mechelen, Belgium. From 1943 until 1947 he studied at the Royal Flemish Conservatoire of Antwerp. From 1947 until 1950 he studied composition with Darius Milhaud and music analysis with Olivier Messiaen and was a pupil of Maurice Martenot at the Conservatoire de Paris. In 1949 he was awarded the 2nd Prize for Composition and the Lili Boulanger Prize at the same college. He won the Halphen Prize in 1950. During the winter of 1950-'51, he wrote the "Sonata for two pianos." Because of its decisive and total stylistic novelty he designated this work "Opus 1," thus rejecting all of his former work. With this sonata he created a structural synthesis of the dodecaphonic system of Anton Webern and the teachings of Messiaen and laid the foundations for generalized "punctual" serialism. He demonstrated the application of this technique on the electronic medium in his compositions Nos. 4, 5, and 7. During the period from 1951-1956, he influenced -- directly, through personal contact and intensive correspondence -- the musical creativity of Karlheinz Stockhausen, whom he met during the summer courses of 1951 in Darmstadt. In 1953, Goeyvaerts and Stockhausen produced the first electronic music in the studio of the NWDR (Nordwestdeutscher Rundfunk) in Cologne. In 1970 the BRT (Belgian Radio and Television) appointed him as producer at the IPEM (Institute of Psychoacoustics and Electronic Music) in Ghent. In 1974 he took charge of the new music productions for BRT-3 in Brussels. Goeyvaerts received several awards, including the Koopal Prize in 1967 and the Visser-Neerlandia Prize in 1969. He also was given commissions by the BRT, the Festival of Flanders, and the NOS (Nederlandse Omroep Stichting). His works have been performed in several European countries, as well as Canada, the United States, and Japan, and at festivals of the ISCM (International Society for Contemporary Music), including Brussels 1950, Oslo 1953, Graz 1972, and Bonn 1977. This CD is the first collection of some of Goeyvaerts's ultra-rare vinyl releases, available here for the first time outside of their original vinyl editions.


VA: Danse Sacrale: 14 Early Avant-Garde and Electronic Compositions for Ballet and Modern Dance CD (CACK 009CD) 10.00
2014 release; mid-line-priced CD. The roots of electronic dance music by definition. An unlikely combination of early recordings by international electronic and avant-garde composers as well as infrequent collaborators retrospectively unified by their commitment to the musical enhancement of 20th-century ballet and the evolution of modern dance. Presenting key exponents of the musique concrète and tape music movements alongside masters of the early electric sound synthesizers, as well as pre/anti-electronic instrument designers with non-conformist and microtonal composers, Danse Sacrale reveals a broad range of truly revolutionary musical and academic advancements that found an improbable, sporadic, and vibrant creative outlet via one of Europe's proudest and most sacred cultural institutions. Featuring composers Pierre Henry, Lasry-Baschet, Igor Wakhevitch, Henk Badings, Jean-Claude Vannier, Remi Gassmann, Alwin Nikolais, and Karl-Birger Blomdahl alongside choreographers like Béjart, Balanchine, and Yvonne Georgi, Danse Sacrale unites the unanimously lauded and the relatively unknown with some of their earliest and underexposed achievements. These rare and remastered compositions provide a concise retrospective of a previously undocumented global phenomenon and a global synergy that formed the true foundations of electronic dance music and changed the perceptions of modern music and dance culture in the stern face of adversity and tradition.


VA: Danse Sacrale: 14 Early Avant-Garde and Electronic Compositions for Ballet and Modern Dance 2LP (CACK 009LP) 26.50
Double LP version.


CT 004EP

CLUB TRAX: Together Forever 12" (CT 004EP) 12.50
Club Trax is an anonymous series of records created by DJs and intended exclusively for DJs. Pressed in a limited amount, Club Trax is available on vinyl only. With strong roots and knowledge, Club Trax presents a fine mixture of upfront house, bringing together future classics with reworks of titles that have influenced the development of upfront house music through the last generation. This fourth installment contains two completely fresh Club Trax reworks of an all-time '80s classic that has brought thousands together forever.



DA CRUZ, RAFAEL: Rex 12" (COMP 475EP) 12.00
Cologne's finest, Rafael da Cruz, follows his 2014 Compost Black Label debut, Renaissance (COMP 454EP), with the dark and floating "Rex." 2015 was a good one for Rafael da Cruz. He toured through South America, Thailand, India, and Europe and played legendary spots like D-Edge, Warung, and Watergate, in addition to running his Right to Love night at the Gewölbe club in Cologne. This 12" includes an incredible remix by Edgar Peng and an epic version from André Lodemann, which has earned a lot of love from guys like Âme, Dixon, Sandrino, and more.



HO, MICHAL: Truly Alien EP 12" (CNTXTS 1002EP) 12.50
From the mouth of Lil' Dirrty (featured on the B-side): "We heard y'all thought TuningSpork was dead? I'm here to say like a phoenix we rose from the ashes. This is a techno record about propaganda and the politics of fear. This is music AGAINST war. Join us on a journey of peace through beats and spoken word -- then see for yourself, is it true? Oh, and btw. fuck Contexterrior for now, this is a TuningSpork Record. Signed, Lil' Dirrty, Zürich Langstrasse 2015. P.S. Remember to choose love over fear and never become a slave to any train of thought."



LETTA: Testimony CD (COY 001CD) 14.50
Coyote Records are proud to present their debut album release, Testimony, produced by the immensely talented, little-known Letta. Letta's Testimony is an intensely personal and introspective musical manifestation of his years spent battling addiction, violence, and homelessness. His unique experiences and circumstances are conveyed through a kaleidoscope of synth-doused soundscapes, palpably melancholic but not without occasional glimpses of light. Testimony soars with flourishes of eski color, soulful vocal manipulations, and thick, melodic basslines in a style that touches on grime and hip hop yet is truly characterized by the emotive effect of compositions that transfix with their depth and imagination. Over eight tracks, Letta offers an encapsulating glimpse into his world; an album built to be listened from edge to edge. As a bonus, Letta also exchanges remixes with Last Japan -- Letta remixes Last Japan's "Harca" and Last Japan returns fire with his rework of Letta's "The Recluse." Design by Br3321. Photos by Gnarly. Mastered by Beau Thomas.



MELON: Air 12" (DOC 008EP) 12.50
Jeroen Hofer aka Melon, whose musical life began at age eight when he asked for a drum machine and an Atari 500 computer with the intention of starting a band, has won acclaim with tracks like "Nitzi" on Innervisions and "Spring" on his own Ratio?music imprint, as well as his work under his Je Dàvu moniker, including his famous re-edit of INXS's "Need You Tonight." Air sports music for the dancefloor, full of groove, lush harmonies, and organic undertones. Engineered to perfection by D.O.C. label head Gui Boratto, who also provides a remix of "Air."



ALESSANDRONI, ALESSANDRO: Panoramic Feelings + Le Film Trouvè - A Panoramic Experience LP/DVD (RED 401D-LP) 32.00
The Dagored label proudly presents its first collaboration with Sync Film Archive, a video production based on and inspired by the music from an incredible LP of Italian library music from the '70s. Sync Film Archive is an archive of over 10,000 amateur films in 8 mm, Super 8, and 16 mm formats, filmed from the '20s to '80s. The Archive recovers home movies from all over the world to conserve, restore, catalog, and digitize sociological documents that would otherwise disappear. Alessandro Alessandroni's Panoramic Feelings, originally released in 1971 by the great Italian Canopo label, is a mega-rare work of Italian library music containing psych, funk, lounge, and bossa from Ennio Morricone's closest collaborator. This first-ever reissue is pressed on transparent vinyl and presented in a transparent plastic bag. Includes the DVD Le Film Trouvé - A Panoramic Experience, a musical journey into the past produced by Sync Film Archive from digitally restored, previously unreleased amateur footage. Limited edition of 500.


FERRARA, PAOLO: Ritmico + Le Film Trouvè - A Rhythmic Experience LP/DVD (RED 402D-LP) 32.00
The Dagored label proudly presents its second collaboration with Sync Film Archive, a video production based on and inspired by the music from an incredible LP of Italian library music from the '70s. Sync Film Archive is an archive of over 10,000 amateur films in 8 mm, Super 8, and 16 mm formats, filmed from the '20s to '80s. The Archive recovers home movies from all over the world to conserve, restore, catalog, and digitize sociological documents that would otherwise disappear. Ritmico, by the long-forgotten and mysterious Paolo Ferrara, is an incredible and rare LP of Italian library music that blends Afrosound, samba, bossa, and tumba into fantastic, funky tunes. Originally released in an edition of 300 copies in 1975. This first-ever reissue is pressed on transparent vinyl and presented in a transparent plastic bag. Includes the DVD Le Film Trouvé - A Rhythmic Experience, a musical journey into the past produced by Sync Film Archive from digitally restored, previously unreleased amateur footage. Limited edition of 500.



DIE VERBOTEN: 2007 2x12" (DEEWEE 003LP) 27.50
Die Verboten are a space rock band formed by David and Stephen Dewaele of 2ManyDJs and Soulwax, Fergus "Fergadelic" Purcell, and Henry Riton. This is their first album, written and recorded in 2007 and rediscovered and mixed in 2015. This LP consists of five tracks: "Dafalganger," "White Island," "E40," "Nacht Winkel," and "Aquarius." It is the sound of classic German kosmiche, live drums, synths, percussion, and a loose funk you only find in these kinds of stretched, fluid grooves. The album was produced by Die Verboten and recorded and mixed at Deewee. Artwork by Ill Studio/Fergadelic. Die Verboten's debut EP, Live In Eivissa, was released in 2009 via London's Vinyl Factory (listed on Discogs at the time of this release for over $150) and was recorded poolside in Ibiza. 2007 is the second release on the Dewaeles' Deewee label, following Drie/Twee by Klanken (DEEWEE 002EP, 2015) and preceding a 12" by Emmanuelle.



LOCKWOOD: Let's Talk EP 12" (DES 128EP) 14.00
Brussels-based Lockwood (Gert-Jan Haegeman and Billy Hillaert) open with "Let's Talk," a shuffling, laid-back house groove with an unruffled bassline and blue-tinged jazz chords. The choppy hand-claps and ridiculously over-the-top squidgy bass of "Sway" explore different territory; frenetic synth-funk shimmering with layers of synth and zingy repetitions. "Yearning" melds a tough, rubbery tick with cycling keys and choric pads. It's the bass that's the star here, bending the tune around its abrasive low-end. Nils Penner's remix of "Let's Talk" employs a huge, booming bassline and brings its spoken-word sample to the fore, lending the track a dark, glittering technoid edge.


ACV 2004LP

GAINSBOURG, SERGE: Du jazz dans le ravin LP (ACV 2004LP) 20.00
2015 repress. Serge Gainsbourg, the original bad-boy of French pop, the man who updated the French chanson and made it hip again, infusing it with the youth culture of the late '50s and '60s, ruled by jazz, drugs and free love. Very different from his celebrated later works, the music captured on this limited edition vinyl finds Gainsbourg mixing traditional chanson and big-band jazz rather than the avant-garde pop that went on to define his career outside of France. This record presents a revealing insight into the early years of this iconic figure. Limited edition vinyl with ACV (Audiophile Clear Vinyl) quality.

ACV 2014LP

COLTRANE, JOHN: Giant Steps LP (ACV 2014LP) 20.00
2015 repress. Originally released in 1960. "What makes Coltrane one of the most interesting jazz players is that he's not apt to ever stop looking for ways to perfect what he's already developed and also to go beyond what he knows he can do. He is thoroughly involved with plunging as far into himself and the expressive possibilities of his horn as he can. As Zita Carno wrote, 'the only thing to expect from John Coltrane is the unexpected.' I'd qualify that dictum by adding that one quality that can always be expected from Coltrane is intensity. He asks so much of himself that he can thereby bring a great deal to the listener who is also willing to try relatively unexplored territory with him." --from the original liner notes; pressed on Audiophile Clear Vinyl (ACV).

ACV 4002LP

SIMONE, NINA: At Carnegie Hall 2LP (ACV 4002LP) 25.50
2015 repress. "On May 12, 1963, Miss Simone gave her first concert in Carnegie Hall. Her impeccable piano mastery and her distinctive vocal stylings thrilled those present in the famed landmark of musical events (...) From her vast repertoire, including many numbers that have become 'her' songs, either because she introduced them or because she had recorded the definitive version, Miss Simone compiled an exceptional program for her Carnegie Hall concert. Some of the numbers in this album have been done on disks before, but none have ever sounded as well." --from the original liner notes; The COMPLETE Nina Simone at Carnegie Hall double LP in ACV (Audiophile Clear Vinyl) quality with an exceptional number of bonus tracks (side 3 and side 4).


JAMES, ETTA: At Last! LP+CD (DOK 320LP) 23.00
2015 repress. Etta James's debut album, originally released in 1961 on the Chess subsidiary Argo Records. The album's title-track and "All I Could Do Was Cry" (co-written by future Motown founder Berry Gordy) both went to number two on the R&B charts, while the album itself has gone down in history as one of the great classic albums of early R&B. Bonus tracks "My Heart Cries," "Spoonful," "It's a Crying Shame," and "If I Can't Have You" are taken from two 1960 singles featuring doo-wop idol Harvey Fuqua of The Moonglows (best known for their 1954 hit "Sincerely"). Pressed on 180-gram vinyl; includes CD.


MIR 100738LP

SCIENTIST: Meets the Space Invaders LP (MIR 100738LP) 22.00
Repressed. LP version. The cosmic theme is well-served on these ten effects-riddled tracks, with the rockers-style material littered with all manner of stratosphere-breaking sounds from the mixing board and strategically adorned with snatches of ghostly echo and pneumatic percussion. It's certainly an appropriate mood for a post-apocalyptic battle involving cartoon machines. Another essential dub album from the legendary Scientist, originally released in 1981.


EM 1136LP

HAKU: Na Mele A Ka Haku (Music of Haku) LP (EM 1136LP) 22.00
LP version. Synthesizers and the human voice. Hawaii. The 1970s. Haku, aka Frank Tavares, a writer and musician, had a deep respect for the multiethnic character of his native Hawaii, and composed a number of theater pieces and songs to highlight this culture. However, he avoided many of the standard musical tropes, choosing to build his own studio and make all the music on synthesizers, a first for Hawaii. New age musical elements, traditional Hawaiian music, and unclassifiable madness, all played on glorious analog synths, are the foundation for songs and stories delivered in Hawaiian, Japanese, and English, reflecting Hawaii's multiethnic nature. Developed and recorded over several years, released in 1975 on vinyl, and woefully hard to find, it is now reissued for the first time.

EM 1141LP

COMPUMA MEETS HAKU: The Reconstruction of "Na Mele A Ka Haku" 12" (EM 1141LP) 18.00
Compuma aka Koichi Matsunaga reaches back through time to 1970s Hawaii to perform a mind meld, with his old-school Roland drum machines and present-era compumagic Vulcanizing and reshaping Haku's original home-grown analog synth madness. Haku aka Frank Tavares composed a number of theater pieces and songs to highlight the multiethnic character of his native Hawaii, and released an LP of his compositions in 1975 (reissued by Em in 2015 (EM 1136CD/LP)). In Haku's work, new age musical elements, traditional Hawaiian music, and unclassifiable madness, all played on glorious analog synths, come together to form songs and stories delivered in Hawaiian, Japanese, and English. Not merely a remix, this is a synergistic reconstruction, a transformation at the molecular level in which Haku's source-code DNA is reborn in 2015 on 12" vinyl.


EF 070EP

EDDIE C: Solaris 12" (EF 070EP) 14.00
Eddie C returns to Endless Flight with two tracks and an excellent Move D remix. "Solaris" is one of the most danceable tracks from Eddie C; it's simply a floor-killer. On the B-side,"Flying Blue" is alternative disco stuff with the typical Eddie C sound. Move D's remix of "La Palette" is a stripped version of the original Brazilian house track -- a DJ tool for fans of Workshop or German deep house.



AYLER TRIO, ALBERT: Spiritual Unity LP (ESPDISK 1002LP) 24.00
New 2015 repress. LP version. 180 gram virgin vinyl. Pressed in the United States with original artwork restored. Spiritual Unity, recorded on July 10, 1964, is the album that made Albert Ayler and ESP-Disk' famous (or, in some people's eyes/ears, infamous). Mr. Ayler had already recorded in Europe and, in February '64, in New York, but this was the first album on which neither he nor his collaborators held back. It was also ESP's first jazz recording. Spiritual Unity presented a new improvisation paradigm: looser structure, less regard for standard pitch, and no obligation to present a regular beat. Ayler's sound was unprecedented, much rawer than any other jazz of the time. Sometimes it was expressed in squalls of untempered sound, sometimes in outbursts of poignant spontaneous melody. Meanwhile, under and around the leader's unfettered self-expressions, bassist Gary Peacock and drummer Sunny Murray reinvented the roles of their instruments.



BASTINOV: Prisma 12" (ETB 024EP) 14.00
Venice resident Bastinov opens his second release on Etruria Beat with the huge analog synth of "Prisma" (featured on Sven Väth's 2015 The Sound of the 16th Season compilation (CORMIX 051CD)), repeating over a swinging 909 beat. André Kronert, the man behind so many labels (most of them are a secret) remixes "Prisma" with a hypnotic chord, delays, and a Basic Channel-influenced beat. "Sphere" features ring modulator synth sounds and tape delays floating over an energetic groove disturbed by strong claps and effects. On the techno-flavored "Triangle," the beat is heavy, the kick is delayed, and the hat is strong.



DENIAL.OF.SERVICE: Sensou EP 12" (FILM 003EP) 14.00
180-gram vinyl. Glow-in-the-dark cover. The Film label stumbled upon Denial.of.Service while doing research for a music video; they didn't discover a video director, but they did find an artist working with music, video, and performance art. Active since the early '80s, Denial.of.Service was involved in numerous projects doing productions, remixes, and videos for and with artists like David Bowie, Attrition Extrawelt, and D.A.F. A closer look on his artistic activity since the early '80s reveals a universe to uncover.



VA: Bollywood Bloodbath: The B-Music of the Indian Horror Film Industry CD (FKR 052CD) 17.00
2015 repress; originally released in 2011. After what seems like a thousand years of blood, sweat, tears, and a lot more blood, the zombified disc-disciples at Finders Kreepers unveil one of their most exquisite, exhumed, ectoplasmic, and existentially essential collections yet. This musical mausoleum of malformed freak funk and dreadful discothèque pop has been resurrected from the maligned cinematic subculture of Bombay's bloodthirsty horror film industry and witnesses the cognoscenti of the Bollywood pop scene at their most creative, destructive, and experimentally effective. Bollywood Bloodbath features India's finest composers, such as Bappi Lahiri, R. D. Burman, Sapan Jagmohan, and Laxmikant-Pyarelal, making the kind of radical risk-rock that would, under normal circumstances, have studio security escorting these overworked maestros off-set for a well-earned break or a relaxing exorcism. You've heard Italy's most famous composers when they soundtrack unwatchable Roman slasher flicks on their own uncompromised and underpaid terms? Well that blueprint just turned blood-red with sub-shoestring, low-budget studio wizards gambling with rigor mortis rock, disjointed disco, and low-voltage electronics for seldom-screened scenes of desi Draculas, lycanthropic ladykillers, and psyched-up swamp monsters. The factual history of the untraveled Bollywood horror phenomenon is fully re-exhumed with this compendium in true Finders Keepers style. Carefully documenting the drummy theme from the first-ever 1949 Indian ghost film, this benchmark collection follows the sinister lineage as directors of bloody thrillers take chances on shuddering synopsis and haywire special effects. Leading up to the inauguration of the notorious Ramsay Bros film company (whose sibling revelry in the '70s and '80s lead to the inclusion of flight-style puke bags in participating picture houses), this compilation pulls no punches and plunges the "B" of Bombay into the heart of the B-movie, squirting a masala of bloody ketchup and red wine onto the sets of Bollywood's glorious filmic musicals. Licensed exclusively from the independent Indian film music companies (revealing incidental tracks that they didn't even know they owned), Bollywood Bloodbath is the result of avid stomach-turning research via VHS tapes, chewed-up cassettes, and LPs, 12''s, and 45s, remastered from some of the only existing master tapes; presented for both the hairy home listeners and daring DJs. Also includes tracks by Rajesh Roshan, Hemant Bhosle, Ratandeep Hemraj, Usha Kanna, Khemchand Prakash, and Nadeem & Shravan.


VA: Bollywood Bloodbath: The B-Music of the Indian Horror Film Industry 2LP (FKR 052LP) 26.50
Double LP version.


SHAVIT, AMI: In Alpha Mood LP (FKR 077LP) 25.00
"The music of this record was stimulated by the theory and practice of biofeedback. It is aimed to create a calm, relaxed, meditative mood associated with alpha brain wave" --original back cover. Part outsider electronic album, part physiological experiment, part work of art, this is not your average new age record. The brainchild of a reclusive Israeli multimedia artist fascinated with philosophy, technology, and sound by the name of Ami Shavit, In Alpha Mood is the result of a personal and artistic effort to both overcome a personal trauma and push the boundaries of a fledgling physiological understanding while utilizing the burgeoning domestic synthesizer technology of the late '60s and early '70s. Shavit sought to combine his love of electronic music acts like Tangerine Dream, Philip Glass, and synthesizer technology with his fascination with the relatively new technique of biofeedback, but his work was interrupted when, in 1973, he was conscripted into the army during the Yom Kippur War. As he struggled to come to terms with his wartime experiences, he began adding battlefield soundbites to his recordings, and found a sort of catharsis. He returned to his work, and soon a longtime friend and owner of the Mango record shop (a Tel Aviv institution at the time) suggested he press some of his recordings on vinyl. Rather than cull disparate excerpts from his expansive tape archive of home recordings, Shavit began what would become the culmination of his years of experimentation and the centerpiece of his work with the music-induced state of working relaxation he called Alpha Mood. Recorded in Shavit's studio during a handful of sessions with no post-production, In Alpha Mood was mastered at Triton Studios (where Arik Einstein and Tamouz had also recorded), pressed by Hed Arzi Music (one of Israel's oldest and largest labels and manufacturers), and released on Shavit's Amis Records in 1977. Only 500 copies of a planned run of 5000 were pressed, and, with no publicity, it was sold to discerning record-buyers with little or no understanding of the record or its maker outside of his status as a prominent visual artist. Apart from a handful of Alpha Mood exhibitions in Israel, those 500 copies and six remaining master tapes (including that of In Alpha Mood) are the only remaining artifacts of Shavit's Alpha Mood experiments. This first vinyl reissue of In Alpha Mood was remastered from the original master tapes sourced from Shavit's private archive.


DITMAS, BRUCE: Yellow Dust LP (FKR 078LP) 25.00
Bruce Ditmas is a unique, heavy musician from one of those special tightknit communities that tried (and almost succeeded) to change the face of progressive pop music and jazz via musical technology. Raised in Miami (an unknown incubator for future synthesists), Ditmas carved the image of a teen prodigy playing jazz drums at the most exclusive Miami Beach hotels. After being whisked off to New York by none other than July Garland he became immersed in free music, recording compositions by Annette Peacock and Carla Bley before setting up house with vocal artist Joan La Barbara (later Mrs. Morton Subotnick) in 1975, who, via her own label, encouraged Ditmas to pursue his very specific experiments in heavy electronic rhythms. Yellow Dust is compiled from the solo Moog drum compositions from his only two albums (Aeray Dust and Yellow, both released in 1977) created using a Mininoog (donated by Gil "Hendrix" Evans), an ARP 2600, and a wide range of treated percussive instruments that littered this enfant terrible's bedroom floor throughout the 1970s. Meet your new favorite drummer, and the best Moog drum record in your whole collection.


LAMARTINE: Reportage LP (FKR 080LP) 25.00
The name Lamartine was a true mystery of library history. In keeping with the habitual culture of library music, the mononymous Lamartine was thought to be one of many creative nom de plumes designed to disguise the true identities of the artists. Having faded from the memories of the ex-employees of the defunct production music departments at CAM and RCA, the truth behind this uncelebrated electronic pioneer had remained a mystery for decades. It wasn't until the 2000s, when the Italian independent production music label Flipper -- the parent company responsible for the imprints Union, Octopus, Flirt, and Deneb, among others -- decided to digitize its catalog, that a gleam of hope appeared via a sealed, misfiled master tape. The archiving team at Flipper found the name "Lamartine" written on a single tape box with the name "Reportage" and corresponding legal papers pertaining to a little-known Italian conductor and composer for stage and popular song named Mr. Radicchi. Fabio di Bari at Flipper recounts that, throughout the extensive paperwork at Flipper, the music of Radicchi or Lamartine was never licensed out for synchronization and doesn't appear on any of the associated labels' discographies. "The music was never even pressed on to vinyl and the master tape remained in our store room for all these years," he told Finders Keepers in 2013. After cross-referencing track-times and titles, di Bari could also reveal the full name of the artist to be Odoardo (aka Eduardo) Radicchi -- a senior member of the Italian music scene from the same generation as Nino Rota, Giorgio Gaslini, and Gian Piero Reverberi. Rendered in the hinterland between Italian cinema's penchant for psychedelic rock and the onset of the synthesizer music and Italo disco movements later in the 1970s, Lamartine's Reportage, recorded in 1974, is part of a community of laboratory projects that researched the capacity of electronic music before it swept the nation's media. Lamartine -- once an anonymous, dubious genius in the library micro-genre -- can now be named and recognized as a unique artist with a distinctive sound, adding new colors to the vibrant palette of Italian studio artists and painting a wider sonic picture of the evolution of Italian pop and film music. The Italian library liberation front keeps growing; it's the genre that keeps on giving. It's time for artists like Lamartine to name and claim their places in electronic music history.



ARCHANGEL: The Bedroom Slant Versions 12" (FOOM 005EP) 14.00
Bruno Pronsato debuted his Archangel project in 2014 with The Bedroom Slant (FOOM 002CD/LP). This remix EP opens the previously unreleased "Blue Eyes Blind/This Romance." Dean Blunt follows with a ten-minute, automated, spoken-word rework of "Julia." For his first-ever remix, New York Downtown scene figurehead Peter Gordon enriches the intricate percussive patterns of "Half-Man Half-Lisa" with his playful rhythms and restless melodies. Cellist, producer, and Southbank Centre Artist in Residence Oliver Coates (who has collaborated with Jonny Greenwood, Mira Calix, and Micachu) rearranges the synthesized melody of "L.A. Teen (Live)" for cello and reconstructs the percussion to fit his vision.



FERNANDO: Mid Decade EP 12" (FBR 037EP) 14.50
Argentine multi-instrumentalist and producer Fernando Pulichino has been releasing music since 2001, as a solo artist and with Silver City and 2020 Soundsystem (alongside Ralph Lawson and co.). Pulichino's Futureboogie debut opens with "Ride On," featuring driving live bass and overdubbed electric guitars modulating around an arpeggio synth soaked with balearic vibes. Stripping the original way back, DJ Nature aka Milo Johnson (Golf Channel Recordings, Jazzy Sport) builds the groove naturally in a laid-back departure from the original. "Mid Decade" is a melting pot of synthesis, harmony, and crisp drums, while Pulichino's love of a pumping bassline shines through on "Trespassing."



MR. MITCH: The Man Waits Remixes 12" (GOB 016EP) 14.50
"The Man Waits," originally released as part of Mr. Mitch's The Room Where I Belong EP in early 2014, was the first track to exhibit Mitch as a master of emotion; a producer with an ambition to make you feel. Reissued for 2015, "The Man Waits," with its hazy, melancholy, dream-like composition, has now been reimagined by three producers each riding a wave of their own in 2015: Logos, Iglew, and Gage.


BLOOM: Quartz VIP 12" (GOB 017EP) 14.50
For anyone with a serious interest in understanding the birth of the instrumental grime scene, Bloom's 2012 track "Quartz" should be the first point of reference. It was arguably the first grime beat of its kind to fully connect with wider listeners, blowing grime's rigid 140-BPM template wide open in the process. The devilish "VIP" version here is littered with slapstick zaps, pulses, and fizzing FX, and a remix from US producer Rabit, who turns a crackly, industrial hand to his rework, a dark, ghoulish interpretation that listens like a natural extension of his work on his Baptizm EP (Tri Angel, 2015).



Utterly stunning album from the long-running (and just-married) duo of Kelly Jayne Jones and Pascal Nichols, better known to the world as Part Wild Horses Mane on Both Sides. They've moved so far, now, from their Japanese-esque psychedelicised beginnings back in the mid-'00s where celebratory flute and drums cascaded into one another like competing tsunamis. Not that what they were doing back then wasn't already brilliant -- in fact, they heralded what felt, at the time, like it might be a whole new era of British drone (a movement that never really came to pass). It's just that, since then, they've become such masters of their craft that it's hard to feel anything but awe upon listening to Pike/Portent. For starters, they do less. In other words, they seem to be as obsessed nowadays with the space between sounds as they do with the sounds themselves. Resonance too. This record sounds like it was recorded in a cave by the ocean, it's as simple as that. Secondly, while it's still an exploration of the transitory potential of the relationship between the embellished trapezoid drum kit and the naked flute, it's just more interrelated, more dynamic, more alive. Jones, in particular, seems to have found the perfect spaces in which to interject complementary and/or jarring sounds (clanking pebbles, pouring water, electronics, etc.). It's almost impossible to consider the result in terms of improvisational music -- it's just so considered, so accomplished, so communicative. 140-gram vinyl. Limited edition of 250.



BAROTTI: Rising LP (GOMMA 220LP) 23.00
Barotti is a musician and multimedia artist based in Berlin. After years of working on urban sound installations, performing arts, and experimental music, he now presents his debut album. A soundtrack for fantastic futuristic fairytales. Epic and symphonic -- with a deep electronic base. Armed with iconic analog gear of the 1970s and 1980s, a hand-picked group of high-level classical string- and horn-players, and the whole imaginary world of his absurd fantasies, Barotti opens up a new dimension in the vast field between contemporary classical and electronic music. Rising stands firmly with one foot in the same mud as Woodkid and Sohn, and the other foot dipping into the past 200 years of classical music -- a cocktail of Funkstörung and James Blake. The album was recorded in Casablanca and Berlin and co-written and co-produced with Swedish composer Anders Ehlin and German producer Valentin Sommer. In 2012 Barotti travelled to Morocco with a group of dancers, musicians, and visual artists, gathering in an antique house facing the Port of Casablanca. The whole foundation of Rising revolves around the epic sessions in that house, which were later shaped into complete studio productions in Berlin. With Barotti's background in jazz improvisation and the world of the performing arts, it was clear that this album would be a multifaceted collaborative production. Just as in a jazz improvisation, the different energies and skills of Barotti and his two friends have created something special. This is a new universe of sonic landscapes, created using only old pianos, rare synthesizers, and analog effects. The visuals for the cover artwork were drawn by Sandra Tebbe during the Moroccan recording sessions, using the ancient ceramic tiles on the walls of the house in Casablanca as her canvases.



VA: Gqom Oh! The Sound of Durban Sampler 12" (GQOM 001EP) 17.50
In the South African city of Durban, new stories are being born in a dancefloor language called "gqom." This bass music often opens in a crescendo, takes a few shortcuts in 4/4, and gathers pace into a polyrhythmic frenzy. Everything happens in a DIY-oriented universe, grafting organic and homemade samples (dog barks, whip lashes, drumming sounds). There is a line of continuity with the South African house movement, though with totally new elements from the sounds of dubstep. This sampler EP features tracks by Cruel Boyz from Mdantsane, Eastern Cape; Mafia Boyz (average age 17); and Citizen Boy.



LYDMOR & BON HOMME: Seven Dreams of Fire LP (HFN 047LP) 23.00
LP version. Includes download code. Imagine bringing together two distinct but complementary musical talents, already established as composers and producers in their own right, one male -- with years as a performer on the festival and club circuit behind him -- and one female -- a rising star with a siren's voice, a maverick committed to live performance. Imagine their astonishing sound: an intoxicating concoction of driving rhythms, lush synths, psychedelic effects, and instantly memorable hooks drenched in a dark atmosphere of melancholy and brooding beauty. If you can do that, you're on your way to grasping the wondrous sound-world of Seven Dreams of Fire, the debut album from Lydmor & Bon Homme -- a partnership that brings together Tomas Høffding, the singer and bassist of experimental Danish electronic pop trio WhoMadeWho, and Jenny Rossander aka Lydmor (literally "Soundmother"), a singer-songwriter star rising from the fires of the underground and spreading her wings. Kicking off with the single "Things We Do for Love" -- a masterclass in slo-mo house, with Bon Homme's husky drawl and Lydmor's pure voice soaring over a luxurious bed of sustained pads -- it's an album with a consistent quality that never lets up. From the stirring orchestral strings of "Trooper" to the expansive motorik disco of "Dream of Fire" to the low-slung bassy groove of "Go Fingers Go" to the lush, anthemic "Flash" to the stripped-down sub-bass and intimate vocals of "Wired," it's a fine representation of the duo's string of intense, crowd-pleasing live performances. A playful analog synth symphony opens "Vanity," ample testimony to their experimental edge and yet another pop noir classic. "Trampoline" seduces with its breathy pop funk, teeming with crisp, percussive details. "Tear Us Apart Again" is infectious and choric, underpinned by simple but brutally effective synth repetitions. "Missed Out on Disco" features a Cure-like guitar motif with male and female vocals ghosting each other while "Dream of Fire Part 2" features synth drones that cast a widescreen, cinematic feel. The album features programming by Tomas Barfod (Filur, WhoMadeWho, Tomboy) and drums by Birk Nevel.


HH 012LP

DAVIS, MILES: Live in Tokyo 1975 2LP (HH 012LP) 31.00
180-gram vinyl. On his tour of Japan in early 1975, Miles Davis presented some of the most searing electric fusion ever heard in concert. The performances on this double LP set, from a soundboard recording for FM broadcast, hail from a January 22 gig at Shinjuku Kohseinenkin Hall in Tokyo. Staged ten days earlier than the February 1 shows at which his Agharta and Pangaea LPs were recorded, this includes some songs not contained on those albums, and spotlights one of the most adventurous bands Davis assembled. The complete broadcast is presented here in remastered sound with an insert of background liners and photos.


HC 038LP

EZY & ISAAC: Soul Rock LP (HC 038LP) 25.00
This incredible Afro-soul album was recorded in Italy in 1974 by two Nigerians, vocalist Ezy Hart and saxophonist Isaac Olashugba. Both were ex-members of Fela Kuti's highlife jazz band the Koola Lobitos, as well as The Don Ezekiel Combination, and, after recording a few Christian funk albums and touring all over West Africa, they finally settled in Italy. They later toured through Italy, Switzerland, and Monte Carlo. The Funky Fella, a group of 12 top Italian musicians including Maestro Leoni from the Rifi label, produced three albums with Ezy & Isaac. Soul Rock is the first, and it's a soul masterpiece. The album highlight is "Bawagbe," a tuff, hypnotic Afro-soul groove with Yoruba chants, ruff congas, horns, funky breaks, and a wicked percussion breakdown of rattling cowbells. A unique collectors' item for lovers of Afro-funk. This first-ever reissue also includes a bonus track called "I'm Ready for You Baby," taken from a rare 1976 7". The holy grail of Afro-Italian funk, this is a must-have for your Afro-soul collection. Includes inner sleeve with photos and interview.



9TH WONDER & TALIB KWELI: Indie 500 CD (IWWMG 005CD) 16.00
"Two of Hip Hop's most cherished icons, Talib Kweli and 9th Wonder have come together to create what undoubtedly will go down as an instantly classic album. INDIE 500 features an All Star supporting cast, including Problem, Slug (of Atmosphere), Rapsody, Pharaoh Monch, Brother Ali, Hi-Tek, NIKO IS and more. After exploding on to the scene as one half of the legendary Black Star alongside Mos Def in 1998, Talib Kweli quickly followed up in 2000 with the album Train of Thought, his collaborative effort with producer Hi-Tek. As fans,critics and his peers unanimously agreed, Kweli was cemented as one of hip hop's top lyricists and continued to release one acclaimed album after another - garnering direct praise from Jay-Z on his song 'Moment of Clarity' from Jay-Z's classic The Black Album. A collaboration between Kweli and 9th almost seemed to make perfect sense, but INDIE 500 represents even more to the artists."


9TH WONDER & TALIB KWELI: Indie 500 2LP (IWWMG 005LP) 25.00
Double LP version.


BEC 5156100

VA: La Bande à Bonnot (Comédie Musicale de Boris Vian) LP (BEC 5156100) 25.00
Paris, 1954. Henri-François Rey wrote the theme of the piece La bande à Bonnot and asked Boris Vian to write the songs for what would become a musical comedy. "La Bande à Bonnot" was the name of a French illegal anarchist group that operated in France and Belgium from 1911 to 1912, and as soon as the piece was played at Théâtre du Quartier Latin in 1968, French authorities demanded that it be stopped, and musical parts were subsequently lost. In 1971, Legendary French record executive, talent agent, and producer Jacques Canetti learned that the original handwritten lyrics of Boris Vian's songs had been found. Canetti asked Louis Bessières to recreate musical parts, and in 1975, Canetti released this record with Vian's songs performed by Judith Magre, Yves Robert, Lucienne Vernay, Pierre Jamet, Kim Ibarra, Maurice Barrier, and Cécile Vassort. This first-ever vinyl reissue includes two bonus tracks originally intended for inclusion in La bande à Bonnot: "La Java Des Chaussettes À Clous" by Jacques Higelin and "L'Anguille" by Magali Noël. Remastered sound; gatefold sleeve.

BEC 5156101

ARDITI, PIERRE: Histoire d'une Jeunesse (De Elias Canetti) LP (BEC 5156101) 25.00
Winner of the 2014 Grand Prix du Disque from the Académie Charles Cros, the premier French award for musical recordings. French actor Pierre Arditi reads Histoire d'une Jeunesse (Story of My Youth by Elias Canetti (winner of the Nobel Prize in Literature in 1981), with music by Eric Slabiak. The Arditi and Canetti families are very close -- Elias Canetti's mother was Mathilde Arditi -- so Canetti's story deals with the story of Arditi's family as well. Gatefold sleeve.

BEC 5156102

SIGNORET, SIMONE: La Voix Humaine (De Jean Cocteau) LP (BEC 5156102) 25.00
Winner of the 1964 Grand Prix du Disque from the Académie Charles Cros, the premier French award for musical recordings. This is an absolutely amazing recording of cult French actor Simone Signoret reading Jean Cocteau's 1930 play La Voix humaine (The Human Voice), recorded in one non-stop take in Signoret's Parisian apartment and originally released in 1964. According to French record executive, talent agent, and producer Jacques Canetti, this performance was one of the very best and most intense he ever recorded. Even if you don't understand French, you will feel Simone Signoret's incredible poignancy. Remastered sound; gatefold sleeve.


JAM 13004LP

CASH, JOHNNY: Wide Open Road: 1960-1962 Rarities LP (JAM 13004LP) 20.00
Shortly after his arrival in Memphis and subsequent signing to Sun Records, Johnny Cash performed on KWEM radio, marking the very first radio performance for him and his group, the Tennessee Two. In this performance from May 1, 1955, the group is amped up, electrified, and absolutely stunning. Rounding out this LP are Cash's highly regarded 1960 and 1962 demo recordings.

JAM 13005LP

DAVIS, MILES: Monterey Jazz Festival, 1963 LP (JAM 13005LP) 20.00
Recorded September 20, 1963, at the Monterey Jazz Festival, this set featured Miles Davis's new quintet, with George Coleman, Herbie Hancock, Ron Carter, and Tony Williams. This group, minus Coleman and with the addition of Wayne Shorter, would soon go on to make some of the most highly regarded jazz LPs of all time. This smoking set features a wonderful rendition of "So What," among others. Essential live jazz classics.

JAM 13006LP

WILLIAMSON, SONNY BOY: The 'Trumpet' Singles 1947-1955 LP (JAM 13006LP) 20.00
Prior to his legendary tours with The Yardbirds and The Animals, even before the Checker singles that helped set off the British blues craze of the early '60s, Mississippi blues singer and harmonica player Sonny Boy Williamson (aka Alex Miller) cut his teeth recording these classic sides for the Jackson, Mississippi-based Trumpet Records. Originally released as 78-RPM records, these recordings are some of the rawest and most powerful pieces in Williamson's discography.

JAM 13008LP

HAWKINS, SCREAMIN' JAY: I Put a Spell on You: Rare Tracks and B-Sides LP (JAM 13008LP) 20.00
A comprehensive collection of the early, pre-debut LP singles from one of the most controversial front-men of early rock and roll. With his classically-trained bass-baritone singing voice, Screamin' Jay Hawkins conjured up ghoulish images both on stage and on his records. Hawkins, evoking voodoo images and using bone-rattling sound effects, simultaneously entertained and bewildered rock 'n' roll fans. This collection features his all-time classic "I Put a Spell on You," along with a batch of hard-to-find classics from his Okeh Records days. Essential.


KK 087EP

ANT ORANGE: Ant Orange 12" (KK 087EP) 12.50
Berlin resident Ant Orange presents five diverse and lively tracks fusing elements of funky soul, nu jazz, and deep house. "Omi" gets the ball rolling with groovy off-beats and a wonky kalimba melody to get your feet tapping. "Yesterday" is a funky dancefloor track, while tunes like "Are You Alon" and "The Look" are filled with romance and vibes under the careful guise of eclectic electronica. "Hands Together" draws inspiration from the same Marlena Shaw vocal sample that St Germain used to such great effect on his hit "Rose Rouge," embedding it in a contemporary down-tempo groove.


GG 205CD

BOX, THE: Live - Muscle Out + CD (GG 205CD) 19.00
"The Box were formed in 1981 in Sheffield out of the ashes of Clock DVA. DVA members Paul Widger,Roger Quail and Charlie Collins recruited new member Terry Todd and tried several vocalists including Stephen Mallinder of Cabaret Voltaire before deciding on Peter Hope. After two albums on Go Discs they linked up with the Cabs' Doublevision label where they released some EPs in a more electronic style. Muscle Out is a recording of a gig at Sheffield's The Leadmill on January 29th, 1985, and was first released on Cabaret Voltaire's Doublevision label, mastered at Western Works. This new edition has been remastered and expanded. Sheffield sound never got more innovative and wild than this! A classic."

GG 209CD

BOBUCK, CHARLES: The Residents Present: What Was Left of Grandpa (A Charles Bobuck Contraption) CD (GG 209CD) 19.00
"What was left of Grandpa is the new album by Residents composer Charles Bobuck with guest Nolan Cook on guitar. A wild mix of styles and melodies and spoken words make up this great new composition."



BLOND:ISH: Welcome to the Present 2LP+CD (KOM 341LP) 25.00
180-gram double LP version. Includes CD. 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.


SILENT ONES, THE: Magical Party 12" (KOM 346EP) 12.50
French duo The Silent Ones (Aalik and Fred Traverso) specialize in their own brand of indie-infused electronic pop, putting a modern spin on vintage cold wave and minimal synth influences. "Magical Party" exemplifies their distinct mélange of swirling melodies and catchy songwriting. Jonas Bering returns to Kompakt after his 2008 release Can't Stop Loving You (KOM 172EP) with an immersive rework that successfully trims the vocals and transplants the original's delicacy into a deep but buoyant mover. Ben Watts's mix is a fitting companion cut, promoting a slightly bouncier approach and seasoning its propulsive beats with tension-building synths.



BISSONNETTE, CHRISTOPHER: Pitch, Paper & Foil CD (KRANK 197CD) 13.00
"From Christopher Bissonnette: 'This new series of works reflects an evolution of my adeptness with modular synthesis. As with my previous release Essays in Idleness, Pitch, Paper & Foil was constructed from a range of synthesis and compositional techniques. The goal with this album was to form a collection that exhibits more restraint than previous works. Modular synthesis can be an unruly medium and taming it in order to produce delicate or subtle tones can be challenging. As with Essays..., I have allowed the artifacts of the process to find their way into the finished product. Tape noise, distortion and by-products of the random sequencing method all contribute to the character of the final recordings.' Continuing the explorations of the analog synthesizer first revealed on his last album, Bissonnette's deft touch in recording and mixing is a joy to experience. While most contemporary analog synth slingers find themselves unable to not overload the sound-field with the endless array of possibilities the instrument provides, Bissonnette provides a master class in economy and control."



SUN RA: Disco 3000 LP (KSAY 001LP) 18.00
Repressed. January 1978 was a fruitful month for Sun Ra. As well as days spent in the recording studios in Rome, Ra, along with John Gilmore, Michael Ray, and Luqman Ali, played several gigs in Italy before flying back to the U.S. The magic music from one night in the Teatro Ciak, on 1/23/1978 in Milan, is preserved on Disco 3000. Disco 3000 is arguably among the most important documents of Sun Ra's long musical career. Now available again through the Kindred Spirits/Artyard collaboration series.



DJ Q: Poison/Rocky 12" (LOC 025EP) 14.00
Two of bassline house's biggest anthems ever finally get a vinyl release. "Rocky" is one of the biggest bassline house tracks ever made, and has been the climax of DJ Q's sets for the best part of a decade. It's been bootlegged, it's been edited, but it's never been given an official release until now. File it alongside T2's "Heartbroken," Piddy Py's "Giggle Riddim," and others in the instant-bassline-classic category. Even better, it's backed with "Poison," a similarly legendary bassline dub that has also somehow never been officially released.



VERNON FELICITY: Running Late 12" (MOS 023EP) 12.50
Tireless Dutch producer Conforce follows his 2015 album Presentism (DSR 111CD/LP) on Delsin with an EP as Vernon Felicity for M>O>S Recordings. "Fake Profile" is an icy bit of deep techno with a sprawling 303 acid line and typically deep and soulful pads in the background. "Induce" is a more broken beat pattern with lumpy 909 drums, lazy open hi-hats, and gloopy bass. "Dropping Faces" get all manic and out of control, with whirring machines and wild drum programming. The lush synth drones of "Running Late" slowly lift you up as the drums and percussion do their slick work down below.



RROXYMORE: Tautologies EP 12" (MACROM 043EP) 14.00
rRoxymore has turned heads with her outstanding DJ sets and take-no-prisoners live act. Her 2015 collaboration with Oni Ayhun, Paula Temple, and PlanningToRock on Noise Manifesto (Decon/Recon/1 (NOISEMAN 004EP)) promised a great future, and that promise is kept by the Tautologies EP. From the techno drive of "Darksun" to the housed-out oddities of "Q19" and "DFF," this is as fresh as it gets.


MIG 1312CD

SCHULZE, KLAUS: 2CD (MIG 1312CD) 22.00
"Original 'Klaus Schulze'-Album from 1980, digitally remastered and with bonus track! Once again, past master Klaus Schulze appears to be in top shape on his twelfth solo album. There is almost no-one who can hold a candle to him as a live musician performing on the synthesiser. ('Elmshorner Nachrichten'/Germany, November 1980). The Meta Musik festival at the National Gallery in Berlin, from which the ...Live... track 'Sense' was taken, was an event arranged by Walter Bachauer. He was the head of programs at radio station RIAS [founded in 1946 by Americans, the acronym means 'Rundfunk im amerikanischen Sektor or Radio in the American Sector']. He also was a big fan of minimalist music. [Under the pseudonym Clara Mondshine, W.B. released the albums Luna Africana (1981) and Memorymetropolis (1983), both produced by Klaus Schulze. The entire Berlin scene was into this new minimalist music at the time, which was precisely the reason why Bachauer had invited me. He had probably said to himself, well this time we'll also engage a German guy for this event who does something in that style. I just happened to fit into the concept. While the other musicians had their hand-made minimalism, I made it electronically. The bonus track 'Le Mans au premier' is taken from a concert at the abbey L'Epeau near Le Mans in France on November 10th 1979. My music is very emotional and spontaneous, so I play in a quieter mood in a church or an abbey than at the Palais des Sports in Paris for instance. The atmosphere of the place always strongly influences me; that's why 'Le Mans au premier' is also one of my quieter live recordings but a very nice one nevertheless." [Collector Scum alert: Made In Germany is re-packaging old Klaus Schulze SPV/Revisited CDs, so this is the same content as the 2007 issue on SPV, not a newer edition]

MIG 1322CD

SCHULZE, KLAUS: Audentity 2CD (MIG 1322CD) 22.00
"Originally released 1983, Audentity is the 5th album of the sound magus Klaus Schulze. On this double CD, Schulze sends his audience on an acoustic trip to unexpected world of sound. Audentity is marked by harmony and flowing sound streams. Rude dissonances and rough borders are missing by design Schulze has created a music of atmospheres in which characters and literate subjects have been converted to the picture language of the digital age." [Collector Scum alert: Made In Germany is re-packaging old Klaus Schulze SPV/Revisited CDs, so this is the same content as the 2005 issue on SPV, not a newer edition]

MIG 1332CD

SCHULZE, KLAUS: Cyborg 2CD (MIG 1332CD) 22.00
"Second album from Klaus Schulze, originally released in 1973, now digitally remastered and with a bonus track! Original Release: 1973 - digitally remastered and with bonustrack. Klaus Schulze's second was a double album released in October 1973. Schulze fans who have yet to discover the very early stuff really should give this a listen. Usually stunning, always challenging, often preposterous, sometimes disturbing, this is Schulze at its purest. This new deluxe edition includes a 50 minute bonus track. A recording done four years after Cyborg, at the famous concert in Brussel's 'St.Michael' Cathedral on the 17th of October 1977. This audience recording is the last not yet released from this historic event, and it fits here, from the length as well from its atmosphere, because it gives the sometimes harsh avantgarde sounds of Cyborg a more 'beautiful' conclusion." [Collector Scum alert: Made In Germany is re-packaging old Klaus Schulze SPV/Revisited CDs, so this is the same content as the 2006 issue on SPV, not a newer edition]

MIG 1342CD

SCHULZE'S WAHNFRIED, KLAUS: Drums 'n' Balls (The Gancha Dub) CD (MIG 1342CD) 19.00
"Original Release: 1997. 'Drums'n'Balls' contains what a lot of Ambient descendants have never learned: deepness without razzle-dazzle, beauty without knickknack platitudes... (quotation from the German magazin 'Musikexpress' / February 1998). Starting from the end of the 70s Klaus Schulze has performed every now and then as Richard Wahnfried. A homage to Richard Wagner, who is Schulze's huge ideal. Some of those 'Wahnfried' - releases will now be re-released, too." [Collector Scum alert: Made In Germany is re-packaging old Klaus Schulze SPV/Revisited CDs, so this is the same content as the 2006 issue on SPV, not a newer edition]


MM 107LP

SOUL JAZZMEN, THE: Inhlupeko (Distress) LP (MM 107LP) 36.00
"Another unmissable, scorching Matsuli revive! Tete Mbambisa and co, chasing the mbaqanga in Trane. Five originals and Love For Sale, from Johannesburg, 1969. 'Both urban Africans and urban Americans were consciously crafting 'modern' music -- and in South Africa's case, it was a modernism deliberately and defiantly set in opposition to the narrow, backwards-looking parochialism of apartheid, where some white universities did not even permit gender-mixed dancing until the 1970s. The sophisticated, snappily-dressed black players of South Africa's cities in the 1960s were not trying to 'be like' America; rather, they were enacting in their performance, and reaching through their horns for what a new South Africa might sound like.' 180g vinyl with excellent sound; photographs from the Ian Bruce Huntley archive and concert bills; extended notes. Pure worries -- 'inhlupeko' means 'distress' -- very warmly recommended."



MARTINEZ: Substance E.P. 12" (MINI 038EP) 14.00
Martinez, the first Swedish Minibarian, offers a sonic journey into the deeper shades of his sound, with heavy emphasis on the low-end subs and hypnotizing rhythms.


MIR 100756LP

BAD BOYS BLUE: Hot Girls, Bad Boys LP (MIR 100756LP) 28.50
Attention, Eurodisco fans: the classic '80s sound is back on vinyl! Bad Boys Blue, one of the most important pop bands of that era, is again available on deluxe audiophile vinyl in remastered sound with high-quality embossed sleeve and poster. Their first album, Hot Girls, Bad Boys, released in 1985, features international hits "You're a Woman" and "Pretty Young Girl."

MIR 100757LP

BAD BOYS BLUE: Heart Beat LP (MIR 100757LP) 28.50
The second album by the phenomenally popular '80s group Bad Boys Blue, Heart Beat was originally released in 1986 and is now back on vinyl in remastered sound with high-quality embossed sleeve and poster. It features a couple of international hits, "Kissed & Tears" and "I Wanna Hear Your Heartbeat."

MIR 100758LP

BAD BOYS BLUE: Love Is No Crime LP (MIR 100758LP) 28.50
In 1987, during the recording of the single "Come Back and Stay," producers Tony Hendrik and Karin Hartmann decided to replace Bad Boys Blue's lead vocalist, Trevor Taylor, with John McInerney, who went on to become the group's leader. The 1987 album Love Is No Crime contains two hit-singles: "Charlene," a song from the repertoire of Roxanne, another Tony Hendrik and Karin Hartmann artist, and, of course, the classic title-track. High-quality embossed sleeve; includes poster.



FEBRUARY & MARS: February & Mars CD (MOJUBA 004CD) 17.00
The Mojuba label celebrates its 2015 tenth anniversary with the magnificent self-titled debut album by analog rockers February & Mars. Hailing from the stunningly beautiful west of Ireland, the Galway group's sound is awash with its environment, ranging from the rolling limestone mountains to the wild Atlantic sea. Core members Carl Ramberg and Jack Considine use classic drum machines and vintage synthesizers to carve their music, which is inspired by Detroit, Eno, Guns n' Roses, and interplanetary love. However, it's their use of more conventional techniques -- vocals, guitars, piano, etc. -- that gives February & Mars their dreamy signature sound, a hybrid of electronic music, psychedelic rock, indie pop, and cosmic disco with an upbringing fostered by house and techno club nights. This unique album involves none other than John Daly as the co-producer, who also released the group's three-song debut EP on his Feel Music imprint (FEEL 009EP).


FEBRUARY & MARS: February & Mars LP+CD (MOJUBA 004LP) 22.00
Limited LP version. Includes CD. The Mojuba label celebrates its 2015 tenth anniversary with the magnificent self-titled debut album by analog rockers February & Mars. Hailing from the stunningly beautiful west of Ireland, the Galway group's sound is awash with its environment, ranging from the rolling limestone mountains to the wild Atlantic sea. Core members Carl Ramberg and Jack Considine use classic drum machines and vintage synthesizers to carve their music, which is inspired by Detroit, Eno, Guns n' Roses, and interplanetary love. However, it's their use of more conventional techniques -- vocals, guitars, piano, etc. -- that gives February & Mars their dreamy signature sound, a hybrid of electronic music, psychedelic rock, indie pop, and cosmic disco with an upbringing fostered by house and techno club nights. This unique album involves none other than John Daly as the co-producer, who also released the group's three-song debut EP on his Feel Music imprint (FEEL 009EP).



KOCH, ROBERT: Hypermoment 2LP (MONKEY 061LP) 23.00
Gatefold double LP version with partial UV varnish. Includes download code. "I've come to think that the universe is a four-dimensional site in which nothing is changing and nothing is moving. The only thing that is moving along the time axis is our consciousness. The past is still there, the future has always been here. Every moment that has existed or will ever exist is all part of this giant hyper-moment of space-time" --Alan Moore, June 2011. This quotation was running through Robot Koch's head as he relocated to LA from Berlin; the thought that the past, present, and future all co-exist while the conscious mind moves along forms the conceptual basis for Hypermoment, his first album since 2011 and the follow-up to his 2015 Tsuki EP (MONKEY 054EP). Hypermoment, while retaining Koch's much-loved hallmarks, is a true evolution of his sound and style. Driving deeper into more intimate territory with swathes of warm, saturated, analog sounds; real-world field recordings; and lush pianos and soundscapes, this is the first of any of Koch's works to feature his own voice (on "Care," "Serenade," and "Fernwood"). The field recordings were captured during Koch's nomadic writing trips to New York, Berlin, and California's Joshua Tree National Park, and in his home-base of Silver Lake, Los Angeles. The album features some familiar faces from Koch's world, including LA-based schwarzmodul (who appeared on Koch's Tsuki EP) and Delhia de France (Pentatones) (with whom Koch collaborated on his 2015 track "California Dreamin," used in the trailer for Warner Bros. Pictures' 2015 summer blockbuster San Andreas), as well as some of Koch's favorite emerging artists, including the UK's Fassine, Mree from NYC, and California-based Stephen Henderson -- plus Curtain Blue, Malte Beckenbach, and Julien Marchal. Hypermoment is Koch's most well-rounded work, and also his most personal, dealing with breakups, culture clashes, and transitions -- it optimizes the quotation that so heavily informed it. While the past is there to be learned from, and the future is always unfolding, consciousness continues to move forward.



Leslie Winer is an artist and author living and working in France. Earlier releases include Witch (recorded in 1990, released in 1993), & That Dead Horse (recorded in 1994, released in 2010), Always Already (2011), and the retrospective compilation Leslie Winer &c. (WHO 003CD, 2012). She has collaborated with Jon Hassell, Bomb the Bass, Mekon, and her words and voice were heard on a track on CI by Diamond Version (Carsten Nicolai and Olaf Bender) (2014). As of 2015, she is co-editor and co-executor for the estate of beat writer Herbert Huncke. (1), by Winer and Carl Michael von Hausswolff, is Winer's first full-length original release to be recorded since 1994. CM von Hausswolff divides his time between the worlds of music and visual art. His records, which he has been releasing since 1979, have been released by such labels as Radium 226.05, Ash International, Raster-Noton, Laton, iDEAL, and Touch. He curates Freq_Out, a collaborative sound installation shown in Paris, Berlin, Stockholm, Marrakesh, and beyond, with such artists as JG Thirlwell, Finnbogi Petursson, Jana Winderen, and Christine Ödlund. He makes films with Thomas Nordanstad and music with Martin Rössel (as Gomila Park), Jean-Louis Huhta and Graham Lewis (as Ocsid), and Joachim Nordwall and Jason Lescalleet (as ENOUGH!!!). Leslie Winer and Carl Michael von Hausswolff met in 2011 in Lisbon, Portugal, via Philip Marshall, co-owner of The Tapeworm. They decided to make a vocal/electronic music collaboration just for fun, with no intentions to have it on any kind of phonogram. Time proved different! Text and vocals by Winer; music by von Hausswolff, except for "Talked to some of them," which features music by von Hausswolff and Nordanstad, from their 2009 film Electra, Texas 2008. Recorded, mixed, and treated in Vigny, France, and Stockholm, Sweden, 2012-'13.



METASPLICE: Vertia/Tiled Eighths 12" (DOSER 023EP) 12.50
2014 release. Metasplice material is always pounced upon by a number of people at Morphine Records, who eagerly follow the Philly pair's evolutionary path every step of the way. This weighty double-sider delves into the paranoid/submarine dwelling/meta-hacker/soundtrack territory they are often known to enter when performing live. "Vertia" snakes like a virus. "Tiled Eigths" is pure fever. If this means nothing to you but you want to check some fresh electronics by one of the most important duos out there, then don't hesitate on this one.


OLIVEROS & IONE, PAULINE: Water Above Sky Below Now LP (DOSER 027LP) 19.50
Pioneering American composer Pauline Oliveros and author Ione present Water Above Sky Below Now. An experimental musician and educator, Oliveros is the creator of the deep listening practice of highly attentive full-body audition. She is joined on the album by Ione, an author and improviser of spoken word and sonic vocals, and the artistic director of the Deep Listening Institute founded by Oliveros. This three-part improvisation was produced using Oliveros's Expanded Instrument System (EIS), an electronic sound-processing environment that allows improvising musicians to transform their own acoustic input in real time. Here, her specially tuned digital accordion -- accompanied by Ione's vocals and spoken word -- is converted via EIS, manipulated, and diffused through multiple channels. "The EIS imperative (and improvisation imperative)," Oliveros writes, "is to listen and respond: spatial relationships and progressions are as important as the traditional parameters of music." The release of Water Above Sky Below Now is the latest movement in Oliveros's six-decade-long career, which began at the San Francisco Tape Music Center in the '60s and was distinguished with the William Schuman Award for lifetime achievement in 2009. Produced by Rabih Beaini; designed by Tankboys; original cover art by Nathalie du Pasquier.



SOLEY: Don't Ever Listen 10" (MORR 140EP) 14.50
Sóley Stefánsdóttir follows her 2015 sophomore album Ask the Deep (MORR 138CD/LP) with a collection of intimate pieces recorded for the album, but dismissed by Sóley because she wanted the album to feature fewer guitar sounds. The dense piano ballad "I Will Find You" clearly evokes the aesthetics of Ask The Deep; "N.Y. Hotel," Sóley's first recorded cover, carefully reinterprets The Knife's brittle original; and the three other pieces rely heavily on minimalistic guitar melodies. Recorded on the Irish island Inis Oírr or in Sóley's home in Iceland in 2012; includes a few well-pitched meows from Sóley's feline roommate Tóa.


PIOULARD, BENOIT: Noyaux 12" (MORR 141EP) 20.00
Seattle producer and songwriter Benoît Pioulard (aka Thomas Meluch) follows the 2015 release of Sonnet, his fifth album for Portland's Kranky label, with his return to Morr Music for four shimmeringly beautiful ambient tracks, a touching blend of weightless drones and yearningly sluggish melodies. Meluch crafted the pieces with his standard basic rig of guitars, bass, loop pedal, and a few effects. A couple of vocal elements are hidden deep in the mix, as well as old field recordings dating back to his childhood. Memories beautifully dissolve within the glowing reverb and lively static of the four softly intertwining tracks.



SCOTT-HERON, GIL: Black Wax DVD (MVD 7495DVD) 19.00
"Black Wax is a musical-political entertainment film produced and directed by Robert Mugge in 1982. It was the first American film to be fully funded by Britain's then-brand-new Channel 4 Television and also likely the first film to use Steadicam from first frame to last. Black Wax centers on the late African American poet-singer-songwriter Gil Scott-Heron - the man Melody Maker called 'the most dangerous musician alive' and many dubbed the forefather of rap music - and his 10-piece Midnight Band. It was filmed entirely on location in Washington, D.C., primarily at the Wax Museum Nightclub (now defunct). Songs performed by the band include such potent political numbers as 'Winter in America,' 'Alien,' 'Johannesburg,' 'Storm Music,' 'Waiting for the Axe to Fall,' 'Gun,' and '"B" Movie' (a scathing analysis of how and why Ronald Reagan was elected President of the United States). Between songs, Mr. Scott-Heron is shown reciting his equally powerful poems ('Paint it Black,' 'Black History,' 'Billy Green is Dead,' The H2O-Gate Blues,' and 'Whitey on the Moon'), leading the camera on a unique tour of Washington, D.C. (from the monuments of official Washington through the minority neighborhoods that make up most of the rest), and finally confronting the 'ghosts of America's past' (life-sized wax figures of John Wayne, Uncle Sam, Neil Armstrong, Benjamin Franklin, Betsy Ross, four U.S. Presidents, and black leaders from W.E.B. Du Bois to Martin Luther King). This is Mr. Scott-Heron at the absolute peak of his powers. The politics is always entertaining, and the entertainment is nothing if not political. Transferred to HD from the original 16mm film and lovingly restored."

MVD 7496BR

SCOTT-HERON, GIL: Black Wax BLU-RAY (MVD 7496BR) 19.00
Blu-ray version. "Transferred to HD from the original 16mm film and lovingly restored."


MR 7272EP

DAMN TIMES, THE: Don't Like People/I Got This One 7" (MR 7272EP) 8.50
Formed in 2000, Austin, Texas punk band The Damn Times attack every note with intensity, grit, and spit, with anthems like "Don't Like People" fueling their live shows. Members are Coby Cardosa (The Crack Pipes), Jeff Linton (Sons of Hercules, The Stepbrothers), Chad Nichols (The Transgressors, T Tex Edwards and the Texwardians), and Ryan Anderson (Active Sound Recording). The Damn Times have earned opening slots for such great acts as Guadalupe Plata (Spain), ...And You Will Know Us by the Trail of Dead, The Fleshtones, Deadbolt, Fireballs of Freedom, Gaza Strippers, Lords of Altamont, and many more.


First reissue; remastered sound; 180-gram vinyl. "Released in 1991, four years into Cerebros Exprimidos's ten-year career, Bonzomania finally reflecting the four-piece's true creative momentum. Más Suicidios (MR 004LP, 1990), their previous album, featured tracks that had been stored up for too long, and which didn't really represent what the band was coming up with in the new decade. Before Bonzomania, several demos, tracks scattered around compilations, a mini-LP, the aforementioned Más Suicidios, and extensive live activity had already clearly confirmed that this turmoil of island isolation that came out of Majorca's tourist pigsty was the most genuine punk rock gesture in '90s Spain, with La Perrera's permission. The 1991 Ritual EP, a preview of the album, gave some clues; it featured more elaborate arrangements than usual, a deeper sound, more variety and definition. Bonzomania became the band's most technically structured recording. Despite crafting more formally ambitious work, Cerebros Exprimidos stayed loyal to their elemental genetic factor, which was, as they put it, 'muthafukkin' unpretentious punk-rock.' And that's what the grooves contained. Two covers (Germs and FU's) and eight original songs, which, theme-wise, continued the war campaign the band had launched against social perversion since their beginnings. The world, they claimed, was a prison. And as there is no escape from such a vast jail, submitting the listener's mind to the Ludovico technique -- an intensive session of nihilistic therapy and homicidal noise -- seemed like a reasonable way out. Meteorites of speed-grunge such as the taciturn 'Sentirme Bien,' bulldozers like 'Experto en Muerte' and 'Listos para Sufrir,' or deadly cells like 'Irresponsable' portrayed a more introspective and reflexive band, but still able, nevertheless, to sow chaos and destruction behind a playful alibi, a cannibalistic cocktail that cauterized their wounds in a bonfire of thoroughly controlled anarchy. The music on this album has no pretensions. It's an expression of relief and self-sufficiency; a gesture of annoyance, rejection, and disgust straight from the guts. There are no hidden meanings or artistic excuses. Cerebros Exprimidos were what you can hear in Bonzomania Irritation. Energy. Attitude. A tornado that burst in without asking for anybody's permission. A swollen ulcer sprayed with teenage napalm, furious as a wounded wild boar. And it's still there, open and festering, swollen, hurting with the same intensity as almost 25 years ago." --Jaime Gonzalo


PENELOPE TRIP: Politomania LP (MUNSTER 022LP) 19.50
First reissue; remastered sound; 180-gram vinyl. "Politomania was a milestone of Spanish independent pop. An underground hit. A bar that many felt encouraged to reach. A reference point. Originally released in 1992, Penelope Trip's debut album is an unforgettable compendium of intuition, effusiveness, and electric discharge. A visceral and raw piece of work which was related to contemporary Spanish bands with a longer career, such as Cancer Moon and Los Bichos, and firmly broke away from the traditional pop-rock Spanish scene of the time -- successful, radio-friendly, supported by the establishment -- which was already in decline. The five-piece from Gijón -- Cova de Silva, Tito Pintado, Pedro Vigil, David Guardado, Juan Carlos Fernández -- looked toward English band Felt and Swingin' London to choose their name, but their songs contained The Jesus and Mary Chain's unhealthy echo and reverb, The Pastels' candor, and Sonic Youth's passion for noise. Their technical limitations never compromised their voracious desire to express, which combined sudden outbursts with sweetness. Instead of filling in the lyrics dossier with some run-of-the-mill content or turning to the precarious English learned during Spanish high school, the band assumed the textual void and transformed it into a melodic slang that became an identifying mark. No obligations. No conventions. A clear track. They didn't have anything specific to say, but their songs told us many things. Produced by the late Carlos Redondo, ex-member of Los Locos and Felpeyu, Politomania still sounds fresh today. Its imperfect forms are, in fact, the materialization of a background chiseled by listening to bands such as Joy Division, Pixies, My Bloody Valentine, or The Velvet Underground. The spontaneous combustion of 'Spycho,' the noise swipes of 'Tigre Moon,' the poisoned syrup of 'Helly,' the evocative strength of 'Sugar-Colt,' the disturbing iciness of 'Demo,' or the fully preserved attraction of 'Ingrid Superstar' stress the pioneering nature of a pubescent band which was brave enough to venture, without maps or compass, into unknown land. With its merits and flaws, Politomania represents a proclamation of a new mood contrary to boredom, limitations, and sameness." --César Luquero



FEINDREHSTAR: Love & Hoppiness 2LP (MKR 006LP) 25.00
Double LP version. Includes download code. Imagine there is a seven-headed rhythmic beast with a percussionist, drummer, bassist, keyboardist, two horn players, and a DJ up on the stage embracing the musical totality of the world without any folklore kitsch, its subtlety and urban club grooves crossing various genre-divisions. That beast is Feindrehstar. This unique band, based in Jena, Germany, has long been known for its ability to capture that live energy in studio recordings. Feindrehstar now present their second album, Love & Hoppiness, following their 2010 debut album Vulgarian Knights (MKR 004CD/LP). A lot has happened in the meantime: countless club and festival gigs, an inspiring African tour, and countless hours spent working in the studio. Love & Hoppiness matured over three years; the first recordings developed in the fall of 2012 with Michel Baumann (Soulphiction, Jackmate) and Nik Reiff in Stuttgart. Further overdubs with trombone, cello, guitar, and vocals followed at various home studios and conservatories. That's right -- vocals have been introduced to this otherwise instrumental band. Owing to these vocal tracks with Dave Aju, Ebo Taylor, and Tina Keserovic, Feindrehstar's sound continues to develop. Jazz, soul, and funk vibes shine through on tracks like "Antelope," a track featuring the vocals and guitar of legendary Ghanaian musician Ebo Taylor. It was clear right from the start that everything clicked with Dave Aju; the smooth, soul-soaked hip hop of "From Bob to Stevie" is a standout track. Feindrehstar call their music "krautclub," and the reason for this becomes clear on "Caje Sukarije," with a classic Balkan funk sound taken over by wild synth loops fused together in a haze of electro-funk. It is in fact a Roma anthem sung by Keserovic. The completely acoustic ballad "Love & Hoppiness Int." anchors the album in a captivating calm with cello and clarinet. Despite the many new directions, the genre-defying yet danceable club sound of Feindrehstar remains. "Love & Hoppiness," "Deep Horse," "Shake That," and "Night Rainer Diskodub" show once again that after 15 years of rocking dance floors, Feindrehstar's energy hasn't diminished.



LORCA: Creta Kano/Malta Kano 12" (NKD 014EP) 14.00
Church and 2020 Midnight Visions affiliate Lorca presents his third outing on Breach's Naked Naked label. Hailing from Brighton, Lorca has garnered a following with several 12"s showcasing his intricate and spectral brand of UK electronic music. Here, he expands on this work with two moody cuts that meld eyes-down melodies with sharp, lively drum structures. "Creta Kano" kicks things off with ticking percussion scurrying over a rubbery, tape-driven thud. Deft dynamics build depth in the mix as detuned and delayed synth lines interweave to stunning effect. "Malta Kano" then sets more textures bubbling behind bright drums and powerful, melodic synth leads.



STUMP VALLEY: Magica Movida 12" (RHD 026STUMP2) 19.50
This one goes out to DJ Peppe... Includes remixes by Mtrpls.

TR 001EP

TRUEBY, RAINER: To Know You/Ayers Rock 12" (TR 001EP) 12.00
Repress of an in-demand 2009 Rainer Trueby 12". No one is supposed to know this, but rumor has it that this features Trueby teaming up with Danilo Plessow (Motor City Drum Ensemble). These tracks were not intended for official release. A tasty taster from those nice guys.



VA: The Art of Remix EP #1 12" (NONCLSS 021EP) 14.50
Ranging from edgy hip hop to sublime ambience, this EP brings together a selection of the most creative remixes released on the Nonclassical label since 2005, all of which are based on contemporary classical recordings, twisted, cut up, and re-worked into a range of remarkable genre-defying music. Includes John Matthias & Nick Ryan remixed by Thom Yorke, Gabriel Prokofiev & Peter Gregson remixed by Tim Exile, Heritage Orchestra (feat. DJ Yoda) remixed by Prokofiev, Powerplant remixed by Murcof, and GéNIA remixed by Landesvatter.


MVD 7875LP

DADAISM 999: The Misery Book LP (MVD 7875LP) 32.00
"The album is a mix of electronics and dark-psychedelic sounds, in a very strange collage of different styles, a melodic and fresh album with abstract lyrics that totally represents the absolutely original form of art for Dadaism 999. The album starts with the nervous track 'Dave's Tripping Attitude' (dedicated to John Balance / Coil); 'Rats And Pigs' is more drone experimental then 'Materiall Stahl' featuring Elena Fossi (very great interpretation). 'A letter' is a very melodic and intense piano song, one of the best tracks by Edward Ka-Spel heard in 35 years! 'Ariadne' start with a mantra/oriental atmosphere (with Stefano Rossello / Bahntier) and follow in a rythmatic track with the great Ka-Spel, also leader vocals in the retro experimental 'Amnesia'. 'The Misery Book' title-track end the album with a sad song by Wakeford, in his classic traditional style! An excellent album, full of epic moments for one of the emerging names in the experimental / esoteric scene. The album comes out in deluxe gatefold LP, with gold and black cover."

MVD 7886LP

NURSE WITH WOUND: The Surveillance Lounge (White Vinyl) 2LP (MVD 7886LP) 46.00
White vinyl version. Edition of 400. "Released in 2009 by Steven Stapleton with Andrew Liles and now finally on vinyl for the first time."

MVD 7887LP

NURSE WITH WOUND: The Surveillance Lounge (Black Vinyl) 2LP (MVD 7887LP) 46.00
Black vinyl version. Edition of 400. "4 tracks, one for each side: on the first 'Close to you instantly' opens a different dimension made by slow piano sound waves, 15 minutes of pure rarefied atmosphere, a spiritual vision of a ritual focused on a dusky note in this hypnotic broken record. The second 'The Golden Age Of Telekinesis' trembles in the deep listening of mysterious reverberations, a clear attempt to breathless run after the flash of a nightmare to drop into a chaotic hole made of screaming voices. The third titled 'The Part Of Me Which Is That Part In You Is Now Dead' calmly introduce the listener in a peaceful landscape to make him experience a dissonant reality. The last 'Yon Assassin Is My Equal' announces the end of a mental voyage towards whispers of recurring litanies and slowed voices in continuous metamorphosis. This is, without doubt, one of the most representative album by Nurse With Wound and it is recommended to use the best care for your acoustic sound system to maximize the pleasure of this experience. Artwork: Babs Santini. Voices: Freek Kinkelaar, Maude Swift, Melon Liles, Miranda Kinkelaar, Nadja Belabidi, Olly Louis Mathura O'Keeffe, David Tibet. Double vinyl, deluxe gatefold cover in tobacco's paper."



DICICCO, TOM: Mad Dealer/We Let Go 12" (OMR 007EP) 12.50
No-nonsense jagged-edged deepness. Young gun Tom Dicicco kills it with these two slices of strobe-light euphoria. Those dancefloor moments when you forget where you are.


OA 001EP

HARRO TRIPTRAP: First EP 12" (OA 001EP) 14.00
Harro Triptrap delivers the first release on the Osmund Audio label. With three 97-BPM slow-motion rockets, he's ready to set things on fire. From the Baltic Sea into the universe, perfect for every dancefloor from New York to Tokyo. Hyper-hypnotic basslines with endless pressure meet a special melancholic mood. Jump on Harro's train to nowhere.



VA: Ostgut Ton / Zehn 10LP Box (OSTGUT 020LP) 138.00
Limited ten-12" version housed in luxury hardcover box. Includes original artwork by Wolfgang Tillmans, Jennifer Burtchen, Norbert Trompeteler, Gregory Myrgiotis, Kurt von Bley, Lee Wagstaff, Viron Erol Vert, Uli Knörzer, Stephen Dunne, Yusuf Etiman, and Ostgut Ton's label manager, Jenus Baumecker-Kahmke.


VA: Ostgut Ton / Zehn 3CD BOX (OSTGUT 034CD) 50.00
Ostgut Ton celebrates its 2015 tenth anniversary with 30 new, exclusive tracks compiled over three CDs. Since 2005, the label has released 92 12"s, 20 albums, 14 DJ mixes, seven Unterton releases, two compilations, one 7", and one cassette; over this time, it has not only grown in terms of catalog numbers and musical variety, but also as a musical haven for the residents of Berghain and Panorama Bar. But so much for looking backward. At a time when young people are discovering techno and house for the very first time, and others are rediscovering the music that has been defining club culture for decades, much of the contemporary discourse is obsessed with the exploration and idealization of dance music's past. Ostgut Ton | Zehn, on the other hand, moves forward; the 30 exclusive tracks look back only twice, with one new edit and one new ambient version of Ostgut Ton back catalog tracks. This compilation is not a nostalgic collection of the best of the past ten years; it's not a testament to Ostgut Ton's past. It's a mature statement of the label's status and a glimpse of what's forthcoming, on the brink of the future. While the preceding anniversary compilation Fünf (2010) was more of a conceptual release (using field recordings from inside Berghain as the source material), Ostgut Ton | Zehn was conceived and commissioned to give maximum creative freedom for the artists involved. Listeners familiar with Berghain and Ostgut Ton will be served with new, original music by Norman Nodge, Boris, Marcel Dettmann, Function, Nick Höppner, Answer Code Request, Fiedel, Barker & Baumecker, Anthony Parasole, L.B. Dub Corp/Planetary Assault Systems (both Luke Slater), Ryan Elliott, Len Faki, Ben Klock, Steffi, Marcel Fengler feat. Elif Biçer, Virginia, Atom TM, and Tobias. But Ostgut Ton | Zehn also serves as a more formal introduction for new additions to the label and the Ostgut Booking agency roster such as Kobosil, Efdemin, Martyn, and Etapp Kyle as well as collaborations such as DIN (Efdemin and Fengler), Doms & Deykers (Steffi and Martyn), and S/D (Slater and Dettmann). While most of the latter have already put out at least one solo record on Ostgut Ton, their tracks for Ostgut Ton | Zehn are a peek into the near future -- full-length albums by Kobosil, DIN, and Virginia will follow in 2016. Dinky, DVS1, and Substance have been invited to add original pieces, too. Presented as a limited three-CD set in a hardcover box containing four mini-LP sleeves with a 28-page booklet. Artwork by Wolfgang Tillmans.



ORCUTT & JACOB FELIX HEULE, BILL: Colonial Donuts LP (PAL 039LP) 18.50
Gatefold LP version. Edition of 750. Guitarist Bill Orcutt and drummer Jacob Felix Heule (Ettrick, Fred Frith, Sult) have been performing regularly around the San Francisco Bay Area since 2012, but this is their first release together. Recorded in Orcutt's living room in the early months of 2015 and named after a chain of Oakland coffee shops, Colonial Donuts collects 13 compact, stylistically diverse duets for electric guitar and drums, ranging from hushed, socially anxious folk to sprung electric blues to dense, pummeling free improvisation. Mixed by Frank Falestra at Dan Hosker Studios in Miami Beach; mastered by James Plotkin; designed by Bill Orcutt.



LAKE PEOPLE: Purposely Uncertain Field Remixes 12" (PERMVAC 131EP) 12.00
The heavy remix package for Lake People's acclaimed 2015 debut album Purposely Uncertain Field (PERMVAC 136CD/LP) features three remixers carefully chosen for the ability to bring their own distinctive sounds to the table while treating the original tracks respectfully. Redshape catapults "Illuminated" into a trippy, hypnotic orbit around the Red Planet. Dial founder Lawrence keeps things lighter and brings some bells and a steady bass drum for his mesmerizing remix of "Drifiting Red." Kann Records cofounder Map.ache shifts up a gear with his remix for "Cooping." Twisted vocals and a bouncy bassline make his remix a darling for the club floor.


LE TOUGH, MANO: Trails 2LP+CD (PERMVAC 142LP) 23.00
Double LP version. Includes CD. 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.



VA: Forward to the Past 3 (EP 2) 12" (PFR 168EP) 14.00
180-gram vinyl. Poker Flat's Forward to the Past returns in its third iteration, paying homage to the golden years (1985-1992) of Chicago house and acid, New York house, and Detroit techno. Quell casts clouds of vocals and a repeated soul snippet over a sinuous, undulating bassline. Anaxander brings classic acid with Gallic attitude, fine-tuned for the dancefloor. Hard-touring DJ and Back to Basics resident Denney goes back to the old school, plunging you into the midst of a heaving dancefloor with a wobbling, fluttering acid track. Glasgow's Debukas provides another Detroit-influenced highlight with a heartstring-pulling chord progression and contrapuntal synth lines.


RUM 2011003LP

WRAY & THE WRAYMEN, LINK: Link Wray & The Wraymen LP (RUM 2011003LP) 20.00
2015 repress. "Collecting both sides of his first three epic singles along with half a dozen other numbers, Link Wray's all-instrumental 1959 debut album introduces to the world the power chord, the basis of modern rock guitar-playing without which punk rock or heavy metal would never have existed. Such classics as 'Rumble' (featured in the film Pulp Fiction), his astonishing version of Duane Eddy's classic 'Raw Hide,' 'Dixie Doodle,' or 'Comanche' were about to influence fifty years of rock and roll to come."

RUM 2011102LP

CHARLES, RAY: Modern Sounds in Country and Western Music LP (RUM 2011102LP) 20.00
1962's Modern Sounds in Country and Western Music is regarded by many as Ray Charles's finest studio album. A departure from his earlier work for ABC and Atlantic, this LP features Charles's reworkings of country standards in his inimitable pop-R&B style. In addition to being a damn fine album, it was also a landmark release as it bridged the racial divide between country music and R&B and marked one of the earliest albums on which a black artist had complete control over his own recordings. A truly monumental piece of 20th-century American music history, one that is essential to any collector of R&B or country!

RUM 2011103LP

VENTURES, THE: Walk Don't Run LP (RUM 2011103LP) 20.00
Tacoma, Washington's The Ventures went from an unknown instrumental hot rod/surf rock group to million-selling superstars practically overnight with the success of their very first single, "Walk Don't Run," a rock cover of a Chet Atkins track. With the 1960 release of the first 45 came huge success, national tours, and the recording of their classic debut LP, titled Walk Don't Run after that legendary first piece of wax. The album is a blazing set of instrumental surf rock and hot rod jams and required listening for any fan of '60s surf and garage. Yet another amazing band from the Pacific Northwest -- there truly was something in the water over there. Includes four bonus tracks.



FLOYD, VINCENT: Moonlight Fantasy 12" (RHM 008EP) 16.50
Previously unreleased material by Chicago's great Vincent Floyd! Early works, mastered from the original DAT tapes. Electronic soul classics, now available for the first time! All tracks are soaked in warm leads, dreamy drums, and gripping melodies...



GOBLIN: Profondo Rosso/Deep Red Original Soundtrack (40th Anniversary Edition) CD (RBL 050CD) 18.00
"Coinciding with Profondo Rosso's 40th anniversary, Claudio Simonetti's Goblin celebrates this anniversary with a new version 2015 of the famous soundtrack. The incredible existential and atmospheric experience of Dario Argento's films comes from the merging of gorgeously crafted visuals with a soul tingling auditory experience. Once heard, Goblin's scores are never quite forgotten. Profondo Rosso is no exception, characterized by its synth heavy sound and chilling central theme. Along with Suspiria, Profondo Rosso is perhaps Argento's most celebrated film and a classic of the giallo horror subgenre in its own right. A surreal masterpiece from Dario Argento with a pounding score from cult prog rockers Goblin, Profondo Rosso ( Deep Red ) will leave you battered and breathless! An essential! Special Digipack case."


GOBLIN: Profondo Rosso/Deep Red Original Soundtrack (40th Anniversary Edition) LP (RBL 050LP) 29.00
LP version.



SALOMAN, GABRIEL: Movement Building Vol. 2 LP (SHELTER 063LP) 21.00
Gabriel Saloman presents the second volume in his Movement Building trilogy, continuing the release of original compositions commissioned for contemporary dance works. Following the enthusiastically received first installment -- Vol. 1's album-length The Disciplined Body (SHELTER 051LP, 2014) -- Saloman offers up five tracks that combine shimmering bowed guitars and reverberant acoustic percussion into a meditative and powerful break from anything he's produced before. Mobilizing the frequencies of contemporary electronic music (fine-tuned to speaker-rattling effect by Helmut Erler at Berlin's Dubplates & Mastering), Movement Building Vol. 2 abandons the conventional instrumentation- and genre-motifs embraced by many of Saloman's peers in favor of a unique hybrid of avant-drone, psych-rock, and Japanese traditional music. In 2013 Saloman was commissioned by the Vancouver, Canada-based dance company 605 Collective to collaborate on the multimedia dance performance The Sensationalists (2015). An early inspiration for both The Sensationalists and the music collected in Movement Building Vol. 2 was Yasunari Kawabata's 1956 novel Snow Country; its tragic love affair became a thematic and contextual source for early phases of the project, and much of the music on this album is a result. Borrowing compositionally and tonally from Taiko drums and Gagaku (an ancient drone-based imperial court music), Saloman reproduced sounds originating in traditional Japanese drums, wind, and string instruments almost completely on guitar, ride cymbals, and snare drum. This influence is most explicit in the undulating rhythms that open the first side of Vol. 2 ("Contained Battle/Ascend") and the layered escalation of "Gagaku," a methodical combination of rhythm and drone that climbs to a peak of psych-tinged burning guitar lines. Concluding the album is a version of Miles Davis's classic ballad, "My Funny Valentine," an uncanny combination of original percussion and guitar, collaged together with what may be a live recording of Davis's "second great quintet" taken from YouTube, processed, and time-stretched on tape. Just as Saloman's previous output has combined cinematic atmospheres with guitar-driven climaxes that easily appeal to fans of neo-classical experimentalism and post-rock-informed drone, this record opens new compositional territory while maintaining a recognizable melancholy ambience. Exposure to the monolithic bass and open spaces of dub-influenced EDM has led Saloman in a different direction than many of his peers (including artists such as Cut Hands, Vatican Shadow, and former Yellow Swans bandmate Pete Swanson) and toward something that moves bodies and triggers their nerve endings, but with no concession to the dancefloor.



VERT: The Days Within LP (STRIKE 156LP) 17.50
LP version. Includes download code. The first album by Vert aka Adam Butler, The Köln Konzert, appeared in 1999 on sonig, the Cologne institution for nonlinear electronic music. In the years that followed, he left his mark on the experimental electronic scene and defined his own complex sound language, culminating in his fourth album, Some Beans & an Octopus (2006), on which he beautifully balanced pop-influenced songwriting and experimentation. After its release, Butler shocked everyone by announcing the end of his work as a musician. Now, in 2015, nine years after Some Beans & an Octopus, Vert is back with The Days Within. The songwriting here is unmistakably Vert, but Butler doesn't like to use the same idea twice. His signature as a songwriter and producer is more recognizable by atmosphere than by harmonies and hooks, mixing melancholy, sophisticated arrangement, densely woven sounds, delicate irony, and surprises. On "Bury Yourself," the listener hears clattering percussion and a host of apparently incidental sound events alongside a loose, catchy vocal melody and an effervescent synth line play. The main atmosphere is dark, and Butler's voice has a smoky patina. "Dog Days" begins with noisy Morse code and intermittent, lugubrious harmonium chords; the ensuing composition is so masterful it would probably work just as well with only a piano and vocal. Each of the many hisses, rattles, and beeps that swarm around "I Run the Waves" seems to have a life of its own. Everything is out of place, yet everything fits together. The macabre "Like a Rose" takes the listener to a dive bar where Kurt Weill sits at the piano surrounded by drunken prostitutes. And so it goes on. No two tracks are alike, but it all fits together. Maybe it's the slightly ironic vocals that always wobble through the haunting melodies. The poignantly simple strings. Or the nervous rasping in the background. Hardly a track on The Days Within is wholly unambiguous; everything seems ambivalent and unknowable. Soft strings and beautiful vocal melodies speak a different language from the unsettling hisses and the rumbling bass that lurk behind them. The songs that seem at first glance harmless are the ones that threaten to slide into the abyss. It's as if Butler, the experienced producer and master of the complex arrangement, is speaking several languages at once. As if ghosts, both past and future, whisper their subtexts behind the beautifully woven arras of every song.



RECOGNITION, THE: Sound Sweep 12" (SKUDGEW 012EP) 12.50
Johan Antoni, who works at Stockholm's finest synth shop, Jam Syntotek, debuts his The Recognition alias with five tracks produced in his home... dope stuff.



CLERVAUX & BEATRICE DILLON, RUPERT: Studies I-XVII for Samplers and Percussion LP (SDGW 033LP) 16.50
Studies I-XVII for Samplers and Percussion is the debut collaborative LP by Rupert Clervaux and Beatrice Dillon, a minimal but diverse record taking in influences from techno, experimental music, ethnographic music, improvisation, electronic music, and field recordings. This collection of short, intuitive rhythm pieces was made sporadically over a period of ten months in 2013. A shared love of repetitive music is immediately apparent, from the transcontinental axis of electronic music that connects London, Berlin, and Detroit, stretching back to the experimental and minimalist composers of the '60s; Xenakis's Psappha, Reich's Four Organs, and Pierre Schaeffer's Etude Aux Objets all crop up in the preambles and debriefs that bookended recording sessions. Equally important here, though, are Dillon and Clervaux's more personalized respective interests in ethnic and world music (see Dillon's 2014 Folkways II compilation for The Trilogy Tapes) and free jazz and improvisation (see Clervaux's mixing and mastering credits for labels like Treader, OTOroku, Matchless, and Fataka). Add to these some more incidental discussions of, for instance, the Morning Ragas of Bismillah Khan, or 2010s releases by Untold, and you begin to get an idea of the varied listening syllabus behind this record. Recurrent methods naturally took shape; the sampler is used throughout as a digital mirror of the instrument being manually played (notably with the balafons of "I" and the vibraslap of "VIII"), triggered samples and played instruments engage in brashly improvised duets ("VI" and "XII"), and unpredictable, contextual sounds are allowed into the compositions, such as the muffled kick drum from the studio next door, the random squeak of a malfunctioning fire alarm in the hallway ("VII"), or the buzzing resonance of a snare drum at the back of the room ("VIII"). And by seeking to avoid making stylized cribs of any of their many influences, the music has the room to be both serious and, even in its more avant-garde inclinations, humorous at the same time ("X" and "XVI") -- it welcomes physical, emotional, and cerebral responses. Perhaps the only universal rule was the time spent on each Study; anything that didn't immediately work, or seemed to call too strongly for further embellishment, was summarily scrapped. And those that remain appear here in chronological order. Recommended if you like The Durian Brothers, Harmonious Thelonious, Moondog, Konono No.1, Morphosis, Tod Dockstader, Burnt Friedman, Folkways Records, etc. Includes download code.



PETRICHOR: Mangata CD (SOMA 110CD) 12.50
Petrichor, one of Glasgow's most exciting producers, presents his stunning debut album, Mångata. The man behind the project, Simon Stokes, has been gradually working his way up the ranks in his home city's scene and has firmly established himself within the Soma hierarchy with a hat-trick of original EPs, each laden with his analog-focused, dream-like sound that straddles the boundaries between electronica, house, and techno. As well as a burgeoning career in electronic music, Stokes has founded his own music production school, Shoogle Studios. As the only Ableton Certified Trainer in Scotland, he has taken on the mantle of leadership at the illustrious Soma Skool, helping a new breed of producers find their footing within the realms of electronic music production. Never one to stand still and remain focused on one facet of his skills in the studio, he has also found himself working as a mastering engineer in the studio with Soma founders Slam, helping them shape their 2014 album Reverse Proceed (SOMA 105CD). Stokes's tireless work in the studio on his own project has now come to fruition, as he delivers the dramatic and provocative Mångata. Amalgamating his array of impressive hardware and his intricate knowledge of Ableton Live, Petrichor has refined his sound and crafted an intricate, multifaceted album that draws on many spheres of influence, designed as a singular listening piece.



CONTINUUM: Continuum CD (STCCD 3008CD) 17.00
Continuum was an ambitious recording project conceived in Holland by Hungarian multi-instrumentalist Yoel Schwarcz in 1967. Released in 1970, Continuum's first album is a confident statement of not only visionary ambition, but also a gifted and spiritual determination. Similar in style to ELO's early work with its heavy cello, phased strings, and overall dramatic swamp, and with such celebrated guests as Richard Hartley and Patric Standford, Continuum is a truly inspired production of ethereal progressive rock that remains triumphant. Stoned Circle's intrepid venture into the progressive rock undergrowth unveils a criminally overlooked chapter in British popular music. This professionally remastered original recording also boasts insightful liner notes and interviews together with rare archival photos.


OPEN WINDOW, THE: The Open Window CD (STCCD 3013CD) 17.00
The Open Window has been described by reviewers as a chamber-rock jazz trio, a classical ensemble, and a folk-rock-raga group, and all the names fit, except that they leave out the honky-tonk piano rolls and the Russian chants. These three musicians take it all apart and when they put it all back together again, it's something new; a batch of songs, non-songs, and sort-of-songs that will engage your mind and your toe and anything else you leave exposed to it. Stoned Circle happily presents the inspired and remarkable world of theoretical and classical composers Peter Schickele, Stanley Walden, and Robert Dennis, reissued for the first time. Their momentary collision with psychedelic rock music in 1970 laid waste to any musical divisions and boundaries that may have existed. Caught in the act in 1970, the collaborative Open Window transcended popular culture and defined an era of music with an open mind and freedom of thought. Step inside for a colorful surprise and meet the psychedelic sound of The Open Window. Professionally remastered original recording with background liners and rare archival photographs. Includes two bonus tracks.



UNKNOWN: Story #8 12" (STORY 008EP) 14.00
A highly regarded producer and musician who used to be in the midst of the NY reactor that revived and modernized disco and Italo disco after the turn of the century, and whose releases under his own name appear much too rarely, delivers three sneaky chapters on Story. The A-side rides on a steamrolling percussive disco groove garnished with cut-up vocals and FX trickery. The B2 is a Chicago-style wedding of disco and house with a jubilant, string-backed female vocal snippet tweaked over a heavy groove; the B1 is a subterranean, groaning dub house affair that recalls a slowed-down John Ciafone banger.



WORKS, THE: The Works CD (SUBL 014CD) 7.00
2015 restock, reduced pricing. 2005 release. From the label that released the highly praised Ta Det Lugnt by Dungen, Subliminal Sounds presents the debut album from Swedish psych-rock compatriots, The Works. (The Works are also closely linked with Dungen, their lead singer and guitarist Andreas handled the bass playing for Dungen on their latest NYC trip, and several Dungen members guest on this release). The Works come across as young goggle-eyed virtuosos from some weird Scandinavian conservatoire where ergot, as well as hours of practice, is on the curriculum. This quintet are all individual singer/songwriters who play many instruments, hence the depth and intricacy of their sound. Drummer Johan, who possesses the clattering bombast of a Keith Moon, even lends his knowledge of Cuban drum-technique to this release.


BACKDOOR MEN, THE: Sodra Esplanaden #4 CD (SUBL 017CD) 7.00
2015 restock, reduced pricing. 2005 release. Available for the first time since its release twenty years ago, The Backdoor Men were ultimate mid-1980s jangly garage rock/pop/folk from Sweden. Decades before bands like the Hives, Sweden was already well known for it's amazing modern beat-psych through compatriot and influential bands such as the Creeps, Crimson Shadows, The Stomachmouths and of course the sharpest of them all; the Backdoor Men. The mighty Backdoor Men originally started up as the mod-band Pow in 1982 but when the amazing vocalist Robert Jelinek, who was also in the Creeps, joined forces with Hans Ingemansson (guitar & vocals), Stefan Nilsson (bass), and Ismail Samie (drums), they changed their name to The Backdoor Men, playing covers of the Chocolate Watch Band, Music Machine and Standells. The rest is garage rock history. For the first time you can hear all of their recordings and read their exciting story. This album contains lots of unreleased bonus tracks, a groovy booklet with extensive liner notes giving an uncensored, first-hand peak as to what really happened, plus lots of photos. It's all here.


MYLLA: Vanya CD (SUBL 019CD) 7.00
2015 restock, reduced pricing. 2007 release. Mylla came into fruition at the now-legendary illicit club/speakeasy BZ in a Stockholm cellar, and this is their debut album, Vanya. Mylla means "mold/earth" in Swedish, and they are the ultimate psychedelic party band for the loosely-knit family of musicians centered around the Subliminal Sounds label (like Dungen, The Works, Life On Earth! and S.T. Mikael and many other Swedish psychsters). This album was recorded in a limestone cottage on a secluded island far out in the Baltic Sea, known by sailors for centuries as the "White Hawaii." Faroe Island has been closed to all foreigners up until a few years ago, as it contains several top-secret army bases. The music is steeped in the Swedish '70s prog tradition, and the creation of this album was as much a dance-party as a recording session. This is a feeling that permeates the whole record and it is this feeling that is Mylla. Like Dungen, the band sings in Swedish but unlike Dungen, the Mylla experience might only be for the natives, but at least it's no longer forbidden for anyone to try it out. Gustav Ejstes from Dungen turns up as a guest with his fiddle, as well as the word artist, Lasse Fabel. Think summertime warmth, beer jams, sweaty dancefloors.


STONE & LUV, JADE: Mosaics: Pieces of Stone CD (SUBL 021CD) 7.00
2015 restock, reduced pricing. 2008 release. The sole album from male-female duo Jade Stone & Luv is a lost gem from the heart of the psychedelic 1970s. Composed and self-produced in Nashville in 1977, Mosaics: Pieces of Stone went unnoticed by the music industry upon release. Fortunately, it didn't disappear forever, but simply went into retreat, biding its time. While almost unknown outside specialist circles, Mosaics has been an underground cult favorite for many years. The combination of top-level songwriting, skillful guitar/keyboard arrangements and soaring vocals is just too impressive to ignore. And beyond these obvious qualities, the album has something subtle and unique, a magnetic power that keeps drawing the listener back. One of Jade Stone & Luv's earliest advocates was the legendary New York City musicologist, Paul Major. Here's a typical Major impression of the music on Mosaics: "Groovy love vibes thru a prism of jade statues in swinging singles apartment complex action ... Cadillac with fuzzy dice, feather boa, lotsa cigarette burns, stale perfumed ashen air. This album in the 8-track player at 5 AM with someone you don't even know passed out in the backseat, as you head to the diner to meet up with an early-bird Lava Lite salesman who deals pills on the side. Bubbly champagne molecules become the plastic vinyl booths in dim-lit dive bars; it's crackerbox post-war suburban low-rent psychedelic..." Done in collaboration with Jade Stone himself, this reissue of Mosaics: Pieces of Stone features the complete original album, adds a rare 45 and lots of previously unreleased tracks, and comes with extensive liner notes.


S.T. MIKAEL: Mind of Fire CD (SUBL 022CD) 7.00
2015 restock, reduced pricing. 2008 release. Album by the mysterious and legendary Swedish psychedelic multi-instrumentalist, S.T. Mikael. This is part one of a suite of two separate albums. Mikael spearheaded the DIY psychedelic rock/folk movement of the late 1980s/mid-'90s, with a collection of albums that now fetch up and over $1000 on eBay. During his long absence, S.T. Mikael grew more secretive and reclusive, but all the while he was still writing music. Now that he's finally back, here's a chance at last for the world to join his psychedelic world again. The music, stretching out in many different directions, has been done freely and spontaneously in an extremely relaxed and happy environment. He also joins forces with Dungen's Reine Fiske and Fredrik Björling, whose musical expertise now also grace the grooves. These otherworldly acid tripper recordings now exist in the real world and S.T. Mikael proves, once again, to be a gifted songwriter and an unconventional performer with a very personal ear for acoustics and an emotional honesty seldom seen these days. Melodic folk-rock elements flow with waves of heavy fuzz-phase leads; weird, detached, haunted vocals echo over the band and the whole thing seems to teeter on the brink of psychedelic oblivion. This is not psychedelic revival, but the psychedelic NOW. His soaring vocals, surreal lyrics, fragile, folky melodies, heavy fuzz riffs, mind-bending soul funk and penchant for the spiritual and mystical make this a fascinating voyage that is so mind-twisting, soul-swirling, upper psychedelic that your third eye takes you on a joyride through an altered state! This album makes your brain start thinking in those pebble-splash-pond-mind circular expanding waveforms that reveal the password to tomorrow. The CD also contains 9 previously-unreleased vintage recordings and unique spoken introductions by Mikael. Limited edition of 2,000 copies only.


LIFE ON EARTH!: A Space Water Loop CD (SUBL 028CD) 7.00
2015 restock, reduced pricing. 2009 release. This is the second full-length release by Life On Earth!, the follow-up to the acclaimed 2007 debut Look!! There is Life On Earth!. The debut was like a journey past green summer hills and skipping lambs; a celebration of imperishable eternal beauty and a romantic observation of the world around us. Now, the telescope is turned inside-out. The focus is on the captain of the project, Dungen's Mattias Gustavsson, and the gorgeous, ornate world of his own invention. Confusion and contradiction are found in the front stalls, visions of ecstasy next to battles with demons and defunct relationships. The drums are given more space, and a Hammond organ has found its way along the layered vocals and languorous string arrangements. But even though the sound has grown both harder and bigger, the album is a natural follow-up with equal parts sound experimentation, folk and classic psychedelic pop, based around acoustic guitar. Opening track "Listen" starts it all off with a flowery baroque flute intro, and then just unfolds and unfolds ever outward into stratospheric pop vocal harmonies, woozy effects, reverbed organs, backwards masking, all burning up at the end with some seriously druggy, acid-fried psychedelic guitar riffage. And that's just to start. Other members of Life On Earth! include members of The Works' Martin Fogelström, Alexis Benson, and Johan Holmegard (also of Dungen) and Erik Lundin, plus at least 10 more guests. As with the debut, the cover paintings and collages were made by New York artists and Lights members Sophia Knapp and Wizard Smoke. The album derives its title from Knapp's collage A Space Water Loop.



AXH: Numbskull 12" (TEMPA 103EP) 12.50
US producer Andrew Howard aka AxH follows his lauded 2014 Tempa debut, Destroy, and releases on Elk Beats and Dubs Alive, with Numbskull. "Numbskull" kicks things off with lively melodies tumbling over driven kicks, dramatic ride pings, and fierce, roaring bass tones before "Gem Tone" melds off-kilter tones over capacious percussion perfect for big room spaces. "Hacker," a brawny collaboration with Toronto-based Gremlinz, shoots off the blocks with mangled feedback signals and sharp, effective rimshots, while dense subs tremble beneath spectral reverberated atmospherics.



COMMUNITY RADIO: Real Transformation EP 7" (TEN 003EP) 11.00
Sydney's Community Radio follow 2014's Sick in the Car/Wildflower with the four-track Real Transformation EP. The first two tracks on this EP are propelled by grooving bass and the organ's driving hum and punctuated by delightful and restrained guitar work reminiscent at times of Richard Thompson. Ben Watt included "Real Trasnformation" in his list of favorite tracks from 2014 after the band released it digitally. "Aide de Camp" is another recording from 2014, which showcases Community Radio's prowess at combining a flowing and tight sound with a lyrical approach. The delicate and frail "Cruel Museum" whispers this EP to a soothing end.


TEENAGE MOODS: Select Buds 12" (TEN 051EP) 15.50
Minneapolis-based Teenage Moods honed their sweet take on punk and garage in a K Records vein over the course of two albums, , Mood Ring (2011) and Grow (2013). After some line-up changes, late 2014 saw the release of the limited Rosebuds cassette. Tenorio Cotobade now gathers five of the eight tracks on Rosebuds to bring you Select Buds, showcasing the band at their most sparkling. There's a sweet and slightly psychedelic undercurrent that brings to mind classic references such as Brian Wilson and Syd Barrett, but the delivery of these immediately grabbing songs is fantastically Teenage Moods.



TREANOR, RIAN: A Rational Tangle 12" (RAVE 012EP) 16.50
Rian Treanor reimagines the intersection of club culture, experimental art, and computer music with A Rational Tangle, his debut quartet of glass-cut, 150-BPM hyperprisms for The Death of Rave. Galvanizing and accelerating garage and techno with cuttingly crisp tonal diction and a pointillist percussive palette, A Rational Tangle demonstrates Treanor's adroit and finely nurtured rhythmelodic instincts through a quicksilver syntax of kerned, polychromatic 2-step patterns and whip-smart, emotive jit music. Functionally titled "A1" thru "B2," the EP's four tracks vacillate between ping-pong ballistics and recursive melodic motifs constructed in Max/MSP, dancing from pendulous, aerobic minimalism to taut, synthetic tabla grooves with grid-melting nous, while also taking in gamelan-esque hypeR&B through wormholes of smeared and curdled harmonics, plus one dead lush section of Detroit-via-Yorkshire styled hi-tech funk. The production is stainlessly dry and future-proof while his arrangements are considerately efficient, yet it's all blessed with a pop or 'floor-ready turn of phrase that reveals new kinks, fills, and twysts with each return listen. Whichever angle you view it from, A Rational Tangle forms a rewarding introduction to the work of a very promising and distinct voice in electronic music. Rian Treanor (b. 1988) is an artist and producer based in the North of the UK. His practice references the dynamic cut-ups of Fluxus and Dada as much as UK dance music to present an insightful and compelling musical world of interlocking and fractured components. He has formerly studied with Lupo at Berlin's Dubplates & Mastering, in addition to years spent running the Enjoy art space in Leeds. RIYL RP Boo, SND, Æ, NHK, Murlo, Gábor Lázár. Mastered and cut by Matt Colton. Housed in jackets designed and hand-screened by the artist. Limited edition of 300.



PATTON, CHARLEY: Complete Recorded Works in Chronological Order: Volume 1 LP (TMR 154LP) 17.00
2013 release. "Charley Patton's Volume 1 from our highly-anticipated Document Records reissue series on black, 180-gram vinyl."


MCTELL, BLIND WILLIE: Complete Recorded Works in Chronological Order: Volume 1 LP (TMR 155LP) 17.00
2013 release. "Blind Willie McTell's Volume 1 from our highly-anticipated Document Records reissue series on black, 180-gram vinyl."


MISSISSIPPI SHEIKS, THE: Complete Recorded Works Presented in Chronological Order: Volume 1 LP (TMR 156LP) 17.00
2013 release. "The Mississippi Sheiks' Volume 1 from our highly-anticipated Document Records reissue series on black, 180-gram vinyl."


PATTON, CHARLEY: Complete Recorded Works in Chronological Order: Volume 2 LP (TMR 172LP) 17.00
2013 release. "Charley Patton's Volume 2 from our highly-anticipated Document Records reissue series on black, 180-gram vinyl."


MCTELL, BLIND WILLIE: Complete Recorded Works in Chronological Order: Volume 2 LP (TMR 173LP) 17.00
2013 release. "Blind Willie McTell's Volume 2 from our highly-anticipated Document Records reissue series on black, 180-gram vinyl."


MISSISSIPPI SHEIKS, THE: Complete Recorded Works Presented in Chronological Order: Volume 2 LP (TMR 174LP) 17.00
2013 release. "The Mississippi Sheiks' Volume 2 from our highly-anticipated Document Records reissue series on black, 180-gram vinyl."


PATTON, CHARLEY: Complete Recorded Works in Chronological Order: Volume 3 LP (TMR 180LP) 17.00
2013 release. "Charley Patton's Volume 3 from our highly-anticipated Document Records reissue series on black, 180-gram vinyl."


MCTELL, BLIND WILLIE: Complete Recorded Works in Chronological Order: Volume 3 LP (TMR 181LP) 17.00
2013 release. "Blind Willie McTell's Volume 3 from our highly-anticipated Document Records reissue series on black, 180-gram vinyl."


MISSISSIPPI SHEIKS, THE: Complete Recorded Works Presented in Chronological Order: Volume 3 LP (TMR 182LP) 17.00
2013 release. "The Mississippi Sheiks' Volume 3 from our highly-anticipated Document Records reissue series on black, 180-gram vinyl."


PATTON, CHARLEY: Complete Recorded Works in Chronological Order: Volume 4 LP (TMR 189LP) 17.00
2014 release. "Charley Patton's Volume 4 from our highly-anticipated Document Records reissue series on black, 180-gram vinyl."


MCTELL, BLIND WILLIE: Complete Recorded Works in Chronological Order: Volume 4 LP (TMR 190LP) 17.00
2014 release. "Blind Willie McTell's Volume 4 from our highly-anticipated Document Records reissue series on black, 180-gram vinyl."


MISSISSIPPI SHEIKS, THE: Complete Recorded Works Presented in Chronological Order: Volume 4 LP (TMR 191LP) 17.00
2014 release. "The Mississippi Sheiks' Volume 4 from our highly-anticipated Document Records reissue series on black, 180-gram vinyl."


MISSISSIPPI SHEIKS, THE: Complete Recorded Works Presented in Chronological Order: Volume 5 LP (TMR 192LP) 17.00
2014 release. "The Mississippi Sheiks' Volume 5 from our highly-anticipated Document Records reissue series on black, 180-gram vinyl."



PHORK: Disappear in Raveland LP (TNP 020LP) 18.00
An ode to ritual and the language of dance music, PHORK's Disappear in Raveland contains adventurous, surrealist musical ideas within a strict club framework giving equal credence to footwork, Chicago house, techno, and drone. The resulting epic collage shifts focus away from sound-design, instead ornately sculpting new forms out of familiar, well-worn drum-samples and sounds taken from free sample-packs. Rather than exploring the variety of structures in these genres separately song by song, PHORK ambitiously combines them all in each arrangement. With surgical precision, footwork's frenetic drum-programming is laid out and mesmerizingly reconstructed to comfortably sit alongside Mark Fell, Mike Q, or Terry Riley. While it's clearly experimental by nature, make no mistake -- Disappear in Raveland's minimalist excursions could function as a secret weapon for discerning DJs seeking to thrill the most daring dance audiences.



Adventice, the incendiary collaboration between DJ Deep and Roman Poncet, returns to Tresor and takes the groove up quite a few notches with three different versions around a common theme. The "Main Mix" opens into hammering chords yet takes a delicate turn into an ethereal refrain. The "Reduced Mix" follows the same composition while remaining playful and cinematic, as the use of hi-hats adds a skip to your step. The "Percussive Mix" and its rapid drum patterns exude a fragrance of vocals triggering endless soundscapes.



DIETZ & ALCI, ROBERT: TBT 002 12" (TBT 002EP) 14.00
180-gram vinyl. The second release on Robert Dietz's Truth Be Told label comes from Dietz himself and Swiss-born producer Alci. Each track features distorted drum rhythms complemented by chilling synth arrangements. Dietz's acclaimed production style paired with Alci's technique of balancing analog gear with new technology creates a delectably composed release from one of underground music's most enthralling imprints. With future releases planned to engage an artist roster of old and new, Truth Be Told's notably sincere output marks a new chapter for underground music married, joining honesty and investigation with raw strength and determination.



MOORI, ARASH: Heterodyne LP (TYPE 125LP) 18.00
"I'm going to do something I never do -- I'm going to write this press release in the first person. This is a very special release for Type and it's been a long time coming. I met Arash Moori when we both attended the same Art School in Birmingham in 2000. We quickly realized that we both liked music -- I think it was a shared love of To Rococo Rot or Metamatics that sparked the first conversation -- and within weeks of meeting each other we were DJing fairly regularly. We kicked off a number of nights in the city, some successful (Default, which birthed the Type label), some not (Left Handers Disco, which confounded punters who didn't understand how well Kelis mixed with SND). Arash was also kind enough to teach me some production tricks as I was putting together my first album. In 2002, Arash headed to Finland to continue his art studies, and began to experiment with electricity and light. These experiments informed the direction of Heterodyne -- I've been waiting 13 years for this record. It's the experimental Chinese Democracy, except worth the wait. Over the years, Arash pieced together a deeply personal palette of electrical sounds from strobe lights, fluorescent lights, radios, plasma balls, and electronic devices. He exploited the peculiarities of these devices to create harsher and more aggressive sounds. This gave way to a series of live performances using minimal hardware and self-built devices to structure, shape, and trigger sounds rather than resorting to samples. The computer was an editing device, not a compositional one. Heterodyne is the culmination of these experiments. The resulting tracks are far more than academic exercises: Arash has taken years of theory and woven together a spiky collection of coarse techno and disorienting drone. The raw electrical textures and rhythms he spent years collecting are framed by analogue synth pads and oscillators which add contrast and levity. It's a demanding listen, certainly, but a rewarding one. This is an album I've seen develop for longer than any other and it's a pleasure to unleash it on the world. Our own collaboration LP (touted for release on City Centre Offices in the early 00s) will never see the light of day, but Heterodyne may be one of the most personal record I've released on Type to date. Enjoy." --John Twells, October 2015. Edition of 500.



CIENFUEGOS: A Los Mártires 12" (PRECEPT 006EP) 14.50
Alexander Suàrez debuts on Unknown Precept with A Los Mártires. Conceived as an ode to those who have spilled their blood for political ideologies that failed them and countries that were never their homes, its five techno hybrids show the Brooklyn-based Miami-expat shooting down unrestrained grooves, rusty samples, and saturated vocals while excavating lush sound-exploration tinged by local folklore and grievous metallic tones. It's conceptually grounded in the individual's inevitable assimilation into modern industrial society and the idea that resistance to and seduction of these systems can trap one in a push-and-pull-limbo from which the only escapes are rage or submission.



SIERRA SAM: Remember Me 12" (UYX 005EP) 12.50
Belgium-born Sammy Goossens aka Sierra Sam presents "Remember Me," sporting percussion layers as hot as a tropical night out and well-morphed sample wizardry before positive, uplifting stab sequencing and an energy overload. Pascal Hetzel and Sierra Sam's remix is a darker affair, on the technoid side of things. Psyched-out, acid-induced synth lines meet a threatening, slightly distorted drum foundation, frizzling high-hats on overdrive, and devilish, psychotic vocal processing. Upon.You cofounder Marco Resmann's remix is a fascinating, highly energetic, yet dry and toolish take on the original track for maximum dancefloor frenzy.



VA: R&B Hipshakers Vol. 4: Bossa Nova and Grits 10x7" BOX (VAMPI 45064EP) 59.00
Ten-7" box set version. "Hold it, hold it -- this ain't over yet! I know: The passage of three long years since we last met may have led you to worry I'd abandoned my noble endeavor to unearth all of the mind-bending rhythm and blues in the nearly bottomless King and Federal vaults. But fear not. To paraphrase the immortal words of Titus Turner in 'Hold Your Loving,' I'm gonna keep at it till the meatballs bounce! I'm delighted to report that Bossa Nova and Grits features some showstopping acts new to the R&B Hipshakers series: there's 18-year-old Little Esther Phillips and her indelibly nasal voice, which would make her a star for decades to come; her fierce, piano-pounding fellow Texan Camille Howard, pushing 40 by the time she growled 'You mole, you!'; Angelenos The Lamplighters, led by a young Thurston Harris (doin' sixty-what'd-they-say?!); the otherworldly singer's singer Jimmy Scott, just before a sad 20-year lull in his recording career that would be followed by a fresh round of well-deserved accolades in the 1990s. And then there's our first dip into the oeuvre of guitar god Jimmy Nolen, who would basically invent funk guitar playing a decade later as a member of James Brown's band but is already wielding a pretty expressive instrument in 'The Way You Do.' Some old favorites are back, too: it wouldn't be a Hipshakers, after all, without brilliant new entries from Little Willie John, The 5 Royales, Hank Ballard & The Midnighters, Johnny Watson, and Freddy King -- he in a rousing dance-floor duet with series stalwart Lula Reed. Non-bouncing meatballs? We've got 'em. Slinky mambo beats? They're here. Back-to-back odes to vino? Yep. Wailing instrumentals? But of course. Twin blast-offs to outer space? Check. Prepare to taste the sound of these boss grits" --Mr Fine Wine. Also includes tracks by Little Joe Washington, Juanita Nixon, Wynonie Harris, Roy Brown & His Mighty Mighty Men, King Syam, Gene Wilson & His Genies, Amos Milburn, Sam Anderson & The Telstars, and Clarence Paul. Tracks originally released between 1953 and 1967.


WG 028EP

TIEFSCHWARZ: Free Falling feat. Khan 12" (WG 028EP) 14.00
Tiefschwarz follow their acclaimed 2015 album Left (WGA 002CD/LP) with three stellar remixes of album track "Free Falling (feat. Khan)." Skream takes the original to new heights with vivid arpeggios and silky vocals laid over reverb-heavy snares and driving percussion ideal for the more climactic dancefloor scenarios. Acid Pauli, a legend in his own right, delivers an incredible remix with warm pads and pulsing bass creating a swirling melodic journey. Tiefschwarz's own dub version is a stripped-down take that keeps just a touch of the low-slung, sleek vocals.



VA: Brazilian Guitar Fuzz Bananas 2LP (WPFC 102LP) 22.00
2015 repress. Deluxe gatefold 2LP version; 2nd edition, no longer contains the (marginally viable) 3CD glasses. Includes a download code that can be used to download all tracks plus a 24-page digital booklet (note: it no longer includes a physical booklet). 'You won't find Os Mutantes or their maestro Rogerio Duprat on this compilation. There is a reason that the records contained here have never been reissued. Even though you will recognize some of the labels contained here... believe me when I write this: some of the rarest, and best, examples of fuzzy, funky Brazilian psychedelia came out as promo-only 7" records on these labels.' Each song contained on this album has never been reissued, and has been restored from the best source possible and remastered for near-perfect sound quality. Artists: Celio Balona, Loyce E Os Gnomes, The Youngsters, Serguei, Fabio, Tony E Som Colorido, 14 Bis, Banda De 7 Legues, Ton E Sergio, Ely, Com Os Falcoes Reais, Marisa Rossi, The Pops, Loyce E Os Gnomes, Piry and Mac Rybell.



POWELL: Insomniac/Should've Been a Drummer 12" (XLT 730EP) 14.00
UK producer and DJ Powell continues to blur the lines between contemporary club music, punk, and forward-thinking computer acid with Insomniac/Should've Been a Drummer. Describing the music is a challenging prospect... but dancing to it isn't. Both as an artist in his own right and through the music released on his Diagonal label, Oscar Powell has established himself among the 2010s' most singular, exciting artists. The music is tough, but always playful.

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