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Forced Exposure New Releases for 11/16/2015

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New music is due from Heather Leigh, Norman Westberg, and Recondite, while old music is due from Volcano the Bear, Helios, and Dungen.


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50 045EP

SHED/MODESELEKTOR: Dark Planet/Dark Planet Remix 12" (50 045EP) 14.00
180-gram vinyl. The sixth 12" in 50Weapons' 11-part finale features Shed's pure techno power twisted into breaky sub-bass-loaded madness by his longtime friends Modeselektor, in a 12" pairing that hasn't occurred since Modeselektion Vol. 01 #2 (MONKEY 005EP, 2010). René Pawlowitz aka Shed combines a straightforward 4/4 beat with a chopped vocal that will hypnotize just about any dancefloor. Modeselektor (Gernot Bronsert and Sebastian Szary) chop the track up and replace the 4/4 kick drum with a booming broken beat and big breaks, sure to be spun by every creative DJ.


AUK 033-10

BRIAN JONESTOWN MASSACRE, THE: Mini Album Thingy Wingy 2x10" (AUK 033-10) 32.00
Double 10" version on red vinyl; limited numbered edition of 1000. Mini Album Thingy Wingy contains seven brand new and exclusive Brian Jonestown Massacre tracks recorded by Anton Newcombe in is his studio in Berlin in 2014 and '15. Running at 35 minutes, the mini-album was co-produced, engineered, and mixed by Fabien Leseure. Four songs written by Newcombe; the band's first Slovakian song, co-written with Vladimir Nosal ("Prsí Prsí"); a composition by Newcombe and Tess Parks ("Pish"); and a cover of the 13th Floor Elevators' "Dust" featuring Alex Maas from The Black Angels on jug. Originally, Newcombe was heavily influenced by The Rolling Stones' psychedelic phase, but his work in the 2000s has expanded into aesthetic dimensions approximating the UK shoegaze genre of the 1990s and incorporating influences from world music, especially Middle Eastern and Brazilian music. This album mixes the traditional Brian Jonestown Massacre sound with Eastern influences and brings it up to date with the benefit of all the additional weirdness that's been discovered in the past 40 years.


BRIAN JONESTOWN MASSACRE, THE: Mini Album Thingy Wingy CD (AUK 033CD) 12.50
Mini Album Thingy Wingy contains seven brand new and exclusive Brian Jonestown Massacre tracks recorded by Anton Newcombe in is his studio in Berlin in 2014 and '15. Running at 35 minutes, the mini-album was co-produced, engineered, and mixed by Fabien Leseure. Four songs written by Newcombe; the band's first Slovakian song, co-written with Vladimir Nosal ("Prsí Prsí"); a composition by Newcombe and Tess Parks ("Pish"); and a cover of the 13th Floor Elevators' "Dust" featuring Alex Maas from The Black Angels on jug. Originally, Newcombe was heavily influenced by The Rolling Stones' psychedelic phase, but his work in the 2000s has expanded into aesthetic dimensions approximating the UK shoegaze genre of the 1990s and incorporating influences from world music, especially Middle Eastern and Brazilian music. This album mixes the traditional Brian Jonestown Massacre sound with Eastern influences and brings it up to date with the benefit of all the additional weirdness that's been discovered in the past 40 years.


BRIAN JONESTOWN MASSACRE, THE: Mini Album Thingy Wingy LP (AUK 033LP) 20.00
LP version on clear vinyl with alternate artwork. Mini Album Thingy Wingy contains seven brand new and exclusive Brian Jonestown Massacre tracks recorded by Anton Newcombe in is his studio in Berlin in 2014 and '15. Running at 35 minutes, the mini-album was co-produced, engineered, and mixed by Fabien Leseure. Four songs written by Newcombe; the band's first Slovakian song, co-written with Vladimir Nosal ("Prsí Prsí"); a composition by Newcombe and Tess Parks ("Pish"); and a cover of the 13th Floor Elevators' "Dust" featuring Alex Maas from The Black Angels on jug. Originally, Newcombe was heavily influenced by The Rolling Stones' psychedelic phase, but his work in the 2000s has expanded into aesthetic dimensions approximating the UK shoegaze genre of the 1990s and incorporating influences from world music, especially Middle Eastern and Brazilian music. This album mixes the traditional Brian Jonestown Massacre sound with Eastern influences and brings it up to date with the benefit of all the additional weirdness that's been discovered in the past 40 years.


AT 006CD

RECONDITE: Placid 2CD (AT 006CD) 19.50
When Recondite aka Lorenz Brunner emerged in 2012 with his debut album, On Acid (AT 001LP), everyone was still learning about the German producer's inward-looking dancefloor sound. A few years later, his sinewy jams have proved near-universal -- like an underground Zelig, he's fit perfectly everywhere from Rødhåd's Dystopian label to Ghostly International and Innervisions. With Placid, Recondite's full-length return to Acid Test, he indulges his more outré tendencies -- and a welcome return it is. Digipak double CD includes the first-ever CD edition of On Acid. Placid features an appearance from Tale of Us; On Acid features remixes by Tin Man and Scuba.

AT 006LP

RECONDITE: Placid 2LP (AT 006LP) 25.00
Double LP version. Includes download code. When Recondite aka Lorenz Brunner emerged in 2012 with his debut album, On Acid (AT 001LP), everyone was still learning about the German producer's inward-looking dancefloor sound. A few years later, his sinewy jams have proved near-universal -- like an underground Zelig, he's fit perfectly everywhere from Rødhåd's Dystopian label to Ghostly International and Innervisions. With Placid, Recondite's full-length return to Acid Test, he indulges his more outré tendencies -- and a welcome return it is.



PRESIDENT BONGO: Serengeti CD (ALB 006CD) 15.50
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.



CHAIN OF FLOWERS: Chain of Flowers LP (ALT 022LP) 22.00
Emerging from the murk and dirt of their home in Cardiff, Wales, Chain of Flowers reveal their long-awaited debut album. Recorded at Monnow Valley Studio in Wales, Chain of Flowers is a dense eight-track opus of heavy shoegaze sonics and urgent post-punk. The band's razor-sharp attention to classic songwriting nous means the record dips and dives between euphoric, hazy melody ("Glimmers of Joy") and overwhelming gloom ("Bury My Love"), all while retaining a breathless pace. Lead track "Crisis" epitomizes this frantic personality exquisitely, skirting between sludgy atmospherics and hardcore's punchy immediacy with aplomb. The six-piece sowed their seeds through the release of six songs since 2012 (via the band's own Swine Language tape label), cutting their teeth on dates alongside Iceage, Cremation Lily, The Fall, The Smear, Shallow Sanction, Eagulls, Nothing, and more before decamping to Monnow Valley for the four-day session that spawned their debut LP. "We dropped ourselves into the middle of nowhere and hammered it out with next to no sleep available to us. The urgency and delirium of the situation helped us," explains the band's vocalist Joshua Smith. "Though we only had 96 hours in a studio to physically make it what we wanted, this record is the product of our last three years as a band and beyond that as individuals. We spent a lot of time in our space writing these songs and we've also spent a lot of time ironing them out through playing as and when and wherever we have been able to." Mixed over six months by New York-based Ben Greenberg (Uniform, The Men, Pygmy Shrews), the LP sees Chain of Flowers break free of their locality. "It's been a drawn out but very necessary sonic exorcism for us," explains Josh. "We are happy that it will see the light of day."



VA: Legendary Conductors: Strauss, Weingartner, Fried (1924 First Eroica Recording) CD (ARB 140CD) 11.50
2004 release. Ancient orchestral recordings were once considered to be like faded black-and-white photos: barely intelligible, lacking all color. Once Arbiter developed "Sonic Depth Technology" to restore old shellac, it achieved surprising results with pre-mic acoustic recordings. A 1914 disc of Tchaikovsky and Wagner made by the legendary conductor Felix Weingartner had bells and winds as clearly present as on recordings made half a century later with microphones. Richard Strauss is heard burning up a Berlin orchestra in 1929 with his Don Juan. The mysterious and shadowy Oskar Fried's epic 1924 performance of Beethoven's Eroica symphony contained colors previously unsuspected. The results go against commonly accepted limitations that had been troubling early orchestral recordings. With Arbiter's release, these recordings have become pristinely sharpened and well-defined, allowing one to listen without having to toil over what had once been submerged in a murky blur.


VA: The Essential Pachmann - 1907-1927: Early and Unissued Recordings CD (ARB 141CD) 11.50
2004 release. A troll-like gnome, pianist Vladimir de Pachmann seduced audiences with the intense beauty of his pianism, so unlike his appearance. His art was held up as being similar to Chopin's own. Many of his performances were captured on the horn, before the electric recording mic had been invented. Arbiter surmounted the daunting task of making intelligible his shellac discs cut from 1907-1927. Pachmann's legacy inspired a series of skirmishes in the collectors underground as factions battled over access to his discs and legacy. Arbiter's second disc of Pachmann recordings -- following 2002's Pachmann: The Mythic Pianist - 1907-1927 Recordings (ARB 129CD) -- fills out his art by resurrecting lost sounds made by an artist born in 1848, one year before Chopin's death. Notes fill out the background that made Pachmann develop his hypnotic art -- a background that he exaggerated and falsified when teasing the gullible press. Famous for insulting colleagues at his concerts and theirs, Pachmann's pure spirit is captured here, one that lay undisturbed beneath the surface of an uncontrollably eccentric imp whose pranks infuriated and delighted the public. Includes performances of compositions by Chopin, Giuseppe Verdi, Franz Liszt, Felix Mendelssohn, and Robert Schumann.


VA: The Chaliapin Edition, Vol. 5: 1921-1923 - American & British Recordings CD (ARB 142CD) 11.50
2004 release. Arbiter's final volume of the earliest recordings by the mythic Russian opera singer Feodor Chaliapin includes early American sessions and more from London, recorded 1921-1923. In addition to pieces that showcase his mastery of earlier Russian art music, this collection includes a previously unpublished lightning-speed poetry recitation from a private collection (Semyon Nadson's "Dream"). Includes notes with English translations to connect all listeners with his word-painting and nuances. Includes performances of compositions by Robert Schumann, Theo Koenemann, Mikhail Glinka, Ludwig van Beethoven, Modest Mussorgsky, Gioacchino Rossini, Giuseppe Verdi, Nikolai Rimsky-Korsakov , Vincenzo Bellini, Arrigo Boito, and Alexander Borodin.


VA: Bartok in the Desert: The Art of Irén Marik 2CD (ARB 143CD) 18.50
2004 release. The first release of a legendary Bartók pupil's private recordings. After finding a coverless vinyl record on the floor of a dark, dingy used record store, Arbiter initiated a hunt to trace Irén Marik, whose Liszt playing dwelled above everyone else's, even those of his own pupils. As the first notes played, a vision arose of a serious middle-aged woman seated at a piano, playing with an impeccably straight back as Bartók stood by her, commenting while he listened. After five years of fruitless searching and dead ends, another LP suddenly appeared in a music shop, this time bearing a cover (her photo closely resembled the vision); this LP had a letter tucked inside via a slit cut in the plastic sealing, which had not been read by a prominent New York Times critic who received it a decade earlier and had no idea of its presence when he decided to clear his desk. Her town of Independence, California listed Marik in their phone directory. Arbiter reached her, and she acknowledged that she was playing, teaching, and, yes, had studied with Bartók. A week later Arbiter flew from New York to LA and caught a Greyhound bus to head into a six-hour traversal of desert and rocky terrain. Marik played like a goddess, cooked like a goddess, and opened her home and archives. Arbiter eventually gained access to a collection of over 100 hours of recordings and chose the most extraordinary for Marik's first CD release. If one compares her playing with Bartók's, the conception is extremely similar, with differences in stylistic flourishes. This set covers her finest Liszt and Bartók, as well as compositions by Brahms, Beethoven, Bach, Debussy, Ravel, Chopin, Schubert, Haydn, Zoltán Kodály, and Jean-Baptiste Lully. It's as if we reached Bartók himself in the desert, channeled through Marik. "Just the range of repertoire is impressive: Marik spins blithely through Bartók's Rondo No. 1 on Folk Themes, devours Beethoven's Piano Sonata No. 30, and plays Liszt's 'Apparitions' in bursts of hyperclarity, as if she's trying to pin down an elusive ghost. ... Discovered by Allan Evans, the founder of Arbiter Records, a label that specializes in obscure pianists, Marik symbolizes something truly rare: an artist pursuing music not for fame or fortune or other external rewards, but for the all-consuming love of it." --1,000 Recordings to Hear Before You Die


VA: Rediscovered Master: Madeleine de Valmalète CD (ARB 144CD) 11.50
2005 release; awarded the Diapason d'Or by the French Diapason magazine. Youthful energy and insight are abundant in the pianism of Madeleine de Valmalète (1899-1999), who startles with her premiere recordings of Ravel's music, hers being the first ever of his Tombeau de Couperin (1928), hardly surpassed to this day. The adventurous Madeleine became the second woman in France to get a driver's license. Playing confidently into her ninth decade, she is equally sharp and alluring playing Mozart in her 93rd year. Along with her complete 1928 recordings made in Berlin when she was 29, this set includes several private documents from later years and a full text on her long life. Whereas most French pianists take a careful approach, de Valmalète projected an excitement that few could attain and sustain. Arbiter once had a free night in her city and fretted over whether she was still alive, and if so, what shape would she be in at 99? Days later, a contact found out that not only was she well but had gone swimming in the Mediterranean on the day the label was in town. On her 100th birthday she ate and drank, mingling around a table with dozens of well-wishers in Marseille, and passed away only a few days later. This CD also includes performances of compositions by Modest Mussorgsky, Sergei Prokofiev, Sergei Rachmaninoff, Franz Liszt, Claude Debussy, Manuel de Falla, Gabriel Fauré, and Alexander Alabiev.


2005 release. Retrieved piano recitals by Mieczyslaw Horszowski uncover his grasp of Schubert's unique language in major works. Bach and Mozart were understood more so than anyone else, as they were played with profundity and represent the height of classical music. These rediscovered concert performances are of works he had never recorded in studios. Arbiter has searched globally for over 40 years to find and bring to light Horszowski's concerts as evidence of how far someone can probe masterpieces. Bach's Concerto for Harpsichord in D Minor, BWV 1052, is performed with Frederic Waldman and Musica Aeterna; Mozart's Piano Concerto No. 24 in C Minor, K. 491, is performed with Alexander Schneider and the Festival Orchestra.


VA: From Bach to Bartók - Recordings: 1956-1983 2CD (ARB 149CD) 22.00
2006 release. With a concentration on pianist Irén Marik's Bach and Bartók, we find her probing deeply into their spirits and expressions. Two major Beethoven piano sonatas, the Moonlight Sonata and his final sonata (No. 32), receive new life and perspective through her unique summoning art. Another trove found in the legacy of home and concert recordings kept in her California desert abode. Also includes performances of compositions by Alexander Siloti, Maurice Ravel, François Couperin, Frédéric Chopin, Alexander Scriabin, Domenico Scarlatti, and Franz Liszt.


VA: Stravinsky: Music for Four Hands 2CD (ARB 155CD) 22.00
2008 release. The complete Stravinsky recordings made for Nonesuch by pianists Paul Jacobs and Ursula Oppens are coupled with a New York recital Jacobs gave to illustrate the influence of jazz in 20th century classical music. With Aaron Copland present, Jacobs plays his "Four Piano Blues" and, with the composer, both give his "Danzón Cubano." Original text by Jacobs and spoken commentary make this a unique view of how he witnessed up close many great influences on contemporary music. Paul Jacobs, a Bronx native, left the repressive USA of the 1950s for the intellectual and freer climate of Paris, where he mingled and championed contemporary music. Back in New York, he was the New York Philharmonic's pianist and made groundbreaking recordings of old and new music. A familiar of Stravinsky's, he and Oppens play his Petrushka ballet's orchestral score as a piano four hands work. Jacobs's career was put to an end when he was among the first great musicians to die with the outbreak of AIDS in 1983. Arbiter keeps his art alive by offering these long out-of-print recordings with rediscovered live performances. Also includes performances of compositions by Debussy, Schönberg, William Bolcom, and Frederic Rzewski.



AMBIQ: ambiq 2 CD (AMEL 708CD) 17.00
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.


AU 9052CD

Two years after his 2013 debut album, and marking his comeback to his home country, Italian double bass player and composer Matteo Bortone presents his second album as a leader, Time Images. The Otranto-born, Paris-raised, and Rome-based musician leads his French-Italian quartet Travelers (Antonin-Tri Hoang, Francesco Diodati, and Ariel Tessier), who also appeared on his debut album. Following the critical success that welcomed his first album (awarded "Re?ve?lation Jazzman" and "Jazz De?couverte" in France, and named one of "2013 Best Records" by Italian magazine Jazzit), Bortone confirms the musical direction he showed in his previous work, exploring all the connections between improvisation and avant-garde rock with electro-acoustic moments and rarefied atmospheres, always emphasizing the collective sound over the individual. The album title hints at Bortone's love for film (the idea of "image-temps" in neorealistic cinema was first introduced by French philosopher Gilles Deleuze). The album's energetic and well-structured pieces ("Sunday Supermarket," "Just Play," "Broskar") and introspective ballads ("Crackle", "Olvidao") are enriched with more instruments, such as electric bass, synth, and clarinet (in addition to alto sax and bass clarinet), adding new shades to improvisations ("Intro Crackle" was written for four voices with double bass, synth, clarinet, and bass clarinet). The synth has a co-leading role in some improvisations ("Sunday Supermarket" and "Locked Room") and it also acts as a main voice in "Tourne" and "Olvidao #1." With the exception of Led Zeppelin's "Houses of the Holy," these pieces are all Bortone's compositions.

AU 9053CD

GRAZIANO FRONTAL, SIMONE: Trentacinque CD (AU 9053CD) 18.00
Italian pianist and composer Simone Graziano's third album, Trentacinque ("thirty-five") marks his second recording as a leader of his quintet, Frontal, featuring Gabriele Evangelista on double bass, Stefano Tamborrino on drums, and David Binney on alto sax, with the addition of Dan Kinzelman on tenor sax. The album's title refers to the number of years Graziano has spent around Florence, his native city, which is one of the main inspirations for this work; it also refers to the number of recordings he's made (three), the number of members in Frontal (five), and the meter of most compositions (five). Graziano's tracks are made up of elaborate structures and improvisation, with his ensemble looking back at traditional jazz while working on a signature collective sound. The improvised "B-Polar" analyzes bipolarity in music and expresses the wish to reconnect distant ends. "White Piano" is a cold ballad highlighting Graziano's classy approach. Unlike his previous album, Frontal (2013), the Italian jazz pianist -- who studied at Berklee College of Music in Boston -- now adds rhythmic allusions to electronic music, as in "Falk the Bow," with upbeats and downbeats mixed up again and again. A short divertissement on a groove, "Give Me Some Options" is pure improvisation, while the counterpoint on "Window on a Better World" underlines a polyphonic dialogue. As additional proof of his powerful narrative writing, "Blu Piano" and "Killcoal" take different approaches to descriptive music. "Intro K.B." unveils a taste for an unpredictable use of electronics, while "Kamennaya Baba" faces hip hop.

AU 9056CD

Italian guitarist Francesco Diodati's third album as a leader, Flow, Home, is conceptually grounded in the exploration of emotional focal points. It's also the debut of Diodati's Yellow Squeeds quintet, featuring Enrico Zanisi on piano, Enrico Morello on drums, Glauco Benedetti on tuba, and Francesco Lento on trumpet. Diodati is also a member of the Enrico Rava Quartet, and has an ongoing duo project with the Italian trumpet player. The band formed around the union of many approaches and styles, thus enriching Diodati's originals with a timbric range and countless expressive possibilities. The opening track, "Split," is all about the moment one feels split in two -- a division here translated in music through both Lento's anxious trumpet and Benedetti's nervous tuba. The long ostinato in the ballad "Ale" holds the immanence of a feeling that mixes up strength and tenderness. And then "Lost" comes, and Diodati's subtle guitar-swarms express a sense of confusion and loss, sealed by an intensely acoustic final moment. "Believe" starts as a game, with the piano playfully disturbed by Burmese gongs and ping-pong balls and helped by Morello's clean drumming, and then opens up to fascinating harmonic choices and a sudden elegance. "Folk Song," "Flow," and "Home" are three compositions that seem linked by a stream of consciousness. "Folk Song" is the ideal introduction, with a minimal melody focused on an easy guitar line and strengthened by a no-frills approach. In "Flow," this turmoil finds its final shape, turning into an imaginary dialogue between trumpet and tuba underlined by Morello's nervous drumming. "Home" is the perfect union of lyricism and technique, highlighting Diodati's inner melodic taste and, at the same time, the intention of defying the six-string boundaries. There is also a tribute to Thelonious Monk, Diodati's musician of choice, here celebrated with a daring reinterpretation of "Played Twice," which shows the interplay skills of this young yet wise quintet. Pensive closer "Casa do Amor" is the happy landing of a restless path, magnificently reflected in Benedetti's euphonium solo.


AUS 1588EP

SHENODA: Labour EP 12" (AUS 1588EP) 14.00
Shenoda, long-time friend of and one-time remixer for Aus Music, presents his first full-length EP on the label. Records on Electric Minds, Hypercolour, and ManMakeMusic have dependably carried forth a hefty punch. Here, he delivers four capacious jams built for a brimful floor."Labour" gets things going and typifies Shenoda's sound, which sets hats and snares scuffling over darting rave stabs. "If I Could" continues with ruthless, full-bodied drums driving mournful synth-strings nicely contrasted against sharp, metallic bass stabs. "Streak" features glacial sweeps entangled with stuttered vocals before "Sunbeam/Bloodstream" melds loose-limbed hat patterns with boiling synth lines and an intense cyclical sequence.



PULLEN, STACEY: Balance 028 2CD (BAL 016CD) 23.00
One of the esteemed second wave of Detroit techno artists that emerged in the early-to-mid-'90s, Stacey Pullen is a canonical figure in the history of electronic music. A skillful producer who values quality over quantity, he made his name via collaborations with Chez Damier and Kevin Saunderson, and as a DJ, he has played everywhere from intimate sweatboxes to the biggest festivals and was an early guest in the hallowed DJ-KiCKS, fabric (FABRIC 027CD, 2003), and Resident Advisor mix series. Pullen is an enduring artist who has never been subject to the fickle pitfalls of the hype spotlight; he continues to be highly sought-after, and Balance now snaps him up for his first official compilation since 2009, continuing the Australian brand's commitment to supporting the underground's most revered legends. "Growing up in Detroit, we had a history of DJs who had radio shows -- whether it was a mix or a show that showcased new music," Pullen recalls. "My approach for my Balance mix was to compile music that I don't get a chance to play when I'm on the road, but that's still good music. I also wanted to give the listener a breath of fresh air and play some eclectic melodic tunes, because I love a good melody. ... With Soundcloud, Mixcloud and other streaming sites, I am very selective on what I approve to have broadcasted," says Pullen. "I feel that those sites have diminished the validity and quality of the proper mixed compilation over the years, because now all you have to do is search for any DJ -- and there you have it." As such, this journey into Pullen's mind is all the more precious and telling, and deserves to be cherished as another memorable chapter in the esteemed Balance canon. What else inspired the mix? "That's an easy answer: my daughter. Everything flows when you're in love." Includes tracks by Pullen, rEJEKTS (including a remix by Marc Ashken), Leman & Dieckmann, Folic State remixed by Gurwan, DJ Hightech & IZT remixed by RaySoo, Atmosfear remixed by The Revenge, Miss Mee, Roi Okev, Cid Inc., Digitaria, Sobek, Toby Dreher feat. Dirty Paul and remixed by Autotune, Huxley remixed by Deetron, Anderson Noise, Peter Gibney, E-Dancer, Kevin Over, Hoito, Alex B, Chris Carrier & Hector Moralez, Jad & The Ladyboy, Oscar P, Osunlade, Roscius remixed by Jona Sul, Tom Ellis feat. Caroline Mulcahy, and Fake Blood.



ABER, SHLOMI: 48V/Shaded in Mars (incl. Truncate & Jeroen Search Remixes) 12" (BAO 055EP) 14.00
Following the success of Be as One's releases by Markus Suckut (BAO 053EP) and Eduardo de la Calle (BAO 054EP), label founder Shlomi Aber presents another EP of driven, pulsating, relentless techno, topped with remixes by two of the most sought-after producers around, Truncate and Jeroen Search. Another one to bag.


BH 024EP

HODGE: Forms of Life 12" (BH 024EP) 17.00
"Three different sides of Hodge. An epic grime meets techno banger that can destroy any sound system; a deep sci-fi techno roller and a melancholic house tune. Something for everyone."


BTR 004

A Quarterly Journal of Post-Rock Cultural Pluralism, edited by Byron Coley. Issue no. 4. In this issue: Alex Behr: Junior High Reviews; Tosh Berman: Tom Phillips IRMA the Opera; Alan Bishop: Pink Floyd Animals: Trevor Block: Rowdy Roddy Piper; Karla Borecky: Antonin Artaud: Pour en finir avec le jugement de dieu; Bree: K?b? Abe Woman of the Dunes; Benoit Chaput: Plume Latraverse; Sharon Cheslow: Stand-up Comedy; Byron Coley: Column; Karen Constance: Igor Wakhevitch Hathor; Nigel Cross: Jeff Cloves; Chris D: Humanity of Femme Fatales; Georganne Deen: Chinatown L.A. + Cathy Ward; Lili Dwight: Farscape; Erika Elizabeth: Mark Sten All Ages; Ray Farrell: Charles Bukowski; Andrea Feldman: Mix Tape Memories; Eddie Flowers: Review Column; Scott Foust: Jewel Robbery; Tom Givan: Matthew Stokoe; David Greenberger: Danny Kaye; Tom Greenwood: Quiet Music Festival; Mats Gustafsson: Sperm/Samsa Trio; Michael Layne Heath: Andrew Matheson Sick on You; Tim Hinely: George Foster's 1977 Season; Michael Hurley: Jackpine Jamboree; Lisa Marie Jarlborn: Bob Dylan 'Sad Eyed Lady'; Danielle Jelley-Rettman: Trenton Punk Rock Flea Market; Ira Kaplan: Steve Miller Band; Maria Kozic: Curing a Migraine with Two Movies; Matt Krefting: Ndegeocello/Sawyer/Krimsky Trio; Tom Lax: Review Column + reviews; Heather Leigh: Hot Gossip; Ted Lee: Illustrations; Donna Lethal: YouTube Reviews; Alan Licht: Peter Stampfel live; Owen Maercks: How I Listen; Marc Masters: Bromp Treb Stickless; Hisham Mayet: Tommy Jay Tall Tales of Trauma; Phil McMullen: The Amazing Picture You; Richard Meltzer: Better; Phil Milstein: Bull Tongue 1-3; Nick Mitchell: Nine Invisibles Pureheadspace; Thurston Moore: Column; Bill Nace: Farscape; Dylan Nyoukis: Red Brut Rebirth; Gary Panter: Funny Animals Portfolio; Brigid Pearson: Avocado; Charles Plymell: Deborah Davis The Trip; Tony Rettman: Rode Grey; Joanne Robertson: Sean Nicholas Savage Other Death; Bruce Russell: Second Hand Records; Suzy Rust: Book Signing for Thelma Blumberg + Woolaroc; Savage Pencil: Cameron Jamie; Andy Schwartz: Mark Ribowsky Dreams to Remember; John Sinclair: The Way You Look Tonight; Leah Singer: Gary Panter interview; Orchid Spangiafora: Allen Ravenstine Pharoah's Bee; Chris Stigliano: Mother #2 & 3; Brian Turner: Liimanarina + Ornerys; Gregg Turner: The Present; Tesco Vee: Collecting & the Voices Within; Valerie Webber: Your Ideal Love Mate; Tara Young: Mötley Crüe live.


BB 190LP

HACKE, ALEXANDER: The Cut (Original Soundtrack) LP+CD (BB 190LP) 23.00
With his 2014 film The Cut, director Fatih Akin completed his "Love, Death and the Devil" trilogy, following Gegen die Wand (Head-On) (2004) and Auf der anderen Seite (The Edge of Heaven) (2007). The Cut tells the story of Nazaret Manoogian, a young, poor Armenian blacksmith who is separated from his family during the Armenian Genocide, the Ottoman government's 1915 extermination of its minority Armenian subjects before the 1923 succession of the Republic of Turkey. Years later, Manoogian learns that his twin sister has survived and sets out to find her, an odyssey that takes him from the deserts of Mesopotamia via Havana to the desolate prairies of North Dakota. The music for this cinematic epic was written by the Berlin-based musician, producer, and actor Alexander Hacke, a member of the band Einstürzende Neubauten, with which he has played guitar since the age of 14. In 1992, Hacke began composing film music, and his works include the score for Akin's Gegen die Wand. Franco-Moroccan singer Hindi Zahra contributes various vocal tracks to the soundtrack, as well as a newly recorded version of her song "Everything to Get You Back." "The Cut is a soundtrack that musically expresses the emotions and thoughts I associate with the film: the music accompanied and shaped the film from the first draft to completion. Alexander Hacke's The Cut is a proud Western soundtrack that takes a bow to the work of Ennio Morricone, yet at the same time sounds completely innovative and new. The Cut is Alexander Hacke's magnum opus" --Fatih Akin. Also includes a track by Corinna Ludzuweit & Jan Hengmith. LP includes CD; CD includes six bonus tracks.

BB 214CD

KISTENMACHER, BERND: Head-Visions CD (BB 214CD) 17.00
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 215CD

KISTENMACHER, BERND: Wake Up in the Sun CD (BB 215CD) 17.00
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.



AKA AKA & THALSTROEM: Connected CD (BUR 004CD) 17.00
AKA AKA & Thalstroem are back with their second album, Connected, released on their own label, Burlesque Musique. After releasing album track "Take My Time," a collaboration with the Erfurt, Germany-based band Northern Lite, the trio released the album's first single, "Never Alone," a collaboration with Sola Plexus that offers a promising insight into the follow-up album to their successful 2011 debut, Varieté (BUR 001CD). "Never Alone" immediately proves that AKA AKA & Thalstroem haven't lost their sense for memorable vibes with a strong narrative. While their house beats open a cosmic and playful groove, the distinctive vocals by Sola Plexus spread the right portion of pop appeal, including a hopeful message against life's solitude. Connected features many guests artists and friends including Northern Lite, Sola Plexus, Jim Hickey, umami, and Chasing Kurt. AKA AKA & Thalstroem has always been a harmonious trio, whether on stage or in the studio; their teamwork vibe carries both listeners at home and audiences during their live gigs.



FAT AND THE MASTERS OF HAHA: FAT and the Masters of Haha CD (CATDOG 001CD) 12.00
FAT and the Masters of Haha is a 73-minute release of FAT's recording with the southern Moroccan Berber group Aouad Mia, master rebab player Rais Lahcen Benlamouden, and other Berber singers and percussionists. It was recorded in Agadir, Morocco, in 1991 after development during FAT's numerous visits to Morocco over the previous three years. Aouad Mia's music is improvised but extremely tight and crisp, and combined with FAT, the music ranges from ferocious looped attacks through complex melodic and rhythmic passages to extended trance-like grooves. This was FAT's final recorded album, and is a rare marriage of noise, improv, and free jazz with the intensity and virtuosity of a traditional ethnic music group -- in this case Aouad Mia, Rais Lahcen Benlamouden, and the accompanying Berber musicians.


FAT AND THE MASTERS OF HAHA: FAT and the Masters of Haha 2LP (CATDOG 001LP) 21.50
Double LP version. FAT and the Masters of Haha is a 73-minute release of FAT's recording with the southern Moroccan Berber group Aouad Mia, master rebab player Rais Lahcen Benlamouden, and other Berber singers and percussionists. It was recorded in Agadir, Morocco, in 1991 after development during FAT's numerous visits to Morocco over the previous three years. Aouad Mia's music is improvised but extremely tight and crisp, and combined with FAT, the music ranges from ferocious looped attacks through complex melodic and rhythmic passages to extended trance-like grooves. This was FAT's final recorded album, and is a rare marriage of noise, improv, and free jazz with the intensity and virtuosity of a traditional ethnic music group -- in this case Aouad Mia, Rais Lahcen Benlamouden, and the accompanying Berber musicians.


CH 128CD

CRAYON FIELDS, THE: No One Deserves You CD (CH 128CD) 15.50
Crayon Fields, Melbourne's own euphoric pop icons, return with their third album, No One Deserves You, their first since the epochal 2009 classic All the Pleasures of the World (CH 066CD). All the Pleasures was a worldwide phenomenon, one of the first Melbourne albums of the modern era to reach an international audience. The album led to Pitchfork raves; tours of the US and Europe; releases in Japan and the UK; shows with Spoon, Best Coast, First Aid Kit, and Stereolab; and appearances at Australian festivals like Laneway, Golden Plains, and Big Day Out. Coming off their third overseas tour in 2010, the band took a break that turned into more of a hiatus, although calling it quits was never in the cards. Frontman Geoffrey O'Connor launched his celebrated solo career with 2011's Vanity Is Forever (CH 088CD/LP) and 2014's Fan Fiction (CH 119CD/LP), but all the while Crayon Fields continued quietly working on another album. The result is a glorious pop record. No One Deserves You presents Crayon Fields in vibrant technicolor, full and free and self-assured. All the classic Crayon Fields trademarks are there -- the vocal harmonies, guitarist Chris Hung's fearsome fretwork, Brett Hudson's nimble basslines, and O'Connor's sly, debonair songwriting. But it is also Crayon Fields as you've never heard them before -- grown-up, knowing, and with a slight swagger in their step. They've always contrasted their structured, detailed pop arrangements with an impulsive, irrational approach to romance. But this aspect has only become more pronounced as their musicianship develops and singer O'Connor becomes all the more willing to exploit every reflection on love, positive or negative, for the sake of entertainment. The album is as significant a development as All the Pleasures of the World was from their fey, wispy 2006 debut Animal Bells (CH 056CD). Lead single "She's My Hero" is the band at their most exuberant, but "Love Won't Save You" reveals how a six-year gap has replaced innocence with something more worldly. On "No One Deserves You" and "Give Him Nothing," O'Connor gives clear voice to his romantic obsessions, while album closers "Somewhere Good" and "Good Times" seem more resigned than optimistic. Crayon Fields formed as a high school band in the early 2000s. Over the years at different points they've been scrappy kids, wide-eyed ingénues, and magical pop sprites, and now take their final form as assured pop conquerors.



FLABBERGAST: No. 1 12" (CCS 097EP) 12.50
Flabbergast (Circus Company veteran Guillaume Coutu Dumont and Vincent Lemieux) conjure up heavy grooves that feed directly from their experiences in the freakier ends of house and techno. The production hits raw and direct, with dead-eye rhythms providing a functional structure for surreal sonic decoration. "Frozen Beans" has a twitchy lead and all manner of displaced vocal snippets drifting around the sparse mix, with the warmth of a Rhodes sneaking in. "Gros Sabots" has fun with some roughly hewn drum breaks before "Wash Karma" gets into an incantation of minimal techno and funk. "Lunatic Lines" sports a jammed-out finish that fizzes with impulsive ideas.



COIL: Backwards 2LP (CSR 203LP) 28.50
Gatefold double LP version. Includes insert and download code. After the groundbreaking release of 1990's Love's Secret Domain album, Coil were not dormant; their main project was Backwards, which was started in 1992, updated considerably between 1993 and 1995, and transferred in 1996 to New Orleans, where it was finished in the magic of the Nothing Studios of Trent Reznor (Nine Inch Nails). The album saw the fruition of Jhonn Balance's recent vocal-coaching, which produced haunting, passionate vocals while reaching new heights. Now, in 2015, 23 years after its initiation, these tracks have been beautifully preserved by Danny Hyde and are finally available in highest quality audio. Differing substantially from the later, remixed incarnation, The New Backwards (2008), Backwards contains the original versions of Coil's much-loved tracks "A Cold Cell" and "Fire of the Mind," which have appeared on various compilations over the years, and are now presented as originally intended. This album is the essential bridge between LSD and the later Musick to Play in the Dark series; an essential conduit to understand the journey that Coil took.



MARBERT ROCEL: In the Beginning CD (COMP 474CD) 15.50
A place far away from everything, yet right around the corner. A vision close enough to touch, yet so far away. Surrounded by keys, hatches, pots, and small fragmented parts, Marbert Rocel lie down, discuss, and dance through the winter of 2015. In this environment, in their studio in Leipzig, the band ties together the songs, which first saw the light of day in a small spot enclosed by woods in the summer of 2014. Each decision goes through every head and each chord is listened to a hundred times, from front to back and in reverse. This is not an album fueled by pompous string arrangements, but by the notion of a consensual nod, which has evolved within Marbert Rocel over the years. In the Beginning is the fourth album by Marbert Rocel. It's a delicately sculpted work with deft percussion and synth pads forming songs that welcome you like good friends. Like Tinker Bell, Spunk's voice guides listeners through this strange, familiar world, moving past big feelings and small gestures to where it all started: In the Beginning.



VAINIO & VIGROUX: Peau Froide, Léger Soleil CD (COSMO 003CD) 14.50
Peau froide, léger soleil is the result of a three-year recording process initiated by Mika Vainio and Franck Vigroux after a series of shared live experiences, beginning with a show in Paris in 2012. Their collaboration is an exercise in sensitive intensity, drifting through the whole space between minimalist meditations and maximalist kinetics. Vainio's signature brutalist production resonates throughout the album, constructing a psychic scenario for Vigroux's researches in spatial abstraction and tonal radicalism. Densely built through free-from structural limitation, this intense nine-track album is the third installment in the catalog of Berlin-based label Cosmo Rhythmatic, and acts as new chapter in the label's construction of an uncompromising sonic identity. Mastered by Denis Blackham at Skye Mastering. Lacquer cut at D&M, Berlin. Front cover photograph by Umut Ungan. Back cover photograph by Diego Jr.



ZIRO: Lionheart 12" (LEGS 011EP) 15.50
Ziro embodies the essence of the Bristol-based club-night-turned-label Crazylegs with a drive to experiment and an ambition to deliver the unexpected. "Lionheart" is a breathless six-and-a-half minutes of thunderous, fractured drums and shimmering trance riffs. "Strafe" brings Belfast madman Bloom into the fray, with trademark hydraulic percussion creating a wonderful hybrid. "London City Warlord" Riko Dan spits a bag of violence on "Dun Talk," a move into more straightforward rap beat territory. "Distance" provides a moment of blissful calm before "Rapture" closes the record with its grimiest workout.



ATOBE, SHINICHI: Ship-Scope 12" (DDS 014EP) 18.00
Limited hand-stamped reissue. A massive personal favorite of Demdike Stare's, Shinichi Atobe's 2001 Ship-Scope 12" was the Chain Reaction label's penultimate release, and, with the benefit of hindsight, also one of its most sublime offerings. This necessary 2015 reissue arrives in the wake of Atobe's much-loved archival salvage, Butterfly Effect (DDS 010CD), which caused quite a ripple upon its release in 2014. Notable for its unusually sweeter, dreamier ambient tone, especially when compared with the rest of Chain Reaction catalog, this is a must-have for followers of the romantic streak in Ross 154, Convextion, and classic Chain Reaction.



PERILS: Perils LP (PATHWAY 010LP) 20.00
"Mutual admirers of each other's work, Thomas Meluch (Benoît Pioulard) and Kyle Dunn (Kyle Bobby Dunn) present a collaborative recording that ruminates on painful realities, disappointments and transitioning to new homes, in the hopes of finding a coping mechanism to bring them through to the other side. Perils began auspiciously in 2012 at transitional points in these artists' lives. Dunn was living in Belleville, Ontario, trying to complete Kyle Bobby Dunn and the Infinite Sadness (Students of Decay) and coming to grips with the fact that this great endeavor was at its end. Given the enormity of the album and the emotionally and physically exhausting process of recording it, Dunn found himself drained with unforeseen questions and confusions. He immersed himself into this newfound nocturnal work, finding a path in the midst of wondering. Meluch, meanwhile, was uprooting from the UK and relocating to Seattle during the recording process of Perils. Nearly drowning under the anxieties of living on uncertain ground, he channeled these emotions into musical escapades. Meluch recorded in his spare moments, sending sonic puzzle pieces one by one to Dunn, who would in turn explore the musical sentiments Meluch had shared, adding his own billowing sounds to the seething mix. The ten pieces created for this release are culled from a poutine and whisky-fueled trudge through the dark corridors of an as-yet undiscovered or possibly imaginary mystic temple. Commencing with the shimmering guitar and tape loops of 'Colours Hide My Face,' the album crawls out of the grooves with a slow-churning turmoil, coaxing the listener to embark along its path. The dirge-like guitar clang and vocals of '(Dead in the) Creekbed Blues' could be an 18th Century blues standard emitted from a buried radio. On Perils, Meluch and Dunn lock arms and together chart the upheaval in their lives to bridge the liminal gulf between the once-was and the soon-to-be."



STEFANIK, DANIEL: Aftermath EP 12" (DISS 028EP) 12.50
Daniel Stefanik offers up two tracks that strike a perfect note between cerebral intrigue and instinctive deep house groove, channeled into an unforgettable and timeless quality. "It Might Drizzle Until September" is a truly heartfelt piece throughout its keynotes and dubby gestures. The combination of subtle rhythmic elements and strong, ever-developing melodies exemplifies the passion and power that can be worked into house and techno. A stronger beat punches through on "Jolly Green Giant," but the soothing, sensual synth lines remain, giving space for dubby effects and delicate details to feed into the mix.



HARNETTY, BRIAN: Rawhead & Bloodybones 2CD (DTD 050CD) 13.50
The third in composer and artist Brian Harnetty's series of recording projects stemming from the Berea College Appalachian Sound Archives, Rawhead & Bloodybones combines samples of music and folk tales with live instruments. The historic archival recordings of children recounting folk tales were made by Leonard Roberts in the 1940s and '50s. The combination of the children's youthful voices and the often gruesome stories they tell offers a striking and dramatic contrast. These recordings, along with other archival samples from Berea, are woven into a larger musical world, with additional instrumental parts added as a counterpoint to the stories. Working closely with archivists, historians, musicians, and the families of those sampled, Rawhead & Bloodybones respectfully re-contextualizes traditional music and folk tales into a unique, beautiful, playful, and haunting whole. Six-panel foldout case.


EB 108CD

UMBERTO ECHO: The Name of the Dub CD (EB 108CD) 15.50
Umberto Echo is a Munich-based (music) writer, (dub) professor, (sound) hermeneut, and multi-instrumentalist. Umberto Echo seizes the raw musical backbone of a riddim -- specifically reggae -- and uses it to generate multifaceted dubs in the studio as remixes or live tracks. In the past he has worked as a sound engineer for Jahcoustix, Jamaram, Headcornerstone, Dub Spencer & Trance Hill, and Dub Inc, and has produced international reggae vocalists and deejays such as Alborosie, Junior Kelly, Luciano, and Lutan Fyah, as well as remixing a host of artists, including Gentleman, Seeed, Steel Pulse, Sly & Robbie, Damian Marley, and Stereo MCs. Nestling between digital echo chambers and analog tape loops, his aim is to hop between Duke Ellington and King Tubby, opening up a new musical cosmos and consensus in the process. This is something he has achieved with his albums Dub the World (EB 074CD, 2010), Dubtrain (2007), and Elevator Dubs (2013), and it's a feat he has effortlessly and emphatically repeated on The Name of the Dub. As with his previous releases, the decisive characteristic of this album is the breathtaking international class and quality of the fundamental tracks. The cover art showcases Umberto Echo as a sound manipulator, sitting cross-legged on a bass speaker; a man who operates the mixing desk, software, and outboards with just as much musical virtuosity as when he plays keyboards, guitar, bass, and drums. While Umberto Eco is renowned for his novels, monographs, and essays, there is only one true language for Umberto Echo: to dub the world. This is how contemporary pop music should sound; not for hipsters, but exclusively for those who have always been hip. Includes dubs of tracks by Mellow Mood, Sista Gracy feat. Sugar Minott, Iba Mahr, Splendid, Dubmatix feat. Eek-a-Mouse, K-Jah feat. Runkus, Dub Inc feat. Tarrus Riley, Sara Lugo feat. Protoje, Jahcoustix feat. Horace Andy, Dactah Chando, House of Riddim feat. Keishera, The Senior Allstars feat. Tokunbo, Dub Syndicate feat. U Roy, Jamaram, Tackhead, iLLBiLLY HiTEC, and Dub Spencer & Trance Hill.



STL: Message of Sound EP - Part 1 12" (ECHO 066EP) 14.00
Stephan Laubner aka STL presents his third EP on Echocord. Laubner is known for running his Something label, and he has also released on labels like Perlon, Sushitech, Styrax, Echospace, and Smallville. This first part of the two-part Message of Sound EP contains two original STL tracks and two loops. "Inside Out" is a beautiful, almost ambient, dubby tune, and "Heavy Snow" is a powerful dubby house track, perfect for the dancefloor.



CHILD, ANTHONY: Electronic Recordings from Maui Jungle Vol. 1 2CD (EMEGO 215CD) 21.00
After melting minds since the mid-'90s with his beat-based productions, renowned techno producer Anthony Child aka Surgeon now brings the fundamental components of electronic sound production to the fore with Electronic Recordings from Maui Jungle Vol. 1. Focusing on the development of timbre and texture, Child creates exquisite drones that offer insight into his improvisatory sensibility and dig deep into the potential of modular synthesis. As the title indicates, Child has chosen a very special setting for this endeavor; the jungle of Maui seems to have acted as a stimulus for this exercise in concentration and trance. The intertwining of the electronic instrument and the sublime sounds of nature opens up an intimate resonant chamber. Birds, insects, and raindrops are allowed to break through, and the listener can sense the thick, humid air and deep colors of the surroundings resonating in the pastose synth lines. Some tracks offer beautifully built overtone-drones, while others are structured by playful arpeggios that create a shining bright texture and seduce the listener into a state of disintegration. At the same time, Child gives priority to the graininess of the instrument, to emphasize the haptic quality and inner tension of the sounds themselves. In the end, these minimalist procedures have been compiled into an unpretentious collection of sonic and atmospheric micro-jewels, inviting us to give ourselves over entirely and exclusively to listening.



MAURICE, CHARLES: Remastered Series Vol. 1 12" (EDR 026EP) 12.50
Charles Maurice opens EDR Records' Remastered Series, a collection showcasing LPs' hidden tracks and transforming them into real dancefloor hits. Acclaimed as a selector and digger for the 2015 Favorite Recordings compilations French Disco Boogie Sounds 1975-1984 (FVR 101CD/LP) and AOR Global Sounds 1977-1982 (FVR 108CD/LP), the mysterious French DJ and collector is also a fine producer and remixer who understand perfectly what DJs look for. Here, he has selected four rare and forgotten disco gems from his collection and reshaped them into fully restored and remastered versions for DJs and dancers. Also includes a version by Black Cock.



BOSSA LUCE: Nel Salotto Degli Appestati LP (ENDANGER 004LP) 23.00
"Mostly from cassettes, Douce Torture and Aut Aut and Relazioni Asintotiche, each limited to twenty-five copies, originally self-released in the early 2000s by Vincent E.F. from Turin. 'A mixture of hardware electronics, guitar and musique concrete-style sampling techniques, recorded on everything from minidisc to VHS tape. With its roots in vintage dub, Krautrock and Italo-Industrial artists like Maurizio Bianchi and Mauthausen Orchestra... and yet strikingly original.'"


LEWIS, ALEXANDER: Occupying the Middle Circle 12" (ENDANGER 005EP) 15.00
"Tough, implacable electronics from the Guy Brewer alias, his customary Metalheadz/Hospital/Ram pleasantries all expunged."



ADAME, ESTEBAN: Rise & Shine EP (feat. Underground Resistance Remixes) 12" (EPM 012EP) 12.50
The Rise & Shine EP revisits "Rise & Shine," the shimmering, ethereal introduction to Esteban Adame's 2014 Day Labor album. Adame's "Beat Mix" adds tough bass and some raw beats to take it to the dancefloor. Detroit's unparalleled Underground Resistance squadron deliver a deep, soulful remix with the addition of some classic UR strings -- everything you'd expect from this influential crew. The B-side opens with a shorter vinyl of the original before Mark Flash of UR takes over, lending the original a tough house groove that delivers plenty of raw funk.



SAMA, LOGAN: FabricLive 83 4LP (FABRIC 166LP) 56.00
For the first time in the long history of the series, Fabriclive 83 is available on vinyl format. The heavyweight vinyl pressing contains all 24 exclusive instrumentals presented as a quadruple-disc LP, strictly limited to 500 copies worldwide.



ONRA: Chinoiseries 2LP (FVR 011LP) 23.50
2015 repress; 2007 release. Favorite Recordings presents French producer Onra's Chinoiseries project. He started it in August 2006, freshly returned from a trip to Vietnam, the land of his grandparents. A vinyl junkie at heart, he really couldn't come back to France without bringing back some wax. After hours spent riding on a motorbike through the streets of Saigon, a taxi finally helped him find some Asian records. He almost felt like an explorer discovering a forgotten treasure. He bought 30 records, most of them in poor condition, went back to his crib, and started making beats with material that he wasn't quite used to. Here are the results of his discoveries and experimentation.


VOILAAA: On Te L'avait Dit CD (FVR 107CD) 16.50
Pursuing his explorations of international funk and disco music, Bruno "Patchworks" Hovart continues his Voilaaa project, following the 2015 Spies Are Watching Me/Le Disco des Capitales 12" (FVR 106EP) with the project's debut album, On Te L'avait Dit. Following such projects as The Dynamics, Mr President, Mr Day, Patchworks Galactic Project, and Taggy Matcher, Patchworks now returns to his first love and specialty, disco, and draws upon African and Caribbean influences. Indeed, funk and disco were extremely influential in these regions, just as they were everywhere in the '70s and '80s, and in most cases, the combination of the festive yet sometime futile nature of disco, and the instinctive, deep, sometimes rough nature of African music sounds like a perfect balance. Aiming to recover this energy and specific sound, Patchworks quickly began producing a few tracks using his unique beats and basslines as foundations and adding guitars, keyboards, and brass distorted with vintage and DIY effects pedals and boxes. Patchworks decided to work with local singers and accompany them on their individual musical paths -- the result is deeply authentic music, as unveiled on Spies Are Watching Me/Le Disco des Capitales alongside Sir Jean and Pat Kalla, both of whom appear on On Te L'avait Dit. The album's ten tracks form a tireless string of hits, with a few more brilliant collaborations with Renaud Bilombo and label-mates Hawa and Fouley Badiaga.


VOILAAA: On Te L'avait Dit 2LP (FVR 107LP) 25.50
Gatefold double LP version.


MAURICE, CHARLES: AOR Global Sounds 1977-1982 LP (FVR 108LP) 25.50
LP version in deluxe tip-on sleeve. Following the success of French Disco Boogie Sounds (FVR 101CD/LP, 2015), DJ and producer Charles Maurice is back on Favorite Recordings, this time engaging a musical world tour in search of hidden productions with a touch of AOR style. The result is AOR Global Sounds, a compilation of eight forgotten and rare tracks produced between 1977 and 1982 in all parts of the globe. At the end of the '70s, many artists all over the world were deeply influenced by such AOR stars as Steely Dan and their classic Aja LP and strove for the same attention to sound production and detail; this specific West Coast style mixed with pop rock standards, soul, disco, and jazz influences. From Erik Tagg in the Netherlands and Ulla in Poland to Diane Tell in Quebec and Nohelani Cypriano in Hawaii, Charles Maurice has found a real link between these great songs and artists in their music clearly infused with this special AOR touch. Fully remastered from the original versions. A must-have for rare-groove collectors. Also includes tracks by Junior Mendes, Loredana Berte, Placa Luminosa, and Paul Hart.


ARRUDA, LUCAS: Melt the Night (feat. Leon Ware) 12" (FVR 111EP) 14.00
In 2015, Brazilian musician Lucas Arruda, who mixes elements from his Latin musical background with his genuine admiration for jazz, soul, and funk music, released his second album, SOLAR (FVR 100CD/LP); one of the album's highlights was "Melt the Night," for which Arruda enlisted legendary producer Leon Ware; the track recalls Ware's 1980s collaborations with Marcos Valle, which perfectly merged sophisticated Californian boogie and AOR with blazing Brazilian rhythms. Here, California nu funk producer XL Middleton remixes the track into a futuristic boogie-funk track with massive basslines and heavy beats. The 12" also includes the original and instrumental versions.



FARMERS: August 11, 1984 LP (FTR 199LP) 18.50
"This is listed as a Farmers LP, but it's actually a survey of Daved Hild's earliest work after the dissolution of Boston's best-ever band, The Girls. Chronologically, the earliest recording here is 'The Fear,' recorded at Sorcerer Sound in NYC for a proposed Lust/Unlust EP called A Dog's Prayer. Daved is joined by another ex-Girl, Robin Amos, and ex-Mission of Burma multi-tasker Roger Miller. After that come the Farmers tracks, recorded in Cambridge. Daved had been doing solo work in NYC, dressed as a Mennonite farmer, but when he was up north the Farmers were a duo with Roger, who'd add trumpet, keys, and whatnot to the mix. Finally, there are a couple of demo tracks recorded in Boston with Roger, David Minehan (of The Neighborhoods), and Dan Salzmann (ex-Maps, then in Christmas). Daved, of course, played in a vast array of different units and configurations after The Girls, but this album is a solid survey of his early output. His approach to songwriting (perhaps best known for 'Jeffrey I Hear You,' from The Girls' Hearthan single) is amazing and cuts into personal flesh no matter whether he knows anything about yr history or not. Singing like a pro wrestler trying to get all sensitive, he manages to convey huge vistas of hurt and strangeness without coming off like either a fop or a thug. It is a sheer pleasure to present this album of Daved's purist inventions" --Byron Coley, 2015. Edition of 350.


GIRLS, THE: Punk-Dada Pulchritude LP (FTR 220LP) 18.50
"Pretty much everybody you'd ever trust in such matters has, at one time or another, stated clearly that The Girls were the best band Boston ever produced. Their 1979 'Jeffrey I Hear You' single on Pere Ubu's Hearthan label is one of the high points of American art-punk by any standards you can imagine. Everyone who ever saw them play live was floored by the sheer craziness of their approach. And their songs were strange, great, and uniquely their own. Mark Dagley, Daved Hild, Robin Amos, and George Condo came together in dribs and drabs over the course of two years. Slowly growing in number as their material became more complex and zoned, they were a quartet by the time they packed it in at the end of the '70s. But this album presents swabs of their earliest work. Some of it is just Mark and Daved. Then Robin joins. Then George. And you can hear and feel their palette expand and mutate. Some of the songs here are protean versions of subsequent classics. Others are the first evidence of experiments that came and went before they could even be played at gigs. And it's all goddamn incredible. Just as Pere Ubu -- a band that was The Girls' most important booster -- created entirely new sounds and approaches to their material in order to get the stuff across, so The Girls blasted through Boston's late-'70s underground with a fully weaponized art-punk approach that destroyed minds with regularity. Massive stuff. Enjoy" --Byron Coley, 2015. Limited edition of 800.


NOWOTTNY, MARIANNE: Dark Souls Need Light LP (FTR 221LP) 18.50
"When Jersey teen Marianne Nowottny arrived on the scene in the late '90s, she had the looks of a typical NJ gum-snapper but possessed a voice that was way beyond what you'd expect to find hanging out in the parking lot of White Castle trying to bum cigarettes. Her vocals had the rich, smoky maturity of Marianne Faithfull's late-'70s work, hauled into an off-center bedroom pop universe that was almost impossible to decode. Her subsequent studio recordings have investigated magnificent nooks of post-naïf construction, but it was in live performance that she created some of her most staggering sonic edifices. We are very pleased to finally present two sides of her explosive and surprising avant-lounge meditations. The first side was recorded at the Knitting Factory in '99, with an improvisational trio composed of Mark Dagley (The Girls, Hi Sheriffs of Blue, etc.); Mark's visual arts pal, the late Steven Parrino (whose work with Jutta Koether in Electrophilia was unbelievably savage); and Scott Jarvis (Workdogs, Th' Cigaretz, ½ Japanese, etc.). The fully toasted coil of Marianne's keys and voice blends into the sound-sheets rustled up by her collusionists like an unholy meeting between one of Sun Ra's small ensembles and Robin Crutchfield's Dark Day. Messy, smudged, long-format song distention with amazing shifts in tonal center and a truly crazed heft. The flip, recorded with just Dagley in '02, is even more extreme. Built around a pummel that sounds like the L train blasting straight through Union Square station, Marianne channels broken Simone-tones and broadcasts them into the maw of chaos. Even in those instances when she chooses to use her her völk-voice the results are dastardly, with a feeling so deeply drugged it'll make yr head heavy. If you've never sampled the Nowottny sound, this is a pretty amazing place to start. Don't be afraid. She was just a kid" --Byron Coley, 2015. Limited edition of 300.



CAMP LO: Luchini AKA (This Is It) 7" (GET 727EP) 11.00
"Camp Lo's late-'90s hip-hop classic 'Luchini aka (This Is it)' is, to put it simply, a sure-shot head-nodder. Upon making its way through any public-facing speaker system, then and now, it drives revelers to one of two important places -- the dancefloor or the bar. It's a feel-good rap track of the highest order, and sounds as good today as when it hit two decades ago. Featuring Bronx MCs Sonny Cheeba and Geechi Suede and produced by then up-and-comer Ski Beatz (who, during the same era, helped a young Jay-Z begin his steady and triumphant ascent), the cut oozes warmth and MC bravado. Sonny and Geechi are both technically top-shelf, but not backpacker stiff. Riding over an inventive chop of Dynasty's electro-soul groover, 'Adventures In The World Of Music,' they made it look very easy."



VA: The Roundup Part II 12"+10" (HEIST 013EP) 23.00
The Roundup Part II marks the end of the second year of the Heist label (2015) and stays true to its original format -- put the names of the artists together in a bowl and let the luck of the draw decide who gets to remix whom. The result is this amazing 12" (180-gram) + 10" combo. Inside-out sleeve with handmade artwork by Baster. Includes tracks by Fouk remixed by Brame & Hamo, Brame & Hamo remixed by Fouk, Nachtbraker remixed by Detroit Swindle, Detroit Swindle remixed by M.ono, and M.ono remixed by Nachtbraker.



LYDMOR & BON HOMME: Seven Dreams of Fire CD (HFN 047CD) 17.00
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. CD includes two extra tracks.


HH 3031CD

MINGUS, CHARLES: Live at the Jazz Workshop, Boston, October 11th, 1971 CD (HH 3031CD) 17.00
Following his relentless creativity in the 1950s and '60s, Charles Mingus was slowing down by the early '70s, having combated financial hardship and health issues in recent years. In 1971 he served as the Slee Professor of Music at the State University of New York at Buffalo, and performed intermittently. This superb set was taped at Boston's Jazz Workshop that October, for broadcast on WBCN-FM, and captures him in fiery form, backed by John Foster (piano), Joe Gardner (trumpet), Hamiet "Bunny" Bluiett (baritone sax), and Roy Brooks (drums). The complete broadcast is presented here in digitally remastered sound with background notes and images.



PISTOL DISCO: Goo/Pool 7" (HNR 013EP) 12.50
"Goo" will manipulate you like a Hare Krishna recruiter would -- if he or she had groove and swagger. B-side "Pool" combines an organic bassline with a dreamlike landscape that will drag you up to a place where The KLF's golden era echoes inside yer head like an appealing Conny Plank OCD!



CLAY RENDERING: Snowthorn LP (HOS 433LP) 25.50
LP version. Perhaps the most compelling of the many projects started by one-time members of Wolf Eyes, Mike and Tara Connelly's Clay Rendering came to life in 2013 and have since released a trio of singles for Hospital Productions that have gained them the admiration of followers spanning the electronic and metal communities. Their material occupies unique terrain, recalling The Cure's widescreen Disintegration-era instrumentals cut through with a black metal palette and an appreciation of electronic music that imbues their production (notably assisted by Dominick Fernow) with an end-of-the-world quality that's impossible to pin down. Evoking Nine Inch Nails one moment and inhabiting a smoke-filled, strobe-lit Road House the next, it leaves the listener bleary-eyed, head spinning, coming down. Guitar, accordion, piano, and electronics underpin the songs on their debut album, Snowthorn, opening with the whirling death march of "Maps on the Floor" and the funereal trudge of "Swallow the Century" before the grinding fuzz of "Sight from Up There" changes pace with the addition of a forlorn piano melody and Becka Diamond's distant vocal zooming in on half-remembered songs, rendered here with hazy definition. "Fall Off the Bed" and "Memory Loses Momentum" find Clay Rendering at their most visceral and catchy, a reminder that they are first and foremost a band that write incredible songs; often submerged in fuzz and atmosphere, here they are left exposed, bare, on display. And yet "Snowthorn," "River Without," and the incredible album closer "Night to Perish" edge the album from the bleak into the sublime, turning away from the snowy landscapes Clay Rendering so often evokes and pulling you instead deep into night. Mastered by Paul Corley and cut at Dubplates & Mastering, Berlin."



DEVI, AISHA: Of Matter and Spirit 2LP (HTH 047LP) 33.00
Double LP version. Following her highly praised Conscious Cunt EP (HTH 043EP, 2015), Aïsha Devi's debut album Of Matter and Spirit sees the Swiss-Nepalese producer, vocalist, and label-owner resume her dark and intricate self-journey and investigation of the disconnection between matter and spirit in society, commenting upon media, consumerism, and collective mental and spiritual resistance, and finding inner peace. The album is a moving landscape of interconnected themes and experimental techniques. Using sound and vibrations to create a sense of healing and awareness, Devi's production dilutes and skews traditional formats. Crafting vortices of haunting sounds from her vocals and production, her work is deeply self-reflective, yet simultaneously taps into the collective consciousness in order to awaken our senses. Mastered by 2013 MPG Mastering Engineer of the Year Matt Colton at Alchemy. Strictly limited to 500 copies worldwide.


HAWKES, MARQUIS: Sweet 12" (HTH 048EP) 14.00
Marquis Hawkes returns with Sweet; opener "When I Get Home" pairs a sugary R&B sample with his signature swinging but slamming beats in a return to the flavor of 2014's smash "Can't Find a Reason," although this time it's more tracky and introspective. Hawkes reprises a different facet of his talents with "At the Witness Stand," a trippy take on classic NY freestyle. "Sweet" furthers Hawkes's trademark rough-and-ready house sound with distinctive vocal hooks and a hip-twitching rhythm; closer "What a Relief" is a raw but inescapably funky drum workout that would make the likes of Traxmen and Eric Martin proud.



LEIGH, HEATHER: I Abused Animal LP (SOMA 023LP) 20.00
I Abused Animal is Heather Leigh's first solo album for Ideologic Organ, following solo albums on Kendra Steiner Editions, Golden Lab Records, Not Not Fun, Fag Tapes, Wish Image, Volcanic Tongue's label, and more. Renowned as a fearless free improviser, Leigh showcases her songwriting prowess on I Abused Animal, foregrounding her stunning voice and her innovations for the pedal steel guitar. Warmly recorded in a secret location in the English countryside, the album transports the power of her captivating live performances to a studio setting, capturing her tactile playing in full clarity while making devastating use of volume and space. Leigh explores themes of abuse, sexual instinct, vulnerability, memory, shadow, fantasy, cruelty, and projection. I Abused Animal is a personal, idiosyncratic, and deeply psychedelic work, ranging from almost Kousokuya-scale black blues through the kind of ethereal electro-ritual of Solstice-era Coil. At times the intimacy of the recordings makes you feel like she's singing directly into your ear, playing just for you. Leigh has performed and released music since the 1990s as a solo artist and with a wide range of uncompromising collaborators including Peter Brötzmann and Jandek, and has toured extensively throughout the US, Europe, Australia, and New Zealand. Her playing is as physical as it is phantom, combining spontaneous compositions with a feel for the full interaction of flesh with hallucinatory power sources. With a rare combination of sensitivity and strength, Leigh's steel mainlines sanctified slide guitar and deforms it using hypnotic tone-implosions while juggling walls of bleeding amp-tone with choral-vocal-constructs and wrenching single-note ascensions. She's played, performed, and released music with Ash Castles on the Ghost Coast, Charalambides, Scorces (a duo with Christina Carter), Dream/Aktion Unit (a group with Thurston Moore, Paul Flaherty, Chris Corsano, and Matt Heyner), Taurpis Tula, Jailbreak (a duo with Corsano), Termas (a duo with Lynda), Annihilating Light (a duo with Stefan Jaworzyn), Richard Youngs, Blood Stereo, MV & EE, Robbie Yeats of The Dead C, John Olson of Wolf Eyes, Smegma, Jutta Koether, Kommissar Hjuler & Mama Bär, and many others. I Abused Animal was composed and performed by Heather Leigh. Recorded and engineered by Joe Gubay in Surrey, October 2014. Cut by Rashad Becker at Dubplates & Mastering in Berlin, July 2015. Photographs by David Keenan. Spiritual adviser: Dean Roberts. Ideologic Organ curation and art direction by Stephen O'Malley; manufactured and distributed by Editions Mego.



VA: New Songs of the Humpback Whale CD (IMPREC 433CD) 13.50
New Songs of the Humpback Whale is a comprehensive investigation into the form and meaning of whale song with graphic visualizations from infographic designer Michael Deal. Liner notes and song selection by artist, scientist, author, and philosopher David Rothenberg. What album was so important that ten million copies of it needed to be pressed at once? Songs of the Humpback Whale, which National Geographic included with every copy of its January 1979 issue, distributed in 25 languages. No human pop star has ever received such magnanimous treatment, so what is it that is so special about the song of the humpback whale? Well, for one, humans knew nothing of this fabulous sound until the US Navy released its classified recordings at the end of the 1960s, at the very moment the world was most poised to listen to the unknown, the psychedelic, and the trippiest of sounds. Humpback whale song fit the bill perfectly. From high wails to deep growls to rhythmic scratches to tearful moans, it encompasses the full range of emotions in the longest song performed by any animal, a tune that can go on for nearly 24 hours at a time. The stereotypical long moan of whale song is only one note in a complex composition, with distinct phrases, repetition, structure, organization, shape, and form akin to many kinds of human music. This is no random outburst of cries and whispers, but a song with power, verve, identity, and design. New Songs of the Humpback Whale aims to gather the best recordings since 1990 by scientists and whale-listeners the globe over, offering a chance to assess what has happened to whale song since 1979. Infographic designer Michael Deal has designed colorful glyphs based on sonograms familiar to sound scientists, making the structure of this grand underwater music easier to understand than ever before. Though humpback whale song did not evolve for humans to appreciate, it may be no accident that humans do. Upon hearing the great song for the first time, whale scientist Roger Payne said he heard the size of the ocean, "as if I had walked into a dark cave to hear wave after wave of echoes cascading back from the darkness beyond ... That's what whales do, give the ocean its voice." Includes recordings by made by Salvatore Cerchio near Madagascar in 1990, Olivier Adam near Madagascar in 2007, Glenn Edney near Tonga in 2008, and David Rothenberg near Maui in 2007 and 2010.


JP 1002DVD

PASTORIUS, JACO: Jaco 2DVD (JP 1002DVD) 19.00
"A compelling story of prodigious talent, personal adventures and raw human vulnerability, Jaco presents the world of the bass guitar phenomenon Jaco Pastorius through the eyes of his family and various musical collaborators. Produced by the Metallica bassist Robert Trujillo, and directed by Paul Marchand and Stephen Kijak, this blistering biopic contains incredible unseen footage and photography from the Pastorius family archive, and takes viewers into the heart and soul of this hugely influential cross-genre artist. Featuring interviews with an array of artists (Flea, Joni Mitchell, Sting, Wayne Shorter, Herbie Hancock, Geddy Lee) and friends, Jaco unveils the story of his music, his life, his demise, and ultimately the fragility of great artistic genius. Disc 1 features the full length film with Dolby 5.1 surround sound. Running time: 1 hr. 57 min. Disc 2 features DVD Extras - Outtakes, Anecdotes, and Stories - with more than 20 never-before-seen interviews with Flea, Joni Mitchell, Carlos Santana, Mike Stern and many more, who discuss Jaco's incredible contributions to music, the art of the bass and the boundaries of music, as well as Jaco the person. Hear stories about Jaco's earliest bands and classic recordings. Includes special footage used during the historic Hollywood Bowl (Jaco's World) Tribute Show 2015, plus many surprises. Running time: 1 hr. 40 min."


BEC 5156186

HIGELIN, JACQUES: Chante Vian et Higelin CD (BEC 5156186) 17.00
Legendary French record executive, talent agent, and producer Jacques Canetti recorded French singer Jacques Higelin's first disc in 1965, though their meeting dates back to 1954, when Higelin was 14 years old and was already singing Trenet -- at the time, Canetti refused to work with teenagers, whatever their talent. To celebrate the 2015 50-year anniversary of his career, the release of his 2013 album Beau Repaire, and a 2015 residency at the Philharmonie de Paris, Jacques Canetti Productions reissues his first album, with two bonus duets with French poet and vocalist Brigitte Fontaine. CD in digipak with 16-page booklet and exclusive photos.


JR 7028EP

CLARKE, JOHNNY: Creation Rebel/Version 7" (JR 7028EP) 8.00
Johnny Clarke sings the Burning Spear classic "Creation Rebel." The B-side's King Tubby version features another DJ legend, Mr. U-Roy.

JR 7029EP

CAMPBELL, CORNELL: The Gorgon/Gorgonwise Version 7" (JR 7029EP) 8.00
Cornell Campbell sings "The Gorgon," the king of the dance. The B-side version features the great U-Roy toasting to the vibes.

JR 7030EP

ANDY, HORACE: You Are My Angel/Version 7" (JR 7030EP) 8.00
Horace Andy's timeless "You Are My Angel" backed up by a rocking King Tubby dub cut.

JR 7031EP

ISAACS, GREGORY: Don't Believe Him/The Village 7" (JR 7031EP) 8.00
Two killer Gregory Isaacs vocal tracks back-to-back, produced by the hitmaker from Jamaica, Bunny "Striker" Lee.



COSTANZO, JACK: Mr. Bongo CD (JMAN 081CD) 14.50
Twenty-six red-hot, skin-slappin', bongo-bashin' Latin jazz 'n' mambo bangers! The phrase "living legend" is undoubtedly overused, but there can be few people more deserving of such an accolade than Jack Costanzo. Born on September 24, 1919, Costanzo is arguably the most significant percussionist of the modern era. Playing with many key orchestras, leading his own band, appearing in numerous TV shows and films, and tutoring bongo playing to the stars, more than any other figure Jack Costanzo brought percussion, specifically Latin percussion and his trademark bongos, to widespread attention. But he wasn't merely a popularist; he was revered by his peers and critics alike for his natural ability, invention, and, perhaps most importantly, his sheer versatility. He became known as "Mr. Bongo" (first coined by jazz critic Leonard Feather), and the tag could hardly be more appropriate. Latin music and its influence in general is often criminally overlooked in music history, but as a white Italian American who rose to prominence playing Latin music at the height of the mambo craze of the 1950s, Jack Costanzo has probably been even more neglected. This 26-track retrospective seeks to give him the special treatment his spectacular career deserves. Showcasing many of the musical highlights of his mid-'50s peak and featuring extensive liner notes based on new interviews with Costanzo himself, Mr. Bongo serves as a perfect introduction to the many who may not yet be aware of Jack Costanzo, and provides those who are already fans with the ultimate collection of his work. All tracks digitally restored from original sources. Includes 16-page color booklet containing pictures and notes provided personally by Jack Costanzo himself.


COSTANZO, JACK: Mr. Bongo 2LP (JMAN 081LP) 25.50
Double LP version in deluxe double-gatefold sleeve. Twenty-six red-hot, skin-slappin', bongo-bashin' Latin jazz 'n' mambo bangers! The phrase "living legend" is undoubtedly overused, but there can be few people more deserving of such an accolade than Jack Costanzo. Born on September 24, 1919, Costanzo is arguably the most significant percussionist of the modern era. Playing with many key orchestras, leading his own band, appearing in numerous TV shows and films, and tutoring bongo playing to the stars, more than any other figure Jack Costanzo brought percussion, specifically Latin percussion and his trademark bongos, to widespread attention. But he wasn't merely a popularist; he was revered by his peers and critics alike for his natural ability, invention, and, perhaps most importantly, his sheer versatility. He became known as "Mr. Bongo" (first coined by jazz critic Leonard Feather), and the tag could hardly be more appropriate. Latin music and its influence in general is often criminally overlooked in music history, but as a white Italian American who rose to prominence playing Latin music at the height of the mambo craze of the 1950s, Jack Costanzo has probably been even more neglected. This 26-track retrospective seeks to give him the special treatment his spectacular career deserves. Showcasing many of the musical highlights of his mid-'50s peak and featuring extensive liner notes based on new interviews with Costanzo himself, Mr. Bongo serves as a perfect introduction to the many who may not yet be aware of Jack Costanzo, and provides those who are already fans with the ultimate collection of his work. All tracks digitally restored from original sources.


KK 088LP

WELLS & FRIENDS, BILL: Nursery Rhymes LP + 7" (KK 088LP) 21.00
LP version. Includes 7" with four exclusive bonus tracks. Includes download code. "If people thought it was a bit strange, then they didn't say," says Bill Wells of the stellar cast of collaborators who played and sang on his album Nursery Rhymes. "I made it all clear pretty early on in proceedings and everyone seemed up for it." Well, actually, it is a bit strange, but then think of Wells's trademark combination of spare, melodic compositions with adventurous arrangements for The National Jazz Trio of Scotland -- particularly his adaptions of Christmas songs on their Christmas Album (KK 070LP, 2012) -- and he's a perfect fit for the job. After winning the inaugural Scottish Album of the Year award in 2012 for Everything's Getting Older, which he made with former Arab Strap vocalist Aidan Moffat, Wells secured some funding from Creative Scotland to go make an album in New York City with a musician he had long admired, Karen Mantler, the vocalist, multi-instrumentalist, and band-leader -- and daughter of innovative jazz musicians Carla Bley and Mike Mantler. Wells made an initial visit in early 2014 to meet Mantler, find a recording studio, and start recruiting musicians. He was able to fund National Jazz Trio of Scotland vocalist Aby Vulliamy's trip over to sing and play viola on the album, but in the spirit of the commission decided that he would otherwise only record musicians who were in or around New York. Vocalists Syd Straw, Amy Allison, and Isobel Campbell; Yo La Tengo; Satomi Matsuzaki and Greg Saunier from Deerhoof; legendary vocalist and composer Annette Peacock; violinist Charlie Burnham, who has played with Cassandra Wilson and James Blood Ulmer; singer and Tony-winning actor Michael Cerveris; and Amber Papini from the band Hospitality all joined the sessions, as did Bridget St John, the English singer/songwriter and long-time resident of New York. Wells's long-time collaborator Norman Blake (Teenage Fanclub) produced the album. Nursery Rhymes recasts these funny, violent, coded, centuries-old sentiments as fresh, new creations. Wells is a brilliant arranger and does wonders in finding new ways of looking at the songs, and drawing more out of their strong but spare melodic material. "They should be quite disturbing," he observes. "Because ultimately part of the remit of a nursery rhyme was to give your child some of the harsh realities of life, while sugar-coating them with a catchy little melody. But I'm losing that coating and going straight to the nub of the thing."


KL 5039CD

REED, LOU: Coffeebreak Concert: Agora, Cleveland, Ohio 1984 CD (KL 5039CD) 17.00
Lou Reed's momentary departure into cheery pop with the mold-breaking New Sensations (1984) was naturally made with bold intentions and dark wit intact, but not ironically. It was simply pop in the hands of a master craftsman. As well as marking Reed's 13th solo studio album, New Sensations was also a statement of intent while bearing the trademark parallels of transgressive wit and intelligence that accompanied his historic path to solo artist. The album was a potent mix of anxious pop that found little room for the distorted, exotic mongo that guitarist Robert Quine had honed in on with previous works with Reed. Accompanied by Fernando Saunders on bass (bassist on the 1982 classic The Blue Mask), Peter Wood on keyboards, and drummer Lenny Ferrari, Reed's perverse new structure in steroid-sound was taken on the road, including a midday show at the Agora Ballroom in Cleveland, Ohio, on October 3, 1984. Klondike proudly celebrates the performing career of the late Lou Reed with the entire WMMS-FM broadcast from his "coffeebreak" performance at the Agora. Professionally remastered sound; includes background liners and rare archival photos.



VA: Pop Ambient 2016 LP+CD (KOM 345LP) 20.00
180-gram LP version. Includes CD. Tracks by Stephan Mathieu, The Orb, Anton Kubikov, Max Würden, Sicker Man & Gregor Schwellenbach, Mikkel Metal, Dave DK remixed by Leandro Fresco, Jens-Uwe Beyer, and Thore Pfeiffer.


VA: Pop Ambient 2016 CD (KOMP 128CD) 17.00
It's no small feat to keep an ambient compilation fresh and interesting for over a decade, especially when the core aesthetic idea is as well-defined as Pop Ambient's. But this didn't keep Pop Ambient 2015 (KOMP 120CD/KOM 315LP) from finding a compelling balance between veteran contributors like Jens-Uwe Beyer and Leandro Fresco and new, idiosyncratic voices like Max Würden and Thore Pfeiffer. They all return for Pop Ambient 2016, joining a captivating cast that also includes heavyweight soundsmiths, experimental composers, and ambient confidants. Pop Ambient 2016 opens with electroacoustic composer and installation artist Stephan Mathieu, whose highly textured opening drone "April Im Oktober" bears all the hallmarks of a pop ambient classic, stealthily weaving in layers of sound and moving fluidly between territories. Meanwhile, The Orb show off the full extent of their experience in the field and have their own little ambient collage opera going on in "Alpine Dawn," a slight detour from their beat-laden 2015 full-length Moonbuilding 2703 AD (KOMP 124CD/KOM 330LP), but on that same level of masterful sonic dexterity. SCSI-9's Anton Kubikov builds momentum with a sweet melody, slowly evolving to the atmospheric backdrop of a light synth rain, while Würden imagines a dreamy yet twisted underwater world with lots of space to get lost in. He later returns for a collaboration with Pfeiffer, the other newcomer hero from Pop Ambient 2015, and the result is a fascinating amalgamation of both producers' distinct sonic sensibilities -- the grittier, drone-based approach from Würden and Pfeiffer's penchant for roaming samples and skewed loops. Another dedicated collab comes from Sicker Man and Gregor Schwellenbach, who team up for the string-infused, cinematic epic "Turns." Longstanding Kompakt ally Mikkel Metal presents the surging "Titan," followed by Fresco's magisterial rework of Dave DK's "Veira" from his 2015 Val Maira album (KOMP 121CD/KOM 326LP). Pfeiffer's "Megamix" of Wolfgang Voigt's "Rückverzauberung" reimagines an entire concept series as one sweeping cut before Beyer continues his expeditions into hypnotic, semi-acoustic soundscapes on "The Bremen," transitioning into the windy mountaintops of Fresco's mysterious, multi-layered "Configuración de Ataque." Pfeiffer has the honor of concluding Pop Ambient 2016 with the appropriately titled "Idyll," a soothing, swirling synth study that gives the listener ample opportunity to return to mundane reality at their own pace.


KX 001CD

VA: KX 2015 2CD (KX 001CD) 17.00
After building momentum with acclaimed releases from seasoned producers and rising stars alike, exclusive mailorder imprint KX celebrates its tenth installment with an action-packed compilation of floor-burners, secret weapons, and future classics -- its first full-length release. From Reinhard Voigt's minimalist banger "RV 01" (KX 01) to Guy Mantzur & Roy RosenfelD's massive surprise hit "Deeyo" (KX 02), Jonas Rathsman's programmatic "New Generation" (KX 09) or Luis Junior's marvelous "Numina" (KX 06) -- all included here -- the talent-pool has been growing quickly since the label's inception in January 2015, featuring passionate artists from all corners of the global electronic community, including Israel, Greece, Germany, Hungary, Sweden, UK, and Cyprus. Now is the time to give eager floor-scholars a bigger fix, with a thorough selection of DJ-ready tunes that showcase past deeds as well as new, exclusive material from upcoming producers like Christerk, Kelly Sylvia, Termoment, or Krisztián Dobrocsi -- a masterclass in peak-time debauchery. Also includes tracks by Pieter Steijger, Lazaros, Elijah Simmons, Euripides, and Gadi Mitrani.

KX 010LP

VA: KX 2015 2x12" (KX 010LP) 23.50
180-gram double 12" version on colored vinyl. Includes all exclusive content. Tracklist: Christerk - "Snowhaze"; Termoment - "Arcade Gem"; Kelly Sylvia - "Sapphire"; Euripides - "Melancholy Days"; Lazaros - "Keto"; Elijah Simmons - "Sil"; Luis Junior - "La Musica"; Krisztián Dobrocsi - "Subwolfer.



PEVERELIST: Undulate/Grit 12" (LIVITY 018EP) 12.50
Livity Sound close out a busy 2015 with something of a rarity, a solo 12" from label head Pev, his first solo material since 2013's Aztec Chant 12". Almost a genre in himself, Peverelist has been releasing curveball anthems since the mid-'2000s in his own inimitable style, appearing on Hessle Audio, Skull Disco, and Tectonic as well as his own Punch Drunk and Livity Sound labels. This 12" coincides with his autumn 2015 tours of Japan and the US.



MATTHEWS, CERYS: Dylan Thomas: A Child's Christmas, Poems and Tiger Eggs 2CD (MARVEL 001CD) 17.50
2014 release; released to coincide with the centenary of Dylan Thomas's birth on October 27, 1914. Cerys Matthews writes: "Dylan Thomas was always present in my life -- we shared the same view of the crescent shaped Swansea bay, and my uncle Colin Edwards amassed the largest amount of interviews on him, starting in the years following Dylan's tragic death in New York City. Colin would talk to us about him for hours, and it wasn't long before I too fell for his magical, maverick voice. 'The world is never the same place once a good poem has been added to it'. Said Dylan, who never prefaced his readings with explanations, but rather with a simple 'I am going to read aloud now'. Reading his work aloud, feeling those syllables roll around your mouth with the rhythms finding their own ebb and flow is one of life's greatest pleasures. In Welsh (and similarly in Somali) there is only one word to cover both music and poetry -- the powerful, transformative qualities of each have always lead me to treat them both with a similar approach. I often hear music when I read great writing, especially Dylan's, which is so infused with melody and rhythm, and so the idea for this project was born. Jeff Towns, Chairman of the Dylan Thomas Society, and owner of the one and only 'Dylan Thomas Mobile Book Bus' has written the notes on the poems, excerpts and short story released in this double album and also generously shares with us some of his wonderful collection of Dylan Thomas photographs and illustrations. Choosing the works presented here seemed to come naturally, some are familiar, some more obscure. As for 'A Child's Christmas in Wales'? Well, I've always loved the matrimony of music and narration in Prokofiev's Peter and the Wolf and dreamed, many years ago, that 'A Child's Christmas' should also 'dance' with music. Together with composer and arranger Mason Neely from Chattanooga, I began working toward this goal. With the help of some of the country's leading players and soloists -- Catrin Finch on harp, Alice Neary on cello, and David Adams on violin, we made this a reality. Tiger eggs indeed." Includes the whole of A Child's Christmas in Wales and poems including "Fern Hill," "Do not go gentle into that good night," and "And death shall have no dominion."



VOLCANO THE BEAR: Commencing 5LP BOX (MIA 032LP) 105.00
Leicester, England -- mid-1990s. Aaron Moore, Nick Mott, Clarence Manuelo, and Daniel Padden create a freeform group called Volcano the Bear out of their frustration with standard musical limitations. Now, in 2015, after 20 years of experimenting with improvisation, folk, Dada, post-punk, krautrock, noise, surreal comedy, pure avant-garde, and more, the group has obtained a cult following and high critical praise across the globe. Renowned for their highly theatrical and obscure live performances, as well as their mind-blowing catalog of releases, Volcano the Bear truly is a one-of-a-kind group, consistently pushing forward with their own unique, experimental approach to sound making. Commencing manages to be both a retrospective of the group's 20-year history since their formation in 1995 as well as its own unique release filled with vast amounts of material. The five LPs presented here, each in individual covers with liner notes for each track on the back and housed together in a deluxe silkscreened box, contain 64 tracks and clock in at over four hours in length. Expect an abundance of previously unreleased material, alternate versions, tracks from early cassette albums never before released on vinyl, live recordings, pieces from forgotten compilation appearances, and more, all mixed and compiled together to form five standalone albums. The set also includes a 50-page book of writings, photos, artwork, and flyers from the band's long history, along with a download code for the complete set plus a bonus album of ten tracks that didn't make the final cut. This is the ultimate Volcano the Bear release for fans of the group and of surreal, experimental musical history in general. "Listening to the wealth of mainly unreleased and live material presented here, one's mind boggles at the wonderful, extraordinary and frankly bizarre pallet these guys have to offer. They take us on a sure fire journey into some of the most healthy and unambiguous, crazed and deadly, astonishing and timeless music to push our pleasure buttons up to 13!" --Steven Stapleton, Cooloorta, May 25, 2015



ROBOT KOCH: Hypermoment CD (MONKEY 061CD) 15.50
"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. CD packaged in digipak with partial UV varnish.



OFFERMANN, OSKAR: Le Grand to Do CD (MUSIQ 050CD) 17.00
"When the dancer disappears and only the dance remains, it is meditation" --Indian philosopher Osho. For the Frankfurt-born, Berlin-based producer and DJ Oskar Offermann, music is some kind of meditation, too. For him sound has the power to go beyond time and space. He began making music as a teenager, primarily as a drummer in grunge and punk bands. When he was 16, hip hop hit him hard and he started to produce beats on an MPC that he still uses today. At 20 he moved to Berlin, and one night he ended up at Panorama Bar, where Zip was celebrating a "Get Perlonized" night. All of a sudden the virus called dance music infected him. Before dropping his first house tracks, he launched the White label in 2007 with a friend. It was followed by a second label, Rimini, in 2011 -- a musical outlet for special edits that go beyond the dancefloor. After countless EPs and a celebrated album on his own labels and others, including Aim, Thema, and Riverette, Offermann now drops another magical long-player, this time on Japan's Mule Musiq -- his second release on the label following a deeply moving EP in 2012 (MUSIQ 148EP). Le Grand to Do was mostly produced in 2014, a year in which Offermann became a part-time vegan and dove deeply into himself through meditation -- changes influenced by his interest in new age music and his desire to compensate for his wild and sleepless life as a DJ. The tracks from this introspective period are disciplined works created with cheap drum machines including an Alesis HR-16, a Boss DR-660, and a Yamaha RX 70, plus a computer and other synths. For Offermann, "music is the direct access to the soul"; each track on Le Grand to Do is intended to go beyond the party. They are his reflection on esoteric spheres, without being fully esoteric. You can hear his past as a drummer and lover of hip hop breaks in tricky tracks like "I Wonder" or "Find Yourself". With gems like "Carol's Howl" or "Banunanas," he serves house that deeply massages body and mind. Vocal samples float around, heartfelt chords bewitch, and gentle melodies pop up to twist the senses. And even though it's heavily influenced by new age, the album is meant first for the dancefloor. It relieves tension, spreads meditative energy, and delivers emotions that stay. Forever.


OFFERMANN, OSKAR: Le Grand to Do 2LP (MUSIQ 191LP) 25.00
Double LP version.


NEOS 10815CD

CRUMB, GEORGE: Makrokosmos I & II CD (NEOS 10815CD) 15.50
There are a number of cyclically arranged piano works in music history that have assumed the significance of "bibles" for pianists, including Johann Sebastian Bach's Well-Tempered Clavier (48 preludes and fugues in two volumes), Frédéric Chopin's 24 Préludes, Claude Debussy's Préludes (24 in two volumes), Dmitri Shostakovich's 24 Preludes and Fugues, and György Ligeti's Études. This "genre" is inconceivable today without the first two (of four) cycles by George Crumb comprising 24 tone-pictures: Makrokosmos I & II, performed here by Markus Stange. Composed in 1972 and '73, they very rapidly became a classic of modernism and the most immediately enchanting and popular piano cycle of the last third of the 20th century. Almost incidentally, they unfold a comprehensive panorama of the techniques and sonorous manipulations of the modern grand piano. Crumb has thus succeeded in creating a work that does more than justice to both the explorative claims of the avant-garde and the untrained ear of the amateur. Pianist Markus Stange was born in Ludwigshafen, Germany. He studied piano with Jürgen Uhde in Stuttgart, Roland Keller in Lübeck, and Frantisek Rauch and Valentina Kameníková in Prague, then attended master courses with Ditta Pásztory-Bartók and Aloys Kontarsky. He is currently Professor of Piano at the Music Academy in Karlsruhe.

NEOS 10901CD

EMELIANTSEVA, IRINA: Piano Pieces CD (NEOS 10901CD) 15.50
The pianist and composer Irina (Alexandrovna) Emeliantseva was born in 1973 in Seltso, Bryansk Oblast, Russia, where she completed her preliminary studies in piano at the local music school (1988-1992) and won a prize for the best performance of Prokofiev. From 1992 to 1997 she studied piano with N. Eismont and composition with Sergei Slonimsky at the Rimsky-Korsakov State Conservatory in Saint Petersburg, after which she became an assistant in Professor Slonimsky's composition class. She has given many world premieres and first Russian performances of works by Dittrich, Messiaen, Roslavets, Humel, and Lutos?awski, as well as her own music. Emeliantseva ranks as one of the best young Russian pianists setting priorities on contemporary music. Here, she performs several of her own works, composed between 1991 and 2009.

NEOS 10945CD

REVUELTAS, SILVESTRE: Ensemble Works CD (NEOS 10945CD) 15.50
Silvestre Revueltas (1899-1940) is considered, alongside Carlos Chávez, the most important and quintessentially Mexican composer of his country from the first half of the 20th century. With the liberation of Mexico from the dictatorship of Porfirio Díaz, artists strove to create a culture marked by national identity. In contrast to other composers, however, Revueltas did not quote from the folk and dance music of his country; nor did he attempt, like Chávez, to reconstruct the music of the original inhabitants. Far more than that, Revueltas discovered the purely Mexican character within himself and his surroundings: present-day Mexico with its festivals and markets, its street music, landscapes, the habits and customs of its people. These are reflected in the titles of many of his compositions: Caminos (Streets), Ventanas (Windows), Esquinas (Street Corners), Colorines (named after the flaming trees that brighten up the otherwise dark landscape of Mexico). Thus Revueltas arrived at a highly original and powerful musical language with complex polyrhythms, brilliant melodies, extraordinary harmonies, fascinating timbres, and terse, dense structures. His most important work is considered to be Homenaje a Federico García Lorca for chamber orchestra, which is also one of his most Mexican and modern pieces (performed here). Revueltas achieved this connection between nationalism and modernism especially in his chamber works, in which the smaller ensembles allowed him to focus more sharply on timbre, dynamics, rhythmic articulation, and contrast. His pieces are performed here by the Ensemble KNM Berlin: Rebecca Lenton, flute; Gudrun Reschke, oboe; Winfried Rager and Helge Harding, clarinets; Theo Nabicht, bass clarinet; Roman Reznik, bassoon; Daniel Costello, horn; William Forman and Naama Golan, trumpets; Daniel Ploeger, trombone; Robin Hayward, tuba; Angela Gassenhuber, piano; Dirk Rothbrust and Alexandre Babel, percussion; Ekkehard Windrich and Elfa Rún Kristinsdóttir, violins; Ringela Riemke, violoncello; and Arnulf Ballhorn, double bass; with Gabriel Urrutia, baritone/speaker and Roland Kluttig, conductor.



VILLA ABO: Sibilant 12" (NIMH 003EP) 14.00
Villa Åbo, mainstay of veteran Swedish analog unit Frak, presents Sibilant, the product of an appreciation for Severed Heads and Terse Tapes, which propelled a 13-year-old Jan Svensson to form Frak in 1987. On "Warming Up Signal" Svensson sounds the nuclear alarm with an unforgiving techno meltdown that leaves no survivors. The flip gives our disintegrated minds some relief with "Drum-Magnet," a paranoid beat track recorded in collaboration with Karlskrona punk rocker Nebula, and the hypnotic "Syndrome Beautiful." Cover art by P.A.M.'s Misha Hollenbach.


NA 5092LP

VA: Loving On the Flipside 2LP (NA 5092LP) 31.00
2015 repress; gatefold double LP with an 80-page booklet with extensive liner notes and photos. "Twenty-one rare and unreleased sweet funk and soul tracks from 1969-1977, collected by the teams behind Now-Again and Truth & Soul. Presented as an 80-page book filled with rare photos and each band's story. We at Now-Again unearthed so much information about the bands that recorded the definitive disco and modern soul contained in our Soul Cal anthology that we decided we had no choice but to release an album and a book at the same time. Well, following that line, the music contained on Loving On the Flipside is too damn good to be anonymously relaunched, decades after musical visionaries blended the best of heavy funk and sweet soul into a unified whole. And simply telling the stories of these vocalists and bands without allowing their lovelorn pleas to be heard again wasn't an option. Thus, Loving On the Flipside again offers the enthused a chance to listen to, read about and reflect on another great burst of black American creativity: the creation of the sublime genre we like to call 'sweet funk.'"



FUNCTION: Incubation 2x12" (OSTGUT 012LP) 21.00
2015 repress; 2x12" version. An original electronic disciple hailing from New York, Sandwell District's David Sumner aka Function presents his debut album Incubation on Ostgut Ton. Like the soundtrack to a suspenseful techno-thriller, or retro-futurist sci-fi tale, it's a modern sound journey heavy on imagery. Over nine tracks we are guided through the varying moods and scenes of Function's musical temperament. Be it through writhing layered club tracks, soaring string-led atmospheres, or melodic pieces founded on classic electronic traditions, Incubation marks a new level of maturity for the Berlin-based producer. What begins as a lush and blossoming lesson in ambient synth arrangements, with the beautiful arpeggios and waveforms of "Voiceprint," quickly drops off the apex and into the depths of Function's filtering acid world as "Against the Wall" unfolds. This metallic, acidic concept is explored further too, in the final moments of the album with the chilling "Psychic Warfare." A spiraling, organic surge of warm synth tones and other-worldly arpeggios unravels itself in "Counterpoint," acting as an early bridge between some of the drum-led studies that follow. And thus, the pressure increases. "Modifier" presents itself with tight, snaking drum patterns and tense, late '90s kinetic warehouse energy. Opening a path into an alternate, yet not-too distant dimension then, "Incubation (Ritual)" takes form; its haunting and graceful waves of synths continue the sci-fi theme, while the tough modulating bass undercurrent reminds us of Function's big-room techno appeal. The final moments of "Incubation (Ritual)" glide effortlessly into the album version of "Inter," where ethereal melodies and snippets of spoken word surround a classic IDM-deep-house core. "Voiceprint" returns as a (Reprise) version, in what could become the crossover club track of the year. Coming on like a classic R&S or Soma release circa '95, the undulating synths are now caught in a rapturous groove, urged on by a perfect 909 drum pattern. "Psychic Warfare" brings the voyage to a close, its overlapping, ebbing metallic acid tones inducing equal measures of tension and elation. In the CD version of the album, "Gradient I" concludes the voyage. Earthy, modulating bass and 808 patterns merge as a cyclic, audio resolution occurs. In the final mixing stages of the album, Function brought the material to cult engineer and producer Tobias Freund (NSI). Incubation is a bold and powerful album from one of modern techno's key players. Inclined to hold back, rather than release too much, Function has let his sound develop and mature, fusing analog synths and drums with modern production techniques to create something unique and timeless.


DETTMANN, MARCEL: Dettmann II 2LP (OSTGUT 014LP) 21.00
2015 repress; Double LP version. A sequel in a true sense, the album marks a return to the spirit of the first album, but things feel less tense this time around. Dettmann brings his recent experimental outlook and applies it to the album template, creating a record that lives and breathes with a naturalism rare for a techno album. Expertly paced, Dettmann II impresses especially with its carefully rising narrative. On first glance, as the album barrels into action with the particulate grit of "Throb" and "Ductil," Dettmann is in fine style. But to the careful listener, these tracks feel lightweight, like they're built from aluminum instead of steel. Each tune's central theme is a bit more out-there than usual, from the sheet-metal racket of "Lightworks" to the house-hinting chorus of "Soar," which is every bit as majestic as its title implies. He offers up some top-notch ambient material as well, like the trippy "Shiver," or the ominous "Outback," which features contributions from Levon Vincent.


OP 029LP

OKOKON: Turkson Side LP (OP 029LP) 23.00
180-gram vinyl. Just waking up and everything sounding slower. Holes in the wall. The unknown in the familiar. The shock of the new. Just-turned rubble. Thick clouds of recall. Muted highlife, de-centered hip-hop, and disparate conversation. Heavy, sinking jazz and dissected infomercials. Too much chewing gum? Not quite anything, or half of something. Reminds me of. Smells like...? Turkson Side is Africanus Okokon's first album. It is almost entirely sample-based, made largely within a simple, custom-made playback software with each track recorded in one take with very little editing. "Wrake" is the only exception, a recording of him playing an Ethiopian krar inside his house. Africanus is no stranger to Other People. Primarily a visual artist with background in video, animation, and collage, he's designed most of Other People's site graphics and a number of release covers. In part, this album as Okokon is a translation of a developed aesthetic to an unfamiliar medium. Like his collage and animation work, it's rough-hewn yet deliberate, consciously inclusive of digital processing and sampling of artifacts for their unique texture and visceral affect. Throw the means aside, though, and what you've got is an evocative collection of craggy, trance-inducing concrète-poetry that acts equally well as soundscapes for late night or early morning. "Asphalt" starts things, a near-15-minute "multimovement" piece that moves through zones of blasted commercial intro FX, alien telecast highlife, gibberish spoken word, and xylophonic skeleton dance marching music, lingering at every interstice. Shorter, more singular pieces follow, each swathing and detailing a particular rhythmic structure with choice loops -- the detritus of film soundtracks, warped conversation, gainpumped jazz-shuffles, and old, mystic drum tapes that glitch and squeeze through the software's un-sanded synapses. Higher volumes are recommended to bring out the record's finer imperfections.


OH 029CD

SMOCKEY: Pre'volution: Le Président, Ma Moto et Moi CD (OH 029CD) 15.50
In October 2014, everything seemed possible in Burkina Faso. The people had kicked out long-time president Blaise Compaoré after he had declared he wanted to change the constitution to allow an extension of his 27 years in office. Democratic elections were scheduled for October 11, 2015. But with the elections approaching, a military coup hit the country on the evening of the September 16, 2015. In the midst of it all, activist and rapper Smockey created his album Pre'volution: Le Président, Ma Moto et Moi, the soundtrack Burkina Faso's turmoil. Together with reggae artist Sams'K Le Jah, Smockey founded Le Balai Citoyen, a political grassroots movement comparable to Y'en a Marre in Senegal. The group brings together artists, students, and intellectuals to raise awareness and encourage political participation. Pre'volution: Le Président, Ma Moto et Moi includes songs written by Smockey before and during the uprising in Burkina Faso. "On Passe à L'attaque" tells you how to wake up and kick-start a revolution; "Dossier Zongo," which discusses political crimes under Compaoré's regime, including the assassination of journalist Norbert Zongo, became an anthem to accompany the people's protests and riots. "On se Développe" is dedicated to the Burkinabé revolutionary leader Thomas Sankara, and encourages young people to reactivate a healthy local industry, instead of staying dependent on products from the US and China. "Paroles" and "Dans La Peau d'un Mulatre" were written for the theater production Nuit Blanche à Ouagadougou, which stars Smockey playing himself during the revolt; rehearsals took place during the actual protest, with the smell of tear gas on Smockey's clothing. "Opération Mana Mana" is an anthem of Le Balai Citoyen, featuring many artists who support the movement, as well as Smockey's companion Sams'K Le Jah, and was written in 2014, before the uprising. The album also features Zouglou singer Soum Bill from Côte d'Ivoire, Burkinabé rapper Smarty, and legendary Burkinabé singer Amadou Balaké, who recorded contributions to "Combattants Oubliés" before his death in August 2014. At the time of this release, Smockey is still campaigning for fair elections and a better future for his country, and Le Balai Citoyen, with slogans like "après la révolte, ton vote," is back on the streets demonstrating against the September 2015 coup.



DJ DOZIA: Pop Culture Remixes Pt. 1 12" (OVM 260EP) 14.00
It's a bold producer who takes on the task of remixing a stone-cold classic from the annals of house history, but that's just what Joris Voorn and Ambivalent have done with their remixes of DJ Dozia's Ovum debut, "Pop Culture." Originally released in 1998, "Pop Culture" rapidly gained cult status in the underground. Created by Philly resident Dozia Blakey, the raw, sparse, original was made for the dark, strobe-lit, sweat-on-walls rooms where it found favor, and the original 12-inch is now one of the most sought-after 12"s on Discogs.


DJ DOZIA: Pop Culture Remixes Pt. 2 12" (OVM 261EP) 14.00
It's a bold producer who takes on the task of remixing a stone-cold classic from the annals of house history, but that's just what KiNK and Phil Weeks have done with their remixes of DJ Dozia's Ovum debut, "Pop Culture." Originally released in 1998, "Pop Culture" rapidly gained cult status in the underground. Created by Philly resident Dozia Blakey, the raw, sparse, original was made for the dark, strobe-lit, sweat-on-walls rooms where it found favor, and the original 12-inch is now one of the most sought-after 12"s on Discogs.



KACIREK, SVEN: Songs from Okinawa LP (PING 048LP) 20.00
LP version. On Songs from Okinawa, Sven Kacirek searches for traces of a unique, traditional music of the famous Pacific islands in the south of Japan. He has recorded various musicians -- amateurs as well as local celebrities -- and subsequently added his trademark instruments marimba, xylophone, and piano. The result is an incomparable album of timeless beauty and elegance. The South Japanese archipelago of Okinawa has seen quite a turbulent past. Anciently attached to the Chinese kingdom and then torn between Japan and America in the context of World War II, their complex history has resulted in an exceptionally rich musical tradition through the centuries. With the influence of American culture during the US army occupation of the islands, the Okinawans started mixing traditional songs with Western music styles. In Japan Okinawan music is now considered a genre of its own. "I'm fascinated by the sublime simplicity and precision of Okinawan Music, from the orchestration to the phrasing of the singing voice," says Kacirek. This album offers intimate insights into both Kacirek's art of composition and the outstanding sonic heritage of instrumental and vocal techniques in Okinawa. In its gentle style, with asymmetrical chord progressions and highly dynamic volume proportions, Songs from Okinawa challenges listening habits and develops its strength in the gaps and pauses. "My goal was to add something new to traditional Japanese music without banishing the ghosts of the old songs," says Kacirek. It is an artistic approach similar to his 2011 album The Kenya Sessions (PING 020CD), on which he juxtaposed musicians whom he had met and recorded in villages in Kenya with his own drumming and composition. The main difference is that this time Kacirek has completely maintained the basic arrangements of the recorded songs, which were performed by Mr Tonohara, Tadashi Haraguchi, Tetsuhiro Daiku, Mina Mermoud, Shigeo Arakaki, Keiko Kina, Hiroji Yokome, Mrs. Uesedo, and Sadako Yokome. With Songs from Okinawa Kacirek returns to the Pingipung label after releases on famous imprints like Honest Jon's, Bureau B, and Naïve. The comprehensive liner notes give further information about the musical culture of Okinawa, the recording sessions, and the lyrics of the songs. Kacirek's busy touring schedule has included performances with Nils Frahm, Ogoya Nengo, and Hauschka; this release comes in advance of concerts with musicians from Okinawa as well as an event with Shabaka Hutchings (Sons of Kemet) and a European tour with John McEntire (Tortoise) and Stefan Schneider.


PL 002CD

VA: Silver Monk Time: A Tribute to the Monks 2CD (PL 002CD) 21.00
2006 release. Silver Monk Time: A Tribute to the Monks was created in support of Monks: The Transatlantic Feedback (PL 004DVD, 2006), the 100-minute feature-length documentary film about the first avant-garde pop band in history. Here, 32 international artists take on the legacy of the Monks. In 1965, the Monks were looking for a new zero-point in pop music and created the milestone LP Black Monk Time. This record accidentally or intentionally predated several genres that were to come, including krautrock, electronic music, heavy metal, punk, industrial, and techno. When the Monks launched their "living (pop) art project" in January 1966 at the famous Reeperbahn Top Ten Club, the largest German tabloid, Bild-Zeitung, wrote, "Noise, noise and no melody -- robot music!" In July of the same year, the Monks presented their record live for the first time on the German music television program Beat-Club. To the surprise of many, they started the show with an improvised song ("Monk Chant") that wasn't even on the record. The song was commercial suicide -- archaic, with one repetitive beat, three monks beating on gigantic tambourines, an organ gone mad, and a guitar on the floor that fed back. Their second (never released) record was to be called Silver Monk Time, which now lends its title to this collection of international efforts to continue the musical journey initiated in 1965 by the seven Monks. Liner notes by Hans-Joachim Irmler, Genesis P-Orridge, Mark E. Smith, Charles Wilp, Kris Cunningham, Jason Forest, and many more. Includes tracks by Mense Reents, Alec Empire (with Monks member Gary Burger), Mouse on Mars, The Raincoats, 27/11 (Graham Lewis and Thomas Öberg), Jason Forrest, Cycle, Fehlfarben, The Gossip, Jon Spencer/Solex, Silver Apples/Alan Vega, Floating di Morel, Gudrun Gut, Nista Nije Nista, F.S.K., The Fall, Die Goldenen Zitronen feat. Chicks on Speed, Barbara Manning feat. The Go-Luckys, PTV 3 (Psychic TV), Doc Schoko, S.Y.P.H., Alexander Hacke, (Int.) Noise Conspiracy, The's, The Havletones (with Monks member Dave Day), Singapore Sling, Michaela Melián, Charles Wilp (with Monks), and Faust (with Monks member Gary Burger).


MONKS: The Transatlantic Feedback DVD (PL 004DVD) 23.00
2009 release. The Monks were five American GIs in Cold War Germany who billed themselves as the anti-Beatles; they were heavy on feedback, nihilism, and electric banjo. They had strange haircuts, dressed in black, mocked the military, and rocked harder than any of their mid-'60s counterparts while managing to basically invent industrial, punk, and techno music. The award-winning 100-minute documentary The Transatlantic Feedback not only illustrates the pop music phenomenon in its political, social, and cultural contexts, but also reveals the Monks project as the first marriage between art and popular music, coming months before the The Velvet Underground. The five protagonists of the film came to Cold War Germany in 1961 as soldiers and left the country in 1967 as avant-garde monks. In the film they recount their adventure for the first time. This DVD release (DVD-9; all-region; NTSC format) contains 81 minutes of bonus features, including "Biographies" (Dave Day, Eddie Shaw, Gary Burger, Larry Spangler, and Roger Johnston talk about their origins and musical backgrounds), "A Date with Dave Day" (an introduction to the concept of Monks' banjo-playing with Elvis fan Dave Day, the first rock 'n' roll banjo player in history), Monks' 1960s appearances on German television (the only '60s performances preserved on film presented in their entirety for the first time), "Live In New York 1999," the documentary's trailer, and live footage of Martin Rev and Doc Schoko. Includes subtitles in English, German, Spanish, French, Italian, and Polish. Includes eight-page booklet containing liner notes by Allison Anders and filmmakers Dietmar Post and Lucía Palacios.

PL 018-19DVD

POST & LUCIA PALACIOS, DIETMAR: Klangbad: Avant-Garde in the Meadows/Faust: Live at Klangbad Festival DVD (PL 018-19DVD) 23.00
2010 release. From the award-winning filmmakers behind Monks: The Transatlantic Feedback (PL 004DVD, 2006), Dietmar Post (USA/Germany) and Lucía Palacios (Spain), come two direct cinema documentaries, Klangbad: Avant-Garde in the Meadows (85 minutes, 2009) and Faust: Live at Klangbad Festival (70 minutes, 2010). The first takes as its subject the pop avant-garde music festival Klangbad, curated by Hans-Joachim Irmler (founding member of the seminal krautrock band Faust). Since 2004, the picturesque German village of Scheer has hosted an innovative musical journey crossing various genres. In today's profit-oriented event scene, it is hard to find anything comparable. The festival is small but growing constantly. Despite this fact, it abandons commercial sponsoring, unlike normal open-air festivals. Post and Palacios paint a portrait of this fine festival in the style of such direct cinema pioneers as Murray Lerner (Festival!, 1967), Albert and David Maysles (Gimme Shelter, 1970), and D. A. Pennebaker (Monterey Pop, 1968). Klangbad: Avant-Garde in the Meadows follows that tradition of carefully chronicling an event, with appearances by Minit, Jutta Koether, Steven W. Lobdell, Kammerflimmer Kollektief, Cpt. Howdy, Circle, Faust, The One Ensemble of Daniel Padden, and Nista Nije Nista. Faust: Live at Klangbad Festival captures a rare live performance by Faust (Steven Wray Lobdell, guitar; Michael Stoll, bass and flute; Lars Paukstat, percussion and vocals; Hans-Joachim Irmler, organ; Ralf Meinz, drums and FX; and Arnulf Meifert, percussion). This DVD also contains 25 minutes of bonus material, including trailers for the films Klangbad: Avant-Garde in the Meadows, Faust: Live at Klangbad Festival, Monks: The Transatlantic Feedback, FM Einheit + Irmler: Live at Berghain, Doc Schoko: Oktopus im Pentagramm, A Summer Evening with Floating di Morel, and Martin Rev: Electronic Pioneer, as well as the art film "Pesadilla" by Baseline. Includes eight-page color booklet with detailed liner notes, track listings, photographs, reprint of original Klangbad poster, and a list of every band to play at the festival from 2004-2009. Drawings by German painter Daniel Richter. Concept, artwork, compilation, and production by Dietmar Post and Lucía Palacios. DVD is all-region; NTSC format.



Ralf Hildenbeutel produced many of Sven Väth's most important releases, including L'Esperanza (1993) and Fusion (1998), and was an essential creative part of the Eye Q label in the '90s. His Earth Nation project was the first live techno act to use a live drummer on stage, playing at international festivals including the Montreux Jazz Festival. While many other musicians kept working on techno, Hildenbeutel went on to compose for artists such as Laith Al-Deen and Simon Collins (the son of English drummer and singer Phil Collins), and has composed music for films including the award-winning Hommage à Noir (1996) and Ausgerechnet Sibirien (2012), as well as the German TV series Kommissarin Lucas and Verbotene Liebe. His score for the internationally acclaimed 2013 short film Momentum was nominated for the Best Music award at The Newport International Film Festival 2013. On Moods, Hildenbeutel finds his way back to electronical music, delivering an album that fans of artists such as Ólafur Arnalds, Nils Frahm, or Jon Hopkins will enjoy. Hildenbeutel mixes complex string-arrangements and piano pieces with clicks and cuts and invents his own coherent language that allows both directions to live in harmony. Elegiac compositions and vivacious, percussive breakouts as in "Spark" meet on this album; a word that grows and gains depth with each hearing.



BOWERS, GRAHAM: Of Mary's Blood (Part One of a Trilogy) CD (RWCD 001CD) 10.00
1995 debut by Graham Bowers (1943-2015). "While on the surface of things, there is nothing previously unheard on Graham Bowers's triptych of Of Mary's Blood (1995), Transgression (RWCD 002CD, 1997), and Eternal Ghosts (RWCD 003CD, 1998), it is its profound effect on the psyche that makes it truly unique. As a matter of fact, when Of Mary's Blood came out in 1995, it looked like experimental music had a new figurehead. There was not one mag in the scene that could afford itself the luxury of not featuring it and all that did were hard-pressed to put their feelings into words. Which is easy to understand. Still today, Of Mary's Blood, a three-quarters-of-an-hour-long trip into Bowers's head, leaves one baffled and awestruck. Divided into three segments, 'Always was,' 'Always is,' and 'Always shall be,' this composition sails away on a wing and a whisper into an unsettling terra incognita: a grayish drone, like the wind intermittently touching a cymbal, greets the listener, as do the sounds of cars speeding by and of a railway crossing in the glaring heat. Thick machine sounds build up, a street scene on a blue-skied afternoon, frenzied voices and wailing noises dissolve into almost jungle-like atmospheres and suddenly, after almost ten minutes, there is this melody full of sorrow and despair that braces itself like a cloud of dust over the smoldering embers of a pitch-black apocalyptic scrapyard. A finale with clustered chords by an untuned piano and bizarre orchestral samples take control again. Even the extracts on Bower's homepage can only hint at what to expect here, which may well be a reason why, even despite the raving reviews, this was not exactly an instant smash-hit. But the difference between the often random and somehow caricaturesque offerings by some post-industrial sound artists and this flowing, seamless composition without an ounce of slack and a gripping compulsion could not be more apparent. Of course it's dark ambient, drones, the avant-garde, free jazz, industrial, cut-up, and electronica all blended into one all-encompassing cross-over spectacular. But then again, it's none of these as well. The mind can only take you to so many places and it is music like Of Mary's Blood that extends the limits of your creativity to unknown heights" --Tobias Fischer. CD accompanied by a fold-out booklet containing the associated artworks painted by Graham Bowers.


BOWERS, GRAHAM: Transgression (Part Two of a Trilogy) CD (RWCD 002CD) 10.00
1997 second album by Graham Bowers (1943-2015). "On Transgression, Graham Bowers takes his work even further than its predecessor, Of Mary's Blood (RWCD 001CD). Measured in terms of how most people rate music, this album is even more 'out there' and 'difficult' than his earlier work, which is saying quite a bit. But then again, an objective 'snapshot' of where humanity stands today combined with a highly personal account of his raising in a Christian society and all of the accompanying oddities was never going to be a radio hit. As Bowers puts it, 'I am an atheist, but the product of Christianity, so for me a good starting point was the fertilisation of Mary, with the introduction of 23 chromosomes from God almighty to join the 23 chromosomes waiting in the egg within her earthly body.' On this almost-fifty-minute-long continuous track as it gushes like an out-of-control rollercoaster log on a wild water canyon through the outskirts of the composer's mind, Bowers uses both electronic and acoustic means, gluing them together in sometimes surreal and crass scenes. The opening section consists of a string crescendo, as if from an orchestra tuning up, with dissonant flutes obnoxiously whistling and trumpeting from the sides. As the harmonies and rolling timpani prepare for an apocalyptic climax, a berserk electric guitar out of nowhere abruptly shreds all texture to pieces. The largest part of the middle then focuses on vocals. As incomparable as most of it may appear, Ligeti would have been proud and unable to withdraw his attention from this associative moaning, wailing, whining, pleading, baiting, humming, and even singing or dissolving into deep, aspirated breaths, combined with the drunken babblings of a piano. As the music approaches the end, it turns more collage-like and layers various sounds in an oneiric musique concrète tightrope act. Throughout, Bowers proves to be a master of transitions, ripping listeners from one mood and placing them in the next with striking ease. Most of all however, he presents himself like a highly artistic master of ceremonies, who consciously uses the contrasts between the ecstatic and frenzied moments and the fragile interludes to create powerful effects. " --Tobias Fischer. CD accompanied by a fold-out booklet containing the associated artworks painted by Graham Bowers.


BOWERS, GRAHAM: Eternal Ghosts (Part Three of a Trilogy) CD (RWCD 003CD) 10.00
1998 third album by Graham Bowers (1943-2015). "All good things must come to an end, but so must all things bad and frightening. If Graham Bowers really envisioned his first trilogy of works as a take on his real life, then he must have been both sad and relieved when it was over. Built like an epic saga, things kept growing darker and more claustrophobic with each volume, the arc of tension refusing to bend down again until the very last second. If Of Mary's Blood (RWCD 001CD, 1995) was an astute and uniquely personal collage-world of harmony and naked sound and Transgression (RWCD 002CD, 1997) its bizarre and freaked-out mirror image, then Eternal Ghosts (1998) is a brutal exorcism. Metal hits metal in the first few seconds, intensifying and gaining volume until your ears hurt, but just before you turn the dial down, the whip stops for a second, dropping the listener into a stream of unwanted memories and mournful longings. The album is more coherent than its predecessors, yet simultaneously more heavy-hearted and unreal. Gray drones whisper and murmur in the back for almost the entire record's duration, interspersed by clustered choirs, textured cymbalpads, and weird biomechanical structures, which may come as an aural equivalent to Bowers's background as an industrial designer. Toward the end, timpani rumble and almost inaudible flutes blow out of tune toward a grand finale, which refuses to materialize. Bowers has entered the realms of the untouchable with this album and dedicated it to 'flesh and blood, body and spirit' as well as 'worlds without end.' The fact that all source material stems from 'organic' instruments seems to imply that this is by no means just a bad dream or a daydreamed fantasy -- but that it could happen to you, too. Particularly noteworthy is the last segment of Eternal Ghosts, when Peter Gallagher's translucent and heavenly grand piano suddenly comes shining through a sunflood cloud and closes the chapter in an unexpectedly hopeful mood. It is the sole concrete moment of a journey full of metaphors but by no means the only magical one. Things haven't always been easy for Bowers since then, but it was clear that the tracks were now leading into the light, his train leaving the tunnel of his fearful visions" --Tobias Fischer. CD accompanied by a fold-out booklet containing the associated artworks painted by Graham Bowers.


BOWERS, GRAHAM: Pilgrim CD (RWCD 004CD) 10.00
1999 fourth album by Graham Bowers (1943-2015). "Pilgrim is just a remarkable piece of music. Powerful and brutal at times, slow and sensitive at others, there is no way of putting it into a safe haven of any category, where everybody could relax and say, yeah, I know, it is jazz, experimental music, electronics, drone, or anything else the avant-garde world has to offer. It's really not that simple. Here, a much greater experiment is taking place. ... Graham Bowers was known for musical and artistic productions that go beyond the so called 'that has been done before.' No, this has NOT been done before. Although the percussion part seemingly is pretty much what we have once heard, the whole structure is almost orchestral. ... You hear the steady beat of percussion, interrupted by some strange sounds. Very low sounds, swelling up once in a while, then again fading away. And while the music picks up, in the middle of the open air, it's as if a glistening light appears, just up there, 30 feet from where you are, somehow interwoven with a sudden fog. And there, you recognize a sculpture. Two human bodies, it seems, constructed out of smoke, intertwined, you are not sure how, you keep guessing, and that strange music is coming in again, faint, loud, slow, powerful, very structured, and when the smoke sculptures dissolve in plain view, so does the music. ... I stand in awe and just watch and listen ... I could say a lot about the masterful play of instruments and so on and on, and I would probably be right in praising its virtues. But for me, even if I'd be alone with my opinion about this music, all alone on the face of the earth, I'd still have to say that it is very humane, very much about human life and life in general. This music is life, the life of a believer, and the life and hopes of many believers. Belief in what? I don't know, and I leave that question open for each of you for your own sake. With this composition and release, Graham Bowers has created an extraordinary piece of art that should be called an artistic revolution. At least, that's what I am calling it" --Fred M. Wheeler. CD accompanied by a fold-out booklet containing the associated artworks painted by Graham Bowers.



EARLY MAMMAL: Take a Lover LP (REPOSE 048LP) 26.50
Early Mammal are a three-piece based in the home of South London sludge, Dropout Studios. Formed in 2012, Early Mammal are Rob Herian: guitar, drone box, vocals; Ben Davis: drums; and Ben Tat: bass and baritone guitars. The band released two well-received albums in 2013. Horror at Pleasure, their debut, was released in April of that year on Devouter, and features Denis Belindir providing cosmos-expanding synth on its dark, brooding invitation through the woods of the mind. As with all of their works to date, it was recorded live at Dropout over the course of three days. Horror at Pleasure combines raw power and claustrophobic psych blues, coaxing and sometimes dragging the listener through its journey. Influences from Captain Beefheart, Aphrodite's Child, White Hills, Hawkwind, and Uncle Acid and the Deadbeats can be heard. Less than half a year later, the band released My Fire on Convoy Records. This album found Dan Davies (Wolf People) joining to record a more experimental late-night driving experience through psych-rock, with Belindir's distinctive Turkish-tinged synth really taking the trip to different levels. These releases led to the band supporting Bong and performing at Baba Yaga's Hut gigs around London, including the Raw Power Festival 2014. After Belindir's sudden departure, the band regrouped with a reinvigorated sound. Taking the experimentation of My Fire and the narcotic muscularity of Horror at Pleasure, this album represents a new chapter of greater depth. With the arrival of Ben Tat on bass and baritone guitars, the band shares two common ancestors now: Elks and 85 Bears. Take a Lover reflects the sound of a lineup finding order through the entropy of extended jams and developing their sound. Recorded at Dropout Studios by the band. Take a Lover is live and captures a stream of single takes from two days of winter, December 2014. It has become the catalyst for more prolific recording and sets the tone for where Early Mammal are going next.



LEJEUNE, JACQUES: Early Works 1969-1970 LP (ROBOT 043LP) 26.50
This LP of early compositions by Jacques Lejeune features three seminal works: D'une Multitude En Fête and Petite Suite, originally released in the Perspective Musicales series in 1970, and a previously unpublished composition, Géodes, from the same period. These three pieces (not included in Robot's 2013 Parages and Other Electroacoustic Works 1971-1985 three-CD set (ROBOT 042CD)) are some of Lejeune's earliest music for tape and may be considered a "prequel" to his later, more thematic works. Still, his concise musical narrative is ever-present in these first recordings. The side-long D'une Multitude En Fête (1969) refers to multitude, number, celebration, and any crowd situation as a form of ceremony -- all evoking a circular gaze, as topics of the different aural events and their anecdotal development emerge, leading to the dream, as a story we tell to ourselves. Géodes (1970) features percussion improvisations by Lauréat Dionne with Lejeune's tape work inflecting prisms deep into its thundering, rhythmic core. This concert version appears on vinyl for the first time. Concluding the album is Petite Suite (1970), with each section referencing a traditional musical form using both anecdotal as well as instrumental flourishes. The original drum and guitar elements are performed here by Michel Foudrinoy and Jean-Pierre Vassout. These pieces have been compared to Pierre Henry's bold rock themes in Messe Pour Le Temps Présent and also recall the peculiar atmospheres of some of the great early Nurse with Wound records that would follow. In contrast, Lejeune's early approach was heavily steeped in sonic narratives, combining unusual and ambiguous events to create a sound world uniquely his own. Early Works 1969-1970 explores the first precision splices by one of the true visionaries of musique concrète.


Robot Records, in association with Yessmissolga and Elica Editions, presents the vinyl release of the long-fabled duo collaboration by Steven Stapleton and Christoph Heemann. This historic live performance took place on November 21, 2009, at the ancient Ivrea Synagogue in Ivrea, Italy. After working together for many years on various Current 93, Nurse with Wound, and H.N.A.S. sessions, these two old friends met for a rare moment of performance completely independent of thematic material and engaged in a near-telepathic, mysterious one-to-one improvisation, where textural worlds merge, hot, on the spot. While one may discover an intriguing intersection between each of their respective solo works, the real magic of this duo encounter evokes something strangely unfamiliar and altogether new. With this generous edit of the highly acclaimed concert, Painting with Priests exhibits a rare session of both artists' eccentric talents in a palette of colors and mystery across a highly detailed musical canvas. Front cover features new artwork by Stapleton, with back cover featuring a previously unpublished drawing by Heemann.



TEETH OF THE SEA: Highly Deadly Black Tarantula CD (LAUNCH 084CD) 16.50
Since their debut in 2009, the iconoclastic four-pronged force of Teeth of the Sea has traversed from its origins in North London pub gigs and basement rehearsal rooms to far-flung locales that its members could scarcely have considered possible when they first began. Yet this band has never lost sight of its original vision to reconcile a fearless experimental drive with a primal lust for noise and to exist outside of all or any compromise, yet never to lose sight of the crucial irreverence of their inception. Their fourth album, Highly Deadly Black Tarantula, in all its malevolent glory, may well be the apex of their mission thus far, following in the wake of the 2013 release of their mind-melting third album MASTER (LAUNCH 059CD/LP). As 2015 dawned, the band set about reinventing themselves once again, both returning from the ornate and expansive sounds of MASTER to their gnarled roots and pushing firmly forward in search of adventure anew. What resulted was Highly Deadly Black Tarantula, their most focused and aggressive album yet. Machine-driven yet melodically abundant, the widescreen industrial expanses of this album combine the influence of long-time band favorites like Aphex Twin, Angelo Badalamenti, and Throbbing Gristle with new inspiration that spans from Chicago footwork to black metal. What's more, it's a collection as rich in scope as it is powerful in intent. While the pummeling and incisive "Animal Manservant" and the kinetic dancefloor attack of "Field Punishment" maintain an audial assault both concise and corrosive, the monomaniacal "Have You Ever Held a Bird of Prey" represents a fearless plunge into the experimental deep end. Elsewhere, the bleak cinematic drama of "All My Venom" strikes like hammer to anvil, and "Love Theme for 1984" may be the most richly emotive work the band has yet created. This is no less than a vital reinvention, abusing technology and warping convention to arrive at a monochrome psychedelia as stylish as it is savage. Yet even while ushering in delight and deliverance for both fans of this band and the uninitiated, Highly Deadly Black Tarantula -- a fearsomely coherent assault of post-everything dementia -- sounds like no one but Teeth of the Sea. The amazing album sleeve image is courtesy of photographer Oli McAvoy.


In an era in which "psychedelia" can often mean merely a grab-bag of influences from which wah-wah pedals and two-note riffs are dispensed as signifiers and signposts into a realm of easy accessibility, as opposed to gateways to another dimension, it can be a rarity to come across a band that's genuinely fixated on creating alternate realities for the listener. Yet this is exactly how Stockholm's Josefin Öhrn + The Liberation view their incandescent art, and it's this sensibility that's led to the kaleidoscopic splendor of their debut full-length, Horse Dance. "It's a continuum that flows beyond here and now, and psychedelic music seems to be a really powerful way to unveil those deeper oceans of being that are our true home," reflects Öhrn, who forms the core of the band with Fredrik Joelson. Horse Dance is a razor-sharp collection of ditties that marry dreamlike radiance with hypnotic rhythmic drive, set alight by a prismatic experimental glow. It inhabits a realm in which a propulsive '60s-tinged pop song like "Sunny Afternoon" can be elevated skyward with krautrock-tinged repetition, dub echo, and analog curlicues alike, and one in which a Broadcast-style mantra like "You Have Arrived" can tap into a psychic lineage that stretches all the way from The United States of America to Portishead's Third. Yet while ghosts of bands like Laika, Cat's Eyes, and The Creatures may lurk in the darker recesses of these songs, this is a band paying no homage to bygone glories. The Liberation cite a myriad of influences in both their philosophical stance and their aesthetic, from 12th-century iconoclasts like Milarepa to 20th-century sonic voyagers like Catherine Ribeiro, and from Kandinsky's abstract expressions of synesthesia to the avant-jazz of Moondog. Yet at all times their transcendental extrapolations are married to icy and enticing melodic flourishes, making for a revitalizing clash between the chic and the transcendental, and a sound as biting as it is beatific. "I definitely think that the human need for altered states -- to see oneself from a bigger perspective -- is a deep fundamental need," Öhrn elaborates. "We've been deprived of access to our full nature by a restrictive system where altered states may be the ultimate taboo." With Horse Dance, Josefin Öhrn + The Liberation step into a world where all such restrictions and taboos are null and void, and this journey is already proving quite the spectacle to behold.


RM 472CD

WESTBERG, NORMAN: 13 CD (RM 472CD) 16.50
Room40 inaugurates its series of works by American guitarist and composer Norman Westberg with 13. Best known for his work with the seminal outfit Swans, Westberg's output beyond that group is sprawling and restless. His name recurs and ripples through many interconnected micro-histories surrounding New York City's music and art scenes. From appearances in film works associated with the Cinema of Transgression to his participation in bands such as The Heroine Sheiks and Five Dollar Priest, Westberg's name is woven deeply into the fabric of New York from the early '80s on. His debut release with Room40 is 13. Originally recorded in 2013, 13 has previously only been available in an ultra-limited handmade edition of just 75 copies. The Room40 edition of 13 has been completely remastered and edited and is available in an elegant physical edition. A note from Lawrence English: "Norman Westberg's guitar playing with Swans has influenced a generation of musicians across genres. I can personally attest to how his particular approaches to that instrument, in creating both harmony and brute force, have challenged and ultimately influenced my own sonic preoccupations. What Norman has created with his solo works is an echoing universe of deep texture and harmonic intensity. His solo compositions generate an affecting quality that drives the listener towards reductive transcendence. His guitar, as singular source, becomes transformed through a web of outboard processes. He transforms vibrating strings completely, taking singular gesture and reshapes it through webs of delay, reverb and other treatments. To me, these works echo many of the concerns of American minimalism and sprawl towards the work of bands such as Stars of the Lid. Norman has created a very dense and powerful statement of intent with these recordings and I couldn't be more pleased to have some small part in helping to share them."



VA: Piccadilly Sunshine Volumes 1-10: A Compendium of Rare Pop Curios from the British Psychedelic Era 11CD BOX (RUBBOX 003CD) 88.00
Serving to embrace the floral heavens of British pop, this edition combines the first ten prized volumes of the acclaimed Piccadilly Sunshine series, originally released from 2009 to 2012. Celebrating the obscured artifacts of illustrious noise that emerged from the Great British psychedelic era and beyond, it is the essential guide to the quintessential sound of candy-colored pop from a bygone age. Includes over 200 tracks from 1964-1971, with an enhanced bonus disc containing rare tracks and images. Includes 84-page full-color booklet with rare photos, detailed biographies, and full discographies. Includes tracks by Jason James, Peppermint Circus, Roger Bloom's Hammer, Alan David, Studio Six, The Magicians, Tin Tin, The Cups, Billy Boyle, Sounds Inc., Svensk, Christopher, Merlin Q, Mighty Joe Young, The Nocturnes, Mixture, Mood of Hamilton, Jon, Tony Fabian, Tim Andrews, K. G. Young, Sasha Caro, Gentry, Legay, George Bean, Wishful Thinking, Suspect, Perfect People, Barbara Ruskin, Chris McClure, Bubblegum, The Kool, Alexander Bell, Roger Denison, Gervase, Bill Kenwright and the Runaways, Mike Raynor and the Condors, Zuider Zee, Howard Walker/Bombthrowers, Paul Slade, Spectrum, Dave Justin, Pythagoras Theorem, Dead Sea Fruit, Tim Andrews/Paul Korda, Jiminy Crikitt, Cupid's Inspiration, J.A. Freedman, Episode Six, Jerry St. Clair, Dukes Noblemen, John Bryant, Ottilie Patterson, Barry Ryan, Lace, The Laurels, David Morgan, Gaslight, Keith Field, Jago Simms, Paul Raven, The Monopoly, Joyces Angels, The Factotums, West Coast Delegation, Brian Connell, Deuce Coup, Now, Bob Clarke, Samurai, The Running Jumping Standing Still Band, Sight and Sound, Washington DC's, Oedipus Complex, Wayne Fontana, Sweet Thursday, Seymour Kelly, Tony Rivers and the Castaways, Watch Committee, Ian Whitcomb, Roulettes, Sounds Bob Rogers, Toyshop, Still Life, Ross Hannaman, Disciple, Simon Dupree & the Big Sound, Mike Sedgewick, Happy Confusion, Philamore Lincoln, Katch 22, The Merseys, The High, The Mariane, Selwyn & John, Little Brother Grant and Zapatta Schmidt, Chuckles, Zion de Gallier, Tate Gallery, Malcolm Rabbitt, Kaplan, The Epics, Hayden Wood, Loose Ends, Peter Fenton, Paul Young, Bobcats, Chris Kerry, Situation, Magic Lanterns, Mud, Peeps, Pinkerton's Assort' Colours, The Act, The Koobas, Deuce of Hearts, Harbour Lites, Barry Fantoni, Rising Sons, Barley Bree, Cardboard Orchestra, Cats Eyes, The Nerve, The Unit, Rifkin, Peter Sully and the Orchard, Granny's Intentions, House of Lords, Confucius, Juice, Paul Layton, Persimmon's Peculiar Shades, The Truth, Mike Lennox, Mike Wallace, Spencer's Washboard Kings, Lee Harmers Popcorn, Weather, Gary James, Villiers and Gold, William E, Ian McCulloch, Montanas, Cartoone, Elmer Gantry's Velvet, David McNeil, Caloogie, Graham Bond Organisation, Smokey Circles, Warm Sensation, Copperfield, Free Ferry, Kippington Lodge, Almond Lettuce, The Sleepy, Slender Plenty, The Herd, Glass Menagerie, Happy Magazine, Vigrass, Shawn Phillips, New York Public Library, Lomax Alliance, Woolly Fish, The Squires, I.P.O.H., Faces, The Real Thing, Patchwork, Stonehenge, Inshallah, The Magic Christians, and Crocheted Doughnut Ring.



GOBLIN: Profondo Rosso/Deep Red Original Soundtrack (40th Anniversary Edition) LP BOX (RBL 050BOX-LP) 87.00
Limited (300 copies) deluxe box edition contains CD version, plus 2 posters + postcards + pin + redbag. "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!"



ARIS KINDT: Floods LP (SAT 024LP) 26.50
160-gram LP version; colored vinyl; includes download code. Through dense layers of noise, brittle beats, found sounds, and a general haze, Francis Harris returns to his own Scissor & Thread imprint with the aid of frequent collaborator, and long-time friend, guitarist Gabe Hedrick, under the guise of Aris Kindt. Following Harris's 2014 sophomore solo album, Minutes of Sleep, (number-one in MOJO magazine's list of the 10 Best Electronica Albums of 2014), the duo's debut album, Floods, takes as its focus the late author W. G. Sebald's profound interpretation of Rembrandt's 1632 masterwork The Anatomy Lesson of Dr. Nicolaes Tulp in Sebald's acclaimed 1995 novel Die Ringe des Saturn: Eine englische Wallfahrt (The Rings of Saturn). Floods is a sonic journey into the heart of the body, a bold rejuvenation of the corpse of Adriaan Adriaanszoon (Aris Kindt), the figure in Rembrandt's painting. Written during span of over a year using an 808, a modular Eurorack, and two guitars, Floods was mixed at Key Club Recording Company in late August 2015 with engineer Bill Skibbe. The album charts new territory for both Harris and Hedrick, melding a long history with electronic music and youthful love for indie noise and weaving in and out of near-silence and sheer walls of sound with a gentle and constant heartbeat at its core. The dream-like murk of opener "Now Grey" sets the tone with thick pads, distant ghostly guitar work, and fragmented drums. On the title-track, dubby chords set the tone as subdued toms amble forward with a crackle of fire nearby; dense sounds echo and swirl around into a climactic frenzy. "Blue Sky Shoes" hypnotizes with its submerged strings and subaquatic patterning, as synths rain down. "Snowbird" builds into a repressed fury as a blizzard of toms bounces around a heavy layer of noise while a morose, longing string arrangement emerges from despair into an ethereal moment. "Every New Thing" dives deep again into murky waters with entrancing drums and warped guitar lines swirling around like sirens. "Embers," with its quiet demeanor, slowly builds to an enlightened peak, while the closing track, "Braids," generates a shoegaze fog of churning guitar work and dense noise as the sound of children swinging drifts in and out, as if trying desperately to recover a fragmented memory of lost time.



CINERAMA: Live 2015 CD/DVD (SCOPITONE 062CD) 20.00
In June 2015, Cinerama performed live for the first time in what one might call all its glory, with a string quartet, trumpeter, flautist, and assorted other guest contributors. This spectacular event, which was held at London's O2 Academy Islington, was something of a one-off, so frontman David Gedge (The Wedding Present) decided to film and record it for posterity. Live 2015 is the result. From the first twang of guitar to the last twinkle of piano keys, Cinerama bring to life favorites selected from each of their four studio albums. DVD includes one extra track, two promotional videos, and a "Behind the Scenes" feature. DVD is PAL; DVD-9; region-free; stereo. Length: 87 minutes; bonus features: 12 minutes.



VERT: The Days Within CD (STRIKE 156CD) 15.50
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.



BABY GRANDMOTHERS: Baby Grandmothers 2LP (SUBL 020LP) 31.00
2015 repress of this 2LP vinyl edition, originally released in 2007. Baby Grandmothers were a short-lived Swedish band, but one of the most prolific and unique psychedelic, modal, experimental power trios to emerge out of the Scandinavian psychedelic underground scene in 1967. Although hailing from Stockholm, Sweden they only released a single in Finland, which has since become one of the most sought-after pieces of vinyl from the era. Formed out of the legendary R&B/beat band T-Boones which included guitar-wiz Kenny Håkansson, who ushered the group into the psychedelic sounds of the time. Not only were they the house band at the legendary psychedelic club, Filips, they also supported Jimi Hendrix on his Swedish tour in 1968 and then turned into Mecki Mark Men, who became the first Swedish rock band to tour the U.S. This unique collection includes live recordings made at Filips, their impossibly rare single and a rare live recording made in Finland. Painstakingly collected and researched by Dungen's guitarist, Reine Fiske.


GRUDZIEN, PETER: The Unicorn/The Garden of Love 2LP (SUBL 023LP) 36.00
2015 restock -- the rare, legendary and highly praised urban hillbilly one-man-band "outsider artist" LP from 1974. The "first psychedelic country concept" album featuring bluegrass mountain music Americana from the twilight zone mixed with tape effects, musique concrète, fuzz guitar, surreal lyrics, imagery and themes from religion, death, sex and other timely concerns. Also included is a bonus LP record, The Garden of Love, with some truly amazing and haunting unreleased material spanning the 1950s-1970s. The Garden of Love LP includes, amongst others, a song about wandering around in the desert eating peyote. All the music has been carefully transferred from the master tapes and is a facsimile of the original album (previous CD-only reissues contained altered mixings). Read more about Peter Grudzien in the Incredibly Strange Music and Songs in the Key of Z books. This release features a gatefold sleeve with the original The Unicorn artwork plus loads of photos and liner notes.


DUNGEN: Ta Det Lugnt 3LP BOX (SUBL 083LP) 70.00
2015 repress. Subliminal Sounds finally presents the complete legendary Ta Det Lugnt album as a limited deluxe box-set with 2 LPs, a bonus 12" EP Tyst Minut and a full-sized poster. The album is presented here for the first time with the correct vinyl mastering. The original, and previously only available 2004 vinyl LP pressing, was incorrectly manufactured from digital master instead of analog, had several defects and didn't sound at all as intended. We have now gone back to the original vinyl master and made a correct and superior vinyl pressing so you can hear the analog sound as originally intended. The most astounding 2004 breakthrough album from Sweden's Dungen; a modern classic psychedelic album. The title translates roughly into English as "Take It Easy" which kind of perfectly sums up Dungen's sound. It's immediate and you want to get involved, but there's also such a laid-back, hippy vibe to the whole thing. Ta Det Lugnt is a beautiful musical trip out into the Swedish forests and back again.


TR 324LP

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

TR 325CD

BOLANDER, KRISTOFFER: I Forgive Nothing CD (TR 325CD) 17.00
Kristoffer Bolander, the Swede with the heavenly voice, has been touring from Gothenburg to Italy for since the mid-2000s as the head of the alternative folk band Holmes. Bolander now presents his first solo album, I Forgive Nothing. The opening bars of the album immediately immerse the listener in Bolander's sound -- his gentle and wisely thoughtful songwriting carried by a voice that evokes comparison to Neil Young. The whole thing is supported by a pulsating bed of sound that sporadically swells and retreats to just an organ and Bolander's delicate voice over the course of the album. The deliberate setting of these counterpoints creates the album's most stirring moments. The reduction of the sound is the key factor on I Forgive Nothing and is what differentiates this album from Bolander's previous work. It was a deliberate decision not to produce all songs with a full band lineup, to create new space within the compositions and bring the fundamental elements of the songs -- the poetic lyrics and vocals -- to the fore. With that in mind, Bolander worked for two years to write the songs on I Forgive Nothing. He also decided to work in a different studio for this production; in cooperation with producer Anders Lagerfors, he recorded the entire album mostly live in just six days at Nacksving Studios in Gothenburg. This approach preserved the intimacy of the pieces and can especially be appreciated during the album's quieter moments, when Bolander's voice is accompanied only by an acoustic guitar ("The Rings Above") or an organ ("Something Wrong"). For the songs that were arranged with full-band accompaniment, such as the epic "I Forgive Nothing," Bolander called upon old companions and friends, all of whom hail from his hometown of Vänersborg. As a result, not only does the greatest lap steel guitarist on that side of the Atlantic appear on the album -- Johan Björklund of Holmes -- but so does his brother, drummer Michael Björklund, best known from the Swedish punk band Affordable Hybrid. "I forgive nothing" is a paraphrase from Samuel Beckett's 1951 novel Malone Dies, a book that serves as a major inspiration for Kristoffer Bolander. Beckett's lyrical tone runs through the 12 tracks on the album like a red thread. In combination with the musical setting it brings an extraordinary depth and overwhelming atmosphere that is truly unparalleled.



180-gram vinyl. Edition of 500. The third release on Claudio Coccoluto's The Dub label since its resurrection in 2015. Coccoluto is one of Italy's most famous musical sons; a DJ, producer, radio- and TV-show host, and music writer. He plays all over the world at clubs and festivals as well as for brands like MTV and Peroni. Using everything from the vintage sounds of Chicago and Detroit to the ultra-modern music coming out of Europe and everything else he hears around the world, Coccoluto is never afraid of experimenting with pioneering sounds.


WIRE 382

WIRE, THE: #382 December 2015 MAG (WIRE 382) 9.50
"On the cover: Annette Peacock (From her early association with Paul Bley, through the eruptive sensuality of her 1970s music, to her more reflective recent work, the singer, songwriter and synthesizer pioneer has blazed a singular trail). Inside the issue: Powell (After a brush with Steve Albini, the UK producer and Diagonal co-founder talks dry music, grainy pigeonholes and shameless advertising); United Bible Studies (The shifting cast of players making up this intergenerational Anglo-Irish collective unite folk, improve, psychedelia, rock and drone); Invisible Jukebox: Attila Csihar (The Sunn O))) and Mayhem vocalist feels the burn from The Wire's mystery record selection); Global Ear: Yogyakarta (A new avant garde is finding its home at street level in the Indonesian city); David Kanaga (The California based composer-designer opens up a portal to 18 dimensional space); Christine Sun Kim (Deaf from birth, the Berlin based sound artist forges new ways of listening); Manongo Mujica (Percussionist paints pictures of Peru); Harry Bertoia (Grand designs)."



MITCHELL, ROSCOE: The Solo Concert LP (TIZONA 010LP) 16.50
2013 release. "Presented here are parts from three solo concerts from the early 1970s. Roscoe Mitchell plays soprano, alto, tenor, and bass saxophones. One of the tracks on this LP reissue includes an early version of 'Noonah,' a composition that many of his followers will recognize. Originally released on Sackville recordings in 1974 as The Roscoe Mitchell Solo Saxophone Concerts, this historical reissue has been remastered and contains the same material as the original, which is primarily solo concerts from Montreal, Michigan, and Pori, Finland recorded in 1973-1974. It captures Roscoe Mitchell in a very important period in his development as a musician, as he started exploring his own solo voice again after a very productive period with the Art Ensemble of Chicago. It beautifully displays his virtuosity and range on the different horns in the saxophone family, and many of the melodies he explores in these recordings were expanded on in his later works. It is truly a peek into how some of his elaborate compositions may have begun."


TT 003EP

BAKRADZE: Before Time Altered Them 12" (TT 003EP) 12.50
Following two 12"s from various artists such as General Ludd, Prequel, HVL, and Akwaaba (including TT 002EP, 2015), the Transfigured Time label presents a 12" by label co-founder Bakradze aka Gacha. Before Time Altered Them, inspired by the poem of the same name by Greek poet C. P. Cavafy, includes a space edit of "Sea of Steps" by HVL. Cover photo by the talented young Georgian photographer Andro Eradze.



HAMMER AND THE LONELY ROBOT, MARIO: L'esprit de L'escalier CD (TRAUM 036CD) 17.00
This full-length CD by Mario Hammer and the Lonely Robot might come as a surprise -- but Mario has left traces of his skill before, particularly with his modular contributions to Traum's Tour de Traum series and his work as RWAC. Listeners have since caught up to him -- Robert Babicz asked him for remixes -- and Mario has been inspired by DJs like Dominik Eulberg to leave the path of dance culture and simply work with sounds. The result is a 60-minute non-dance full-analog piece of modular music: L'esprit de L'escalier. Mario has been a fan of old analog synths for most of his life and, for some of this album's tracks, has teamed up with Josef Steinbüchel, who shares a similar love for synths. They wrote the album's 13 tracks over a year, with many ideas born in the writing process. Only "Metaphysical Orchestra" and "Sirimiri (Hammersche Modularverschaltung)" are previously released, and appear here in different versions. The album is loosely organized around BPM by following the speed of LFOs and arpeggiators to make the experience totally soothing. The album can be divided roughly into two parts; the mood switches about hallway through when "Yugon" introduces a beautiful and darker side. The pulsating "Mono No Aware" sets free a stream of sounds not unlike a focused, intensive, golden sunbeam before moving toward gracefully archaic melodies. "Chakwira" starts with a polyphonic melody, dazzling in its melancholic tone, then blends into the soothing and warm "Hyggelig," with an enveloping sound as gigantic as the legendary synth sound on Vapourspace's "Gravitational Arch of 10" (Plus 8, 1993). "L'esprit de L'escalier" is one of two almost-ten-minute tracks, and it makes use of a spectacular melodic sequence. On "Sirimiri (Hammersche Modularverschaltung)," Amon Düül, Klaus Schulze, and Cluster spring to mind here. "Symphony of Pulsing" follows in an incredible transition before "Yuyin" calms things down with a loose, improvised feeling. "Eigengrau" catches the remnants to form a track that connects to "Sirimiri," but in a different direction. The final minute of closer "Nefelibata" is enhanced with a sound that Mario Hammer came across, bringing the album to a beautiful analog end.



HELIOS: Eingya LP (UNSEEN 007LP) 18.50
Originally released in 2006, Eingya by Helios aka Keith Kenniff returns in a limited-edition 2015 vinyl re-release. Beginning the album on a high with the pastoral beauty of "Bless This Morning Year," Kenniff showcases of what he does best -- heartbreaking guitar and piano melodies punctuated by crumbling beats and backed by the most atmospheric synthesizer sounds this side of Eno's Apollo. The appetizing "Halving the Compass" blends subtle field recording with the kind of piano melodies so beautiful they could be compared to Virginia Astley or Harold Budd. This is followed by the album's clear highlight, "Dragonfly Across an Ancient Sky." It's an unsurpassable folk guitar piece with a decomposing percussive background and the sort of melodies that would turn evil tyrants into weeping babies. An album that could appeal as easily to fans of Nick Drake as to fans of Boards of Canada or even early AIR, this truly has something for everyone. Raised in rural Pennsylvania, Kenniff put out Helios's 2004 debut album, Unomia, while studying percussion at Boston's Berklee College of Music. Since then, he's released six more albums as Helios, in addition to collaborating with his wife Hollie Kenniff in the shoegaze-inspired pop duo Mint Julep and composing music for such clients as Paramount Pictures, Apple, Facebook, and Google.



NORMIL HAWAIIANS: Return of the Ranters CD (UTR 076CD) 15.50
Normil Hawaiians have always operated as a collective of musicians rather than a band per se, and for this third album, the group comprised Guy Smith, Simon Marchant, Alun "Wilf" Williams, Noel Blanden, and Jimmy Miller. Recorded at Dave Anderson's Foel Studio in Wales (sonic home of Amon Düül II and Hawkwind) in the winter of 1985 and '86, a time and a place triangulated from political, social, and geographical aspects, Return of the Ranters extended their free experiments in compelling arrhythmia and seemingly organized sound, taking a loose trajectory from their previous albums and earlier, more confrontational approach. The release of this album marks the first step in Upset the Rhythm's plans to produce expanded reissues of the band's other two epic albums, More Wealth Than Money (1982) and What's Going On? (1984). It was during the austere years of the post-punk permafrost that Normil Hawaiians' third album, Return of the Ranters, was written, recorded, and shelved. The album opens amid vast clouds of atmosphere before the tape-looped violin of "Sianne Don't Work in a Factory" starts to drag the song out of itself and into a sparse yet tender love song, full of hope, exalted synths, and mechanized drum patterns. Acoustic guitars and walls of keyboard drone provide a fitting acre of space for the raw polemics of "Slums Still Stand," while "The Search for Um Gris" follows in full head-down, motorik mode with a miraculously hypnotic drum beat and whirling mood. "The Battle of Stonehenge" is a powerful and emotive recording detailing the band's personal experience of the police ransack of the Peace Convoy on June 1, 1985, and as a result provides the rallying point of album. Beginning bravely as a solitary spun-out voice, the song eventually becomes awash with choruses of guitar and reverberating synth, joined finally by adornments of violin and an entrancingly agile beat. "Mouldwarp's Journey" concludes the album with ten minutes of epic improv, drawing on field recordings, murmured vocals, slowly phasing tonal clusters, a miasma of percussion, and wordless rapture. Lucid, candid, politically engaged, rarely metronomic but always humane, tired but still fighting, Normil Hawaiians' third album has waited patiently for 30 years.



DE TAPOL, AYMERIC: Les Horizons 12" (VLEK 019EP) 14.00
With Les Horizons, his second release on Vlek, Brussels resident Aymeric de Tapol delivers seven tracks that explore his love of ghostly drones and proto-techno pulses. Enigmatic, dark, yet comfortable, these pieces shed light on another side of his already large pallet of creative zones. Through de Tapol's detailed evocations, things happening at that boundary become attractions in their own right, and you listen closer and closer until the scintillation of the aural image comes to an end.


WG 019CD

SOUL CLAP: Watergate 19 CD (WG 019CD) 17.00
For the 19th installment of Watergate's mix series, the label has arranged a special mix from a duo with which it has shared close ties since 2010. Hailing from the USA, the duo Soul Clap are well known for their blend of funk and soul with house, techno, and everything in between. From peak-time sets on the main floor to sun-soaked closing sets on the water floor, the pair of Bostonians, Eli Goldstein and Charles Levine, are a DJ's DJ duo. Selecting from a vast array of genres spanning time and tempo, the duo have carved out a niche for themselves as unique artists with a stylistic flair in both the music they play and the way the present it. Watergate 19 takes a leap away from Watergate's normal protocol, as it's a live mix -- the first in the series -- recorded on July, 26, 2015, at an installment of the FLY Watergate open-air series in Berlin. It was late afternoon when Soul Clap dropped an all-vinyl set on the beach stage, and the vibe was electric. The set kicks off with the sound of the crowd and the duo's introduction as the 1995 classic "Taxi Luv" by Chocolate City instantly lays down the SC touch with the perfect blend of classic house and jazz before smoothly sliding into Alexander East's soulfully stripped-down "Hazy Shade of Love." From there, it's a ride through the lush, soulful house of Jake Childs's "Back to Basics" and the time-honored LawnChair Generals' "Sweet Nothing." The duo soon switch it up and effortlessly dive into freakier territory with the vocal-heavy "Dance You Mutha" by Mike Dunn and Jori Hulkkonen's wildly psychedelic North-African-inspired acid rework of Fédéric Galliano & The African Divas's "Koukou Lé." Soon the drums come front and center and the sounds of Idjut Boys' "Implant (Full Frontal)" move the vibe into the cosmic spaces before grooving back into more classic house anthems like Chez Damier's "A 2½ Step." Closing things out in style is the disco-infused love jam "Traveler" from Ron Trent, which winds down the experience with a slick blend of powerful piano chords and infectious vocals as the crowd's applause grows and a final "thank you" and "peace out" echo into the distance. Also includes tracks by Roy Davis Jr., To-Ka Project, AK remixed by François Kevorkian and Eric Kupper, Leo Young & E Vineenzini, Francois Dubois, and Scott Grooves feat. Roy Ayers.


WA 2017CD

VA: Bali 1928, Vol. V: Vocal Music in Dance Dramas CD (WA 2017CD) 11.50
Vol. V of the Bali 1928 recordings contains various emergent theatrical dance and dance-opera forms with translations of the dramas' texts. We hear the first recordings of women participating in dance dramas, making this disc a major cultural repatriation of primary Balinese art forms that had been lost for nearly a century. An extensive essay is included as a PDF (accessed by computer) with links to 1930s silent films and a photo library are hosted online by World Arbiter. Some of these recordings come from discs that existed in only one known copy, and now their erotic, subtle, innovative styles are available for everyone to experience. Performances by Tembang Arja & Kidung with the Gamelan Geguntangan of Belaluan, Denpasar; Tembang Arja with the Gamelan Geguntangan of Sésétan, Denpasar; Jangér of Kedaton, Denpasar with lead singer Ni Wayan Pempen; Jangér of Abian Timbul, Denpasar with lead singer Ni Lemon; Cepung Monyèh Sasak from Lombok; and Topéng of Kaliungu: Ida Boda, Ida Bagus Purya & I Nyarikan Seriada.



CISLAGHI, JILL: Friends of Mine LP (YOGA 008LP) 16.50
Jill Cislaghi cut her one and only album in 1977, during her senior year at Regis College in Massachusetts. She recorded solely for friends, family, and as a memento for the members of her graduating class. Friends of Mine describes the loves and tribulations of Cislaghi's life with a mixture of naiveté and wisdom. With nothing more than her voice and (mostly unplugged) guitar, Cislaghi's folk sound is singular and resonant, bold yet humble. Friends of Mine's hopeful yet wintry vision should appeal to fans of Sibylle Baier, Karen Dalton, Ruthann Friedman, and Ted Lucas. First-ever reissue; includes previously-unreleased bonus track "Lazy J." Eco-rational 135-gram vinyl and high-quality tip-on sleeves. One-time limited pressing of 500. A coproduction of Yoga Records and Music Inside Records.

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