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Forced Exposure New Releases for 11/30/2015

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New music is due from Steven Stapleton and Christoph Heemann, Architectural, and Thee Arcadians, while old music is due from Robert Aiki Aubrey Lowe, Juan Atkins, and Harry Pussy.


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50 047EP

DETTMANN/ZENKER BROTHERS, MARCEL: Activator/Namuan 12" (50 047EP) 14.00
180-gram vinyl. For the eighth 12" in 50Weapons' 11-part finale, red-hot Munich newcomers Zenker Brothers join forces with German techno staple Marcel Dettmann, a combination that is both exciting and effective. It was Dettmann's idea to have his "Activator" -- a dark, broken DJ tool -- backed with the Zenker Brothers' "Namuan," another piece of 1990s-rooted tool techno in fine Ilian Tape-style.



BROWN, STEPHEN: Mirage 12" (ARTLESS 2185EP) 14.00
Scottish techno mainstay Stephen Brown presents Mirage for Mojuba sublabel a.r.t.less following his huge 2014 Illuminance EP (ARTLESS 2191EP) and his 2015 Invisible Light EP for the magnificent Indigo Aera. The A-side features a killer techno tune called "2FM" in finest Robert Hood/M-Plant tradition. The B-side's "Sensual Healing" is a very emotional, synth-laden track that will work perfectly for those opening or closing set moments when everyone is in the zone, eyes closed, floating on the dancefloor.



ULAN BATOR: En France/En Trance CD (ACR 026CD) 15.00
2013 release. Ulan Bator's most finely crafted album yet. En France/En Trance features a fresh line-up and instrumentation, most notably the strange and haunting sounds of the vintage ondes Martenot played by Nathalie Forget. It was recorded in Paris as an intense, concentrated improvisation and quickly evolved into a nine-track album. The sheer maturity and dynamics of this album go well beyond the usual references to Swans, early Sonic Youth, Can, Faust, Bad Seeds, Pan Sonic, New York no wave, Serge Gainsbourg, etc. Collectively drawing from a large pool of cultivated musical training, they have created a passionate, urgent, and sometimes dangerous album. With tense interplay of grooves, drones, cutting electricity, and vocal vicissitudes, Ulan Bator continues to stretch and pull the boundaries of song structure. As always, it is hard to place their distinct sound in any one genre; however, this album further solidifies their place in the canon of European art rock like none other. Their highly acclaimed Young God release Ego:Echo from 2000 still maintains a cult status among music lovers. Amaury Cambuzat's solo work as well as his live collaborations with Faust and other luminaries of the European scene have kept him extremely active, and Ulan Bator has reemerged to make their best album yet. "One of the best French bands in the last 300 years!" --Michael Gira (Swans)



BRANNTEN SCHNURE: Sommer im Pfirsichhain LP (ZORN 039LP) 22.00
Brannten Schnüre is an experimental dark folk group out of Würzburg, Germany. Christian Schoppik composes and plays all the music and Katie Rich whispers, recites, and sings. Together they make astoundingly beautiful folk with rich instrumentation leaning toward the atonal spectrum. Instrumental wanderings stand alongside Nico-esque poetry tales. Schoppik plays the accordion and, on some songs, guitar and flute. Inspired by hierophants like Nový Sv?t and David Jackman, solemn song fragments (a lot of old Greek rebetika recordings) are modified and looped, with additional instruments and voices integrated later on. Their music has been described as "surreal folkcollage" and "German hauntology." With the 2010 emergence of Schoppik's second project, a Dada cabaret called Agnes Beil, Brannten Schnüre moved closer to the song structures of its frivolous sibling. The voluptuous Sommer im Pfirsichhain (Summer in the Peachgrove), with its atmosphere of sticky, tense midsummer, is the second part of a quartet of releases, following the 2014 cassette Aprilnacht (SicSic) and preceding Geträumt hab' ich vom Martinszug and part four. Reference points include Winter Family and TwinSisterMoon. Music etched on folkloric, ritual elements transferred into the 21st century. Also worth mentioning is the hand-drawn artwork by artist Gwénola Carrère.


TAROTPLANE: First LP (ZORN 041LP) 22.00
Tarotplane is the solo project of Baltimore-based musician PJ Dorsey. First, his full-length debut, is a tremendous album etched on the great krautrock and experimental psychedelic records from the '70s. Vintage electronic sounds are mixed with effected guitar parts. It might sound quite familiar at first, but once one enters the heart of the album it all gets spectacularly exhilarating and effortlessly captivating, swirling around the listener. Records such as Franco Battiato's Pollution, Bill Holt's Dreamies, Popol Vuh's Affenstunde, and Deuter's D were strong influences. All of these artists use tape loops, environmental sounds, filtering, and other effect processing in an exceptional way. Their desire to create their own distinct sonic world was the driving influence behind this LP. These artists never let the experimentation get in the way of creating something musical, beautiful, and sonorous. First integrates those influences but it also has a more traditional psychedelic rock sound built into its sonic viewpoint. Dorsey seamlessly blends these diverse influences into a continuous flow. The album was originally going to be called Excursions, because Dorsey would walk for hours on Baltimore's waterfront listening to fragments of his work, as well as samples from films and records, to find a balance that worked. The ultimate goal was to make what some would call a head record. Something you can listen to on your own personal excursions that evokes a distinctive and enjoyable sonic headspace.


BEC 5156083

CERRONE: The Golden Touch (Cerrone IV) CD (BEC 5156083) 12.50
The idea that France once had a genius and let him go to California where he was more welcome and appreciated than in Paris is, in the digital era, commonplace. Every web entrepreneur heads toward Silicon Valley to develop ideas. During the '70s, this was less ordinary. Back then, the music world witnessed the departure of a very talented guy for the United States, a country that quickly understood he was a star. Marc Cerrone, a trained drummer and disco phenomenon who sold more albums than many other artists put together, saw his career magnified by America but also slightly twisted by France, which quickly reduced him to a style -- disco music -- without trying to understand who he was and how relevant his talent was. His path went through two phases; two complementary moves. The Golden Touch was released in 1978; its composer is one of the spiritual fathers of the dense '70s disco era.

BEC 5156084

CERRONE: You Are the One (Cerrone VII) CD (BEC 5156084) 12.50
The first years of Marc Cerrone's career, from his first album in 1976 (BEC 5161903/5161904) to his seventh in 1980, were fueled by an exemplary sense of creativity and a free-spirited vision. Against everyone's advice, Cerrone was never reluctant to compose long and pure trance disco tracks that were not exactly radio-friendly but did incredibly well because they encapsulated the hedonism of the day and were far more than a trend. For instance, "Love in C Minor" and "Supernature" (BEC 5161907/5161908) have become unbeatable classics, featured regularly in the best pop, disco, and dance selections. Such a success would have burnt the wings of most artists, but at the beginning of the '80s, when he decided to unleash his creativity on stage, Cerrone managed to rebound with his You Are the One studio album, originally released in 1980.

BEC 5161903

CERRONE: Love in C Minor (Cerrone I) CD (BEC 5161903) 12.50
Looking back now, Love in C Minor by Marc Cerrone is one of the most important of its time. It fully embodies the '70s atmosphere of creative energy, inherited from the spiritual, aesthetic, and sexual revolutions of the '60s; it helped create the sound of an era; and it brought French disco to the world. It is also the result of one man's vision: Marc Cerrone, a free spirit, possessed by music, driven by pure originality and the madness of a vision without compromise. He had his sound firmly in mind, focused on its central element: the bass drum. Cerrone's first step was to record a 16-minute track, long enough to fill one side of an LP, driven by its beat and accompanied by female voices simulating sex. This concept of musical and physical orgasm was recorded at Trident Studios in London with Don Ray, the brilliant arranger who would accompany Cerrone throughout his career, and with whom Cerrone had collaborated when they were both members of Kongas. French record labels, convinced that radios would never play 16 minutes of beats and moaning, swiftly turned the track down. Cerrone, a born fighter, decided to trust his instincts, certain that even if the radio stations wouldn't play the track, people would dance to it in the clubs. He released the record himself. The record got some attention in France, mostly thanks to Cerrone's own network. But when Cerrone's record store mistakenly mailed a box of Love in C Minor to the U.S. instead of some unsold American LPs, the record found its audience. Radio and club DJs began passing the record around, and before long, the record that every French label turned down became a hit in the New York disco scene. Once Cerrone discovered what was happening in the U.S., he flew to New York, and found the doors of every record company, especially Atlantic, open to him. He was welcomed by Ahmet Ertegun, one of the major visionaries of American music. Having signed Aretha Franklin and John Coltrane, among others, Ertegun must have understood that this young French musician was about to define the sound of his time. Love in C Minor was the first step.

BEC 5161905

CERRONE: Cerrone's Paradise (Cerrone II) CD (BEC 5161905) 12.50
CD reissue of the 1977 album Cerrone's Paradise by Marc Cerrone. The cover of Cerrone's previous album (BEC 5161903/5161904) was part of its success. Its strange atmosphere, its surrealistic aspect, its erotic staging, and its playfulness made it a classic of disco imagery. The cover was banned in the United States, which was always more prudish than France or Europe. Cerrone struck again with an even more erotic, direct, and less ambiguous cover. Actually, it was a matter of chance. Looking for a visual idea for the cover of his new album, the musician went through some photographers' portfolios and found this scene he liked: a fridge, a girl, a cold-tiled floor. The craziness of the picture came from the fact that the girl was lying on the fridge. He decided to ask the photographer to take the same picture with him on the side. But during the shoot, the door of the fridge opened and a yogurt fell out and spilled onto the floor. Cerrone asked the photographer to keep on shooting and despise conflicting advice, he chose the photo with the "ambiguous" white traces of yogurt. It would boost the fantasy. Was it cocaine? Something more sexual? It's still one of Cerrone's most identifiable record covers. And what about the record? After the simulated orgasm of Love in C Minor, Cerrone wished to move onto serious stuff. Rather than using tapes, he organized an orgy in a studio full of microphones set to record every single aural detail. The album followed in the footsteps of the first one, with a long track on the A-side and a few shorter tracks on the B-side. It was another massive hit, selling three million copies.

BEC 5161907

CERRONE: Supernature (Cerrone III) CD (BEC 5161907) 12.50
CD reissue of the 1977 album Supernature by French disco legend Marc Cerrone. Big hits can be the result of a combination of circumstances. Massively popular at the time, crowned with the success of Love in C Minor (BEC 5161903/5161904) and Cerrone's Paradise (BEC 5161905/5161906) that made him a disco hero of the '70s, the musician started working on his new album differently. This time, the inspiration came from a synthesizer, an instrument he had never used before. ARP, an American manufacturer, provided him with it. "I was given this machine and didn't know how to use it," he remembers. "I twiddled a few knobs, trying to get some sounds out of it. Then, as I was playing on the keyboard, a bass line came to me that I immediately recorded on my Revox. It was 'Supernature!'" Lene Lovich, future queen of the punk and new wave English scene, wrote the lyrics. It was a science fiction story, similar in spirit to The Planet of the Apes. Once the track and album were finished, Cerrone asked the record company to focus on "Supernature," rather than the rest of the record, in the vein of his previous work. History would prove him right. This track, the more iconic of his catalog, would turn out to be his biggest hit. This third album would sell eight million copies. Always a funny guy, Cerrone can be seen on the cover of the record, but without naked women. Creatures with animal-heads in a surgery room replaced them. It meant a mutant and more synthetic kind of disco was born.



DEADBEAT: Walls & Dimensions CD (BLKRTZ 014CD) 17.00
Scott Monteith's tenth Deadbeat album, Walls & Dimensions, sees Monteith showcasing his wide-ranging musical interests with a striking sense of gravity and cutting lyricism not heard in his previous works. The album features vocal contributions from a diverse range of Berlin-based artists, and, for the first time, vocals from Deadbeat himself. "A wise old curmudgeon once said that all great art is born of great suffering, and if that sentiment holds true this album has had plenty of fuel for its proverbial fire," says Monteith of the writing process. "The last month of 2014 and first half of this year were not kind to me and my family to say the least. Thankfully I was able to turn to music and writing to work through those feelings over the last year, and found some absolutely lovely people to voice them when I wasn't up to the task of expressing them myself." Featuring guest vocal contributions from Fink, Delhia de France, and Elif Biçer, as well as cello performances by Maarten Vos, Walls & Dimensions sees Monteith exploring all facets of his musical interests with deadly focus and passion, from pure ambient drones to heartfelt reggae blues and dubbed-out late-night club bangers.



VA: Chebran: French Boogie 1980-1985 2LP (BORNBAD 077LP) 22.00
Double LP version with insert. In the early '80s in France, the happy-go-lucky gathered the nectar of each and every new release. Believing in a bright future for videotex and loosened up by budding pirate radio stations, the new generation dreamt of dancefloors and holiday clubs. French Boogie, which preserves the spirit of these years of boodle and bunkum, is the ideal soundtrack to their dreams. What has come to be called "French boogie" is a form of synthetic funk reflecting the spirit of those days when everything seemed possible. In popular clubs such as La Main Bleue in Montreuil or L'Echappatoire in Clichy-sous-Bois -- where Micky Milan could be seen behind the decks -- an enthusiastic audience discovered this post-disco sonic wave, influenced as much by French pop as by The Sugarhill Gang or Kurtis Blow. In this myriad of new musicians, the very young François Feldman and Phil Barney pioneered a fresh musical hybrid. Other well-known artists like Gérard Blanc from Martin Circus (Attaché Case), Richard de Bordeaux (Ich), and Jean-Pierre Massiera (Anisette, Pirate Club, Mandrake, Groupe Scratch Man) added an eccentric touch. Singers like Agathe (the author of "La Fourmi" (included here) and of the hit song "Je ne veux pas rentrer chez moi seule") were far more than just window dressing, giving an ironic and subversive twist to this rather harmless genre. But by 1984, French boogie was already breathless, and merged with other genres; on the one hand, rap and breakdance adapted its flow to a more urban world, especially with Dee Nasty's broadcasts on Radio Nova, and on the other, Italo, new beat, and house began to rule dancefloors. Squeezed between the age of disco and that of modern electronic music, French boogie was a transitional phase, but it remains an amazingly refreshing testimony to the intermingling of pop and underground cultures. The genre was hastily categorized as anecdotal in spite of its pioneering synthetic groove and matchless basslines. An attentive ear will discover the poetry of the ephemeral beyond the eccentricities of the genre, as well as a certain unexpected avant-gardism. At the origin of major music trends, always cheerful and catchy, French boogie is what you need to party. Includes tracks from 1980-1985 by Interview, Krootchey, Gérard Vincent, Style, Pierre Edouard, Casino, Bianca, Trigo & Friends, Hugues Hamilton, Pascal Davoz, Anisette, Pilou, Henriette Coulouvrat, New Paradise, Ich, Attaché Case, and Yannick Chevalier.


LP version. In the beginning, Lonely Walk was a post-apocalyptic and personal digression created by Mickaël Appollinaire (Monsieur Crâne, Strasbourg). Based in Bordeaux, Southwest France, he smoked out the blogosphere by releasing several digital EPs between 2010 and 2013. The Satanic Royalty label released V.I.H.S., Lonely Walk's first LP, in 2013, and it was well-received by the critics. NGHTMR followed in 2014, and a more personal album called BORE appeared later the same year. All these secluded compositions came on stage radically changed with the addition of a five-piece live band, which counted Alice Ronzini from J.C. Satàn on bass and Johan Gustafsson from Black Bug among its ranks. Teen, Lonely Walk's first album recorded with the live band, was recorded in Mikrokosm Recording Studios in Lyon, France. Dark, addictive songs of hypnotic post-punk slumming it with pop and making a few psychedelic stops, led by obsessive singing with catchy slogans. Happy, innocent children shout because school's out ("Burial Tomb") and the epic violin of Tamara Goukassova shreds the toxic atmosphere ("War," "Black Dragonfish"). To cut a long story short, Lonely Walk takes us right to doomsday, but not the one we dread. The one we crave, eyes wide open and dilated pupils, drinking a nice cheap cocktail of liquid nitrogen. One might recall Clinic, The Soft Moon, or A Frames, but one must look toward Australia to find cousins to Lonely Walk in bands like Eddy Current Suppression Ring or Total Control. The album artwork, representing a one-eyed skull hiding its shame behind hands, was conceived by graphic designer Greg Vezon.



"1977's Clash album re-issued on 180 gram vinyl in its original cover."



FAT: Citron CD (CATDOG 002CD) 12.00
Citron is a complete remix of the Czech heavy metal band Citron's 1990 release Vypus?te psy!, or Release the Dogs. While spending an extended period in the Ostrava studio of Citron's leader Radim Pa?ízek, FAT found itself with access to the original 24-track tapes of Citron's then-most-recent album. Working at night, FAT discreetly remixed the entire album to create Citron. Citron is a far cry from the original record's heavy metal sound, as FAT creates a bohemian fairy-tale-on-acid from the bones of a late Communist-era Czech mega-album. The mix turns the original record inside-out and often lays bare the typical lead vocals or instrumentation, bringing the more banal elements to the forefront. Background synth fills become lead instruments with midi time code serving as a rhythm track in a reconfigured cavernous arena-reverb setting. Remixed in the studio where the original album was recorded, the reprocessed sound was achieved entirely with the period equipment from a 1992 Czech studio.


FAT: Citron LP (CATDOG 002LP) 14.00
LP version. Citron is a complete remix of the Czech heavy metal band Citron's 1990 release Vypus?te psy!, or Release the Dogs. While spending an extended period in the Ostrava studio of Citron's leader Radim Pa?ízek, FAT found itself with access to the original 24-track tapes of Citron's then-most-recent album. Working at night, FAT discreetly remixed the entire album to create Citron. Citron is a far cry from the original record's heavy metal sound, as FAT creates a bohemian fairy-tale-on-acid from the bones of a late Communist-era Czech mega-album. The mix turns the original record inside-out and often lays bare the typical lead vocals or instrumentation, bringing the more banal elements to the forefront. Background synth fills become lead instruments with midi time code serving as a rhythm track in a reconfigured cavernous arena-reverb setting. Remixed in the studio where the original album was recorded, the reprocessed sound was achieved entirely with the period equipment from a 1992 Czech studio.



BANCO: Banco LP (CRP 117LP) 22.00
2012 release. The classic 1975 album that introduced Italian prog rock band Banco to the world/ After the success of Italy's P.F.M., Emerson, Lake & Palmer and Manticore Records began paying a little more attention to the Italian prog scene. This attention soon paid off in the form of another fine Italian band for their roster called Banco del Mutuo Soccorso (soon shortened to Banco), led by the charismatic front man Francesco Di Giacomo (who interestingly also appeared in Fellini's Satyricon and Amarcord), and the dueling keyboards of the Nocenzi brothers, Vittorio and Gianni. Although this album is the first anyone had ever heard of Banco outside of Italy, it was actually the band's fourth release.


HOUSE OF LOVE, THE: The House Of Love LP (CRP 204LP) 22.00
2014 release. The House Of Love were one of the most successful and critically acclaimed bands to grace Creation Records in the late 1980s. Equally inspired by the ?60s pop of The Left Banke, Beatles, Kinks, Zombies, etc. and the more distorted sounds of bands like The Velvets and contemporaries, The Jesus And Mary Chain, The House Of Love is the group's first and most fully realized album. A half hour of blistering, melodic noise pop and one of the greatest British records of the late ?80s, Cherry Red Phonograph is pleased to reissue it here on LP with 2 bonus tracks (demo versions of the classic singles, "Shine On", and "Christine").


MARINE GIRLS: Beach Party LP (CRP 205LP) 22.00
2014 release. Though misunderstood at the time of its initial release in 1981, the years have been kind to Beach Party and it is now regarded as one of the more important albums of fractured UK twee pop and minimalist post-punk, alongside The Young Marble Giants' classic, Colossal Youth. Formed in Hatfield, Hertfordshire, Marine Girls were an all-female group formed by school friends and include Tracey Thorn, before she found international success with Ben Watt in Everything But The Girl. Another classic LP of British weirdness reissued on Cherry Red Phonograph.


CF 014LP

First vinyl reissue of Alarm by the Peter Brötzmann Group, originally released on FMP in 1983. Harry Miller: bass; Louis Moholo: drums; Alexander von Schlippenbach: piano; Peter Brötzmann: saxophone; Frank Wright: saxophone; Willem Breuker: saxophone; Toshinori Kondo: trumpet; Alan Tomlinson: trombone; Hannes Bauer: trombone. Recorded during the 164th NDR Jazzworkshop, November 12, 1981, at the Funkhaus Hamburg. Produced by Peter Brötzmann and Jost Gebers. Cover design by Peter Brötzmann.



KELLY, MAMADOU: Djamila LP (CLE 012LP) 18.50
LP version. Mamadou Kelly comes from Goundam near Timbuktu, the heart of the Niger River inner delta. Having played alongside its masters, Kelly and his group Ban Kai Na bring a new sophistication to the desert blues genre. With his 2013 album, Adibar (CLE 007CD), Kelly stepped onto the international stage to present his own repertoire as soloist and band leader. He received accolades when he toured North America, performing at major festivals and concert halls while recording this album. His band members are old friends: Alpha "Hama" Sankare, revered genius on calabash and longtime collaborator; master of the monochord djourkel Brehima "Youro" Cisse; and the young, gifted bassist Baba Traore. For Djamila, Kelly wanted to expand the sound and invited western musicians to contribute to the groove. Calling in some neighbors from Woodstock, NY, producer Chris Nolan added Pete Levin on keyboards, Duke McVinnie on electric guitars, and Jane Scarpantoni on cello. Also on hand at the sessions was Leila Gobi, prominent vocalist from Ménaka in Northern Mali, who provides chorus backup on three of the tracks. Kelly's smooth vocals and deceptively effortless guitar playing quickly charm his audiences. Steeped in rich historical background, his lyrical style combined with Ban Kai Na's virtuosic delivery makes it all sound so easy. Yet at the time of these recordings they all had just witnessed severe political unrest and social violence in Mali. It was a real presence during the sessions. You can hear it, the real source of the blues.


SUMRRA: 5 Viajes / 5 Journeys LP (CLE 015LP) 18.50
LP version. Winners of the Best Jazz and Improvisational Music Award at Spain's 2014 Premios Martín Códax da Música, Sumrrá are pianist Manuel Gutierrez, bassist Xacobe Martínez Antelo, and drummer L.A.R. Legido. The most exciting trio on the Spanish jazz scene today, their performances express assured conviction and a sound filled with dynamism, lyricism, and humor. Coming together informally at first in the summer of 2000, these three superb musicians have built a solid understanding of each other's voices. That instinct combines with superb technique to inform their music with a freedom of improvisational invention. Sumrrá have had a consistent trajectory in the music scene in Spain. In addition to their many concerts throughout the Iberian Peninsula, Sumrrá have also performed to great applause internationally during tours in France, Bolivia, Bulgaria, and South Africa. In September 2015 they performed at the famed Tanjazz festival in Morocco. These musicians share a passion for improvisation and open musical form. As bassist Xacobe Martinez Antelo puts it, "The truth is that we do not take any model... Our way of working is about compositions... and that marks the development of the trio, our roles, and our sound." 5 Viajes / 5 Journeys is Sumrrá's fifth album.



VATH, SVEN: In the Mix: The Sound of the 16th Season 2CD (CORMIX 051CD) 23.00
When the shadows grow longer on the island of Ibiza and the noise of summer fades away, Cocoon Recordings founder Sven Väth takes a couple of days off and reflects on the music of the passing season; the best of 2015 is represented here on The Sound of the 16th Season. Väth opens with DJ Koze's "XTC," which offers a captivating melody through a cloudy, blurry soundscape. Matthew Dekay offers a poetic starting signal before Väth sets a new tone with "Next Please" by Metaboman, a high-spirited, twisted, funny, electronic polka. Legendary Detroit figures Kevin Saunderson and Carl Craig (feat. Inner City) turn play into drama before Jacob Korn releases the tension with a jazzy, experimental gesture. With Leon Vynehall's reduced gospel, the set reaches a spiritual moment, which Aaaron pushes on with his wonderful, driving "Whatcha Say." With Daniel Bortz's pretty, quiet "Don't Disturb Björn," Väth pauses for a moment. Beloved for his delicate sound textures, John Tejada extends the subdued mood and Mattheis offers penetrating strings with an anthemic quality before Väth brings the groove with Patrick Specke & Daze Maxim's "Battery." For the finale of the first disc, Jacek Sienkiewicz and Ricardo Tobar deliver beautiful, delicate sounds. Väth's second disc takes off with Tim Green's "Eclipse," in which a boastful bassline leads through a charming house groove. Alex Smoke delivers cocky, vigorous acid sounds before Heartthrob breaks the playful energy with an escalation into a furious snare drum thunderstorm. Tim Wright employs a screeching electro bassline with a twinkle in his eye and Deetron drops an overwhelmingly positive, beaming, unforgettable riff. With Bastinov, Väth adds more shades with fascinating violin sounds. Robert Hood uses a brilliant synthesizer to shift things into electrifying soul before Väth makes an utterly surprising U-turn with a song by Swedish cult band The Knife, merging soul with highly sensitive indie pop. Geeeman's voice-modulation recalls Väth's own legendary 1986 track "Electrica Salsa." Gary Beck pulls us into another world with a powerful groove and an epic hook, Pig & Dan condense this mood with "Universal Love," and Stranger's "Warehouse Memoires" brings back recollections of crazed parties in abandoned factories. Väth clears the madness with Alex Bau's hypnotic, flowing grooves. Dimi Angélis sets a soulful final chord with a beautiful riff merging fragile violin sounds and a shrill 8-bit synth, so the set can fade away with a charmingly mellow piece from Petar Dundov.


C 025EP

TURNER, SIMON FISHER: Shishapangma EP 12" (C 025EP) 14.50
Terre Thaemlitz's Comatonse Recordings presents a cut from English polymath Simon Fisher Turner's 2013 soundtrack to the 1924 film The Epic of Everest. Turner's windswept, quietly pulsating "Shishapangma" is another iterations of a long and colorful oeuvre that has seen him work with an early incarnation of The The, Derek Jarman, and the Portsmouth Sinfonia, not to mention a career in acting that made him a teenage star in the '70s. DJ Sprinkles's gently sub-fueled "Deeperama" mix teases the original's horns to sound something like Peter Zummo doing 11 minutes of the deepest house -- both fathoms-deep and endlessly inspiring.



MORRICONE, ENNIO: Città Violenta LP (RED 223C-LP) 25.50
A tight, atmospheric, and pretty damn funky soundtrack composed by the maestro Ennio Morricone for the 1970 crime-drama Città violenta (released in the USA as The Family in 1973), starring the mighty Charles Bronson and directed by Sergio Sollima. Another hard-hitting score by Morricone with quite a dark mood, flowing from the dramatic to psychedelic along with a touch of funkiness. The famous "Città violenta" track, the score's main theme, is celebrated as one of Morricone's most iconic themes. This is the first vinyl release of the complete edition. Green vinyl. Limited edition of 1000.


Italian groovy lounge music, very sophisticated and classy, from the great Walter Rizzati, known for his legendary score for The House by the Cemetery (1981) and 1990: The Bronx Warriors (1982). An absolute gem from 1978, long-forgotten and now reissued for the first time ever. Double-colored vinyl. Limited edition of 500.



O'MALLEY, STEPHEN: Gruidés LP (DDS 013LP) 23.50
Repressed. The dark interpreter Stephen O'Malley ov Sunn O))) presents his towering orchestral composition Gruidés, commissioned by French 35-piece improv orchestra ONCEIM -- l'Orchestre de Nouvelles Créations, Expérimentations et Improvisation Musicales -- and released thru Demdike Stare's DDS label. In early 2014 O'Malley was approached by pianist and composer Frédéric Blondy to write a work for the orchestra, which is made up of exceptional musicians from the fields of contemporary, jazz, experimental, improvisation, and classical. Understandably intimidated by the prospect, but encouraged to "just be punk rock about it," the preternaturally gifted composer has conceived a technically demanding -- for the players, at least -- and richly rewarding long-form drone piece intently focused on harmonic experimentation and overtone study. During its 35-minute lifespan, Gruidés requires the musicians to sustain pitches for several minutes (which is difficult enough for strings, and a real feat of endurance for woodwind), yielding spectra of eliding dissonance rent in sliding tone clusters and lucent geometries punctuated by a similar whipcrack percussion to that used in Sunn O)))'s 2014 collaboration with Scott Walker. It makes great use of the acoustic qualities of Saint Merry church in central Paris, as captured in the recording of IRCAM's Augustin Muller and mastered by Matt Colton with a detached spaciousness evocatively distilled in Jean-Luc Verna's cover art. It's an incredibly immersive piece that comes highly recommended if you're into the work of Phill Niblock, Alvin Lucier, Ellen Fullman, Harley Gaber, and, indeed, Sunn O))).



DAWN MOK: Eternal Love CD (DIAL 034CD) 17.00
In the wake of the release of Dial's 2015 15th-anniversary compilation All (DIAL 032CD), one track seemed to be praised above all others: Dawn Mok's "Like Thought or Moments We'll Fall." It's an intensely touching piece produced by Berlin-based artist Felix Mura. Dial is honored to present the artist's full-length debut, Eternal Love, a journey into deep, dark shades of future RnB. Over a year of production and sound design, Dawn Mok has created a wonderful, surprising milestone of contemporary dance music and beyond. Mixed by Finland's Ville Haimala (Renaissance Man) and mastered by Rashad Becker (PAN). Artwork by Dan DeNorch.



"Le Saut dans le vide; jumping of the side of building into sheer nothingness; a photo manipulation of Yves Klein, a Sunday paper dedicated to the Void and a leap to certain death or bodily harm had the artist not truncated the image of the infamous picture. A moment suspended in thin air, melded into air, like the cloud-capp'd towers and gorgeous palaces: we are such stuff as dreams are made on... Italian sound-artist and composer Pietro Riparbelli presents his Vacuum, a symphony in six parts: forty minutes of suspension of time and gravity. Field recordings from empty spaces collide with the reverb from walls, floors and ceilings ... rounded with a sleep, a lucid dream in vacuous disconnection from tactile time and space. A flowing meandering stream of melodic flows and rich analogue textures provided by vintage Italian 70s synthesizers launches Vacuum into the outer reaches of the Stratosfear. 'As I foretold you, were all spirits and melted into air, into thin air...' as Riparbelli's tempest defragments into an inner journey within the void, his jump is a compelling case for mediated personal explorations on the threshold of nothingness, a point in case for the ticking countdown towards the jump off moment, the aural eye of the storm in which all dissolves: a play of forceful magnitude with the ears as movers, shakers and actors, main protagonists, playwrights and performing directors of the plot not given lightly but full of mythical potential. Pietro Riparbelli is an Italian philosopher, composer and sound-multimedia artist. He has released compositions under his own name and as K11 and PT-R. With Michele Ferretti (Nubilum) he forms the duo Zone Démersale. Riparbelli's work has been released by Touch, Gruenrekorder, Cold Spring, Cassauna and Geräuschmanufaktur. Riparbelli lives and works in Livorno (Tuscany), Italy and he is the curator of independent music label Radical Matters. Riparbelli is member of A.I.P.S. (Archivio Italiano Paesaggi Sonori)" --Sven Schlijper. CD in gloss-laminated mini-gatefold sleeve. Limited edition of 500.



IL CIVETTO: Il Civetto CD (EBM 026CD) 15.50
Berlin-based band Il Civetto formed in 2010; after a spontaneous performance on a Berlin train that got all the commuters dancing, they were booked on the spot for a gig at a passenger's party. It all took off from there -- more bookings, two EPs, two music videos. By 2015, Il Civetto have played more than 250 concerts. They are regulars at the coolest Berlin clubs like Ritter Butzke and Kater Holzig. And abroad; Austria, Denmark, the Netherlands, and Turkey have been on their road map. Il Civetto lives in the here and now. They are typical city buskers, constantly improvising. Their set-up consists of acoustic guitar, bass, ukulele, clarinet, saxophone, and a self-made percussion set of cajón, bongos, djembe, snare drum, and cow bell. Il Civetto's songs are never too heavy, but always danceable. Latin passion meets oriental mysticism, created by Berlin boys. Their lyrics are a mix of French, Portuguese, and languages that have yet to be invented. For their self-titled debut album, old and new songs have been rearranged and beefed up with multiple instruments. The stage action is translated into multilayered studio sound. The result is mostly uplifting, swinging, and groovy, but sometimes also mysterious, exotic, and melancholic. Il Civetto's sound can be instantly recognized. Singer Leon's passionate voice has the kind of timbre that can mirror euphoria as well as longing. Somehow their songs manage to make audiences dance wildly at their concerts while listeners relax to the same songs at home. Their fan base grows with every concert.


EB 111CD

ILLBILLY HITEC: Reggae Not Dead CD (EB 111CD) 8.00
iLLBiLLY HiTEC's electronic tinkerings and styles have carved a swathe straight through the middle ground of the "sophisticated" modern reggae prevalent on the German scene. Their intoxicating sound sketches borrow from reggae and introduce elements of breakbeat, hip hop, and pop for masterful club dub. Reggae Not Dead is iLLBiLLY HiTEC's follow-up to their 2013 debut, Reggaeetronics (EB 092CD), and follows lengthy tours with hundreds of shows in Europe and Latin America. While Reggaetronics celebrated a fusion of reggae with electronic elements, this time the Berlin-based band focuses on old-style reggae interpreted for the modern age, conjuring up a varied mix of roots, digital, hip hop, and dub. Singers Longfingah and Tribuman, who also joined the band on tour, feature on the album, as does an international cast consisting of Paco Mendoza, Lengualerta, Daman, Kinetical, Cheshire Cat, La Yugular, and Sonido Satanás, who round off the album with their English, Spanish, French, and Patois lyrics. As a bonus there are four remixes by JStar, Zion Train, Krak in Dub, and Fleck, as well as a riddim selection with versions by Don Caramelo (Raggabund), Lengualerta, Benjie, and The Hempolics from London. With 19 tracks in all, the album proves that reggae from Germany is anything but dead.



QUICKSILVER MESSENGER SERVICE: Cowboy on the Run: Live in New York LP (ECHO 2033LP) 23.00
180-gram vinyl. Includes insert. This unique show offers up a slice of QMS history, with most of the band following other pursuits shortly after its occurrence. Valenti carried on his solo career while Cipollina took Skip Olsen into various offshoot projects. Duncan relocated to Hawaii, Ellmore dropped into the background, and Lewis ventured deep into the disco scene, the conclusion of a period that had promised so much more. Many of the shows on the Solid Silver "comeback" tour of 1975/'76 brought Quicksilver back into the club scene, playing in more intimate surroundings such as My Father's Place in Roslyn, New York. The tour harkened back to their days as psychedelic protagonists from San Francisco. Their appearance at My Father's Place on January 31, 1976, allowed the band to enjoy their respected repertoire that had brought them the deserved attention in the late 1960s. Echoes proudly presents the entire FM broadcast this performance in professionally remastered sound with background liners and rare archival photos.


REED, LOU: I Never Said It Was Nice: Orpheum Theater, Boston MA '76 2CD (ECHO 2043CD) 23.00
Lou Reed's 1976 album Rock and Roll Heart wasn't a showcase for the usual diverse aspects of his musical outpouring; it was a shower of bullets, shot at any given interested targets. Unfortunately for Reed, most of the shots missed, but we can be certain that the gun was loaded. His Boston show from October 1976 at the Orpheum Theatre drew the usual suspects with a snapshot of young punks, and included a performance of "Heroin" that differs remarkably from the more familiar versions rolled out on stage since the early days with Nico et al. and Transformer (1972). WBCN-FM's presence warranted expectations that Reed may not have wanted or respected, but his vision is rarely blurred. The familiar resolute figure took the stage with the singular demeanor he was authorized to parade, but with the quiet seduction and subdued authority that always set him apart. Echoes proudly presents the entire original WBCN-FM broadcast of Lou Reed's astonishing performance at the Orpheum Theatre in Boston, Massachusetts, on October 29, 1976. Professionally remastered original FM recording with background liners and rare archival photos.


REED, LOU: I Never Said It Was Nice: Orpheum Theater, Boston MA '76 2LP (ECHO 2043LP) 31.00
180-gram vinyl. Lou Reed's 1976 album Rock and Roll Heart wasn't a showcase for the usual diverse aspects of his musical outpouring; it was a shower of bullets, shot at any given interested targets. Unfortunately for Reed, most of the shots missed, but we can be certain that the gun was loaded. His Boston show from October 1976 at the Orpheum Theatre drew the usual suspects with a snapshot of young punks, and included a performance of "Heroin" that differs remarkably from the more familiar versions rolled out on stage in the early days with Nico et al. and on Transformer (1972). WBCN-FM's presence warranted expectations that Reed may not have wanted or respected, but his vision is rarely blurred. The familiar resolute figure took the stage with the singular demeanor he was authorized to parade, but with the quiet seduction and subdued authority that always set him apart. Echoes proudly presents the entire original WBCN-FM broadcast of Lou Reed's astonishing performance at the Orpheum Theatre in Boston, Massachusetts, on October 29, 1976. Professionally remastered original FM recording with background liners and rare archival photos.


SONS OF CHAMPLIN, THE: Live San Rafael, CA 1975 CD (ECHO 2048CD) 17.00
The Sons of Champlin are an often overlooked but essential ingredient in the heady cocktail of Marin County's rich musical heritage. The band were more R&B-rooted than their notorious guitar-driven counterparts such as the Grateful Dead and Jefferson Airplane, but their musicianship and formidable talent was recognized and revered by these same icons. The Sons were a mainstay of Bay Area folklore to many although their commercial fortunes cast them into the shadows under the second tier of bands like Big Brother and Quicksilver. The Sons' legendary appearance at the Marin County Civic Center in San Rafael, California, on November 28, 1975, displays a potent psychosis of musical styles in which the band brandish their psychedelic soul-funk stew with a selection of material showcasing their most recent album, The Sons of Champlin (1975), and their follow-up, forthcoming at the time, A Circle Filled with Love (1976). The complete FM radio broadcast of this performance is presented here in professionally remastered sound with background liners and rare archival photos.


OP 013LP

SUZUKI, AKIO: a i sha LP (OP 013LP) 27.50
Needless to say, Akio Suzuki is one of the representative sound artists in Japan. Many of his previous releases are sometimes interpreted as the work of a hermit or wizard creating beautiful sounds with his self-made musical instrument called "Analapos," glass harmonica (De Koolmees), and stone flute, but the title of Suzuki's first sound piece, aidan ni Mono wo Nageru (Throwing Things at the Stairs) at Nagoya Station in 1963, reflects his perspective on the noises in his work. This LP consists of two 2009 performances created with the use of radio. "Howling Objects," with reverberation of a large museum space, and "a i sha," in which the radio moves throughout the museum, can be noise itself, but they exist in accordance with the method of "Oto-date" and "Tadori" for which Suzuki has been continuously searching. Here, an approach to Suzuki's hardcore sound in his nature is surely concentrated. "It was at a solo exhibition in the Minamigaro gallery in Nihonbashi, Tokyo in 1976 when I held the premiere showing of 'Howling Objects'. When I inserted the microphone into the cylinder of the stand type Analapos, and played echo sound, I was surprised to cause a howling. From that incident, I arranged iron 'wappa' boxes (cylindrical containers formed by bending a thin plate), inserted two wireless microphones with echoes in the boxes and moved the position of the boxes to search for a sound. ... In the performance I did at the 21st Century Museum of Contemporary Art, Kanazawa, I used roll papers, microphones and radios to revisit 'Howling Objects'. These radios and microphones used from the 1970s have been increasingly degraded in recent years, so this performance has become the last one. 'a i sha' is a performance in which the two radios used in 'Howling Objects' are loaded onto a small dolly and moved around the museum. After setting the radios to AM, selecting the noise wavelengths and tuning the two radios to be able to hear an interesting rhythm, I adjust the volume to an appropriate level and start. As the sound landscape changes by the directionality of radio by moving over to a corridor, wide space and a window, I share the sound field with the people who happen to be there by chance and the people chasing the dolly" --Akio Suzuki. Full-color cover photo on sleeve. New liner notes in Japanese and English by Suzuki. Limited edition of 250.


EM 1142LP

DAO-UDON, HONGTHONG: Bump Lam Phloen: Essential Hongthong Dao-udon LP (EM 1142LP) 23.00
LP version with insert. How can we explain the power of music? How can songs delivered in a language that we don't understand move us so? This collection contains the very best songs from Hongthong Dao-udon, one of the great Thai singers of the "third generation" of Molam singers and one of the artists who succeeded in fusing Molam with Luk Thung, thus triggering a new generation of singers; in fact, she was the first to sing both genres from the beginning of her career, considering herself to be situated happily between the two styles. But none of this matters, finally, to the listener. This is music, not musicology, and Hongthong Dao-udon sings to us, not the pedants. Her career was brief, and these songs from the late '70s and early '80s are her very best, showcasing her rich vibrato, her masterful control, and the undeniable emotional power of her voice, and carrying us from joy and whimsy to melancholy and desolation. Produced mainly by Doi Inthanon, a legendary independent producer, these songs were very popular in Thailand, and it is easy to hear why, with strong melodies, impeccable swing, interesting arrangements, and, of course, Dao-udon's thrilling voice.

EM 1145CD

FASAWANG, KHWANTA: Lam Phaen Motorsai Tham Saep: The Best of Lam Phaen Sister No. 1 CD (EM 1145CD) 18.00
The best of Khwanta Fasawang, the number-one soulful sister of 1980s lam phaen, queen of the cassette era. She was chosen, from over a thousand demo tapes, by legendary producer and songwriter Doi Inthanon, who wanted to create a new streetwise dance music. The lam phaen genre was the result, and Khwanta Fasawang was the singer he chose to be its representative. Combining earlier musical trajectories with electronic elements and lyrics dealing with drinking and love, money and motorcycles, Khwanta led the cassette-format lam phaen boom of the early '80s, gaining great popularity in both her native Isan and across the whole country. A change in lyrical concerns and the use of electronics has parallels with Jamaican dancehall, and this music can be heard as one of the roots of lam sin, the Thai bass music that began in the '80s and '90s, but these recordings are not mere musicology. This is living music, and very fine music at that. Queen Khwanta, Sister Fasawang. She can't be denied. Selection, liner notes, and cover art by Soi 48. Includes 20-page booklet with English liner notes and lyrics.


ESK 501428R

LINDSTROM & PRINS THOMAS: Lindstrøm & Prins Thomas (10 Year Anniversary Reissue) 3LP/7" (ESK 501428R) 36.50
2015 ten-year anniversary reissue of Lindstrøm & Prins Thomas's genre-defining 2005 debut album. Three 180-gram LPs in special-edition gatefold sleeve with download code and bonus 7" of previously unreleased material (including a 2015 edit of "Feel AM" by Prins Thomas). The Norwegian duo of Hans-Peter Lindstrøm and Thomas M. Hermansen aka Prins Thomas joined forces in 2003, after mutual admiration for each other's productions -- Lindstrøm as muso-wizard and Prins Thomas as the nu-skool remix-champ. They share a background in band projects -- ranging from punk and gospel through country and heavy metal to folk and psychedelia -- and they also share a passion for collecting records. Besides running their respective labels (Lindstrøm's Feedelity and Prins Thomas's Full Pupp) and working on various solo projects, their main priority is their joint venture into the ever-expanding outer limits of futuristic disko and universal boogie. Featuring Italo, funk, and disco-influenced productions alongside the production genius that defined those lost halcyon releases of the post-disco/punk era circa '78-'84, Lindstrøm & Prins Thomas provide lush basslines, sublime melodies, and rolling rhythms that cascade like snowflakes being hit by harsh early-morning sunlight -- icy, but with a heart bursting with pure emotion. Throughout one can find the experimental energy of the continental space-disco of the '80s, which the pair still adore -- melodic, synth-heavy, and Moroder-esque, with arpeggiated basslines set to proto-house 4/4 grooves. Wrap yourself in the basslines and melodies of Lindstrøm & Prins Thomas's sublime Norse code.



BARRY, JOHN: Soundtracks and Singles 1963-1966 3CD (FVTD 230CD) 22.00
The three-CD set Soundtracks and Singles 1963-1966 compiles the original soundtrack albums for Zulu (1964) and Four in the Morning (1965), both composed and conducted by John Barry, together with other recordings he made for Ember Records. The BAFTA-nominated Zulu was directed by Cy Endfield with a cast including Stanley Baker, Michael Caine, and Jack Hawkins. The film depicts British Army's defense of (and the Zulus' fearless assault on) Rorke's Drift during the Anglo-Zulu War of 1879. Originally released in 1964, and here mastered from original stereo tapes, the album comprises soundtrack music (with two of the tracks incorporating narration by Richard Burton) and "A Selection of Zulu Stamps," which are essentially beat instrumentals flavored with southern-African influences performed by the John Barry Seven. Anthony Simmons's Four in the Morning won the Golden Sail award for best feature film at the Locarno International Film Festival, and earned Judi Dench a BAFTA Award for Most Promising Newcomer in 1965. The soundtrack album comprises John Barry's haunting original score plus four excerpts of dialogue featuring Dench, Ann Lynn, Norman Rodway, Brian Phelan, and Joe Melia. The dialogue only exists in mono, so the entire album is presented here in mono, followed by the music-only tracks in stereo, again mastered from original tapes. Both soundtrack albums were originally released on British independent label Ember Records, where John Barry was associate producer and head of A&R in the early '60s. A third disc spotlights other John Barry recordings for the label. These include two UK hit singles: the From Russia with Love theme (here also in an alternative version with organ) and the Barry-produced "Christine," a satirical commentary on the Profumo affair, credited to the mysterious Miss X, as well as "Fancy Dance," which served as the theme to the BBC's twice-weekly soap opera The Newcomers from 1965 to 1967. Barry (1933-2011) was one of the best-known composers of film music in the world. He went on to score many notable soundtracks, including the award-winning Born Free (1966), The Lion in Winter (1968), Midnight Cowboy (1969), The Cotton Club (1984), Out of Africa (1985), and Dances with Wolves (1990). In 1999 Barry was appointed OBE for services to music, and in 2002 he received the GoldenEye award, courtesy of the Ian Fleming Foundation.



THEE ARCADIANS: We Have Come for Your Parents LP (FTR 231LP) 18.50
"New England has a long tradition of teenagers being raised in caves. Local histories are rife with descriptions of shaggy teenaged gangs appearing in towns and hamlets, usually in late Autumn, causing massive amounts of trouble before disappearing once more into the hills. The members of Thee Arcadians count no literal cave-dwellers amongst their number, but the semiotic weight of their message is as raw and subterranean as any you will hear this year. The band is young, but most of the members have been playing in various configurations since not long after ditching their diapers. We've been hearing rumbles from them for as long as we can remember. But it's only with the formation of Thee Arcadians, and their decision to stick around and work on their material for a (relatively) good long while, that we're really able to appreciate how far they've come. The material on this debut album wears some of its debts on its sleeve (Mummies, Ty Segall, etc.), but there are lots of wild tongues buried in the rush of raunch here. The album is a sweet slam to the side of your head, and will make you see stars in a whole new way. Packed in a lovely Gary Panter cover, this is what you always hoped New England Cave Teens would sound like. Dig It" --Byron Coley, 2015. Edition of 300.



FROM KARAOKE TO STARDOM: Bone Silence 10" (FENOU 024EP) 14.00
Limited hand-numbered 10". From Karaoke to Stardom presents Bone Silence, preceding his second album, Little Voodoo Dolls. This single offers insight into Jeremy Herpe's mix of analog synth sounds and drum machines with organic, natural sounds like rain or speech samples -- a blend that makes space for unexpected turns and breaks. Named after a Parisian metro station, "Rue des Bullets" is full of retro-futuristic sounds, while the unreal "Bone Silence" shows his experimental, uneasy-listening side.



SATO, MASAHIKO: Belladonna LP (FKR 079LP) 26.50
"There was a time when the strength of a musician's vision transcended all labels; here is a chance to dip into that pool again, and emerge not just refreshed, but alive again with the sense that we all can live in that world again, but most importantly raise the flag for excellence. Fantastic." --Jim O'RourkeAn unholy grail of near-mythical status is finally now available in the form of this first-ever reissue. Masahiko Sato composed this elusive, sensual, psychedelic free jazz score for the stunning 1973 Japanese witchcraft animation Belladonna of Sadness (Kanashimi no Belladonna) directed by Eiichi Yamamoto. Since the mid-2000s, Belladonna of Sadness has risen from the ashes and now shines brighter than ever. Now, on the eve of its third or fourth global DVD release in 2015, fans no longer have to settle for third-generation VHS telecine dubs or stuff their wish-lists into the hands of lucky friends visiting Tokyo. Belladonna has been used as nightclub projections by clued-up VJs and been restored by discerning feminist folk singers and improv bands while influencing illustrators, fashion designers, and other creative types along the way. Original copies of the soundtrack, however, are much less likely to rear their heads, with prices literally doubling each time the original stock copies swap hands among the same Italian dealers at central European record fairs. Italian soundtracks are expensive anyway, but this one, originally released by the Italian Cinevox label in 1975, has extra credentials. Finders Keepers Records and Sato himself agreed that this record should finally be liberated among those who know the magic words. With the decision to keep this album "strictly Sato," a track from the original release has been removed -- the main orchestral love theme by Asei Kobayashi and Mayumi Tachibana -- which in all honesty is very much detached from Sato's psychedelic soundtrack. Kept intact, however, are the songs sung and penned by Sato's wife at the time, Chinatsu Nakayama, including the track titled "TBFS," which only appears on the master tapes and never actually made it onto the theatrical cut of the film (though the theme is briefly alluded to, with different instrumentation, in a cut-scene available on the German DVD release). This reissue project also marks the beginning of a longer intended relationship between Finders Keepers and Masahiko Sato, exploring his recorded work in film music, jazz, and avant-garde composition.


FD 094CD

KLEISTWAHR: The Return CD (FD 094CD) 14.50
Following the 2014 release of Kleistwahr's album This World Is Not My Home (FD 091CD), Fourth Dimension Records presents a remastered reissue of The Return, originally released as a limited-edition LP by Noiseville in 2009 and long out of print. Gary Mundy (Ramleh, Breathless, Broken Flag founder, etc.) never felt completely satisfied with the Noiseville release, so he digitally remastered the album for this edition, which also includes two previously unreleased bonus cuts. This release captures Mundy's original intention to render the music at once powerful and dynamic in a setting where volume is a significant part of the sound. As with Mundy's long-running group Ramleh, the music of Kleistwahr stems from a place both angry and anguished. Underpinned by a huge sense of existential despair, a sense of urgency and frustration likewise screams from this music. Long known for his part, along with Whitehouse and Consumer Electronics, in creating a music subsequently known as "power electronics," itself copied by hundreds of groups to lesser effect or seen as a wellspring of inspiration by countless others often removed from this form, Mundy's own forays have always ventured far beyond such convenient trappings. Kleistwahr, his solo enterprise, testifies to this exploration and, more importantly, to Mundy's place as a progressive and highly accomplished visionary artist deserving of far more than his status as merely a cult concern. The Return witnesses electronic music once more teased and reshaped into something highly original by one of the genre's master craftsmen. Listen to it as loud as your ears can take. Packaged in gatefold Broken Flag-style sleeve.



MANTRONIX: Needle to the Groove 7" (GET 739EP) 11.00
"Kurtis Mantronik and MC Tee formed the group Mantronix In the early 80s. Their Sleeping Bag Records debut - Mantronix: The Album shot to commercial success with its wildly futuristic sound that is summed up perfectly with the two songs featured on this 7". Side A features 'Needle To The Groove' which is classic Mantronik production; pounding 808, pulsing bass, lots of scratching all accompanied by MC Tee's signature voice. Side B features the equally amazing (and the first single from the group) 'Fresh Is The Word'. While encompassing the same trademark style of 'Needle..', 'Fresh Is The Word' is a little more stripped down putting more focus on the beats and rhymes. Both these songs are essential to the foundation of Hip Hop which was starting to push the envelope of technology and sampling during this time putting Mantronik at the forefront of this movement."


JUST ICE: Cold Gettin' Dumb 7" (GET 740EP) 11.00
"'Cold Gettin' Dumb' remains one of the most exhilarating tracks from an era when hip-hop was inventing itself day by day. Mantronik's production was so ahead of its time, and when coupled with Just Ice the combination was pure fire. This song still to this day might be one of the hardest beats ever made in Hip Hop. 10 years after its release Redman tried to recreate the beat for his single 'It's Like That (My Big Brother) but the fact that Mantronik had programmed and sequenced 'Cold Gettin' Dumb' live you can hear the difference which makes the original beat unmatched."


GR 854LP

WHITE BIRCH, THE: Star Is Just a Sun LP+CD (GR 854LP) 22.00
LP version. Includes CD. First vinyl edition. Rodge played keyboards and bass in The White Birch. Together with Hans Christian Almendingen and Ola Fløttum he released four albums and one EP between 1996 and 2005. After that the band disappeared, until Fløttum returned with the album The Weight of Spring in 2015 (GR 830CD/LP). Thirteen years before, The White Birch released its masterpiece, Star Is Just a Sun, on Glitterhouse Records. Keyboard spaces, piano melodies, soundscapes, a slow pulsating bass, and quiet drums, with Fløttum's warm, high voice adding even more gentle textures. The White Birch are from Oslo, Norway, and were musical comrades to Savoy Grand. It was the second wave of slowcore. Unlike their British label-mates from Nottingham, The White Birch spread out a warm carpet, on one side depressingly heavy and on the other gentle. Their sound was painted in a dark, blurry yellow, like falling leaves in autumn. Maybe Star Is Just a Sun could only have emerged in that period. A monument to silence. At that time print media was the gatekeeper to most music aficionados. It was word of mouth -- and occasionally blogs -- that spread the news of the existence of this new band. They brought pop into slowness. Like Mark Hollis's masterpiece The Colour of Spring (1986), Slint's Spiderland (1991), Codeine's Frigid Stars LP (1990), or even Savoy Grand's Burn the Furniture (2002), Star Is Just a Sun stands the test of time. A painting without darkness can't be warm and beautiful. Remastered from the original tapes by Helge Sten (Supersilent, Motorpsycho, Nils Petter Molvær).



SEGALL, TY: Ty Rex CD (GONE 105CD) 15.00
"The Ty Rex corner of Ty Segall's oeuvre represents the nom-de-rock behind which the artist puts his spin on favored Tyrannosaurus Rex and T. Rex compositions. With previous releases now dwelling in out-of-print nether-regions, the album compiles the six-song Ty Rex EP (a.k.a. Ty Rex I, originally released by Goner as a limited edition 12-inch for Record Store Day 2011) and the two-song Ty Rex II 7-inch (RSD 2013). As if this wasn't enough of a corrective gesture, Ty Rex is expanded to include a previously-unreleased cover as a bonus -- but first... For those who missed out on this nook of Segall's rapidly-growing footprint across the rock landscape, here is a cursory rundown: The compilation showcases a nice balance between T. Rex's '67-70 psych-folk incarnation under the name Tyrannosaurus Rex and the better-known pioneering and perfecting of glam-rock that defined the initial '71-73 era under the shortened T. Rex moniker. Kicking things off is the thick, woozily rocking interpretation of 'Fist Heart Mighty Dawn Dart,' one of two covers pulled from Tyrannosaurus Rex's fourth and best album, 1970's A Beard of Stars. Segall then double-dips into the consummate T. Rex (and for that matter, the entire glam-rock movement) achievement, The Slider, with a rendition of 'Buick MacKane' followed by an excellent dirtying-up of the title track."


SEGALL, TY: Ty Rex LP (GONE 105LP) 20.00
LP version.


HH 021LP

METHENY GROUP, PAT: Live Chicago '87 LP (HH 021LP) 23.00
180-gram vinyl. Includes insert. In 1986 Pat Metheny released Song X, an uncompromising free jazz collaboration with Ornette Coleman. He then signed with Geffen Records and recorded the considerably more accessible Still Life (Talking) (1987), for which the Pat Metheny Group won the 1988 Grammy Award for Best Jazz Fusion Performance. This superb set was recorded at The Vic Theatre in Chicago on November 29, 1987, for broadcast on WXRT-FM, and features several cuts from that album, as well as a handful of other classics; the complete broadcast is presented here in digitally remastered sound with background notes and images.



LE BERGER: Music for Guitar & Patience CD (HOMEN 070CD) 16.50
"The two go hand in hand like a dance: chance flirts with necessity, randomness with determinism. To be sure, it is from this interchange that novelty and creativity arise in Nature, thereby yielding unique forms and novel structures." --Eric Chaisson"Random occurrences. Sunlight bursting through treetops. Accidental beauty. These things are not just confined to nature and landscape. Le Berger is Montreal native Samuel Landry. Deeply moved and inspired by Ithaca Trio's Music for Piano & Patience (Home Normal, 2013), he sought out to make new material, choosing to work with methods that he felt were similar. Unused guitar samples from fifteen years ago became the sole source material, providing the album with a wistful, folky kind of ambience. While ambient textures provide a blissfully drowsy background, the guitar evokes and mirrors the calm feeling of leaves rustling in the breeze, or light on the ocean exploding into millions of individual flecks as the waves come in to shore. As random as they may be, it never startles the listener. It is music mirroring life. A work born from a marriage of chance, randomness and composed elements, it results in Le Berger's most evocative and poetic work to date." --Fuzz LeeAcoustic guitar and patience by Le Berger with the electric guitar help of Stefan Christoff on "sgfoj;dfsgoj;bdgafe." Mastered by Ian Hawgood. Cover photograph found by Samm Bennett; source and subject unknown. Glass-mastered CD in vintage-style leather matte case with litho-print recycled inlay and handmade washi insert. Edition of 500.



STEEL AN' SKIN: Afro Punk Reggae Dub 12" (HJP 045EP) 11.00
2015 repress. From the Honest Jon's 'hood -- Ladbroke Grove, late 1970s -- stomping disco, dubwise reggae and regal steel-band. Three-track EP, released in conjunction with EM Records from Japan.


DRESVN: First Voyage 12" (HJP 079EP) 12.00
"First Voyage (DJ Sotofett's Extended Mix)" is a bumping, carnivalesque, cosmic excursion, warmly analog and swinging, featuring the return of DJ Sotofett to Honest Jon's; then "Sleepy Bay," a kind of breather; and finally "Tippu Tip's Ghost," 15 rounds of ecstatic, ruthless, spangled minimalism, looking straight into the eyeballs of Tippu Tip, and back out. "Garland yourself in all the green there is -- ivy green, new grape green, green of bottles, green of the honeyed muse, green undaunted by reason or delirium, green of jealous joy, green of the secret holy violence of the thyrsos, green of the sacred iridescence of the dance..."


VA: Son Cubano NYC: Cuban Roots New York Spices 1972-82 2LP (HJR 010LP) 23.50
"Almost all of the Afro-Cuban music in this compilation fell under the new marketing category 'salsa' (up till then it would have been simply called Latin music), and its cradle was New York City, where the tradition flourished amidst the constant mix of ethnicities and so many styles of music. It was inevitable that Afro-Cuban music would proliferate in new genres reflecting its new home. Afro-Cuban jazz was born in New York City, through the amalgamating creativity of musicians like Chano Pozo, Machito, Duke Ellington and Dizzy Gillespie. ... The recordings on Son Cubano NYC were made over the decade beginning 1972, for the new Salsoul and SAR labels and their sisters Mericana and Guajiro. For the trumpeter Chocolate, the music has 'broader harmonies and touches of jazz phrasing, but never leaves the raices and cinquillo... Cuban music is natural -- its essence is its raices [roots]'. For the singer Henry Fiol, 'New York salsa is a hybrid. When Cuban music moved to New York it added another flavour.' Latin music was exploding in the City. You could hear deejays like Polito Vega playing on the radio at any time of day; you could go dancing any night of the week, throughout the boros, at clubs like Corsos, Casablanca, Bronx Casino, Ochentas, Club Cabrojena, Carlos Ortiz' Tropicana, Hunts Point Palace. And yet -- held back because of the unmistakable Cuban personality of its music -- 'the success of SAR was due mainly to word of mouth', as co-founder Sergio Bofill recalls. ... This was still the period of the Cold War -- when Eddie Palmieri was accused of 'communist salsa' for his song 'Mozambique' (which isn't even salsa) -- and the radio stations did their bit to suppress Cuban culture. Within a few years -- by the mid-80s -- New York salsa was becoming stagnant: 'boring and monotonous', in the words of historian Max Salazar; for Charlie Palmieri, 'Europeanized' in its disavowal of improvisation. The music-making on this album was dismissed as old-fashioned. Actually -- in the glory of its long, flowing, rootsy forms, in the irresistible spell it casts on dancers everywhere -- it is timeless." Includes tracks by Rey Roig y su Sensacion, Charlie Rodriguez y su Conjunto, Alfredo "Chocolate" Armenteros, Henry Fiol, Lita Branda, Roberto Torres, Los Jimanguas, Fernando Lavoy y los Soneros, and Angelo y su Conjunto Modelo.


VA: London Is the Place For Me 2: Calypso & Kwela, Highlife & Jazz From Young Black London 2LP (HJR 016LP) 23.50
2015 repress; originally released in 2005. Another installment of amazing music from the first wave of modern black settlement in England. The focus remains on the '50s, with classic calypsos running alongside the African jazz of Ambrose Campbell -- the father of modern Nigerian music -- and some blistering high-life. Among the contributions from the '60s there is some South African kwela (featuring Chris McGregor) and a jazz-dance percussion workout from the Trinidadians who put the Notting Hill Carnival on London streets. The LPs are housed in a gatefold sleeve with a beautiful folded insert. There is a trenchant introduction by Paul Gilroy, full discographical notes, and numerous wonderful photographs. Includes tracks by Young Tiger, Ambrose Campbell, Mona Baptiste, West African Rhythm Brothers, Lord Kitchener, Lord Beginner, The Lion, Tunji Oyelana, Shake Keane & His Highlifers, King Timothy, West African Swing Stars, Gwigwi Mrwebi, Russ Henderson, and Rans Boi's Ghana Highlife Band.


VA: Lagos All Routes 2LP (HJR 017LP) 23.50
2015 repress; originally released in 2005. Honest Jon's presents the second of two compilations (Lagos Chop Up (HJR 015LP) being the first) focusing on music from the Nigerian city of Lagos circa the 1960s, 1970s, and 1980s (considered to be the golden age of African popular music). With many African nations fighting for (or gaining) independence, locally produced modern music was seen as a powerful expression of new national identity. Bands either modernized folk, classical, or traditional African genres, or Africanized foreign genres such as R&B and funk. From West Africa came '60s highlife, which then influenced Fela Kuti's Afro-funk of the '70s, while from the traditional Yoruba religion came juju, fuji, waka, and apala tracks, all of which are included here. Includes tracks by Chief Commander Ebenezer Obey & His Inter-Reformers Band, Sir Victor Uwaifo, Travellers Lodge Atomic 8, Sagbeni Aragbada, Super Negro Bantous, Cardinal Rex Jim Lawson, Ambali Adedeji, Chief Umobaurie and His Group, Mike Ejeagha, Kollington Ayinla, The Harbours Band, Haruna Ishola, Dr Victor Olaiya, and Sir Patrick Idahosa.


VA: Africa Boogaloo: The Latinization Of West Africa 2LP (HJR 041LP) 23.50
2015 repress; originally released in 2009. Honest Jon's presents a collection of music from '60s and '70s West Africa that is heavily influenced by Latin sounds from the era, representing a mutual cultural exchange that would have a permanent impact on the evolution of each region's trademark sound. Much of what makes modern Latin music so irresistible came from Africa in the first place. When the first waves of African rhythms, reconstituted in the Caribbean, returned home on radios and records, Africans -- especially in West and Central Africa -- received them with great enthusiasm. Staid dance bands that replicated European music soon began to swing as Caribbean accents settled in their rhythm sections. By the 1950s, Africa had produced its own Calypsonians, and more than one African musician changed his name to give it a Latin flavor. Some even composed songs in Spanish, while others wrote nonsense lyrics that only sounded like the real thing. No band mixed local and Latin styles more successfully than Orchestre Baobab and its leader Balla Sidibe. The mesmerizing "On Verra Ca" finds Baobab leaning in the direction of the stuttering mbalax sound that Youssou N'Dour carried to great popularity. Other Senegalese bands followed the trend, like the Rio Band, Orchestre N'Guewel, and Laba Sosseh from Gambia (like his compatriot Amara Toure) who styled himself as a salsa singer after his hero Johnny Pacheco. From Benin, Gnonnas Pedro sang in every pop style imaginable, but he seems especially at home in an Afro-Cuban embrace, as you will hear on the 1977 recording "Adigbedoto." The closing track also comes from Benin, a 1976 recording by the celebrated Orchestre Poly Rythmo -- though the singer, Pierre Tchana, hails from Cameroun. "Quiero Wapacha" features another Camerounian singer, Charles Lembe, and also from Cameroun is legendary African Jazz saxophonist, Manu Dibango, who is featured here alongside Le Grand Calle and Cuban flutist Don Gonzalo. Orchestre OK Jazz recorded any number of Afro-Cuban inspired sides: "Micorrason" is one of the band's earliest songs, recorded soon after their formation in 1956. There is no better evidence of the push-me-pull-you, back-and-forthing between two cultures than the Afro-Latin compilation we have here. All the flow from an unparalleled period of exuberance and creativity after World War II had ended and before homegrown tyranny had yet to descend on the land. It was Africa's moment, optimistic and free. You can hear it in the music. --Adapted from text by Gary Stewart, author of Rumba On The River: A History of the Popular Music of the Two Congos.



TCB: Rather Happy Songs 12" (HIOK 007EP) 12.50
Chris Beißwenger (formerly known as TCB (The Citizen's Band)), has, since thre breakup of his Arto Mwambe duo, gone deep into modular synthesis and released on labels such as Live at Robert Johnson, Tasteful Nudes, and Story. These three mid-tempo techno ballads will get your mind moving and spirit floating while your body falls into an instant trance dancing to these highly hypnotizing pieces. Includes a remix by Roman Flügel.



SCION, PETER: Through My Ghost LP (HUNTLEYS 022LP) 19.50
180-gram vinyl. After hearing the strange synth-folk music of Peter Scion on a cold wave mix by French DJ Clement Meyer for its site, the Huntleys + Palmers label carried out a bit of detective work and finally tracked down the creator to Borås in rural Sweden in 2015. To cut a long story short, having turned up at his door almost 15 years after this music was made, the label now presents Peter Scion's first proper release outside of a few CD-Rs distributed in his homeland, bringing his music to a wider audience. Includes an exclusive insert designed by Anna Kraay, which details the full story of how the label discovered Peter Scion.



OEHLEN, MARKUS: Wanne 4 10" (IGR 008EP) 28.50
Renowned German artist and musician Markus Oehlen's "Wanne 4," an homage to the sound of The Feelies' early recordings, is a beautiful piece of woozy instrumental techno for people who prefer Palma to Ibiza and Jessy Lanza to Katy Perry. Oehlen's first physical release since 2003 (Rock & Roll Is Here to Die, Blue Chopsticks). Single sided mint-green 10" with screen-printed B-side. Includes numbered insert, photograph, and download code for "Wanne 4" plus two bonus tracks. Handmade artwork by Paul McDevitt and Cornelius Quabeck. Screenprint by Ulrich Schmidt-Novak. Mastered by Rashad Becker at D&M, Berlin. Numbered edition of 300.



Philip Smart was one of the great engineers to learn his trade as understudy to the legendary dub master himself, Osbourne "King Tubby" Ruddock. Alongside other luminaries such as Prince Jammy and Scientist, Smart would step in at the controls when the demand for King Tubby's studio dubs grew to such an extent that each single was expected to carry a version or dub on the flipside. Smart moved to the United States in the late '70s, and in 1981 he opened his successful HC&F Recording Studio in Freeport, Long Island, New York. It produced some sizeable Jamaican dancehall hits for his two record labels, Tan-Yah and Eclipse Records. The studio's creations have included tracks like Dirtsman's "Hot This Year," "Rikers Island," and, most notably, Shaggy's "Oh Carolina," "Big Up," and "Angel." But it's the heady days of the early 1970s, up to 1976, that this release focuses on, when the version was king and Smart was at the controls mixing up some fine dubs with Jamaica's finest musicians The Aggrovators, working some of producer Bunny "Striker" Lee's rhythms in fine style. CD includes four bonus tracks.


LP version.


JAM 13007LP

PROFESSOR LONGHAIR: Hadacol Bounce LP (JAM 13007LP) 20.00
Fusing diverse elements of blues, barrelhouse boogie-woogie, funk, and gospel with mambo, rhumba, and second-line street parade rhythms, Professor Longhair's contribution to today's musical vocabulary is immeasurable. You can't listen to Fats Domino, Dr. John, Allen Toussaint, James Booker, or Huey Smith without recognizing the unique "Fess" imprinting. This compilation of B-sides, rarities, and alternate takes, recorded between 1949 and 1957, honors one of the great and unique talents in rock and roll history.


KK 088CD

WELLS & FRIENDS, BILL: Nursery Rhymes CD (KK 088CD) 15.50
"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."


KH 9028LP

ZAPPA AND CAPTAIN BEEFHEART, FRANK: Providence College, Rhode Island, April 26th 1975 3LP (KH 9028LP) 36.50
Repressed. Keyhole presents a triple LP edition of its double CD set Providence College, Rhode Island, April 26th 1975 (KH 9028CD). Childhood friends and fellow rock visionaries Frank Zappa and Captain Beefheart put aside their differences to tour the US together in the spring of 1975 -- Beefheart's only tour with The Mothers of Invention. The resulting shows found them both in superb form, as evidenced by this legendary 1975 set, preserved in superb fidelity. This edition is pressed on 180-gram vinyl, features remastered sound, and includes an insert with background notes and photos.


LR 324LP

AFFINITY: Affinity 2LP+CD (LR 324LP) 31.00
2011 release. With the release of their 1970 debut, Affinity broke the British jazz-rock mold by combining the hauntingly powerful vocals of Linda Hoyle (lauded as the British Grace Slick) and the Hammond wizardry of Lynton Naiff (in the style of Brian Auger), with convincing elements of psych and blues. Featuring 8 rare bonus tracks from the period. Includes bonus CD of the entire double album.

LR 329LP

TANGERINE DREAM: The Deep Run To Vegas PIC. DISC (LR 329LP) 23.00
2014 release. Highly influenced by artists like Salvador Dalì, Tangerine Dream began life as a kind of surrealism in music. After having sold off all of their "traditional" music equipment, the Berlin-based band began using strictly electronic devices like synthesizers, sequencers, mellotron, moog and other self-built toys. These rare recordings trace the band from this initial experimental period (1972), through to its commercial success with Virgin later on in the decade.

LR 345LP

MOTORHEAD: Iron Fist And The Hordes From Hell PIC. DISC (LR 345LP) 23.00
Motörhead's first live album, recorded in early 1978 at The Roundhouse, less than a year after the release of their groundbreaking, self-titled debut. This is vintage, ?take-no-prisoners' Motörhead, and the band (playing a mix of originals and a few speedfreak versions of early R&B, country and British blues songs) is a fast and furious machine. Punk rock step aside...this is Motörhead.

LR 346LP

GEORDIE: Hope You Like It LP+CD (LR 346LP) 23.00
2012 release. Probably best remembered as lead singer Brian Johnson's band before AC/DC, the Newcastle-based hard rock band Geordie was actually led by guitarist Vic Malcolm, who did almost all of the song writing on the albums. Their 1973 debut, Hope You Like It, included hit singles "Don't Do That" and "All Because Of You", landing Geordie firmly on the map somewhere in the vicinity of bands like Slade. While Geordie may not have been as groundbreaking as AC/DC, Johnson was certainly off to a solid start in a band hailed at the time by fans and critics alike. Bonus CD of the album included.

LR 349LP

2012 release. By the time this album was released, Antonio Carlos Jobim was already an international superstar. Having recently won a Grammy (1965) for "The Girl From Ipanema", by 1967 all the big name stars from up north were breaking down his door to work with the new "Gershwin of Brazil." In fact, Jobim had just finished working on an album with Frank Sinatra when he went into the studio to record this album. Recorded in 1967, Wave is actually one of the lesser known masterpieces of Brazilian music, and undoubtedly one of Jobim's greatest. Here Jobim and the great Claus Ogerman lead a top-flight cast on hidden classics like Batidinha, Triste and Wave.

LR 352LP

CAN: Out Of Reach PIC. DISC (LR 352LP) 23.00
2014 release. Originally released in 1978, Out of Reach was one of Can's last albums before their official disbandment in 1979. Here original bass player Holger Czukay is replaced by a much more funky Rosko Gee (of Traffic Fame)--who plays a prominent role in shaping the sound of this album, writing and singing on a number of the album's tracks--while drumming duties are shared between Jaki Liebezeit and Reebop Kwaku Baah (also from Traffic), making this one of Can's more groove-heavy releases.

LR 353LP

CAN: Can (Inner Space) PIC. DISC (LR 353LP) 23.00
2014 release. 1979's, Can (aka Inner Space), the band's last proper album, was less experimental than its previous releases, with Michael Karoli doing more straightforward vocals and guitar. Having spent the previous decade taking elements of the classical avant-garde (i.e. Karlheinz Stockhausen) and underground rock (i.e Velvet Underground) to create a kind of genreless "new music"--and influencing countless bands in the process--Can had reached the natural end of its journey. Although founding members Irmin Schmidt (keyboards) and Jaki Liebezeit (drums) can still be heard, Rebop Kwaku Baah and Rosko Gee of Traffic fame have been added to the mix, with former bassist Holger Czukay doing the editing.

LR 358LP

NEW YORK DOLLS: Live At Radio Luxembourg, Paris 1973 PIC. DISC (LR 358LP) 23.00
2014 release. Before punk rock had a name, its name was the New York Dolls. Recorded for a radio broadcast in Paris in December 1973, this is arguably THE best existing live recording of the Dolls in their prime, complete with stage banter, appalling attempts at fake French accents and a whole lot of drug fuelled attitude. It's almost as if you were there, and for those of us who weren't, this is definitely the next best thing. In addition to thrashing through their "hits," the Dolls revealed their roots in covers of Bo Diddley, Muddy Waters, and New York's original bad girls, the Shangri-Las.

LR 360LP

BEATLES, THE: This Is...The Savage Young Beatles PIC. DISC (LR 360LP) 23.00
Riding the wave of the German beat craze of the early sixties, British singer Tony Sheridan became a regular on the Hamburg club circuit, recruiting an ever-changing roster of back-up musicians that included, in 1961, a nascent Beatles featuring John Lennon, Paul McCartney, George Harrison and Pete Best. Although still very much on the scene, bassist Stu Sutcliffe did not appear on these sessions. While most of the songs here are covers sung by Sheridan, Lennon and Harrison did write the instrumental "Cry For A Shadow". Hamburg is also where the Beatles first picked up the mop-top.

LR 405LP

QUICKSILVER MESSENGER SERVICE: Live At The Old Mill Tavern, Mill Valley, CA - March 29, 1970 LP+CD (LR 405LP) 25.00
2013 release. One of the most highly regarded live recordings of the band's career, this early 1970 date features the Just For Love/What About Me line-up with the addition of blues harp legend James Cotton. Culling together material from What About Me and 1971's Quicksilver as well as some great blues based jams, this title is an all-time live Quicksilver classic and this deluxe packaged edition with clear vinyl and a bonus CD featuring extra tracks from the same date is the only way to own it.

LR 407LP

QUICKSILVER MESSENGER SERVICE: Live At The Winterland Ballroom In San Francisco, CA - December 1, 1973 LP+CD (LR 407LP) 25.00
2013 release. For an era and city that are ripe with legendary psychedelic shows, April 15, 1970 at Winterland is a particularly compelling night. Quicksilver Messenger Service appeared alongside The Dead and The Airplane, combining to make what many might argue is the holy trinity of the SF Sound. For a show of such epic proportions, surprisingly little is known about it outside of the recordings that are available -- there is no known poster or handbill, and some suggest that the band promoted the show themselves outside of the monopolizing clutches of Bill Graham Presents. Regardless, the music and recording quality are unparalleled and Quicksilver's set is as good as it gets. Presented here in a deluxe clear vinyl addition with a bonus CD featuring an extra track.Despite being at the tail end of Quicksilver's career, this live date from Winterland on December 1, 1973 shows that they were still a force to be reckoned with live. Headlining a bill that also featured Cippolina's new project, Copperhead, as well as the Sons Of Champlin, Quicksilver rip through a number of classics from their catalog. Though primarily Valenti's band towards the end, this live set features all of the original members and is a particularly rollicking live effort. Presented here in a deluxe clear vinyl addition with a bonus CD featuring extra tracks.



HOOD, ROBERT: The Greatest Dancer 12" (MPM 014EP) 12.50
2015 repress; the latest release in the Perpetual Masters series, which sees the M-Plant catalog being remastered and re-released, is the classic The Greatest Dancer. A disco-styled techno track which was originally released on M-Plant in 2001 with a live version of the title track from Motor City, Detroit. This remastered version is accompanied with a new disco-styled techno track called "Dancer."


MK 341LP

CALLOWAY, BLANCHE: Without That Gal! LP (MK 341LP) 19.50
Blanche Calloway was the sister of both famous jive bandleader Cab Calloway and the lesser-known performer Elmer Calloway, one of the best jazz vocalist of the era, the recordings are all in chronological order and recorded in various location where the artist was performing.

MK 342LP

RODGERS, JIMMIE: Blue Yodel No. 1 LP (MK 342LP) 19.50
The Father of Country Music, among the first country music superstars and pioneers of the era, his yodel has become famous to everyone, the recordings are all in chronological order.

MK 343LP

SNOW, VALAIDA: Until The Real Thing Comes Along LP (MK 343LP) 19.50
Valaida Snow might well be counted among the greatest entertainers of the early 20th century, her voice has enchanted the audience of America and Great Britain, 16 tracks in chronological order.



The track titles on Kamikaze Space Programme's Ballard are taken from the chilling techno-criticism and dystopian visions of the late J. G. Ballard's fiction. It's a translation of Ballard's high-wire suspense and hyper-modern aesthetics into rhythmic, incisive electronic music, from the shuddering bass , corroded percussion hits, elevator-shaft ambience, and eerily obscured vocal samples of "High Rise" through the tactile "slamming door" percussion of "Low Flying Aircraft" and the white noise, audio grit, and alarm buzzes of "Concrete Island" to the deceptively delicate bell tones, tranquil synth pads, uniquely springy industrial rhythm, and floor-shaking low-end frequencies of "Day of Creation."



INSPIRESCU, PETRE: Vin Ploile 2LP (MUSIQ 192LP) 25.00
Double LP version. Since the release of his first EP, Tips, on Luciano's Cadenza label in 2007, producer and DJ Petre Inspirescu has emerged as one of the key figures of the Romanian electronic music scene, with releases on Vinylclub, Lick My Deck, Amphia, and [a:rpia:r], which he launched with his buddies Rhadoo and Raresh in 2007 as platform for them and other producers from Romania and elsewhere to release detailed, grooving house and techno with delicate structures and one-of-a-kind grooves. Both of his more dancefloor-oriented solo albums, Intr-o Seara Organica... (2009) and Gr?dina Oniric? (2012), are enlarged with melodies, sounds, and harmonies that go beyond the usual characteristics of a dance album. His love for classical composers like Mily Balakirev, Alexander Borodin, and Nikolai Rimsky-Korsakov can be felt in his album P?durea de Aur (Opus 2 in Re Major) (2011), released under his ?Ensemble alias on the Romanian Yojik ConCon label and intended to unite classical spheres with analog electronic music production. In February 2013 he released his highly acclaimed fabric mix CD, containing only his own productions (FABRIC 135CD). Petre Inspirescu now follows his 2014 debut on Mule Musiq, the Talking Waters 12", with Vin Ploile. Although he's established himself as an internationally in-demand house DJ, performing regularly at all the major clubs, festivals, and party destinations around the globe, Petre Inspirescu offers no easy rhythms, melodies, or harmonies on Vin Ploile. As a musician Petre Inspirescu always tries to explore the infinite space of sound with a heartfelt human touch. To create Vin Ploile, he combined piano, string, and wind instruments with analog electronics; a deep ocean of sound forms from live improvised sessions that were edited, tweaked, and mixed to perfection, with unusual analog synth sounds fluidly grooving with subliminal bass shapes, Latin percussion, jazz rhythms, and acoustic melodies. Together they create a gaseous kinetic atmosphere full of tangible rhythm patterns, delicate chords, and ghostly modular synth pads, all subtly mixed to create space for the tones between the tones. A hypnotic after-hours album dedicated to evoking a deep listening experience, with brilliantly textured arrangements of super-charged ambient sound that goes beyond the usual definition of the genre. These suspenseful compositions seduce with a deep melodic sensibility, delivering harmonic adventures and an overall rhythmic ambience of freshness and laid-back enthusiasm. Together they represent a challenging auditory experience that will resonate in your mind long after the music has finished.


NEOS 11508CD

To an extent unequalled by any other instrument, the piano can become a kind of workshop or laboratory. Almost anything can be realized on it, although it is limited in timbre and tone production compared to other instruments or an orchestra. But this is precisely the quality that turns it in the direction of musical abstraction, which can be of interest to composers. Free of specific ensemble requirements, compositional ideas can be tried out on the 88 keys in downright exemplary fashion. One could regard the piano works of Marcus A. Wesselmann presented here as a compositional laboratory of this kind. Moritz Eggert, who performs Wesslemann's piano works here, was born in 1965 in Heidelberg, Germany. As a composer he is glad not to be pigeonholed into any of the usual categories, a fact that bewilders both avant-garde and classical concert audiences. Through projects often discussed in the media -- including Die Tiefe des Raumes (a "Fußballoratorium" or soccer oratorio, written for the Ruhrtriennale festival and commissioned by the cultural program of the 2006 World Cup) and Freax (an opera created in collaboration with Christoph Schlingensief) -- he constantly attempts to undermine the customary image of new music as an affair exclusively for expert audiences. As a pianist, singer, conductor, and performer, Eggert is not only committed to contemporary music but also to the classical repertoire, especially in the areas of lieder and chamber music. He carries on the "Bad Blog of Musick" for the Neue Musikzeitung, the most widely read blog on the subject of contemporary music in Germany. He lives in Munich with his wife, the writer, poet, translator, and literary scholar Andrea Heuser, and their children Milo and Siri.

NEOS 11511CD

KESSLER, THOMAS: , said the shotgun to the head./Utopia II CD/SACD (NEOS 11511CD) 15.50
Thomas Kessler's piece , said the shotgun to the head., which he produced in 2003 at the age of 66, refers to rap culture without making use of customary rap clichés. The music follows the word cascades of the slam poet Saul Williams in great detail. It is strengthened by a rap choir that is cast for each individual performance, made up of school children in Cologne; seven voices sitting in the orchestra and -- in the closest contact with the classical musicians -- propelling the event. A bridge is built between remote worlds, full of élan and energy, far removed from pleasant crossovers. Kessler goes still further eight years later, in 2011, with Utopia II. His idea of live electronics is central here, reflecting decades of studio experience. The musicians have a microphones, loudspeakers, and laptops at their disposal alongside their instruments, and can individually control and alter the sound. The whole, therefore, is not regulated by a "god at the control desk," but by musicians who listen attentively to each other. The result is a multi-layered, hardly foreseeable orchestral sound containing, alongside instrumental tones, countless sounds, remote voices, and noises, as well as fragments of news channels. An enormous expenditure was needed to realize this venture -- in terms of logistics, technology, personnel, and finances. There were miles of cable to lay, dozens of laptops to be installed, and loudspeakers and microphones to be placed at far-flung positions. An unusually large number of assistants and helpers were necessary for this, in order to supervise the musicians individually and rectify the malfunctions of the technical devices that were likely to break down. In the end -- despite all gloomy predictions -- it was a success. , said the shotgun to the head. features a rap choir of Elena Berthold, Hennig Gemke, The-Huy Giang, Julia Lang, Stella Lehmann, Talin Maas, Itamar Marom (Schiller-Gymnasium Köln), Oliver Karau, Sinat Ud-Din, Patrick Elberg (Berlin), Hannah Maria Noack (Hamm). Coaching and rehearsals: Lisa Baum. Performed with WDR Sinfonieorchester Köln conducted by Jonathan Stockhammer. Utopia II features the voices of So Jeong Ahn, Isis Krüger, Axel Lindner, Johanna Melder, and Barbara Ziersch. Music informatics: Thomas Seelig. Audio design: Markus Danne. Audio design assistants: Simon Böckenhoff, Ferdinand Grätz, Tobias Hartmann, Sergej Maingardt, Hendrik Manook, Tim Schmidt, and Oliver Niemöller. Performed with WDR Sinfonieorchester Köln conducted by Jonathan Stockhammer.

NEOS 11515CD

VA: EXPERIMENTALSTUDIO Vol. 6: 40 Years Anthology Vol. 1 CD/SACD (NEOS 11515CD) 15.50
The four works brought together on this CD, the result of the first 25 years activity of the Heinrich Strobel Foundation and the EXPERIMENTALSTUDIO in Freiburg im Breisgau, Germany, founded in 1971, document different aspects of work with live electronics. The spectrum in which the technical development is reflected in this field extends from the playing of a pre-produced recording and initial attempts with delays to complex forms of the transformation of sound and its projection in space, and of space simulation. Cristóbal Halffter's Noche pasiva del sentido (1970/'71) is performed by Hélène Fauchère, soprano, and ENSEMBLE EXPERIMENTAL conducted by Detlef Heusinger, with sound direction by Thomas Hummel and Dominik Kleinknecht. Brian Ferneyhough's Mnemosyne, for bass flute and tape (1986) is performed by Martin Fahlenbock, bass flute, with mixing by Reinhold Braig and sound direction by Braig and Simon Spillner. André Richard's Glidif. a sonar e cantar à Luigi Nono in memoriam (1991) is performed by Collegium Novum Zürich (Elmar Schmid, bass clarinet and contrabass clarinet; Johannes Nied, double bass; and Käthi Steuri, double bass) conducted by Detlef Heusinger, with sound direction by Thomas Hummel, André Richard, and Joachim Haas. Heusinger's Abraum II, for piano trio and live electronics (1995) is performed by Collegium Novum Zürich (Urs Walker, violin; Imke Frank, cello; and Simone Keller, piano), with with sound direction by Thomas Hummel, André Richard, and Joachim Haas.

NEOS 11516CD

The EXPERIMENTALSTUDIO des SWR, founded in 1971, views itself as an interface between compositional ideas and their technical realization. Every year several composers and musicians are invited to accept a fellowship in order to realize their works with the EXPERIMENTALSTUDIO's special equipment in interaction with its staff members -- experts in computer music, sound designers, studio engineers, and sound directors. The studio then takes an active role in the worldwide performance of these works. With more than 40 years of activity in the international music scene, the studio has become the leading center for ambitious works of music with live electronics. It gives concerts on an ongoing basis at all major festivals (including Berliner Festwochen, Wiener Festwochen, Salzburg Festival, Festival d'Automne à Paris, Venice Biennale) and in renowned music theaters and concert halls (including Teatro alla Scala in Milan, Carnegie Hall in New York, Théâtre de la Monnaie in Brussels, and Teatro Real in Madrid). Its outstanding productions include works by such significant composers as Pierre Boulez, Karlheinz Stockhausen, Cristóbal Halffter, Vinko Globokar, and Luigi Nono. Indeed, the latter composer produced almost the whole of his late music in close collaboration with the EXPERIMENTALSTUDIO and its staff. This CD includes Shu Hai mitamen behatalat kidon (1997) by Chaya Czernowin (b. 1957) and ab II (1996/1997) by Mark Andre (b. 1964). Czernowin's piece, for one female voice and nine pre-recorded reflections with live electronics, is performed by Noa Frenkel, alto voice, with mixing by Reinhold Braig and sound direction by Braig and Simon Spillner. Andre's piece, for contrabass clarinet, cello, cimbalom, percussion, piano, and live electronics, is performed by Collegium Novum Zürich (Elmar Schmid, contrabass clarinet; Imke Frank, cello; Françoise Rivalland, cimbalom; Martin Lorenz, percussion; and Christoph Grund, piano) conducted by Detlef Heusinger, with sound direction by Michael Acker, Sven Kestel, and Joachim Haas.

NEOS 11522-24CD

VA: Donaueschinger Musiktage 2014 3CD/SACD+DVD BOX (NEOS 11522-24CD) 44.00
Each year, Neos presents the essence of the previous year's Donaueschingen Festival, a festival for new music that takes place every October in the small town of Donaueschingen in south-western Germany. Founded in 1921, it is one of the oldest festivals for contemporary music in the world, and among the best-known and most prestigious. This collection of performances from the 2014 festival includes the world premieres of the following pieces on three Super Audio CDs: Nacht for orchestra (2012/2013) by Friedrich Cerha performed by SWR Sinfonieorchester Baden-Baden und Freiburg, conducted by Emilio Pomàrico; Ibant obscuri for large orchestra (2014) by Hanspeter Kyburz performed by SWR Sinfonieorchester Baden-Baden und Freiburg, conducted by Pomàrico; Zentral Park for nine musicians, electronics and video projection [optional] (2014) by François Sarhan performed by Jugendensemble für Neue Musik des Landesmusikrats NRW (Studio Musikfabrik) with François Sarhan, voice, and EXPERIMENTALSTUDIO des SWR; nos. 1-10 of Carnaval for five voices and ten players (2010-2011) by Salvatore Sciarrino performed by Neue Vocalsolisten Stuttgart and Klangforum Wien conducted by Ilan Volkov; Inner Voicings (2014) by Chiyoko Szlavnics performed by Klangforum Wien (conducted by Volkov) and EXPERIMENTALSTUDIO des SWR; Sound As Will for trumpet and ensemble (2011/2014) by Wolfgang Rihm performed by Marco Blaauw, trumpet, and Klangforum Wien conducted by Volkov; points & views (2014) by Peter Ablinger performed by Ensemble Modern (Hermann Kretzschmar and Ueli Wiget, pianos) conducted by Jonathan Stockhammer; Mélodictionnaire Concerto for piano and septet (2014) by Krys?tof Mar?atka performed by Hermann Kretzschmar, piano, and Ensemble Modern, conducted by Stockhammer; and Inconjunctions for ensemble (2014) by Brian Ferneyhough performed by Ensemble Modern conducted by Stockhammer. The accompanying 147-minute DVD includes the world premieres of Piano Concerto for piano solo, sampler, video and orchestra (2014) by Simon Steen-Andersen performed by Nicolas Hodges, piano, and SWR Sinfonieorchester Baden-Baden und Freiburg, conducted by François-Xavier Roth; Körper und Seele for air machine, choir and orchestra (2014) by Ondr?ej Adámek performed by Christoph Grund (air machine), SWR Vokalensemble Stuttgart, and SWR Sinfonieorchester Baden-Baden und Freiburg, conducted by Roth; and The Total Mountain (2014) by Jennifer Walshe performed by Walshe; as well as the film Kämpfer für die Moderne: Armin Köhler und die Donaueschinger Musiktage (2014) by Syrthos J. Dreher.

NEOS 11527CD

Contemporary, improvised, electro-acoustic music. After a complete classical training (academy and conservatory studies in Belgium, then conservatory studies in France with state teaching qualifications of the Ministry of Culture...) with subsequent studies in jazz and improvised music (Berklee College of Music, Boston, USA...) and numerous specialized practical courses (IRCAM...), Patrick Defossez is, on the one hand, a poly-aesthetic composer who is very much present in contemporary musical life (Ensemble InterContemporain, public composition commissions...). On the other hand, he is an active interpreter in the improvisation scene, committed to interdisciplinary improvisatory procedures that more or less incorporate the current digital possibilities of music-making. He teaches multi-dimensional musical composition at a state regional conservatory, studying classical new music, mixed music (with new musical technologies), as well as all forms of improvisation. Defossez is the musical director of the Association 2d'Lyres, founded in 2007, which fosters research, creativity, and dissemination, with CDs and materialized as well as dematerialized multimedia production of those music-aesthetic tendencies considered fragile. These include new music, improvised art music, electro-acoustics, and mixed music, as well as interdisciplinary creativity with poetry, theater, and the visual arts (painting, sculpture, video, etc.). QUATRE = ONZE == (7), composed by Defossez and Anne-Gabriel Debaecker, is performed here by Defossez (acoustic and digital piano, percussion, laptop/extended piano), Debaecker (digital piano, electro-acoustic live-sculpture, bowls), Daniel Erdmann (soprano, tenor and baritone saxophones, percussion), and Benny Sluchin (tenor trombone, duplex-euphonium, percussion).


ND 001LP

SUPER MAMA DJOMBO: Super Mama Djombo LP (ND 001LP) 23.00
The Super Mama Djombo orchestra, from Guinea-Bissau, West Africa, recorded these songs in Lisbon, Portugal, in 1980. These six archival recordings have been remastered from the original reels and are now available on vinyl for the first time. Super Mama Djombo is one of West Africa's greatest roots orchestras, especially for the people of Guinea-Bissau. The band marked a new national identity and reinvented Portuguese Creole as a language of national unity. Before a nation can become real, it must first be imagined. It is fitting that Super Mama Djombo, the orchestra that has been the cultural stamp of Guinea-Bissau's national identity since independence, was born in the fertile imagination of children. Hailing from a boy scout camp deep in the jungle of late-1960s Guinea-Bissau, Super Mama Djombo's founding musicians have come a long way to display their wonderful music to the world. Drummer Zé, singer Herculano, and original guitar players Gonçalo and Taborda picked the name "Mama Djombo" as an homage to a local goddess revered by independence fighters. The tiny country of Guinea-Bissau is located between Senegal, on its northern border, and Guinea, on its eastern and southern borders. Formerly a part of the mighty Mali Empire, it was then one of the last African countries not to have gained its freedom from Portugal, its colonial power. Hence a fierce war for independence struck the country, until independence was eventually won in 1974, after many years of suffering. In the early 1970s, the Mama Djombo underground orchestra played mostly for secret political rallies supporting the PAIGC, the major independence movement for Guinea and Cape Verde. Adriano Atchutchi became the bandleader after independence, bringing a book full of his songs. Atchutchi recruited singer Dulce Neves, adding creole sweetness to the group's already heady mix of juvenile enthusiasm, candid melodies, and touches of luso-tropicalism.



YPY: Visions 12" (NOUS 009EP) 14.00
Osaka's Koshiro Hino aka YPY presents an oblique experiment in syncopated, gritty-textured, deep-hued techno with a heroic dash of industrial malevolence. The EP opens with "Borei," a mind-melter of a track reminiscent of the golden days of Djax-Up, before travelling to sparse second wave spaces with "Doobidoob" and "Shadows," a perfect partnering of nonchalant efficiency. The doomy and dense "Holy Goof" clocks in at over eight minutes, while closer "Smog (feat. AKN)" is an adventurous sensorial amalgamation of muted hiss and hum with a deliberate metallic heartbeat winding the track ever tighter on its perfectly realized axis.


NA 5066LP

YAGHMAEI, KOUROSH: Back From The Brink 3LP (NA 5066LP) 32.00
2015 repress. Twenty-one fully restored tracks from Kourosh's original master tapes presented as a deluxe 6-panel full color gatefold 3LP set. Includes a 24-page full color booklet with an extensive, first-person treatise by Kourosh himself, plus rare photos and ephemera of Iran's '70s rock scene, many never before seen. This vinyl version features 21 tracks from the 30 track double CD version. Subtitled: Pre-Revolution Psychedelic Rock From Iran: 1973-1979. "The only legitimately licensed collection of the godfather of Iranian psychedelic rock, Kourosh Yaghmaei. Known within the Iranian diaspora simply by his first name, Kourosh's recordings were thought lost after Islamic fundamentalists took control of Iran. They weren't: Kourosh had protected them -- along with key ephemera from the '70s. Their collection here bolstered by Kourosh's first person recollections of Iran's '70s rock scene and its death after the Revolution, tells the story of an immensely talented artist's desire to persevere in the face of terrible adversity. Kourosh Yaghmaei and his brothers Kamran and Kambiz were amongst the few inspired Iranian musicians determined to change Tehran's musical landscape in the late '60s and early '70s. The trio, armed with rented, second-hand instruments and records by The Ventures, The Kinks, The Doors, merged Western garage rock, psychedelia and Iranian folkloric music to create a sound unlike anything that came before them."


OS 028LP

PALAIS DES BAUZARDS: In the Grassfield LP (OS 028LP) 22.00
Palais des Bauzards pursued an industrial and electronic variant of the sound that swept into vogue during the first half of the '80s. This compilation digs into the original material provided by the band and offers an amazing selection from start to finish. The sometimes rudimentary though gripping tracks on the first side are emblematic of their early period; for example, "Money" is driven by a screeching rhythm box, distant guitar lines, and a nonchalant voice. Cabaret Voltaire comes to mind. They're not afraid to experiment and to explore new horizons ("Lies"). The second side shows a more developed dark wave sound with "In the Grassfield" and "Knowing Too Much," both produced by legendary Belgian producer Ludo Camberlin. There are even two dark goth-rock stompers hidden in the selection -- "My Life Is a Sin" and "Eat Out of My Hands." Overall it's a broad selection of tracks that show the capability of the band to do something different with the new wave genre. The group was formed in 1983 in the Belgian city of Leuven by Danny Jacobs, Dirk wan Regenmortel, Chris Serré, Frank de Wit, and Rudy Stuyckens. In 1983 they released two tracks on the Mask Promotion LP alongside Front 242. In the three following years many of their home-recorded tracks were published on a bunch of cassette labels. Since the beginning of the 21st century, many Palais des Bauzards tracks can be found on playlists around Europe and the USA and are being re-released on compilations, including Underground Wave Volume 4 (Walhalla Records, 2014) and Distant Waves (Dead Wax Records, 2014).

OS 029LP

CHEIRON: Land After Life LP (OS 029LP) 21.00
After the re-discovery of Tranquil Eyes' 1985 Walks cassette in 2012 (OS 015LP) and the 2014 release of Frozen Ducks' work (OS 023LP), OnderStroom Records presents another dazzling project from Lex Grauwen. Cheiron is a collaboration between Grauwen, who plays all the instruments and produced all the music, and José van Waveren, who sings distinctively. Land After Life aims for the dancefloor with its high-energy minimal synth and electro stylings. In the mid-'80s Lex Grauwen was asked to participate in the Pas de Deux LP (1985), a legendary new wave compilation album featuring Bene Gesserit, Algebra Suicide, and Psyclones. Grauwen asked his high school sweetheart, José van Waveren, to join up for a few songs. "Land After Life" was chosen for the compilation and, years later, took on a life of its own on the internet. "Serenity World," recorded during the same sessions, is equally spellbinding and beautiful. It was released in an edited mix on the 1987 L'embrasse compilation cassette (Top Tape). The third song recorded, "Finally Free Four," is a previously unreleased solo composition by van Waveren. Grauwen and van Waveren had been making music before, though, and one of those older tracks is "No Trace," from '81-'82. Shortly after Pas de Deux, they tried to record some more tracks, but the demos were never really finished. A while later Grauwen asked Paul Oosterbaan of Tranquil Eyes and Ruud Braumuller of Beatnik Love Affair to help finish these tracks. The results are "Your Life, Your Body" (also a van Waveren solo piece) and "Ping Pong," the last recorded track. In the 2000s, van Waveren began performing as singer-songwriter devoted to French chanson.


OM 030EP

MR TC: Soundtrack for Strangers 12" (OM 030EP) 12.50
Glasgow-based DJ and musician MR TC aka Thomas Clarke presents his debut EP, a unique, organic, mind-expanding 12" from the city's underground. An affiliate of Glasgow's prolific Green Door Studio, Clarke has immersed himself in the city's electronic music scene since arriving in 2009, running the Night of the Jaguar parties out of The Art School and DJing around the city. His music and DJ sets encompass left-field disco, tropical oddity, house, and techno while channeling the spirit of a youth spent playing in psychedelic rock bands in Luxembourg, listening to krautrock, and worshipping Lou Reed and David Bowie.



KLOCK, BEN: One 2LP (OSTGUT 003LP) 18.00
2015 repress, originally released 2009; Double LP version. One is the debut full-length album by Berlin's Ben Klock. Stylistically, Klock draws on plentiful resources. There's the dirty techno in "Grip," the sexy, intermittent "Check Your Pulse," alongside ambient-like tracks such as "Init One" and "Init Two," as well as the dubstep-inspired "Goldrush." And then there are the outstanding cuts "Goodly Sin" and "Ok," featuring vocals by Elif Biçer. In comparison to her recordings with Prosumer & Murat Tepeli, here her voice has been reduced to the bare essentials. With its rugged bass line and crafty claps, "Ok" is even reminiscent of a contemporary version of Nicolette's early work with Shut Up And Dance, but first and foremost it expands the Berghain sound to include a notion of pop. One displays a depth and maturity of sound rarely found in this compactness. In all its stylistic variety, this album oozes with Klock's traditional understanding of techno. The special sound at Berghain, the low bass, the hiss and the rumble, the economic melodic fragments and the eerie atmospheres are unique and ever-present. Ben Klock defines techno as visionary music, and his work knows about its past, yet remains completely up-to-date without ever coming close to Detroit and minimal clichés.


KLOCK, BEN: Before One 12" (OSTGUT 019EP) 12.00
2015 repress. Before One precedes Ben Klock's debut album One, featuring 4 tracks, of which only one, "Init Two," will be included on the album. These tracks point to where One is heading: classic techno with heart and soul. Ben matches his original, bass-heavy Berghain sound with almost tender acid sequences on "Subzero," shuffling monster grooves on "Napoleon Hill," catchy melodies on "Before One," and an homage to Berlin/Detroit-inspired ambient on "Init Two." This is the perfect record for self-respecting techno DJs everywhere.


OD 005EP

HYSTERIC: Oasis Room 12" (OD 005EP) 16.50
Three tasty eastern-influenced disco edits by Hysteric.


OP 035LP

TEENAGE JESUS & THE JERKS: Live 1977-1979 LP (OP 035LP) 25.00
LP version. "Teenage Jesus and the Jerks began to formulate their visionary brand of aural catharsis sometime during the first half of 1977, amidst the sordid ruins of a then fully down-and-out Lower Manhattan. The mastermind behind this juggernaut of sonic libertinage was a barely pubescent but world-weary runaway who called herself Lydia Lunch. Influenced strongly by the Marquis de Sade and Henry Miller, Lunch shrewdly decided to graft the existential horror of her own writing onto harsh, atonal music after being exposed to the room-clearing live output of other contemporary rock-music deconstructionists like Suicide and Mars. With an agenda of conjuring nightmarish intensity in lieu of technical instrumental ability, Teenage Jesus instantly made the supposedly 'nihilistic' and 'raw' current wave of so-called Punk acts sound like slick, good-timey pop music by comparison. Teenage Jesus and the Jerks were The Texas Chainsaw Massacre, Ilsa, She Wolf of the SS, and Salò, or the 120 Days of Sodom, transliterated into a blatant mockery of the increasingly tired, basic rock-band format. Posthumously, there have been numerous reissues of the primary Teenage Jesus corpus, namely the first side of the Lydia Lunch double compilation album Hysterie (CD Presents, 1986), a very incomplete anthology titled Everything (Atavistic, 1995) and Shut Up and Bleed (Cherry Red/Atavistic, 2008), which also featured Beirut Slump tracks. These less-than-fastidious documents contained reverb-laden transcriptions of the studio cuts directly from vinyl copies, as well as random live tracks of mediocre fidelity. This particular collection about to be released on Other People is meticulously edited and mastered from rare bootlegs taped during the initial 1977-1979 period of the classic band, and only one title ('Crown of Thorns' from January 17, 1979) has been legitimately released to date, albeit in a completely different sound quality. Almost every known Teenage Jesus and the Jerks composition appears on this compendium and Ms. Lunch herself is quite satisfied that this just might be the final nail in the coffin... If it is the sound of deliberately organized and deployed agony you are seeking, your bath has been drawn and the razor awaits." --Weasel Walter, Brooklyn, NY, June 30, 2015



HORROR INC.: Remixed 12" (PERL 106EP) 14.00
Four songs from Horror Inc.'s 2013 Briefly Eternal album (PERL 095CD) remixed by Brandt Brauer Frick, Dimbiman, Magnanime, and Stephen Beaupré.



KACIREK, SVEN: Songs from Okinawa CD (PING 048CD) 17.00
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.



POPOVICIU, MIHAI: The Swindle 12" (PFR 169EP) 14.00
In 2015, a decade on from his 2005 debut release, one of Romania's finest cultural exports returns to his favorite stomping ground with a transmission that showcases variety, technical skill, and an intimate understanding of the dynamics of the floor. The stripped-down, moody menace of "The Swindle" kicks things off with dancing semiquavers panning left and right. A bass synth motif carries the tune to a climax before its buoyant, trancey conclusion. "Rotate" casts a busier, jacking vibe, its analog synth cycles pinging against each other. Glimmering layers of sound create an endlessly immersive, deadly deep groove. "Feed Me" is slower, slinkier, and rougher.



DAVISON, HUBIE: Sanctified 12" (REGRD 002EP) 14.50
The second release on Midland's ReGraded imprint comes in the form of Sanctified from newcomer Hubie Davison. Midland first heard "Sanctified" played out in the blurry confines of Glastonbury's NYC Downlow, it became a staple of his sets. Having witnessed it reduce dancefloors from Panorama Bar to Dekmantel Festival to smiling heaps, he contacted Davison to see if he would consider it for the second release on the label. The B-side, titled "Watchasay," swiftly followed. Heavy sampling, disco breaks, and great edits align this 12" perfectly with the label's manifesto.



DJ HAUS: Burnin' Up CD (RINSE 034CD) 12.50
Following his 2015 Make It Hot EP, DJ Haus presents his full-length debut, Burnin' Up. One of the UK's most exciting DJs and boss of acclaimed labels Unknown to the Unknown and Hot Haus Recs, DJ Haus has honed his own unique, anarchic strain of bass-heavy house music, both solo and in duos Hot City and Trumpet & Badman (with DJ Q). The result has been a salvo of raucous, dancefloor-focused records joining the dots between classic Chicago acid and ghetto house, with hints of UK garage's compulsive bump 'n' swing, old-skool hardcore, and the brusque splatter of the Bunker Records sound -- a vivid hybrid sound that channels sheer energy in the club. Burnin' Up picks up and expands on that track record. Gathering 12 brand new club tracks, including collaborations with Innershades and Chambray, it showcases Haus as a dancefloor alchemist par excellence. Refracting the rawest styles of house-rooted music since the '90s through the gleefully recombinant, mutagenic tendencies of UK dance music, its tracks are all united by Haus's characteristic diamond-hard percussion and distinctively deft ear for a vocal sample flip. Indeed, there's barely space for breath as the album burns through bleep 'n' bass opener "Won't Let U Get Away," "Houz Muzik (feat. Chambray)," the fiery 303 lines of "Acid Stringz," the saucer-eyed rave of "Eez Werkin'," and the dizzying percolations of ghetto house ("Burnin' Up," "Make Me Feel"). Innershades collaboration "Keep Me Coming" evolves from a stripped-back, staccato drum machine workout into a hypnotic motor city groove, while album centerpiece "No More Loving," with its disorienting whirl of 8-bit bleeps, tears upward through a brusquely funky bassline. Burnin' Up is a sweat-soaked, body-jacking debut album.


RS 099LP

VISION HEAT: The Chosen Themes - Program II LP (RS 099LP) 17.00
Recorded between 2012 and 2014, Jared Blum's (GiganteSound, The Talking Book (with Bill Gould of Faith No More), Blanketship, Vulcanus 68, et al.) Vision Heat project is a laser-guided, hyper-vintage conflation of early-to-mid-'80s-centric production, montage, and style. Recalling such luminaries as Tangerine Dream, John Carpenter, Harold Faltermeyer, and Craig Safan, and such lofty houses as KPM, Bruton, and Parry, with nods to oddballs from Russia and the Eastern Bloc, Blum still manages to be forcefully yet effortlessly unique. Inspired by countless soundtrack compilations and blog mixes of rare, foreign library, and VHS music, Vision Heat varies in production style and technique as if it were the definitive archive, deftly genre-skipping from moody sci-fi suspense, incidental queues, and dramatic scores to uplifting electro-boogie, synthpop, and cinematic arrangements. Ultimately so much more than an homage, The Chosen Themes is a subtle and skilled conjuring of a full spectrum re-imagined past. Part two of a two-volume set, following Program I (RS 098LP, 2015). Includes download code.


RV 2014CD

MCLEAN, DON: Live... The Bottom Live April '74 CD (RV 2014CD) 17.00
The October 1971 release of American Pie catapulted Don McLean to stardom, and the ensuing three years saw him touring internationally and recording further albums while coming to terms with his huge success. This superb live set was broadcast on WNYU-FM from New York's legendary Bottom Line club in April 1974, and contains several of his best-known songs. The complete broadcast is presented here in digitally remastered sound complete with background notes and images.

RV 2015CD

RAMONES, THE: Do You Remember Rock 'n' Roll Radio? Live in '95 CD (RV 2015CD) 17.00
Having formed in 1974, by 1995 the Ramones were America's best-known and best-loved punk band. They spent much of the year on what they announced as their farewell tour (they would ultimately play their final show in 1996), playing dates in the UK, Holland, Japan, the US, and elsewhere. The superb performance captured here took place in Argentina, and was recorded for FM radio broadcast. On it they tear through many of their best-known songs, proving that they were going out with a bang. It's presented here together with background notes and images.



DE BRUYNE, KOEN: Here Comes the Crazy Man! 2CD (SDBAN 003CD) 16.50
Belgian composer, arranger, pianist, and keyboardist Koen de Bruyne (1946-1977), brother of celebrated singer and songwriter Kris de Bruyne, had his own, unfortunately short, stint in the field of pop, jazz, fusion, and funk in the 1970s. He rose to the scene as an in-demand session and live musician for local heroes such as Johan Verminnen, Will Tura, Ferre Grignard, Mad Unity, Black Blood, and his brother Kris. In 1974, after some years in the trade, Koen de Bruyne debuted as a solo artist. The inspired fusion epic Here Comes the Crazy Man! undeniably proves he was much more than a gifted session musician. He gathered a fabulous line-up for the recording sessions, featuring three members of the legendary Placebo (Marc Moulin's jazz-funk outfit). Recorded in the renowned Studio Madeleine in Brussels with some of the most prolific and inventive of de Bruyne's contemporaries, Here Comes the Crazy Man! is a truly exceptional and imaginative record and has gained the status of sought-after cult classic decades after its release. The exact 1974 line-up consisted of Placebo members Richard Rousselet (trumpet), Yvan de Souter (bass), and Jean Pierre Onraedt (drums), as well as Gérard Sabbe (trumpet), Patricia Maessen (vocals), Adelson Defrise (flute), and Firmin Timmermans (bongos). Built around de Bruyne's omnipresent piano and synth themes, the four lengthy tracks on Here Comes the Crazy Man! float between heavy funk and psychedelic jazz rock, with some strong fusion interactions. Flavored by its distinctive double trumpet lines, de Souter's exceptional bass playing, and Maessen's ethereal vocals, it only takes one close listen to sense that this album is something exceptional; a document of an entire band of musicians performing at the top of their game. Psychedelic, vigorous, and at times quite experimental, Koen de Bruyne's only real album to have seen the light of day is a rare Belgian gem, one that stands the test of time and is waiting to be rediscovered by new generations of listeners. Apart from the four tracks on the original album, reissued here for the first time, this edition features an additional CD of previously unreleased music. The "Games" tracks form a mysterious triptych that was recorded after the album; the masters had to be retrieved from deteriorating reel-to-reel tape. Also included are four majestic solo piano improvisations that were retrieved from another lost studio tape.


DE BRUYNE, KOEN: Here Comes the Crazy Man! LP (SDBAN 003LP) 28.50
180-gram LP version in heavy "old style" tip-on card sleeve.



AARDVARCK: Co in Ci LP + 10" (SKUDGEPT 001LP) 19.50
Often referred to as The Pig and rarely spotted without shades, Mike "Aardvarck" Kivits has remained a compelling figurehead within the Dutch underground for decades, happily flitting between down-tempo and high-octane styles from release to release and generally sounding like no one else out there. Kivits has developed a strong affiliation with the Skudge Records operation, which commenced with his humongous remix of the Swedish act's "Convolution" in 2010. Having committed two full 12" releases to the Skudge Presents cause (the Indo EP in 2012 and Plus Det in 2014), Kivits now presents a full Aardvarck long-player on the label. The cryptically titled Co in Ci features eight new Aardvarck productions from Kivits, with more pacey excursions on the LP and more experimental and ambient material on the 10". Co in Ci is the ninth album the Dutch producer has released in the 13 years since his 2002 debut LP for Delsin.


BASIC SOUL UNIT: Ruckup 12" (SKUDGEX 003EP) 16.50
"After signing his album to the Amsterdam Dekmantel label, Basic Soul Unit still has more to offer. His first outing on the Skudge imprint shows four rugged dark techno jams." --Delsin


ST 003EP

AOU: Gordo Laika 10" (ST 003EP) 14.00
Seth Troxler continues to shed light on the frontiers of his musical interests with his Soft Touch label, presenting here nomadic trio AOU, who align their esoteric setup and a wide range of influences (including AIR and Joy Division) for Gordo Laika. Initially brought together via a love of skateboard culture, AOU combine the vocal aptitude of Guy Stevenson with the multi-instrumentalist flair and production knowledge of William Moreau and Quentin Sarda. With Futureboogie's Christophe bridging the gap between label and artist, an apt pairing is formed. Gordo Laika offers an enlivening insight into this auspicious musical collective.



DEEPCHORD: Ultraviolet Music 2CD (SOMA 111CD) 20.00
Dub techno master Deepchord returns with his fourth album on Soma, a collection of otherworldly transmissions from his laboratory. With Ultraviolet Music, Deepchord returns to his proprietary formula of atmospheric heroin-house (after 2013's more cinematic 20 Electrostatic Soundfields (SOMA 104CD)). A hallucinogenic amalgamation of deep emotive textures swimming around 4/4 kicks and sub-bass, middle-of-the-night atmospheres, hypnotic repetitions, shortwave static, and slowly evolving textures that envelop the listener in warm blankets of sound. Equally effective on a dancefloor as it is in one's private space. Multi-dimensional sounds that move the mind and the feet. Numerous (processed) acoustic and organic sound sources make these tracks seem alive in a way that is uncommon in electronic music today. They are breathing life-forms that reveal their subtle layers with repeated listenings. It's music that's influenced equally by 1980s experimental, 1990s ambient, Detroit techno, deep house, and Berlin school, creating something entirely unique in the process. State of the art low-tech electronica.



FAMILY FODDER: Sunday Girls (Director's Cut) LP (STAUB 140LP) 18.00
LP version. The legendary first 12" EP by UK underground heroes Family Fodder, originally released in 1979, is now reissued for the first time. Sunday Girls (Director's Cut) is a lovingly assembled full-length album compilation featuring the complete Sunday Girls EP, the debut Family Fodder 7" Playing Golf (With My Flesh Crawling)/My Baby Takes Valium (1979), the Debbie Harrry/A 'Version' 7" from 1980, the 7" A-side "Warm" (1980), and two tracks from the rare Te Deum 12" (1979) by Alig Fodder's pre-Fodder project Frank Sumatra. Family Fodder was originally formed in 1979 by Alig Pearce, with a cast of thousands joining over the ensuing three decades. They emerged from the melting-pot of '70s/'80s London alongside This Heat, The Flying Lizards, The Pop Group, The Slits, and many others. The original formula consisted of psychedelic and new wave influences, incisive songwriting, improvisation, experimentation, and far-out dub mixing. They always managed to evade major exposure, but influenced generations of bands on five continents. Family Fodder was often more at home in the studio than on stage, but completed several European tours as well as cherished performances in their native London. The group released a series of compelling (now collectable) singles and albums between 1979 and 1983. Described as "entertaining idiosyncratic experimentalism with pop sensibilities," Family Fodder appear on the famous Nurse With Wound list, and were best known for indie-chart hits such as "Debbie Harry," "Playing Golf (With My Flesh Crawling)," and "Savoir Faire." More recently, Family Fodder songs have been covered by Zion Train and Unrest, and they've been hailed as "unsung heroes" in The Wire.


SR 404CD

French band Cabaret Contemporain pay tribute to the composer Moondog -- New York's Viking -- with singing by two Scandinavian sirens, Swedish singers Linda Oláh and Isabel Sörling. The seven musicians focus on Moondog in particular in an effort to offer the public a new way to appreciate this too little-known music. Cabaret Contemporain is a Paris-based quintet who play electro music with prepared acoustic instruments (piano, electric guitar, drums, two double bassses). The band began playing in 2012, blending electronic music and classical (John Cage Project with Étienne Jaumet, Terry Riley revisited with Château Flight, The Man-Machine with Oláh), and has performed live around the world. Linda Oláh and Isabel Sörling: voice; Fabrizio Rat: piano; Giani Caserotto: guitar; Ronan Courty: double bass; Simon Drappier: double bass; Julien Loutelier: drums.

SR 404LP

LP version. French band Cabaret Contemporain pay tribute to the composer Moondog -- New York's Viking -- with singing by two Scandinavian sirens, Swedish singers Linda Oláh and Isabel Sörling. The seven musicians focus on Moondog in particular in an effort to offer the public a new way to appreciate this too little-known music. Cabaret Contemporain is a Paris-based quintet who play electro music with prepared acoustic instruments (piano, electric guitar, drums, two double bassses). The band began playing in 2012, blending electronic music and classical (John Cage Project with Étienne Jaumet, Terry Riley revisited with Château Flight, The Man-Machine with Oláh), and has performed live around the world. Linda Oláh and Isabel Sörling: voice; Fabrizio Rat: piano; Giani Caserotto: guitar; Ronan Courty: double bass; Simon Drappier: double bass; Julien Loutelier: drums.

SR 412LP

BOOK OF AIR: Fieldtone 2LP (SR 412LP) 23.50
The sounds found in nature can have a very slow groove. A groove embedded by silence, so slow it can almost only be felt while spending a few hours at sea, on a forest trip, in open fields... It is this groove and the "silence" of nature that inspired the Fieldtone compositions. The music is performed by an ensemble of string instruments (kankl?s, acoustic guitar, electric guitar, double bass) supplemented with drums. Book of Air's series of bundled compositions exploring the parameters of sound and time begins with Fieldtone. The title refers to "roomtone," which is the "silence" recorded at a location or space when no music is played or dialogue spoken. Every room is different, and these recordings always carry their unique character. The compositions of Fieldtone are inspired by the tempo and sonic textures of specific natural locations. By embedding this silent slowness of sound found in nature into the compositions, the details of the sounds played become much more prominent. In this way the silence itself amplifies the sounds that are played, and will also amplify the room surrounding the listener. Stijn Cools: drums and compositions; Indre Jurgeleviciuté: kankl?s; Benjamin Sauzereau: electric guitar; Bert Cools: electric and acoustic guitars; Nathan Wouters: double bass.

SR 416CD

LILLY JOEL: What Lies in the Sea CD (SR 416CD) 15.50
What Lies in the Sea is the fruit of a ten-year collaboration between singer Lynn Cassiers and keyboardist Jozef Dumoulin, and is the first release for their duo Lilly Joel. Both musicians are free spirits and lauded innovators in their respective fields. File under: a mix between Obscure Records and the Birmingham sound. Belgian singer Lynn Cassiers is as much a sound-sculptor as a singer, using her voice, microphone, and electronics to create soundscapes. Belgian pianist Jozef Dumoulin redefines the Fender Rhodes keyboard through a scope that is at once fully contemporary, eclectic, and highly personal. This recording marks a milestone on their path as a band and crystalizes a moment in a universe that was carefully shaped and daringly explored. The music is straightforward, fresh, and original, with the focus never on the attempt to be part of some distinct genre, but only to be honest toward one's own place in an ever-changing world. There are reminiscences of experimental music, jazz, rock, electro, pop, traditional music, and contemporary classical music; these influences serve as countless small bricks in a new structure that stands on its own. Jozef Dumoulin is known for his open and luminous approach to the piano and to music in general, always anchored in tradition without being burdened by it. In addition to his 2014 album A Fender Rhodes Solo, his projects include The Red Hill Orchestra (a trio with Ellery Eskelin and Dan Weiss) and a duo with Benoît Delbecq. Highly in-demand as a sideman, Dumoulin has recorded and toured with the finest of musicians in the domains of jazz, improvised music, rock, and traditional music. He currently lives in Paris. Called "one of the most remarkable voices of our improvisation scene" (Enola), Lynn Cassiers's universe is one that covers a wide diversity of styles. She is recognizable by her songlike approach in contexts that can range from noise through ambient to free jazz. She's part of improv-rock band Tape Cuts Tape along with guitarist Rudy Trouvé and drummer Eric Thielemans, and also performs as her solo project The Bird, the Fish and the Ball. In addition to writing music for theater and her various collaborations with artists and ensembles such as Marshall Allen, Octurn, and the Brussels Jazz Orchestra, she is a steady member in several bands on the Western European music scene. Lynn Cassiers: voice, objects, effects; Jozef Dumoulin: Fender Rhodes, Casio SA-77, effects.


SV 074LP

ILITCH: Periodikmindtrouble LP (SV 074LP) 24.00
"In the mid-1970s, Parisian composer and multi-instrumentalist Thierry Müller began operating primarily under the Ilitch moniker. Juxtaposing dark, electronic soundscapes and solo guitar improvisations, Ilitch created some of the most enduring music of the era. It comes as no surprise that Nurse With Wound included Müller on their famed list of influential avant-garde artists. Originally released on Oxygene Records in 1978, Ilitch's debut Periodikmindtrouble was a shot across the bow for the French underground scene. Comprised of instrumental four-track recordings made in Müller's dorm room, the album features gritty tape loops, analog synth swells and angst-ridden guitars. 'Sequence 4' fills the stereo field with eerie harmonium and kosmische textures, while the side-long title track is a bona fide organ soliloquy, exploring both abrasive and ambient sonorities. 'Derriere La Fenetre (Behind the Window)' dives deeper into acoustic patterns to reveal the expressive quality of Müller's singular style. Periodikmindtrouble lays the groundwork for an impressive body of work that has grown only more unsettling over the past three decades. This first-time vinyl reissue comes packaged in a gatefold jacket and is recommended for fans of Cluster, Fripp / Eno and Heldon."

SV 075LP

ILITCH: 10 Suicides LP (SV 075LP) 24.00
"In 1980, Ilitch mastermind Thierry Müller released his second LP, 10 Suicides, on the French imprint S.C.O.P.A. Unlike his debut Periodikmindtrouble (also available from Superior Viaduct), which featured intricately layered instrumentals, 10 Suicides explores a more art-damaged pop sensibility. While distorted guitars and atmospheric synth workouts remain a part of Müller's signature sound, several songs credit the mysterious Ruth Ellyeri, who was not an actual person, but rather Müller's female alter-ego. Opening track 'Elle Voulait Que Je Sois Drôle' shows Ilitch's new direction with overloaded vocoders, driving Moog basslines and soft, Eno-like melodic flourishes. The androgynous vocals on 'Waiting For Mabelle (Je Ne Viendrais Pas)' resemble an upbeat Gregorian chant bent through a 20th Century lens. 10 Suicides is a staggeringly personal album that still sounds years ahead of its time. This first-time vinyl reissue comes with 16-page booklet and is recommended for fans of Ghédalia Tazartès, Chris & Cosey and Monoton."

SV 087LP

HARRY PUSSY: Harry Pussy LP (SV 087LP) 19.00
"Harry Pussy emerged out of the Florida swamps in 1993. Formed by Adris Hoyos and Bill Orcutt, the duo became legendary for their volatile live shows, which often devolved into violent clashes with audience members. Obliterating the lines between hardcore, noise and free jazz, the unclassifiable Harry Pussy were at once all of these things and none of them. Originally released on Siltbreeze, their self-titled debut album reveals an antagonistic and visceral approach to music: Hoyos' self-taught, wild-style drums and shrouded screams tangling with Orcutt's high-tension blues guitar. As David Keenan writes in the liner notes, 'Harry Pussy played at such a heightened speed-of-thought climactic future- primitive peak that they outstripped technique so completely that people thought they couldn't actually play at all.' From the opening blasts of 'Youth Problem' to the spasmodic, electro-convulsive take on Kraftwerk's 'Showroom Dummies,' Harry Pussy is an absurd and devastating statement. Twenty-plus years later, rock 'n' roll's collective ears are still ringing. This long out-of-print vinyl release is recommended for fans of The Dead C, Royal Trux and Mars."

SV 093LP

SCIENTIST: Introducing Scientist - The Best Dub Album in the World LP (SV 093LP) 20.00
"Hopeton Brown, better known as Scientist, has been a pioneering figure in the world of dub for nearly 40 years. His early love of electronics proved fruitful when (still a teenager) he was hired at King Tubby's studio in Kingston. Brown quickly ascended the ranks and became heir to Tubby's throne, producing imaginative and technically impressive mixes that solidified his forward-looking nickname. Introducing Scientist - The Best Dub Album in the World, his 1980 debut LP, lives up to its boastful title. Recorded with Sly & Robbie at Channel One Studio and mixed at King Tubby's, the album features hypnotic basslines, reverb- drenched keyboards, and fluid, start-stop rhythms. Opening track 'Steppers,' with its well-balanced phrasing and organic contours, shows Scientist's mastery of the studio- as-instrument concept. On 'Scientific,' the effectsladen guitars are stretched to their outer limit to create magnificent, spaced-out textures and muted tension. Introducing Scientist displays the talents of a man obsessed with every element of production, drawing out the very best of the dub form."


TA 002EP

H, NATAN: Erklingen EP 12" (TA 002EP) 14.00
After the launch of the Taped Artifact label in 2015 with label co-founder Kevin Arnemann's Lumière EP (TA 001EP), Los Angeles resident Natan H serves up four tracks of emotive dub-influenced house and techno excursions, showcasing his inimitable musical qualities.


TR 328CD

HURRICANE#1: Find What You Love and Let It Kill You CD (TR 328CD) 17.00
Former Creation Records act Hurricane#1 are back! After battling cancer, frontman Alex Lowe has emerged triumphant and resurrected his old band for their first album in 16 years, following 1999's Only the Strongest Will Survive. The original line up included ex-Ride guitarist and vocalist Andy Bell, Alex Lowe (vocals and guitar), bassist Will Pepper and drummer Gareth Farmer. The band split up in 1999 after releasing two full-length albums and several singles on Creation Records. Their anthemic sound was influenced by classic '60s rock 'n' roll, soul, and country rock, but with a contemporary edge. Superstar DJ Paul Oakenfold remixed their debut single, and UNKLE's James Lavelle revamped "Only The Strongest Will Survive." After the demise of Hurricane#1, Lowe concentrated on his solo career, and in 2013, released an album under the name Gun Club Cemetery on Alan McGee's 359 Music. McGee has been the driving force behind bringing Hurricane#1 back from the dead. This time around, Lowe is joined by Brazilian brothers Carlo and Lucas Mariani on guitar and bass and Chris Campbell on drums. Find What You Love and Let It Kill You came about when Lowe was in hospital undergoing cancer treatments. He recalls, "I would sit there on the bed for hours just thinking, staring out the window, then I thought if I'm spending my time in here doing nothing, I may as well try and keep busy, so I wrote most of the album in hospital... When you are wired up to chemo and radio therapy, the last thing you want to do is wallow in it and feel sorry for yourself so I had the idea that the album should be happy and not too dark. I knew I wanted it to be a very organic album, back to basics type of sound, nothing fancy, just good tunes played in a good rock 'n' roll manner." The album was recorded in Turriff, Aberdeenshire, Scotland, where Steve Ransome, an old friend of Lowe's, runs a studio. During the recording sessions Andy Bell contributed the backward guitar sounds on "Think of the Sunshine." For the artwork the band hunted down loads of ideas, but couldn't find anything they liked, so Lowe painted it. "It's all original artwork I did for this album, a bit what like John Squire did for the Roses, I think it works great."

TR 328LP

HURRICANE#1: Find What You Love and Let It Kill You LP+CD (TR 328LP) 23.00
LP version. Includes CD. Former Creation Records act Hurricane#1 are back! After battling cancer, frontman Alex Lowe has emerged triumphant and resurrected his old band for their first album in 16 years, following 1999's Only the Strongest Will Survive. The original line up included ex-Ride guitarist and vocalist Andy Bell, Alex Lowe (vocals and guitar), bassist Will Pepper and drummer Gareth Farmer. The band split up in 1999 after releasing two full-length albums and several singles on Creation Records. Their anthemic sound was influenced by classic '60s rock 'n' roll, soul, and country rock, but with a contemporary edge. Superstar DJ Paul Oakenfold remixed their debut single, and UNKLE's James Lavelle revamped "Only The Strongest Will Survive." After the demise of Hurricane#1, Lowe concentrated on his solo career, and in 2013, released an album under the name Gun Club Cemetery on Alan McGee's 359 Music. McGee has been the driving force behind bringing Hurricane#1 back from the dead. This time around, Lowe is joined by Brazilian brothers Carlo and Lucas Mariani on guitar and bass and Chris Campbell on drums. Find What You Love and Let It Kill You came about when Lowe was in hospital undergoing cancer treatments. He recalls, "I would sit there on the bed for hours just thinking, staring out the window, then I thought if I'm spending my time in here doing nothing, I may as well try and keep busy, so I wrote most of the album in hospital... When you are wired up to chemo and radio therapy, the last thing you want to do is wallow in it and feel sorry for yourself so I had the idea that the album should be happy and not too dark. I knew I wanted it to be a very organic album, back to basics type of sound, nothing fancy, just good tunes played in a good rock 'n' roll manner." The album was recorded in Turriff, Aberdeenshire, Scotland, where Steve Ransome, an old friend of Lowe's, runs a studio. During the recording sessions Andy Bell contributed the backward guitar sounds on "Think of the Sunshine." For the artwork the band hunted down loads of ideas, but couldn't find anything they liked, so Lowe painted it. "It's all original artwork I did for this album, a bit what like John Squire did for the Roses, I think it works great."



SPRAWL, THE: E.P.1 12" (RAVE 013EP) 16.50
The Sprawl (Logos, Mumdance, Shapednoise) present their studio debut, the first release in a series on The Death of Rave. As their moniker suggests, The Sprawl is heavily influenced by novelist William Gibson's prescient sci-fi trilogy of the same name. "Drowning in Binary" plunges into recursive techno-chambers vacillating between white-hot distortion and arcing, weightless pads, before gliding across a tumultuous topography of chrome-burning flares and violent, body-quaking detonations in the morphing scape of "From Wetware to Software." With "Haptic Feedback" they grasp the quicksilver rush of classic Prototype and Reinforced before stranding the listener in the post-human headspace of "Personality Upload."



HOLLINGS, KEN: Works For Magnetic Tape Cassette (TTW 081CS) 7.00
Ken Hollings is a writer based in London. He is the author of Destroy All Monsters (Marion Boyars), Welcome to Mars, and The Bright Labyrinth (the latter two available from Strange Attractor Press), and his work has appeared in numerous journals, catalogs, and anthologies. He has written and presented critically acclaimed programs for BBC Radio 3, Radio 4, and Resonance 104.4 FM. He has presented work at the Royal Institution, Tate Britain, Wellcome Institute, the Berlin Akademie der Künste, and the Venice Biennale. The three tracks that make up his Works for Magnetic Tape cassette release reflect his interest in how written text differs from spoken word. What makes them so distinct from each other -- and what happens when one is translated into the other? The text for "There Must Be Something Wrong With This, Sally" first appeared in volume 19 issue 4 of the Leonardo Electronic Almanac. This version features electronic backgrounds and interludes by Mark O. Pilkington. "Ideas Are One Thing, And What Happens Is Another" was commissioned in 2012 to celebrate the centenary of John Cage's birth. It contains personal memories of Hollings's time with Cage, its title being a line from one of his early lectures. Graham Massey of 808 State supplied the backgrounds for this reading and produced and edited the final mix. The readings for both of these tracks were recorded by Simon James of The Simonsound at the old BBC radio studios in Brighton, England. "Parasitic Infestation" was written as an introduction to The Art of Worms, documenting the cover art for The Tapeworm's first 25 cassette releases. The book was launched at a special event, "Worm Eats Bear," in 2011 at The Bear Pit in London, where this reading of his essay was recorded live. Limited edition of 100. Illustration by SavX.



KAPOTE: Fuck Music 12" (TOYT 045EP) 14.00
Kapote presents his debut EP, delivering house music influenced by rare funk and soul -- or by the mid-'90s wave of filter house and the French touch. He likes Paul Johnson and Detroit's Red Planet label (The Martian!), but also French people like La Funk Mob and early Superdiscount stuff. Kapote creates new grooves that flow with a big bunch of soul, and he has the old records and the right machines to make them swing in a new way. Includes a dancefloor-funk remix by Berlin duo Session Victim.



ATKINS, JUAN: 20 Years Metroplex: 1985-2005 2CD (TRESOR 216CD) 19.50
2015 digipack repress of the classic compilation gathering the essential works that marked Juan Atkins' career and changed the electronic landscape forever. Includes liner notes by Dan Sicko. Featured here are ground-breaking early works such as "Clear," "No UFO's," "The Chase," "The Passage" and "Off to Battle" -- electronic compositions that will always be counted as foundation blocks for a music/culture style that endures to the present day and on. Somewhere between Kraftwerk, Funkadelic and Depeche Mode, Juan Atkins delivered a new sound that changed the face of electronic music forever. For someone often referred to as "The Godfather of Techno," you'd think Juan Atkins would command more respect in the mainstream music industry. When you consider a career spanning over two decades and an influence too great to be properly measured, it's strange and almost troubling. Perhaps Cybotron's future-shock paranoia was merely ahead of its time. Juan doesn't often acknowledge the factors within the business that have kept him and Detroit techno out of the popular spheres, instead of ignoring or rising above them. This mindset, an exuberant hope for the future, is what sets him and his music apart. Knowing that Atkins' optimism and faith are integral to his work, it seems strange to stretch back to his earliest material. The contrast between the last Model 500 records and his work with Cybotron is quite sharp. It's even more striking when you consider that Juan's entrance into the music business came at age 17. Also features work from Atkins' other aliases such as Channel One, Infiniti, 3MB and Vision.



THING & SHIT AND SHINE, THE: Jukebox-Series 004 7" (TRJBX 004EP) 11.00
Trost continues its Trost Jukebox Series of 7"s. Mats Gustafsson: tenor and baritone saxophones; Ingebrigt Håker Flaten: double bass; Paal Nilssen-Love: drums, percussion, and megaphone-sampler. Reworked by Shit and Shine. Artwork by Lasse Marhaug.


JOHANSSON, SVEN-AKE: Konzert für 12 Traktoren PIC. DISC (TROST 137LP) 33.00
Sven-Åke Johansson's unusual, famous Konzert für 12 Traktoren has been performed only a few times, by 12 tractors built in the '50s and '60s -- symphony produced by old engines. This single-sided picture disc contains a 2009 recording of this beautiful project performed by 12 tractors in Orust, Sweden. Sven-Åke Johansson (born 1943, Mariestad, Sweden) works as a composer, drummer, accordionist, poet, and visual artist. Longtime participant in the German free improv scene of '60s, with Peter Kowald, Peter Brötzmann, Alexander von Schlippenbach, and Hans Reichel. He has contributed to numerous exhibitions, publications, and recordings. Edition of 500.


MADE TO BREAK: Before the Code LP (TROST 141LP) 22.00
LP version. Improviser, composer, and saxophonist extraordinaire Ken Vandermark's group Made to Break return with a new bassist and more energy than ever before. Made to Break's live performances continue to amaze audiences all over Europe and North America. On Before the Code, the quartet's improvisation reaches unprecedented flexibility and immediacy, solidifying Made to Break's status as a truly unique act in the world of free jazz. Ken Vandermark: reeds; Christof Kurzmann: electronics [lloopp]; Jasper Stadhouders: bass; Tim Daisy: drums. Recorded by Christoph Amann on November 11, 2014, at Amann Studios, Vienna. Mixed by Christoph Amann, Christof Kurzmann, and Ken Vandermark. Mastered by Christoph Amann. Album design by Frederico Penalva. Band photo by Vincent Hagnauer.



LOWE, ROBERT AIKI AUBREY: Timon Irnok Manta LP (TYPE 111LP) 20.00
2015 repress. Robert Aiki Aubrey Lowe has been through many shifts in his musical career, from playing with influential Chicago rockers 90 Day Men and forging haunting vocal drones as Lichens all the way to becoming a member of transcendent rockers Om and collaborating with Lucky Dragons and Doug Aitken. Timon Irnok Manta marks the beginning of a brand new stage in his process. Recorded under his full name and based on fabled British science fiction series The Tomorrow People, the record establishes Lowe's format perfectly, with a single mantra-like piece followed by a "version" in classic dub fashion. "M'Bondo" follows closely in the footsteps of Lowe's recent slew of highly-limited private-press releases, taking tumbling electrified rhythms and setting them up against slowly-modulating analog patterns, gradually building into something even more revenant. A far cry from the maximalist synthesizer music that has come to represent the norm, this is bass-heavy and precariously stripped bare, leaving only skeletons of influence and form. On "M'Bondo (Version)" we are given a closer look at Lowe's wide range of influences as he touches on Aphex Twin's Selected Ambient Works II, early Popul Vuh, and Rhythm & Sound in one fell swoop. The basic building blocks of the original track are still present, but graced with Lowe's unmistakable voice and punctuated by warbling tape hiss and chilling echoes. This is a brave step from one of the most compelling voices in experimental music, and the beginning of what promises to be a very rich musical seam.



NORMIL HAWAIIANS: Return of the Ranters LP (UTR 076LP) 23.50
Limited gatefold LP version. 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.


WHARVES, THE: NAZ/My Will 7" (UTR 078EP) 10.00
Green and gold hand-embossed disco sleeve. Limited edition of 500. Following 2014's brilliant At Bay album on Gringo Records, this 7" is released in advance of The Wharves' 2016 album Electa. A Women Make Music grant from the PRS for Music Foundation enabled the band to record with a rebel choir made up of friends and family members. Side A boasts the plaintive yet powerful track "NAZ," which soars for the sky with each vocal climb and guitar trail. "My Will" sounds practically medieval in its quietude, before leaping up like a newly lit bonfire when the rebel choir joins the fray.



Are You OK? was recorded by guitarist Luca Nostro in New York together with some of the most acclaimed American jazz musicians active today, players connected with the almighty Pi Recordings, one of the best avant-jazz labels around today (Henry Threadgill, Art Ensemble of Chicago, and more), both as leaders and as sidemen in formations considered by the public and critics to be among the most innovative on the American and world jazz scenes. Those players are Donny McCaslin, John Escreet, Joe Sanders, and Tyshawn Sorey. The New York music scene is a constant source of inspiration for Nostro, whose compositional approach interweaves lively, flowing musical structures with short, punchy themes bordering on pop. The improvised performance develops from a flow of fresh, simple melodic patterns and rhythmic riffs, elaborately entwined with an exalting interplay between the musicians. The music of Are You OK? is also inspired by works of Steve Reich, Frank Zappa, John Adams, Michele Tadini, and JacobTV, which Nostro performed together with the Parco della Musica Contemporanea Ensemble (PMCE), to which he belonged for five years. Luca Nostro has also collaborated and recorded with Scott Coley, Antonio Sánchez, and Mark Turner, among others. The recording, mixing, and mastering were done by Mike Marciano and Max Ross at Brooklyn's Systems Two studio, which has been home to legendary jazz albums by artists such as Chick Corea, Clark Terry, Branford Marsalis, and Ravi Coltrane, to name a few. Luca Nostro: guitar and arrangements; Donny McCaslin: tenor sax; John Escreet: Fender Rhodes; Joe Sanders: double bass; Tyshawn Sorey: drums.


SALEEM, AMEEN: The Groove Lab CD (VVJ 103CD) 16.50
Ameen Saleem stands out as one of the most talented bassists on the international jazz scene, widely recognized for his passionate style and unique sound. Though he's mainly grounded in jazz (Saleem is a member of the Roy Hargrove Quintet and the Roy Hargrove Big Band), his music cannot be strictly defined as pertaining to a particular genre but, rather, as a uniquely personal style that spans a vast musical geography. The Groove Lab explores new sonic territory, incorporating a broad range of sounds and influences that blend to form an eclectic musical palette; a sort of neo-soul where jazz, soul, and funk come together. Saleem embarks on this musical journey with a stellar cast of musicians, all of whom are characterized by a creative, individual, and expressive musical talent, stretching out beyond the boundaries of jazz. These exceptional artists perform original compositions, embracing and embroidering the form in a manner different from that of purely traditional soul or jazz musicians. The band includes two female vocalists with varying approaches, trumpet and flugelhorn, tenor and soprano, different pianos (acoustic piano, Wurlitzer, Rhodes, organ), guitar, electric bass, and double bass, and two drummers, both remarkably talented and with unique styles. The richness of colors and instruments allows Saleem to freely glide, surfing on powerful groovy waves among funk beats and jazz vibes, bluesy solos, and rock electric guitar solos, bound together with remarkable fluidity, revealing empathetic group interplay and innovative ways to work within jazz. Ameen Saleem: electric bass, double bass; Cyrus Chestnut: piano, Rhodes, Wurlitzer, organ; Jeremy Clemons: drums, percussion; Stacy Dillard: tenor and soprano sax; Roy Hargrove: trumpet, flugelhorn; Gregory Hutchinson: drums; Craig Magnano: guitar; Mavis Swan Poole: vocals; Ramona Dunlop: vocals.


V6E 400LP

LES RALLIZES DENUDES: Live 77 2LP (V6E 400LP) 31.00
Les Rallizes Dénudés are one of the earliest and most revolutionary Japanese psychedelic rock bands, and existed off and on through four decades. The band formed in November of 1967 at Kyoto University, inspired by Exploding Plastic Inevitable-era Velvet Underground as well as the over-amplified rock of Blue Cheer and Mario Schifano's avant-garde ensemble Le Stelle. By 1968 they were gigging live and even began a regular collaboration with an avant-garde theater troupe, which ended the next year because of Les Rallizes' penchant for extreme volume. Not only did they use massive amounts of feedback at loud volumes, their stage shows used strobe lights, mirror balls, and other effects for a live experience that was a total sensory assault. This historic performance recorded in Tachikawa in 1977 is perhaps the most beloved document of the band's sound: extreme feedback and distressed guitar with detached vocals laid over languid rhythms -- unbelievable in intensity.


BEC 5156123

51 BLACK SUPER: 51 Black Super CD (BEC 5156123) 17.00
Two-and-a-half minutes of drums rolling under a whirlwind of cranky guitars and vocals arguing from the bottom of a 1990s boom box -- that's 51 Black Super. Eleven tracks and 30 minutes to cross the USA, from California with Pavement and Weezer to Ohio with Guided by Voices and The Raspberries... 51 Black Super isn't a band to get lost on its way, or in futilities. Written, composed, recorded in an emergency, with short and intense sessions, the debut album by 51 Black Super is made in the image of its creators: spontaneous and eager to get things out there. "Sounds like The Strokes with less cocaine and more facial hair," said a Californian rock critic after listening the two first few tracks. "A big compliment," he added, for good measure.


VL 900228LP

CURE, THE: Faith 2LP (VL 900228LP) 36.00
2015 repress of Vinyl Lovers' 2008 expanded reissue; originally released in 1981. Two 180-gram LPs in deluxe gatefold sleeve. Recorded in 1981, this classic album took The Cure further down the road of despair they'd initiated with Seventeen Seconds in 1980 (VL 900358LP). It's an album full of mournful atmospheric tracks, including their hit single, "Primary." This reissue includes six bonus tracks.

VL 900358LP

CURE, THE: Seventeen Seconds 2LP (VL 900358LP) 36.00
2015 repress of Vinyl Lovers' 2008 expanded reissue; originally released in 1980. Two 180-gram LPs in deluxe gatefold sleeve. Released in 1980 as the follow-up to their 1979 debut, Three Imaginary Boys, and featuring a new line-up that included Simon Gallup and Matthieu Hartley, this is the album that gave the band their first hit ("A Forest"), and also began to solidify the brooding atmospheric sound that would soon make these grandfathers of goth international pop icons. This reissue includes 15 bonus tracks.

VL 901448LP

PULP: Party Clowns - Live In London 1991 LP (VL 901448LP) 22.00
2013 release. Recorded live on 20 July 1991, just as Pulp was about to explode onto the mainstream music scene when their hit single, "My Legendary Girlfriend," was chosen by the NME as Single of the Week. The event, aired on the BBC and recorded at London's Town & Country Club, was one of Pulp's first-ever live television appearances. 180 gram virgin vinyl.

VL 901479LP

RUNAWAYS, THE: Live At The Agorà Ballroom, Cleveland July 19, 1976 LP (VL 901479LP) 22.00
Here are The Runaways, recorded live on the 19th July 1976, at The Agora, Cleveland, USA. Why have there never been more all girl rock'n'roll bands? I guess by virtue of when The Runaways formed, and their style of music, they are often linked with the new wave / punk scene, whatever category you feel obliged to stick then in, they play a pretty nifty show.

VL 901486LP

CROSBY/GRAHAM NASH/NEIL YOUNG, DAVID: San Francisco Benefit Concert LP (VL 901486LP) 22.00
Recorded at the Winterland as a Benefit Concert to raise awareness and funds for prisoners. Crosby and Nash had just finished recording their first album ?Crosby & Nash' which was released a week after this concert on April 5th. The benefit concert was broadcast by KSAN Radio of San Francisco and has become a classic recording with the surprise appearance of Neil Young who joined the duo onstage to sing four songs from his latest album Harvest.

VL 901493LP

SID VICIOUS: I'm A Mess: Live At The Electric Ballroom In Camden, London Aug. 17, 1978 LP (VL 901493LP) 22.00
The vicious white kid's one and only live performance. The supergroup founded by Sid Vicious featuring members from the Rich Kids, Sex Pistols and the Damned in an exciting show recorded in London.

VL 901516LP

CROSBY & GRAHAM NASH, DAVID: Bittersweet LP (VL 901516LP) 22.00
The legendary early tape of Crosby & Nash's second album, featuring the first Crosby & Nash written collaborations on both "Naked in the Rain" and the brilliant "To the Last Whale" suite.

VL 999051P-LP

VELVET UNDERGROUND, THE: Velvet Underground And Nico PIC. DISC (VL 999051P-LP) 22.00
2013 release. 180 gram picture disc LP in deluxe sleeve. The Velvets legendary debut album with the Warhol's Banana cover art printed on vinyl. Although Warhol, who was listed as producer on the album, allegedly gave the Velvets free reign over their sound, it was on his insistence that Nico performed on this album. However, this does not detract from the fact that when this album was made the Red Sea parted, and the Velvet Underground crossed into the Promised Land.



TONIUTTI, GIANCARLO: The Early Tapes Period 3LP BOX/10" (VOD 068LP) 73.00
2009 release. Limited hand-stamped edition of 600. A box set of Giancarlo Toniutti's three early works, Wechselwirkung, Metánárk?sis, and Das Todesantlitz, all of which were published by Toniutti on cassette tapes in 1982-'83 in very limited numbered editions. The box also includes a 10" EP with previously unreleased tracks from that same very early period (1981-'84). This work represents Toniutti's early musical work as solo composer. Experiments with early electronics, found objects, rough percussion, and noise coalesced into his first three cassette works, in the beginnings of this young mind's structural form. Includes booklet with essay about the history of the period, notes, and data.


KONSTRUKTIVISTS: Flowmotion Years 1980-1982 2LP (VOD 069LP) 30.50
2009 release. Limited edition of 600. Deluxe gatefold sleeve. Dark ambient ritual project Konstruktivists was formed by mastermind Glenn Michael Wallis in 1981/'82 out of the ashes of Heute. Around this time, in the late '70s/early '80s, Glenn Michael Wallis was heavily involved with Throbbing Gristle, and was a part-time member of Whitehouse in the mid-'80s. Between 1980 and 1982 Wallis/Konstruktivists recorded several tracks, with one solo tape and several Konstruktivists tapes released in extremely rare and limited editions on the legendary tape label Flowmotion. Almost two hours of those early works are compiled on this double LP, including his full solo work (also released as Konstruktivists Volume 1 (1982)) and tracks from Volume 2 (1982) and other tracks released between 1980 and 1982.


O YUKI CONJUGATE: Ambiguism 1983-1987 4LP/7"/DVD (VOD 072LP) 88.00
2010 release. Limited edition of 600. UK ambient group O Yuki Conjugate were formed in 1982 by Tim Horberry, Roger Horberry, Clare Elliott, and Andrew Hulme. Between 1983 and 1987 they released two vinyl albums -- Scene in Mirage (1984) on A-Mission Records and Into Dark Water (1987) on their own Final Image label -- as well as recording numerous soundtracks, experimental projects, and solo works. This retrospective documents those years. It tells the definitive story of how OYC's sound emerged and developed. The result includes a reissue of their first two albums with bonus tracks, two additional full-length LPs of previously unreleased material, a 7" single of their first-ever recordings, and a DVD featuring excepts from their Scene in Mirage and Peripheral Vision videos, as well as a large-format poster and detailed listening notes that give unprecedented insight into the world of OYC. This package includes over 50 OYC tracks, around half of which have never been released before in any form, making it essential for the OYC completist.


HUNTING LODGE: Shadows Out of Time '82-'83 3LP BOX/7" (VOD 078LP) 73.00
2010 release. Limited edition of 600. Shadows Out of Time is a collection of three LPs with previously unreleased and formerly cassette-only material from Hunting Lodge, representing the first era of their creativity, a time when each sonic experiment festered into a beautiful sore. Dark ambient, noise, power electronics -- all represented here before these pigeons had holes in which to fit. One LP comprises the now-legendary Exhumed (1983), which was formerly released on cassette only, heard here in better shape than ever -- direct-metal mastered from the original two-track mixes. The second LP is all previously unreleased material, highlights of which include never-before-heard gems from the recordings for the promotional cassette 23 Minutes of Murder (1982), as well as electro-disco-techno recordings used for intermission music at Hunting Lodge's live shows in 1983. The final LP contains live material that was formerly cassette-only, including tracks from the 1983 Harrington Ballroom and S/M Operations cassettes, as well as much of the formerly unreleased Live at the Lodge. Oft-bootlegged, this performance is pressed here direct from the original masters, representing the two-piece early noise-unit of Hunting Lodge in harrowing live intensity. An additional 7" includes a studio cover version of John Wright's "Stellazine Shuffle" backed with "Learn to Will II," originally released on Nekrophile Rekords' 1983 The Beast 666 cassette compilation. These LPs and 7" are presented with period-accurate, gloriously bold, black-and-white artwork. Each LP comes in its own printed sleeve inside of a box printed with the Thomas Nordstrom artwork previously only seen on early Hunting Lodge stationery. Also included are liner notes by Jeff "Central" Chenault and recording details, including information on equipment used, and never-before-seen photos of live Hunting Lodge and of collectors' minutiae. The scars will never completely heal.


LEIMER, K.: Recordings 1977-1980 2LP (VOD 139KL-LP) 34.00
Limited edition of 500. K. Leimer has been an active musician since the 1970s and has released avant-garde and experimental music under his own name on his Palace of Lights label, which he started in 1980 to release his own work and that of other artists and projects such as Marc Barreca, Michael William Gilbert, Anode, and the group Savant, of which he is the founding and leading member. His first two tape recordings, included on this double LP, were released on Robert Carlberg's Anode Productions in 1978 and '79 (Translucent/Memory and Natural History/The Mind and Its Likeness). Both tapes were also distributed via Archie Patterson's Eurock. This set also includes material from the 1983 cassette Installation View. "It's best to consider these recordings as a homage to much admired and deeply loved music of the time; to consider these recordings as the artifacts of lessons being learned during simultaneous attempts at conceiving, writing, voicing, engineering, recording, and mixing something that might at least seem to be music. It's also best to consider that the one card that repeatedly found its way out of the Oblique Strategies deck and into my hands prevented me from erasing almost all of it: Honor thy mistake as a hidden intention." --K. Leimer


VA: American Cassette Culture: Recordings 1971-1983 12LP BOX/2x7" (VOD 139LP) 220.00
Limited edition of 150. The American Cassette Culture box set documents American pioneers and protagonists of late '70s/early '80s cassette culture. While rock music of the 1970s and '80s became a worldwide mainstream corporate business, the creation of the cassette format opened music production up to everyone, and a DIY network sprung up that enabled musicians to release recordings they had already produced during the '70s. This box of 12 LPs, two 7"s, and the accompanying 48-page LP-sized booklet tells the story behind some of the major influential artists and their earliest recordings produced during the '70s and early '80s, as well as the labels and relevant press covering those cassette recordings. This box is about those artists and people who planted the seed of an independent culture that would develop throughout the '80s and is still active today. It also tells the story of Archie Patterson's Eurock Magazine and Distribution, a highly influential US cassette distribution company, which distributed and/or released many of the early cassette works contained in this box. Includes Don Slepian: LP with tracks from Electronic Music from the Rainbow Isle (1978), Rhythm of Life (1982), and Uncontrolled Voltage (1982) by Synarios (Slepian and Lauri Paisley); Steve Roach: LP with tracks from Now (1982) and previously unreleased material; Marc Barreca: LP with tracks from Raw Fish and Green Tea (1979/'80), Currents (1979/'80), Music Works for Industry (1983), and In a Foreign Land (1977); Anode: double LP with tracks from Anode (1979), Trips North Trips South (1979), Kinetic Experiments (rec. 1974-'79, rel. 1981), Early Tapeworm (1975), Floyd Cramer's Hall of Gold (1975), and Year of The Taperecorder; K. Leimer: double LP with tracks from Translucent/Memory (1978), Natural History/The Mind and Its Likeness (1979), and Installation View (rec. 1977/'78/'80, rel. 1983); Young Scientist (James Husted, Marc Barreca, and Roland Barker): LP with tracks from Over Low Trees... (1979), Life Sciences, and Results Not Answers (1979); Ken Moore: double LP containing Electronic Music Series Vol. 1-5 (recorded 1976-'84): tracks from Tempus Fugit (1980), To Come Into Being (1981), Loubi Stem (1981), To No Avail (1980), and The Jupiter Effect (1984), and a 7" with tracks from Frame of Reference (written 1972, rec. 1977-'79, rel. 1980) and In a Pound of Logic (1983); and Galen: double LP with tracks from Xom (1979), Gulag (1979), and Limacon (1979) (all recorded 1979-'80) and a 7" of bonus material.


VA: American Cassette Culture: Recordings 1971-1983 8LP BOX (VOD 139LTD) 149.00
Limited edition of 150. This eight-LP version of American Cassette Culture: Recordings 1971-1983 contains the same discs as the 12-LP version (VOD 139LP), minus the Ken Moore and Galen material. This is ideal for those buying the standalone box sets for those artists -- Galen: Modular/Electronics: Recordings 1979-1982 (VOD 139GH-LP) and Ken Moore: Anvil Creations: Recordings 1972-1983 (VOD 139KM-LP). The American Cassette Culture box set documents American pioneers and protagonists of late '70s/early '80s cassette culture. While rock music of the 1970s and '80s became a worldwide mainstream corporate business, the creation of the cassette format opened music production up to everyone, and a DIY network sprung up that enabled musicians to release recordings they had already produced during the '70s. The accompanying 48-page LP-sized booklet tells the story behind some of the major influential artists and their earliest recordings produced during the '70s and early '80s, as well as the labels and relevant press covering those cassette recordings. This box is about those artists and people who planted the seed of an independent culture that would develop throughout the '80s and is still active today. It also tells the story of Archie Patterson's Eurock Magazine and Distribution, a highly influential US cassette distribution company, which distributed and/or released many of the early cassette works contained in this box. Includes Don Slepian: LP with tracks from Electronic Music from the Rainbow Isle (1978), Rhythm of Life (1982), and Uncontrolled Voltage (1982) by Synarios (Slepian and Lauri Paisley); Steve Roach: LP with tracks from Now (1982) and previously unreleased material; Marc Barreca: LP with tracks from Raw Fish and Green Tea (1979/'80), Currents (1979/'80), Music Works for Industry (1983), and In a Foreign Land (1977); Anode: double LP with tracks from Anode (1979), Trips North Trips South (1979), Kinetic Experiments (rec. 1974-'79, rel. 1981), Early Tapeworm (1975), Floyd Cramer's Hall of Gold (1975), and Year of The Taperecorder; K. Leimer: double LP with tracks from Translucent/Memory (1978), Natural History/The Mind and Its Likeness (1979), and Installation View (rec. 1977/'78/'80, rel. 1983); and Young Scientist (James Husted, Marc Barreca, and Roland Barker): LP with tracks from Over Low Trees... (1979), Life Sciences, and Results Not Answers (1979).



N'CONDUIT: Pumps EP 12" (VDR 008EP) 15.50
The second EP by Voodoo Down head N'conduit takes its name and inspiration from New York's infamous Pumps strip club. Located on the border of Queens and Brooklyn on the English Kills canal, it's one of the last holdouts of seedy and unkempt Brooklyn now that the high-rises and artisanal establishments have taken over. The Pumps EP consists of three original tracks and a remix by LA-4A that are supposed to capture what's left of this world through raw analog sequences and drum programming.


VF 001EP

GREY, TONY: Time Factor 12" (VF 001EP) 14.50
2015 repress. The legendary digger re-ignites the Lagos Disco Inferno and kicks off his own mouth-watering imprint with these two sides of boogie-down bliss. Irresistible Afro-disco, layered with delirious syn-drums and sick keys, and featuring a horn-line bumptiously whipped from Louis "Thunder Thumbs" Johnson's bass-playing on MJ's "Workin' Day And Night." Originally from Warri where he stayed throughout most of his career, Tony Grey's first band was the Famous Latin And His Dominant Seven. He gigged for a while as a James Brown imitator with The Great Peters, before his breakthrough fronting the Magnificient Zeinians, with some amazing 45s on EMI's HMV imprint -- best of all the psych-rock-funk monster Ije Udo. From the early to mid 1970s, his EMI sides range from Afrobeat to rock and pop. All Tony's records are great. He came up with various names for his backing bands -- the Black 7, the Super 7, the Black Kings. From the early-eighties, with the Ozimba Messengers, Grey's two recordings here were originally released on different LPs.



Juan Rico aka Reeko continues to fine-tune his dark and often abstract take on techno under his Architectural guise with Amour, a perfect mix between straightforward techno and ambient passages. Rico is a consistent and reliable ambassador of a Spanish techno scene that has brought forth artists ranging from Oscar Mulero to Tadeo. Under his Architectural alias, Rico has developed a penchant for perfectly interlocking sonic elements and for a structural sensibility that delivers on the promises of advanced engineering implied by his artist's pseudonym. So just what kind of architecture is in store for listeners on this album? One immediately gets the impression of something massive and towering, yet open to the elements and with a fascinating view of the surrounding landscape for miles around. This feel comes through especially clear on the opening "Aura," the poignant and chorally inflected "Il Mare," and the closing "Sentir." In Rico's imaginary structures one can feel both the wind on one's face and the steady, unfaltering pulse of the power grid. This is the case with the remarkably colorful "Lacrimosa," which is powered by a "vintage futuristic" solo synth singing over a backing chorus of chopped and chattering electric current. It also holds true for "Delicatezza," in which a huge, yawning orchestral swell repeatedly crashes down like ocean waves upon the supporting structure of Rico's techno towers. These moments of cinematic and climactic beauty would, on their own, be enough material for an outstanding work, but there is still more; tracks like "Sapphire" take a more straightforward hypnotic techno approach (only relatively speaking, though -- in Rico's hands a "straightforward" track is still one that uses atmospheric subtleties, organic effects, and a balanced EQ mix to maintain a healthy distance from more conformist exercises). When Rico truly gives himself room to stretch out -- as on the epic "Amour" -- he also shows how easily he can turn the challenge of a lengthy track into an opportunity for more innovation and further elaboration of his key concepts. "Amour" acts very much as the centerpiece of the album, morphing from a scintillating piece of celestial ambience to a busy groove-train loaded with a cargo of unexpected percussive and melodic fills. For listeners who value both lush musical dreamscapes and hard excursions into concrete reality, Amour is the perfect antidote to the conventional album, and a welcome companion on listeners' own journeys into new dreams and realities.


WA 2018CD

VA: Bali 1928 - Anthology: The First Recordings CD (WA 2018CD) 11.50
A compilation from all five of World Arbiter's volumes of the complete Balinese recordings from 1928, newly remastered in 2015 and released for the first time since the days of 78-RPM shellac. Performances of gamelan gong kebyar, semar pagulingan, gender wayang, palégongan, gambangam pajogédan, gambuh, angklung, suling, tembang, kidung, kakawin, arja geguntangan, janger, cepung, unaccompanied vocals, and topeng. When composer Colin McPhee heard some 78s in New York, brought over by anthropologists just returning from the Dutch East Indies, he immediately set out for Bali and spent several years there, immersing himself in local traditional music and penning definitive texts on their practices. A local record store had discs cut only a few years before his arrival, and soon after McPhee bought his collection, a drunken warehouse manager, faced with the fact that no one on the island owned a record player, destroyed his entire unsold disc inventory out of rage. McPhee's rescued discs remain as some of the only surviving copies of a recorded legacy that even the Balinese never accessed. World Arbiter has collaborated with ethnomusicologist Edward Herbst to locate all known and unknown extant recordings, texts, and context, an Indiana Jones-style global search begun in 1998 that ended up with a Mellon Foundation grant covering restoration, publication, and in situ activities to find anyone alive who was linked to the discs, including a 98-year-old singer who proofread Herbst's transcriptions of her discs. The project went further through McPhee's field notes, photos, and his silent films shot in the 1930s of dancers and ensembles, all accessible on Arbiter's website. The restoration and publication of a complete lost legacy is now a cultural repatriation for the Balinese and listeners everywhere. This anthology also reveals how McPhee placed Balinese genres into Western music, a move that led to the styles of Reich, Riley, and Glass, making McPhee the godfather of minimalism. Includes performances by Gamelan Gong Kebyar Belaluan, Denpasar; Gamelan Gong Kebyar Pangkung; Gamelan Gong Kebyar of Busungbiu; Ida Bagus Oka Kerebuak; Ida Boda; Ni Lemon; Ida Bagus Wayan Buruan & Ida Madé Tianyar; Gamelan Semar Pagulingan of Banjar Titih, Denpasar; Gamelan Palégongan of Banjar Tegal, Kuta; Gamelan Gendér Wayang of Banjar Tegal, Kuta; Gamelan Pajogédan; Gambuh of Sésétan, Denpasar; Gamelan Angklung Kléntangan of Sidan; Gamelan Angklung of Pemogan, Denpasar; Arja Geguntangan of Belaluan, Denpasar; Jangér of Kedaton, Denpasar; Jangér of Abian Timbul, Denpasar; and Suling of Ubud, Gianyar.



MASSIEN, HUGO: Kontrol EP 12" (XLT 731EP) 14.00
Hugo Massien's Kontrol EP sees XL Recordings continuing to reconnect with the spirit of the label's early days. XL's early reputation was built around a series of underground, club-focused, outsider rave 12"s from the likes of The Prodigy, SL2, Awesome 3 and Jonny L. Hugo Massien harnesses that spirit and brings it right up to date.



STAPLETON & CHRISTOPH HEEMANN, STEVEN: Painting with Priests CD (YMO 004CD) 15.00
Yessmissolga presents the CD 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. Packaged in a full-color Japanese-style gatefold mini-jacket featuring a totally different Stapleton front cover and alternate mix from the LP version released on Robot Records/Elica Editions (ROBOT 044LP).

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