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Forced Exposure New Releases for 12/7/2015

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New music is due this week from Ramleh, En, Sad Horse, and Akkord, while old music is due from Fingers Inc., Organum, and Roger Miller.


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50 048EP

DAMAGE/TRUNCATE, BENJAMIN: Battle/86 12" (50 048EP) 14.00
180-gram vinyl. The ninth 12" in 50Weapons' 11-part finale combines two driving forces of contemporary techno, Benjamin Damage and Truncate -- a deadly combination for any DJ's bag. Benjamin Damage's "Battle" sees him layer his hyperactive grooves over a thumping kick with a small but effective acid line topping things off. Truncate's "86" is a massive track that Dave Sumner aka Function previously used in his Berghain 07, obviously serving as one of the highlights there. Its creeping synths build up to a climax in typical Truncate fashion, with huge, compressed kick drums pounding the dancefloor mercilessly.



BRIAN JONESTOWN MASSACRE, THE: Tepid Peppermint Wonderland Volume 2 2LP (AUK 027LP) 25.50
2015 repress. Tepid Peppermint Wonderland Volume 2 includes the second half of the double CD Tepid Peppermint Wonderland: A Retrospective (AUK 013CD, 2004), remastered for vinyl. Following Tepid Peppermint Wonderland Volume 1 (AUK 026LP, 2004), Volume 2 continues to mine the period of 1995 through 2004 and includes key tracks from all of The Brian Jonestown Massacre's albums as well as live recordings and many otherwise unreleased tracks. The Brian Jonestown Massacre is a psychedelic rock band originally from San Francisco, California, led by guitarist and singer Anton Newcombe. Beginning in 1995, The Brian Jonestown Massacre released numerous albums, first on BOMP!, the label that gave them their start, and later on TVT Records and Tee Pee Records. The band was essential in the development of the modern U.S. garage scene, and many LA and SF musicians got their start playing with Newcombe, including Peter Hayes of Black Rebel Motorcycle Club. Originally Newcombe was heavily influenced by The Rolling Stones' psychedelic phase (the band name is a reference to Stones guitarist Brian Jones and Peoples Temple founder Jim Jones), but his work in the 2000s expanded into aesthetic dimensions approximating the UK shoegazing genre of the 1990s and incorporating influences from world music, especially Middle Eastern and Brazilian music. Gatefold double LP version.



CUT CHEMIST: Funk Off Megamix LP (ASS 009LP) 30.00
"Even before rising to international attention with Jurassic 5, Cut Chemist was known as one of best DJs in the game. Whether it's his solo releases on his own A Stable Sound imprint or over-the-top live performances with DJ Shadow such as Brainfreeze, Cut has always provided his audience with a musical experience that's fascinating, challenging and full on dope. Presented here is his latest, ultra-limited vinyl offering -- Funk Off Megamix. The debossed razor blade on the cover is a call out to the 'cut n paste' fashion of all of his mixes like The Litmus Test and Sound Of The Police. Funk Off Megamix explores the world of early 80s synth and drum machines primarily using material from his compilation Cut Chemist presents Funk Off. Cut redefines this gritty dark post punk sound culled from original cassettes into a hip hop club dance floor ready mix equally enjoyable when spun on your own turntable."


ML 9001CD

FINGERS INC.: Another Side CD (ML 9001CD) 17.00
There's maybe a handful of albums from the early Chicago house era that really deserve the term "classic." This is one... Another Side is the 1988 debut album by Fingers Inc., collecting early singles released on Alleviated, Trax, and D.J. International together with nine new tracks. Larry Heard teamed with singers Robert Owens and Ron Wilson to create an album that still sounds fresh and ahead of its time decades later. Going beyond the dancefloor, the trio lyrically touched on subject matter ranging through love, sex, war, and the music industry while creating the blueprint for deep house music for years to come. Heard's deep, melancholy, almost skeletal tracks not only influenced the early pioneers of Detroit techno, but a whole generation of producers. This masterpiece is now officially available again in remastered sound.



ANONYM: The Private Selection 1 12" (ANONYM 001EP) 14.00
Out of Detroit and into Amsterdam comes Anonym's XXX series, beginning with The Private Selection 1.


ANONYM: The Private Selection 2 12" (ANONYM 002EP) 14.00
Out of Detroit and into Amsterdam comes Anonym's XXX series, continuing with The Private Selection 2.



VINCENT OVER THE SINK: 22 Coloured Bull-Terriers 2LP (ADA 004LP) 27.50
Matthew P. Hopkins and Chris Schueler were Vincent Over the Sink and 22 Coloured Bull-Terriers was their 23-track opus."Think about music, but then dig a hole."Hidden beneath an astoundingly diverse range of experimental and DIY output by Hopkins (The Bowles, Naked on the Vague; Penultimate Press, Vittelli, Kye) and Schueler (The Bowles; Kye) is the disorienting, psychedelic mess of Vincent Over the Sink's 22 Coloured Bull-Terriers. Written between 2005 and 2007 in Australia's Blue Mountains, Sydney, and Melbourne, its limited 2008 cassette release was lauded by those who heard it and lusted after by those who hadn't. This 2015 reissue, remastered by Mikey Young, comes in the form of a double-vinyl gatefold designed by Hopkins. Ten years on from its conception, 22 Coloured Bull-Terriers is still a rollicking, psychotic, and kaleidoscopic dream that demands reinterpretation on every listen. Made of 23 dazzling lo-fi vignettes and songs that range from tender spoken and vocal excursions ("Number Theory") to acoustic and instrumental sketches ("Santa Maria"), lullaby duets ("Blackbird" and "Rainblame"), and devastating, fleshed-out, no-new-wave songwriting ("Mice in the Ocean" and "Horses Screaming"). Schueler and Hopkins formed Vincent Over the Sink in 2001 and offered little in the way of heralded releases. The project lurked in the shadows of the Australian east coast scene. Even the 2008 cassette release of 22 Coloured Bull-Terriers saw no Vincent Over the Sink shows and only one (excellent) street press interview given by Schueler. Their most penetrating music came on a 7" on Graham Lambkin's Kye label in 2011, sounding like a terrifying washed-out DIY chamber music record. Sadly, it was released posthumously in memory of Schueler who had passed away a year earlier. What little material had arisen from this long partnership would be all the world was left with. These 23 tracks capture one part of the southern zeitgeist in the same way Flying Nun's early archive did. Vincent Over the Sink were two mates who could have been trying to record a Mick Hobbs record in their garage. The album mirrors The Shadow Ring's Put the Music in Its Coffin. It's a work full of the forlorn, dark humor in Pink Reason's alienating lyrics. 22 Coloured Bull-Terriers is all of this but none of it and Another Dark Age is extremely proud to present it with all the fanfare it deserves.


ATL 1394LP

COLEMAN, ORNETTE: Ornette On Tenor LP (ATL 1394LP) 14.00
2015 repress; Exact repro reissue, manufactured by Rhino. Originally released in 1962. "It's an understatement to say that Ornette Coleman's stint with Atlantic altered the jazz world forever, and Ornette On Tenor was the last of his six LPs (not counting outtakes compilations) for the label, wrapping up one of the most controversial and free-thinking series of recordings in jazz history." -- All Music Guide



ROCKS FOE: Legion EP 12" (ACRE 059EP) 15.50
Info on Croydon's shadowy firespitter and beat sculptor Rocks FOE is scarce. His attack poses a unique combination, with a rap style that combines the catch-all hooks of grime with the sheer lyrical dominance of classic US rappers like Pharoahe Monch and the GZA. Dig into Rocks's lyrical tidal wave to find arcane religious references and anime characters punctuated with frequent direct knockout put-downs. He also produced all of the EP's beats, grafting grime and hip hop with DNA from horror composers. Support from 6 Music (Mary Anne Hobbs), 1Xtra (Logan Sama), Beats 1 (Julie Adenuga), and more.



HOWLIN' WOLF: Heart Like Railroad Steel: Memphis & Chicago Blues 1951-57 LP (BLUBA 2001LP) 14.00
Exact repro of this 1979 collection featuring recordings from 1951, 1956, and 1957. Tracks include Wolf's originals like "Hold Your Money" and "Crazy About You Baby," plus "Saddle My Pony," an adaptation of a Charlie Patton song.



TODD, GARRY: Nora Lilian 2LP+CD (BPC 320LP) 23.00
After releasing singles on his own Contemporary Scarecrow label, British DJ and producer Garry Todd presents his debut album, Nora Lilian. Perlon-school minimal, trance, '90s house, and balearic influences are audible in his warm, hypnotic sound. His soul has a strong psychedelic side, while also keeping an eye on the dancefloor. Eight fines pieces of sound-meditation in a variety of BPM, each with its own captivating power. The music plays with Garry Todd, not the other way around. Double LP includes CD.



BABADOUM: Babadoum LP (BRD 015LP) 27.50
Bruit Direct Disques presents the first LP by Badaboum, a French all-star girl group that includes Krine (Headwar), Armelle (The Dreams), and Solene (Dudu Geva) and is affiliated with the famous Grande Triple Alliance de l'Est posse (Ah Kraken, Feeling of Love, Scorpion Violente). They play a form of post-punk music akin to Liliput/Kleenex and Malaria!, adding their own reverbed idiosyncrasies and eerie organ lines and chanting in indecipherable Italian, mock German, and plain French. Taking turns on drums and blowing thru severed reeds, Badaboum will bring you as much joy as chaos.



EVOL: bus017a 12" (BUS 017A-EP) 17.50
This offering of deconstructed, temporal psychedelia from EVOL is a rendition of the "time-value-less" piece "Opus 17a" by Hanne Darboven. Sequenced by Guy Birkin and executed through the singular "Rave Synthesis" of Roc Jiménez de Cisneros and Stephen Sharp, this recording is split into two epically time-disrupted pieces of extreme computer music that run off infinitely as locked grooves on each side. Noel Summerville's mastering has skillfully harnessed EVOL's solid "hoover" sound for optimal "as loud as possible" playback. Previous EVOL releases have been on Editions Mego, Diagonal, Presto!?, Alku, Entr'acte, iDEAL, and more.


CEL 6611LP

Exact repro of this 1981 collaboration between Can's Irmin Schmidt and Swiss jazz and electronics pioneer Bruno Spoerri.



BROKEN ENGLISH CLUB: Suburban Hunting 2x12" (CITI 018LP) 29.00
"Full length album (2x12") by key Cititrax artist Broken English Club. After the strong reception of his split EP with Silent Servant, solo work for both Cititrax and Jealous God, and recent feature on the Cititrax: Tracks Volume One EP, Oliver Ho (also known for his Raudive alias) expands upon the themes in his earlier output. Now though, he is presenting Broken English Club as the multifaceted project that it is. He fearlessly exposes a range of emotion through varying sound, texture and song structure. The result is a manifestation of his influences (post punk, noise, techno, grindcore) melded into his own unique vision and culminating in an album that sounds absolutely massive, both on and off the dance floor. About Broken English Club, in Oliver's own words: 'It's not about some idea of the future, it's about a grubbier seedier world. Theres no superior technology here, there's a romance to damp concrete buildings and abandoned reservoirs. Somewhere in the nursing homes that smell of bleach and piss, under the jaundice yellow glow of street lights, there's a dark soul. I like music with a sense of dread, there's drama or suspense in that feeling somewhere. I am fueled by the energy and noise of 1980's grindcore. The track "Scum" is a tribute to the Napalm Death song of the same name. Those kind of brutalist noise bands are a very English thing to me, the oblivion of that is romantic. I am fascinated and disgusted by things, and I like that friction. The best things in life seem perverted and disgusting at first and then become beautiful and transcendent. I have these ideas filling my head and it gives me a sense purpose, I owe it to these obsessions of mine to see them through, to give them a place to exist. That's Broken English Club.' This album will be pressed on 160 gram splattered black and clear double vinyl limited to 999 copies, housed in a heavy weight high gloss sleeve, featuring art direction by Veronica Vasicka and Silent Servant with photography by Corinne Schiavone."



HIJOKAIDAN: Emergency Stairway to Heaven PIC. DISC + CD (CSR 208LP) 33.00
Legendary Japanese noise band Hijokaidan presents its 2015 studio album Emergency Stairway to Heaven. The album arrives as a luxurious picture disc containing four cuts of unique sounds that only Hijokaidan can deliver, created by the full line-up of Jojo Hiroshige, T. Mikawa, Junko, and Futoshi Okano. The album also includes a bonus CD containing two live recordings from 2014; the first features Hiroshige (synthesizer), Mikawa (electronics), and Junko (screaming), and the second features Hiroshige (electric guitar), Mikawa (electronics), Junko (screaming), and Okano (drums). Includes download code for album Emergency Stairway to Heaven. Edition of 750.


SHE SPREAD SORROW: Rumspringa CD (CSR 212CD) 16.50
Debut album from Italian project She Spread Sorrow. Ritual deathscapes, obscure death industrial, sinful power electronics from Alice K. A trip into distorted faith, repressed desires, guilt, punishment, discipline, and perversion. File next to Pharmakon, Puce Mary, Sewer Goddess. Six-panel digipak.


P 751492HLP

PARTCH, HARRY: The World Of Harry Partch LP (P 751492HLP) 15.00
2015 repress; 180 gram exact repro reissue, originally released in 1969. "The World of Harry Partch collects three of his best short pieces. 'Daphne of the Dunes' (1967) is a side-long update of 'Windsong' written for dance. The melodic segments are given more emphasis than usual for a Partch piece, and harmonically this is one of his best with arpeggiated glides/cries of the Harmonic Canons evoking our sympathies. Meter changes almost measure by measure, with one section in 31/16 meter; another (polymetric) section consists of 4/4-7/4 over 4/8-7/8! Needless to say, while being very physical, Partch's music isn't something you can easily tap your foot to. What's most important is that it works. Partch was not one to introduce musical complexity merely for its own sake, another factor that separated him from his contemporaries. Not only are the rhythms complex, but they are performed at a frantic pace unequaled by any music I've hard (save perhaps the inhumanly fast player piano pieces of Conlon Nancarrow!). This is characteristic of most of Partch's works, though I think 'Daphne' is one of the most successful and exhilarating. 'Barstow -- Eight Hitchhiker Inscriptions from a Highway Railing at Barstow, California' was composed in 1941 as part of 'The Wayward.' It offers such statements as 'Go to 538 East Lemon Avenue for an easy handout' and 'Looking for millionaire wife...' This charismatic piece is successful due to the contrasting of Partch's intoning voice with others in the ensemble and to increased instrumental emphasis. Last is 'Castor and Pollux' in a more modern performance than From the Music of Harry Partch, with greater vigor and fidelity. The World of Harry Partch is an excellent introduction to his works that comes highly recommended." -- Surface Noise



RAMLEH: Circular Time 2CD (CBR 115CD) 16.00
"It's been nearly 20 years since the last full-length album from Ramleh operating in 'rock' mode, but the sprawling new double album Circular Time sees these British noise rock legends deliver their most intense work since re-emerging from extended hiatus. One of the key bands to emerge from the British post-industrial underground of the early 1980s alongside their Broken Flag labelmates Skullflower, Ramleh continually shifted between the extreme, confrontational power electronics of their early material and their later forays into searing, lysergic noise rock, right up until they went inactive in the late 1990s. The group re-emerged later the following decade with a number of reissues and new releases, but up until now, nearly all of the new material indulged their harsh noise tendencies. With this massive new album, these distortion masters (now comprising founding member Gary Mundy, longtime member Anthony Di Franco and new drummer Martyn Watts) return with nearly two hours of speaker-shredding, void-gazing psychedelia, pushing the pummeling, Hawkwindian meltdowns heard on classic '90s-era albums like Be Careful What You Wish For and Shooters Hill into realms of total obliteration. Forged from a simple but savage combination of pummeling drumming, monstrously overloaded synthesizers and elliptical, sludge-encrusted bass riffs that anchor the squalls of brutal, electrified guitar noise, Ramleh's sound is hypnotically crushing. Heavy, zoned-out drone-rock grooves are unleashed amid gales of sky-scorching guitar noise, with epic psych-shred workouts stretched out across storms of nebular effects. Distant vocals howl beneath sheets of shimmering guitar, and streaks of twisted, mutant dub materialize within some of the album's catchier moments. It's dark, often brutal music, but also shot through with moments of sweeping, apocalyptic beauty, building to the powerful back-to-back finale of 'Weird Tyranny' and 'Never Returner' that are as utterly blasted and majestic as anything heard from Ramleh in the band's thirty-some-year existence."



MORRICONE, ENNIO: The Humanoid (L'umanoide) LP (RED 224C-LP) 25.50
For the 1979 cult sci-fi movie L'umanoide (The Humanoid), directed by Aldo Lado (credited as George B. Lewis), the legendary Ennio Morricone composed a score of catchy, futuristic, synthesizer-based arrangements with great electro-orchestral disco grooves and dissonant atmospheric soundscapes, marking quite a departure from his usual style. This is the first release of the complete soundtrack on vinyl. Limited edition of 1000 transparent blue LPs.


NICOLAI, BRUNO: Eyeball (Gatti Rossi in un Labirinto di Vetro) LP (RED 225C-LP) 25.50
The classic 1975 Italian thriller Gatti rossi in un labirinto di vetro (Eyeball), directed by Umberto Lenzi (Spasmo (RED 216XRAY-LP, 1974)), features a truly pleasant and entertaining score by the great Bruno Nicolai (The Case of the Bloody Iris (1972), The Red Queen Kills Seven Times (RED 209LP, 1972)), with an authentic '70s Italian cinema feel to it and a catchy main theme that is definitely one of his best. Another giallo ace on Dagored. This is the first release of the complete soundtrack on vinyl. Limited edition of 1000 "splatter" colored LPs.



REVOLUTIONARIES: Revolutionaries Sounds Vol. 2 LP (DKR 188LP) 23.00
Black Friday RSD 2015 release. "First ever reissue of this classic Channel 1 material. Housed in a two color silk screened jacket with an 18" x 24" poster of the iconic cover art. Revolutionaries Sounds Vol. 2 is the stellar 1979 follow up to the groundbreaking 1976 self-titled first volume. The Revolutionaries were the house band of Channel 1 studios, and their style defined the sound of reggae in the second half of the 1970's. The band was a who's who of the top players of the decade, featuring the core unit of Sly Dunbar, Robbie Shakespeare, Ranchie McLean and Rad Bryan. Augmented by a revolving cast of the top hornsmen, keyboard/organ players and percussionists, The Revolutionaries not only backed the in-house production output of their 'home base' studio of Channel 1, but countless other productions done by producers renting the studio. The 1976 first volume released in Jamaica was an instrumental affair, with the iconic Che Guevara image by Ras Daniel Heartman on the cover complimenting the militant sounds contained on the album. For this 1979 follow-up originally released in the UK, Che again adorns the album, with the tracks being a mixture of classic instrumentals recorded at various points in the few preceding years, and then previously unreleased dubs to some of the studio's hardest original rhythms, such as Alton Ellis' 'Tell Me' and the Enforcer's 'Ride on Marcus.' Previous to this album, some of these tracks had been coveted dubplates on the sound system scene of the day. Reissued for the first time ever, this is a fantastic touchstone for fans of '70s roots reggae, and with a terrific selection of tunes that should satisfy the hardcore roots fans, serious dub heads and across-the-board reggae fans just the same."



ARTEFAKT: The Fifth Planet EP 12" (DSR C4-EP) 12.50
Dutch duo Artefakt (Field, Prologue) open The Fifth Planet EP with "Transit," a thick, heavy, and heady track with rubbery kicks tunneling deep and smeared, somber synths stretched and skewed into trippy forms. On "From Our Minds to Yours," the synths are lighter, more airy, and more uplifting, and induce trance-like states of mind. "The Fifth Planet" steps it up another gear, with celestial melodic patterns, heavy synth daubs, and spine-tingling pads all expanding around a ticking techno groove. Expertly crafted, serene, and supple stuff that will sound perfect in the dead of night on some intimate and spaced-out dancefloor.


VOISKI: Breaths Written Outside Gloom 12" (DSR C5-EP) 12.50
French producer Voiski's Breaths Written Outside Gloom features four cuts of his trademark techno, following solo and collaborative releases on L.I.E.S., Syncrophone, and others. The menacing bassline of opener "Downhearted Holidays" looms large below jostling metal percussion and frazzled synth lines. It's spare and absorbing; inhuman and bleak -- in the most inviting way. "Galaxy Call" is more energetic with squeaking, pixelated, high-pitched melodies squealing over a gloomy, gloopy bass line and militant snares. "Mathematical Park" is about mid-tempo drums and paranoid synth drones; on "Answer Silently," a growing sense of darkness permeates slithering synths, icy hi-hats, and lazy drums.



CARDOSO & RUBEN PATER, GONCALO F.: A Study into 21st Century Drone Acoustics LP (CREP 024LP) 34.00
Much of the discussion around unmanned aerial vehicles (drones) is directed toward its capabilities of surveillance and attack. However for those living in areas of conflict, it is the engine sound of the drones that has devastating psychological effects. Military drones fly at high altitudes and are more easily heard than seen. Even the origin of the word "drone" is rooted in sound, and comes from the sound of the male honeybee. The sound of drones in areas of conflict creates soundscapes of terror that can go on for many hours. The buzzing of the engines has generated nicknames like "zanana" in Palestine and "bangana" in Pakistan. A Study into 21st Century Drone Acoustics is an auditive investigation by composer Gonçalo F. Cardoso (Discrepant) and designer Ruben Pater (Drone Survival Guide). What kind engines are drones equipped with? What do they sound like? What are the psychological effects of the sounds in areas of conflict? Side A features field recordings of 17 drone types, ranging from small consumer drones to large military drones. The B-side presents a soundscape by Cardoso, inspired by the abusive and destructive power or drone technology. The composition focuses on the conceptual (sound) life and death of an aerial drone machine in the 21st century. The project is intended for use in installation in various museums and festivals. The sounds are available for free at Concept by Gonçalo F. Cardoso and Ruben Pater. B-side composition written and composed by Gonçalo F. Cardoso. Voice by Emmet O'Donnell. Mastered and cut by Rashad Becker at D&M, Berlin. Metallic finish sleeve by Ruben Pater. Includes 12-page booklet.



MINGUS, CHARLES: Shadows LP (DOC 125LP) 20.00
For the first time on vinyl, Charles Mingus's great score for the legendary 1959 directorial debut of John Cassavetes, Shadows. Much has been said about the controversial relationship between these two masters. "The score encapsulates Cassavetes' and Mingus's unique approaches to both improvisation and composition in their respective media, illuminating the oppositional nature of jazz to mainstream cultural production and the underbelly of race relations in 1950's America" --Ross Lipman, "Mingus, Cassavetes, and the Birth of a Jazz Cinema." "Shady transparent" vinyl. Limited edition of 500.


DO FD5003-EP

GENESIS: Drum Talk 7" (DO FD5003-EP) 10.00
In the early '70s, Leroy "Mabrak" Mattis, a student at Howard University, joined a drum and dance group called Contact Africa, and instructor Kojo Fosu introduced him to the talking drum. Back home in Jamaica, "I bumped into an old friend, Bim Sherman. He knew I was a musician, and he was going to King Tubby's studio that day. I tagged along." With brilliant guitar instead of horns, here is a different version of the rhythm Bim used for "Love Forever." The same as on Mabrak's 1976 Drum Talk LP (DO JS005-LP), but a little brighter and more dynamic, and bringing a deep, unmissable Tubbys dub.


MABRAK: Drum Talk LP (DO JS005-LP) 19.50
Leroy Mattis's first drum was a plastic butter container. "My mother wouldn't buy me a drum because back then the situation in Jamaica was very tense... In 1960 Jamaica was still an English colony, and the drum is a roots instrument." Tommy McCook was living two doors down; during the first years of The Skatalites, Mattis would practice there. In 1970 he was National Junior Drumming Champion, with Count Ossie winning overall; four years later his ensemble battled in the Senior finals with the drummers of The Light of Saba. "Our group was initially called Genesis, it was a 7-piece drum group, but I changed the name to Mabrak, which means Thunder in Amharic. We knew that we were coming with a heavy sound." Experiments in percussion, in the middle of the night at Harry J's -- funky versions of rhythms like "Curly Locks," "Too Late to Turn Back Now," and "Fattie Fattie," led by talking drums -- beautifully mixed by King Tubby, who couldn't believe his ears. Originally released in 1976, in paper inners only. Smartly sleeved in quintessential Dug Out-style this time around -- with an insert, including a recent interview with Mabrak.



HOX: Duke of York LP (EMEGO 214LP) 20.00
LP version. Hox is Edvard Graham Lewis (Wire/Dome/He Said/He Said Omala/Ocsid) and Andreas Karperyd (Omala/He Said Omala/Woodwork). Duke of York is their second release following 1999's highly acclaimed it-ness. Duke of York is a bittersweet contemporary electronic pop record that could only exist as a result of the unison of these particular peculiar souls. At once tender, skewered, sophisticated, and unsettling, Duke of York is a both a journey through the collective minds of Lewis and Karperyd and a substantial representation of their individual talents. While both tackle the sonic side of the outing, Lewis also presents pleasantly paranoid lyrics and Karperyd drapes it all in a distinguished design. This combination presents a substantial study of the sonically impressive and visually inviting, with songs rich in brooding, dark atmosphere and melodic content. The production retains the mood of classic Lewis output while achieving a fresh and radical approach to electronics and studio production with Karperyd. Duke of York is another significant chapter in Lewis's distinguished and uncompromising career and adds to Karperyd's intriguing output. As with the best experimental pop records, Duke of York unfolds with repeated listening, revealing infinite charms. All tracks written, recorded, and mixed by E. G. Lewis and A. Karperyd in Sweden. Mastered and cut by CGB at D&M in Berlin.


AY 037LP

SHANTEL: Viva Diaspora 2LP+CD (AY 037LP) 23.00
Double LP version. Pressed on 180-gram vinyl. Includes CD. "Cosmopolitan, globetrotter, paprika bambaataa, constantly in search of new sounds: Shantel gracefully turns pop-cultural clichés and conventionally-accepted genre-definitions upside-down. When he brings the entire stage to life with his Bucovina Club Orkestar, molding global sounds into compact, anarchic hymns, eclecticism and escapism no longer seem so very far apart. No worries: The Kiez is Alright. Disko Devil Shantel is on the case" --Rémy Kolpa Kopoul. Viva Diaspora is strongly inspired by the creative anarchy of crisis-ridden Athens, Greece. Viva Diaspora has no intention of jumping onto the crossover-and-remix bandwagon. Viva Diaspora is bold, risky, and self-assured; this is how acoustic, traditional, and Mediterranean songs sound today and this is how they can come into their own in a contemporary party context. Viva Diaspora sounds like a road movie -- cinema for the ears -- of a 24-hour trip through Athens, Frankfurt, Paris, Kingston, Brooklyn, Istanbul. Includes collaborations with Areti Ketime and Imam Baildi.



MILLER, ROGER: Oh. LP (FTR 217LP) 18.50
"Roger Miller, king of many roads both known and unknown, has a long and illustrious recording history. As a member of Sproton Layer, Destroy All Monsters, Mission of Burma, The Din, etc., he has made many records that are definitive statements of powerful outsider rock music in many guises. But this, his third solo LP, originally released by Forced Exposure in 1988, remains one of the great lost chords in his discography. Although he'd been focusing mostly on extended keyboard techniques for a couple of years, Roger approached us with the idea of doing a guitar-oriented record, and furthermore suggested that he'd spraypaint the back covers of all copies in his driveway, after sprinkling rocks across them. It was a hard opportunity to pass up. And the first bits we heard of the actual recording were amazing. The cover of Sun Ra's 'Space Is the Place' was totally boss. And a bunch of the other songs manifested a really bizarre, somewhat Eno-esque take on what pop-readymades could possibly be. In the intervening years we'd start to hear them in a very different light, realizing they were almost templates for various skewed-spews that would emanate from New Zealand. A little Pumice, a little Tall Dwarfs, although that was obviously not anything planned or even related. There were even bits that recalled This Heat at their most organized. And it was all done at home on four-track. If anyone ever needed evidence that Roger is a genius at left-field song-craft, Oh... should be enough to convince them. It just sounds better even time I hear it" --Byron Coley, 2015. Edition of 350.



ILAIYARAAJA: Solla Solla: Maestro Ilaiyaraaja and the Electronic Pop Sound of Kollywood 1977-1983 2LP (FKR 041LP) 26.50
"Ilaiyaraaja's music is anachronistic in the best possible way: were it not for its glorious low-fidelity, one would be forgiven for thinking his psychedelic funk was recorded recently, with forty years of global groove studies under his belt" --Egon (Stones Throw, Now-Again). Ilaiyaraaja, Ilayaraja, Ilayaraaja, Isaignani, The Maestro... The undeniable prince of Kollywood cinema, India's second-largest film industry, Ilaiyaraaja is more than equal to his forward-thinking contemporaries in Bollywood and Lollywood in both productivity and experimentation. However, once you have exhausted all possible leads using his various names (and the numerous misspellings) you're faced with the unenviable task of sifting through a 34-year career spanning more than 900 film scores in Tamil, Hindi, Telugu, Malayalam, and Kannada in order to unearth some the heaviest dancefloor-friendly electronic pop to ever emerge from Southern India. This not-so-modest collection of lesser-spotted electronic Tamil pop features many tracks previously unavailable away from their original rare-as-hen's-teeth vinyl pressings. Includes the viral Kollywood/Bollywood classic "Solla Solla." Previously released in two separate volumes in 2011; to mark the 2015 tenth birthday of Finders Keepers, the label has brought them both together in one remastered package. Featuring tracks not available on the CD release of the same name! Includes tracks featuring S.P. Balasubrahmanyam, Vani Jairam, S.P. Sailaja, Malaysia Vasudevan, B.S. Sasirekha, Hariram & Ramola, S. Janaki, K.J. Jesudoss, T.M. Soundararajan, and L.R. Eswari.


FEREMANS, ERIC: The Antwerp Killer LP (FKR 087LP) 25.00
One of the rarest vinyl horror soundtracks of all time, 1983's The Antwerp Killer consists of remarkable homemade electronic experiments created by a wunderkind synth designer for a smart-talking teenage movie maverick. Combining self-propelled punk attitude and uninhibited confidence, the hyper-proactive work of these DIY prodigies pinpoints an important era when youthful ambition and creative technology met. By the age of 16 Eric Feremans had started building modulators and eventually his first proto synthesizer; he later played a concert with Belgian electronica pioneer Karel Goeyvaerts. Feremans founded a school for building and playing synthesizers, the EEF, where volunteers ended up producing about 20 or 30 build-your-own packages. After appearing as a guest on a national television show, the demand for his courses exploded, and Feremans began lecturing internationally, even attracting the king of the Amsterdam mafia, who was driven down from Amsterdam with two body guards in his Rolls-Royce every week. One day Feremans got a visit from a Luc Veldeman, a 16-year-old with a manner of speech way beyond his age and larger-than-life projects. Veldeman was making Antwerp's first crime movie, The Antwerp Killer. He had seen Feremans play live and he wanted some of his music to be used as the score, and to press as an album to promote the film. Feremans gave him one of the rare recordings he had made with the synthesizer, a session he had just recorded upon installing his new studio; a session, according to Feremans, that was the result of the pure joy he experienced at having such a wonderful machine in his studio and the bottle of vodka he downed during the session. Veldeman cut up that session and it turned it into the soundtrack of The Antwerp Killer. The press and the audience shared a general reaction to the film: bad acting, bad editing, bad script -- cool soundtrack, though. Veldeman, who had rented the film equipment under a false identity and dumped it in a canal after shooting, was nowhere to be found, and his investors lost their money. A magnum opus by a true criminal and the synthesizer teacher of the Amsterdam mafia king, The Antwerp Killer remains a prime document of the broody Belgian '80s and a heck of a soundtrack. This first-ever reissue was beautifully remastered with the full cooperation of Eric Feremans himself. Includes liner notes by Belgian archivist Gerd de Wilde.


GET 51295CS

RAEKWON: Only Built 4 Cuban Linx (The Purple Tape Watch Box) BOX (GET 51295CS) 62.00
"20th anniversary edition released in collaboration with Raekwon, who designed the set's look & feel. A Purple Cassette of Only Built 4 Cuban Linx is housed in a premium, 'Watch Box' display case with white stitching, an embossed silver-on-black Raekwon logo, and a 'The Purple Tape' silver placard on front. Full color outer box with wrap-around original cover artwork. Cassette only: repressing of the original famed "Purple Tape," with full audio from 1995 album. 118-page hardcover book, featuring lyrics to all songs and liner notes by Chris Faraone and Raekwon, plus photos and other visuals pertaining to album's 1995 release. Limited to 1995 copies worldwide."

GET 51314EP

SCHOOLLY D: P.S.K. What Does It Mean?/Gucci Time 12" (GET 51314EP) 18.00
Black Friday RSD 2015 release. "30 years ago, a booming sound was heard rumbling out of Philadelphia, PA. Starting with a trebled-out but thunderous TR-909 drum pattern and galloping forward with little more than a young man's nasal, arrogant flow, that blast was Schoolly-D's 'P.S.K. What Does It Mean'? Released on his own Schoolly-D Records label in 1985, the song was -- and still is -- too powerful and unique to ignore. It took the rap world by storm that year, presenting a counterpoint to Melle Mel's more socially-conscious 'The Message'; literally inventing 'Gangsta Rap.' Schoolly was a musician, drum-programming wizard and force of nature, and he would go on to shock the world with his in-your-face approach to making music -- as bombastic lyrically as he was musically. He simply gave no f*cks, and listeners were drawn into his street-influenced vortex of 'b-boy rhyme and riddle.' As noted in the liner notes to this special release: 'The demand [for "P.S.K."] was so large that nationwide bootlegging was a major distribution avenue, albeit an unpaid one. "Those bootleggers made me big because, when it came down to it, I didn't have the money to get the records out there," Schoolly says. "The person who helped me figure that sh*t out was Luke [Luther Campbell of 2 Live Crew and Luke Skyywalker Records]. He took me all over Miami and showed me all the different bootlegged versions of my own records. It was crazy."' On the flipside of 'P.S.K.,' Schoolly gave the world another classic: 'Gucci Time.' Flexing brutal brag muscles, it was another gangsta masterpiece, furthering his legend and bringing even more 909 boom to the still expanding rap world. The opening lines are still quoted by scholars of the game today: 'Lookin' at my Gucci / It's about that time.' Get On Down presents this classic for the first time in deluxe form, which is also fully Schoolly-approved: a custom 12-inch sleeve adorned with Schoolly-D's famed artwork; unique split clear & yellow vinyl; a liner notes insert featuring Schoolly's own look back on the year 1985 as told to author Brian Coleman; and a unique sticker sheet with 8 images taken from the artwork on this 12-inch cover (which was first seen on his early 12-inches, as well as his 1985 Schoolly-D EP and 1986's Saturday Night: The Album)."

GET 54074LP

WESLEY, FRED & THE J.B.'S: Breakin' Bread LP (GET 54074LP) 25.00
"'So many times we refuse to go back and break bread with our parents, relatives and old friends... Times are tough, the economy is rough, everybody's tryin' to make a dollar. Sometimes you get away from yourself. Won't you go back and break bread, while we still have some to break?' So implored James Brown, Fred Wesley and even album engineer Bob Both, on the back cover liners of the 1974 soul classic Breakin' Bread. Times were indeed tough for everyday folks in the waning days of the Nixon era. Escape-ism was needed. Humanity sometimes seemed to be in short supply. But James Brown and his assembled People Records roster were always there to take soul music fans away from their everyday trials and tribulations, even while occasionally funking up negative situations (for instance, 'Rockin' Funky Watergate,' one of the centerpieces of this album). The heavy grooves laid down by trombonist and bandleader Fred Wesley, saxophonist and arranger St. Clair Pinckney and Fred's assembled 'New J.B.'s' were, almost literally, comfort for the ears. 1974 saw a vortex of superfunk coming out of James Brown's People Records stable, and this platter wasn't even the only J.B.'s album that year (see also: Damn Right, I Am Somebody, also reissued by Get On Down). But it is one that added to the powerful musical and social legacy of that crew. It's an air-tight, eight course meal, with most platters clocking in at four delicious minutes each. Breakin' Bread is a truly memorable funk stew, with warm, call-and-response vocals, complicated-but-laidback soul, and an important message ? alluded to in the back cover plea. 'I Wanna Get Down,' 'Rice 'N' Ribs' and 'Funky Music Is My Style' all feature intricate, infectious grooves. In fact, there isn't much time to catch your breath on Breakin' Bread, and that's a beautiful thing. Reissued on LP with a sumptuous, five-color, 22" x 22" poster of the cover art, all wrapped in a Stoughton Tip-On jacket and thick polybag, there is never a bad time to revisit this classic (maybe replacing your worn-out original copy). Or, just as importantly, let it blow your mind for the first time."

GET 56037-7

RUN-DMC: The Singles Collection 5x7" BOX (GET 56037-7) 48.00
Black Friday RSD 2015 release. "In a musical world where heated debates rage constantly, here is a statement that no one can dispute -- Run-DMC is one of the most important and influential groups in rap history. Forming in the early '80s and guided by Russell Simmons (who was, of course, Run's brother), the three-man unit were lyrical and musical pioneers from their first, Larry Smith-helmed foray: 1983's 'It's Like That,' with the world-shaking b-side, 'Sucker M.C.'s.' With a string of gold and platinum albums that started with Run-DMC in 1984 and ran through 1988's Tougher Than Leather, the trio changed the course of music (and videos, and youth culture, and more) and ruled the genre outright, boasting sales numbers that were neck-and-neck with manufactured pop stars of the day. Part of their charm was their every-man appeal -- they didn't dress like rock stars, and they didn't act like them either. They just made amazing music. Get On Down, who celebrated 2014's Black Friday Record Store Day with their reissue of Run-DMC's Christmas In Hollis, follows it up for 2015 with the deluxe 45 RPM vinyl Singles Collection box, which celebrates the group's glory days with a curated assortment of five smash singles that brought the group from New York to Tokyo, London to Sydney, and just about every corner of the Earth. With lovingly re-created 7-inch sleeves (taken from original 45s and 12-inches), the set is housed in a sturdy outer box with the group's name proudly overlaid across a map of their hometown: Hollis, Queens."

GET 58009EP

RAMMELZEE VS. K ROB: Beat Bop 12" (GET 58009EP) 21.00
2015 repress, originally released on RSD 2014. "On split black & white vinyl reissue of ultra-rare 1983 hip-hop masterpiece co-produced & with artwork by the late Jean-Michel Basquiat. The original issue of the 1983 song Beat Bop by lyricists Rammellzee and K-Rob has been heard by many, but held by few. Only a reputed 500 of the song's initial run, on Jean-Michel Basquiat's one-off Tartown Records label, were made with jacket cover art by the infinitely influential graphic artist (and moonlighting musician and producer). They remain one of hip-hop's 'Holy Grail' items, selling north of $1,500 if you can even find one. The audio, which clocked in at over 10 minutes, was issued -- with no picture sleeve -- on Profile Records soon after the Tartown pressings, and went on to influence countless MCs, with its minimal, languishing funk beat (produced by Basquiat) and Rammellzee's and K-Rob's next-level lyricism. The picture sleeve version of the release has never been officially re-issued, and this edition, curated by hip-hop historian Noah Uman, goes the extra mile. It features officially-licensed original artwork from the Basquiat estate and a four-panel folded insert with deep background on the original single's creation, compiled by Andrew "Noz" Nosnitsky -- including interviews with many of the artists involved with its production: Rammellzee, K-Rob, Glenn O'Brien, percussionist Al Diaz, Profile's Cory Robbins and more. Rammellzee left this Earth in 2010 and Basquiat passed away in 1988 -- with this deluxe reissue, their important contributions to the formative years of hip-hop on wax are remembered and celebrated. A must-own for any hip-hop purist."


RAEKWON: Ice Cream/Incarcerated Scarfaces 7" (GET 737EP) 11.00
"Presented here courtesy of Get On Down, another great hip hop 7" in Raekwon's classic 'Ice Cream' with the equally as A Side worthy 'Incarcerated Scarfaces' on the flip. Backed by one of RZA's most uncanny beats (if you knew the original you would know why) 'Ice Cream' is a front runner for one of the most unlikely songs celebrating the 31 flavors of woman. All 3 MC's on this, Rae, Ghost and Cappadonna, run through Chocolate Deluxes, Butter Pecan, Caramel Sundaes, and French Vanillas while Method Man serves up the iconic hook that is part Eddie Murphy, part genius. On the B Side Rae goes for self on 'Incarcerated Scrarfaces,' which features some of his most classic lines: 'you got guns, got guns, too/ What up son, do you wanna battle for cash and see who Sun Tzu'. Raekwon could have made a single for every track off Only Built 4 Cuban Linx.... but with 'Ice Cream' and 'Incarcerated Scarfaces,' you get the dynamic of what the album is all about, witty lines, raw vocab ('guess who's the black Trump') and incredible production."



IN EMBRACE: The Initial Caress CD (REDUX 002CD) 16.50
At the turn of the '80s, enigmatic would-be pop-star Gary Knight teamed up with enigmatic art-star Cameron Lindo, and theirs was a whispering, sweet, mysterious sound, like the warble of Casiotones in a cathedral -- Coventry Cathedral to be precise. You could tell that these guys walked hand-in-hand with their girlfriends in the ruins at midnight, and even if that wasn't true it might as well have been, though a sudden attack of bongo-fury may have sometimes interrupted love's young dreamers -- these things could and did happen. This inventive duo could sound vaster than a full-on band; their unorthodox instrumental versatility gave them a beautiful sonic palette, and their surprisingly erotically charged lyrics gave evidence that nice boys DID. And frequently too. Originally released in 1982, the duo's initial mini-LP, The Initial Caress, is now released on CD for the first time. This first-ever reissue was digitally remastered by original producer John A. Rivers and includes six previously unreleased bonus demos. Housed in card gatefold sleeve with 12-page booklet full of notes and pictures.



CIRCUIT BREAKER: My Descent into Capital CD (HARB 151CD) 16.50
My Descent into Capital represents the most ambitious recording to date from London-based duo Circuit Breaker. Even if they're taking influence from minimal synth, post-punk, or early industrial sides, Circuit Breaker are unmistakably contemporary with their delivery, forging together metallic drum machines, propulsive synth lines, and stark guitar-degradation into bold, simple, and effective songs about downtrodden themes of isolation, discontentment, and the true horror of work. This album transgresses any simple nostalgia for its musical forefathers and showcases a band with their eyes fixed firmly on the future. Any obvious reference points are contorted and stretched to the point where they are transformed into something new. After ten years of obscurity since 2005 and a refusal to go away, and after two well-received releases on Tombed Visions, this is their first full-length album, and their first release on abstract-punk imprint Harbinger Sound; the album follows shows with Harbinger Sound mainstays Sleaford Mods and precedes an extensive tour with Consumer Electronics (2015 additions to Harbinger Sound). Mastered by Barry Grint at Alchemy.


CIRCUIT BREAKER: My Descent into Capital LP (HARB 151LP) 25.00
LP version.



VAMPIRE BELT: Unfit Structures LP (HERMIT 003LP) 20.00
"Formed in 2002 in Western Massachusetts, Vampire Belt is Bill Nace (Body / Head, x.o.4, Ceylon Mange) on guitar and electronics and Chris Corsano (Rangda, Joe McPhee, Evan Parker) on drums and electronics. Early on, they selfreleased a couple of ultra-limited CDRs of lo-fi blow-outs, something like a mangled car wreck at the intersection of hardcore and free jazz. Tours followed and then, in the early/mid '00s, Nace and Corsano partially phased out of Vampire Belt duomode in favor of collaborations with people like Jessica Rylan, Paul Flaherty, Steve Baczkowski, Okkyung Lee, Greg Kelley, Mats Gustafsson, Thurston Moore, Dredd Foole and Bill Orcutt. But in 2014 they made good on a nine year-old promise to Ben 'Six Organs of Admittance' Chasny to record a Vampire Belt album for his label. Unfit Structures, Vampire Belt's first LP, comes via Chasny's Hermit Hut label and it's not such a far cry from their obliterating early CDRs: high-energy improvised outbursts with spontaneously structured forms imploding just as soon as they begin to solidify."



KIRBY, LEYLAND: Intrigue & Stuff Vol. 4 12" (HAFTW 014LP) 18.00
Limited restock, last copies... James Leyland Kirby returns with an uncompromising, poetic and unexpected fourth and final installment in his long-dormant Intrigue & Stuff series, dispatched from his new base in Krakow for his own History Always Favours The Winners label. Since we last heard from the provocateur, he's issued brilliant albums as The Caretaker and The Stranger, a cracking 12" for his formative heroes R&S/Apollo, and marked his 40th birthday with a 40-track album of piano pieces... yet we can't help but feel that he's saved some of his most deliriously spannered and heartbreakingly personal intimations for this new LP. Opening with a proper shock-out modeling mutant fractals and strobing loops that are almost junglist in tempo and structure on "Locked into Situations," the spirit-crushed and sozzled boogie-sludge of "Derelict Bar" follows and marks out territory in a dark, dank corner. Over on the B-side, he yields the intoxicating whiskey fume shimmer and viscous roil of "The Tar Sands," plus a strange percussive piece that sounds like lonely seamen performing drum rituals in a ship's hull, and concludes with the somnolent symphony of spectral siren chorales, synth brass and claggy bass in "Wanting an Absolute Beyond." We'll never quite know the intentions behind these tracks, but we can tell you they function equally as escape pods and ideal drinking soundtracks. Imbibe deeply and responsibly.



LOVER, AL: Zodiak Versions 2LP (HNR 005LP) 36.50
San Francisco-based producer Al Lover has spent the 2010s evolving a unique approach to psychedelic music by way of exploring the common threads within its various genres. Zodiak Versions sees Al exploring what he views as two musical styles that have defined modern underground music culture: Jamaican dub reggae and the German experimental "krautrock" from the 1970s. Sketching out repetitive dub basslines and leads using only the keyboard of his laptop as a musical device, Al formulated the basic structures of what would become these versions. Reminded of what artists like Kraftwerk and NEU! attempted to portray with the driving motion with their motorik beats and expansive washes of analog synthesis, Lover felt compelled to write music directly within the environment that had once inspired the original "krautrock" sound. Once back in the states, Al teamed up with his good friends Burnt Ones in LA to add some touches of guitar and synth drone to the sketched-out songs. At this time he was further introduced to the some of the lesser-known efforts of kraut pioneers who would later influence the rise of ambient music. Returning home completely inspired, he added even more layers of analog Moog synthesizer, tribal percussion, and vintage rhythm box drum sounds before sequencing and mixing all the elements through a vintage Roland RE-201 Space Echo. The end result is Zodiak Versions. With his previous projects, Al Lover has been bouncing back and forth between a more sample-based remix approach and actual synthesized music composition. You can hear elements of his earlier works -- Distorted Reverberations of Reverberating Distortion (2011), Vodun Moon (2013), Al Lover X Goat (2014), Sacred Drugs (2014), Cave Ritual (2015) -- in Zodiak Versions, but the music here heads in a more textured, droned-out direction. An experiment in maximized minimalism. Subtlety and nuance hidden within an intense wall of sound, as if the psychedelic aspects of everything that influenced the record have been extracted and reconfigured to produce the sonic dub version of a bad trip.



A NEW LINE (RELATED): Our Lady of Perpetual Fucking Succour 12" (HAM 012EP) 14.00
Housed in a black disco bag with a download code for the EP plus remixes. Limited edition of 300. The first music from Andrew Johnson as A New Line (Related) since his 2014 debut under the alias (HAM 009LP) and its accompanying 7" (which included a remix by Miles Whittaker (Demdike Stare). The title-track draws upon Detroit producer Terrence Dixon's simple hypnotism; the second track recalls Huerco S.'s experimental, grainy house. The B-side opens with percussion stabs over effervescent, Deepchord-style loops, and the closer is the absolute apex of Johnson's creativity, with billowing, distorted loops over a simple drum machine.



2015 repress; originally released in 2002. In July 2000, Damon Albarn travelled to Mali for Oxfam's On the Line project, which focused on people living along the Greenwich Meridian. He seized the chance to meet and play with the Malian musicians whose recordings he loved, and to exchange ideas with them in their own backyard. Albarn's chosen instrument was a battered melodica. His musical encounters were leisurely, low-key, and immersive, as natural and spontaneous as could be. Touring the capital, Bamako, and its surrounding villages, he sat in on club and private jam sessions, playing concerts and street corners, bars and boats. He hooked up with practically any musician he came across, from enthusiastic amateurs to such master-musicians as Toumani Diabaté, Lobi Traoré, Afel Bocoum, Kassé Mady Diabaté, and the only female ngoni player in Mali, Ko Kan Ko Sata. "One of my favourite memories is Les Escrocs playing a party at Toumani's house," says Albarn. "Bass and drums doing dead funky Malian reggae, with them in shell-suits and patent-leather shoes doing a kind of feminised ragga version of the James Brown shimmy." The tapes kept on running, for more than 40 hours, capturing the volatile collage of sound that would become Mali Music. Back home in Albarn's London studio, the recordings took a few more spins. In line with their original inherent diversity, some make nods to reggae, house, rock, raga, and some stay just as they are. The bass playing of Junior Dan emerges with a unifying authority that recalls his years with Augustus Pablo. Then the tapes returned to Mali, for further contributions from the musicians there. "My idea is to set up loads of dialogues between this music and other music that I love," says Albarn. "I'm sick of the cultural self-assurance you get in the West. I want to get everyone into Malian music."


VA: London Is the Place For Me 4: African Dreams and the Piccadilly High Life 2LP (HJR 025LP) 23.50
2015 repress; originally released in 2006. The fourth volume in Honest Jon's Records' series celebrating the music of black London, staying for now with the first waves of modern immigration from Africa and the West Indies. After devoting a third installment to the accomplishments of the late Nigerian genius Ambrose Campbell, Honest Jon's resumes an open-house policy, suited to musicians whose lives and artistic ambitions carried them all over the world; calypso and kwela are back, and highlife and bebop, with a little rock 'n' roll, a "mambo Indio," a shango hymn, some Sun Ra-style cha-cha-cha. A lake in a Johannesburg zoo, a Chinese on the Harrow Road; astronauts and prostitutes, landlords, streetfighters and cricketers. The music and detailed notes are presented alongside rare artist photographs by Val Wilmer. Includes tracks by Ginger Folorunso Johnson, Young Tiger, Dorothy Masuka, Lord Kitchener, Cab Kaye, Shake Keane, Eric Hayden, Enoch & Christy Mensah, Victor Coker, Young Growler, The African Messengers, and Nat Atkins.



AKKORD: Obelisk 10" (HTH 045EP) 14.00
Akkord return with their first original music since 2014's HTH020 EP (HTH 020EP). Obelisk is a study in rhythm and frequencies, suspended in space. On the minimalistic "Monolith," a single element is molded into a three-dimensional sound sculpture, an aural illusion of a lead weight that floats away into the ether. In contrast, "Megalith" has a pulsing gravity, drawing in laser-guided blasts of bass, broadsides of pitched-down jungle, and echoes of distant birdsong and telecommunications as it journeys through the static of space. Heavyweight 10" mastered and cut by Matt Colton at Alchemy.


SHIFT WORK: Document II 12" (HTH 051EP) 14.00
Electronic duo Shift Work, who have previously released on JD Twitch's Optimo, debut on Houndstooth with an EP developed from live jams on outboard analog gear. The lean, raw "Abandoned Hands" punctuates a relentless 4/4 kick and pattering percussion with an angular bassline and indecipherable vox. The fuller-bodied "SBFM" sets its modulating bassline at center-stage, draped in loose synths and topped with a deadpan vocal refrain. DVA Damas strip back "Abandoned Hands" further still with their remix, while Factory Floor remix "SBFM" with a typically subtle yet infectious building groove. Mastered and cut by Matt Colton at Alchemy. Limited to 500 copies.


JP 1001BR

"The fully authorized story of one of the most revolutionary bassists in music history. Jaco tells the story of Jaco Pastorius, a self-taught, larger-than-life musician who changed the course of modern music. Never-before-seen archive unveils the story of Jaco's life, his music, his demise, and the lasting victory of artistic genius. Features interviews with visionary musicians such as Sting, Joni Mitchell, Flea, Jerry Jemmott, Bootsy Collins, Geddy Lee, Wayne Shorter, Herbie Hancock, Carlos Santana, and never-before-seen photos and film from the Pastorius family archive. Directed by Stephen Kijak and Paul Marchand and produced by Metallica bassist, and Pastorius fan Robert Trujillo."



IMPROTA, LIVIO: Vesàlio - Mareggiata a San Vito 12" (KPT 003EP) 12.50
Single-sided 12". Vesàlio - Mareggiata a San Vito, the third vinyl release on the London-based Kapvt Mvndi label, is a mature, balanced EP by Livio Improta aka Vesàlio. An explicit homage to the sea and to the roots of the purest Italian electronic music culture, the EP opens with "Vient," a hypnotic, dark piece that perfectly mixes the British influences of downtempo and breakcore with dark ambient and Italian acid house influences. "Terr_one" closes the EP, a 12-minute magnetic loop piece. Dedicated to those who live through the dancefloor.


KR 028LP

REIBEL, GUY: Douze Inventions en Six Modes de Jeu LP (KR 028LP) 20.00
Karlrecords kicks off its Perihel series with previously unreleased material by GRM member Guy Reibel, one of the most enigmatic figures of the 20th century's electronic avant-garde. 180-gram LP including download code and insert with liner notes by Reinhold Friedl (zeitkratzer). Limited edition of 500 copies. Guy Reibel (born 1936) started out with a double qualification; he first became an engineer and then studied composition in Paris with Olivier Messiaen, teacher of Karlheinz Stockhausen, Iannis Xenakis, François Bayle, to name just a few. Pierre Schaeffer, the director of the Groupe de Recherches Musicales (GRM), soon offered him a chance to edit and work out the famous 1967 Solfège de L'Objet Sonore three-LP box (the practical part of his theoretical manifest Traité des objets musicaux), and to codirect the class for electroacoustic music at the National Music Conservatory. During that period Reibel worked intensively in the studios of the GRM. Not only did he compose some milestones of electronic music, he also developed a very music-based theory of electronic music, implementing ideas of musical gesture and game theory -- in the '60s, long before anyone else discussed those issues. Conflicts with other members of the GRM led to Reibel's departure from the group (though he had been considered Schaeffer's successor as director), and Reibel toured the world as conductor of his newly-founded Groupe Vocale de France (who realized the first complete recording of Ligeti's choir work) and took over a director's position at Radio France. Meanwhile, his electronic music almost disappeared (there were only two or three LPs available on the early GRM series, later just one CD). Douze inventions en six modes de jeu was digitized by Reibel and Friedl at the GRM studios in December 2014 as part of the archive of Reibel's electronic pieces. It's a milestone in electronic music and a perfect example of Reibel's musical austerity, in which defined, limited musical material results in concentrated and dense forms. The unusually vital character of the music is also due to Reibel's use of hybrid sound production; he often combined amplitude envelopes of acoustic sounds and noises (especially of polysteron) with synthetic electronic sounds. A few of the pieces are even played at least partly live. This album documents how Guy Reibel succeeded at composing a music that combines the density and purity of electronic music with an unbelievably sensuous sound. A real listening experience, here released for the very first time.



HOLT, JOHN: Before the Next Tear Drop LP (KSLP 060LP) 15.50
LP version. John Holt had one of the finest and most versatile voices to come out of Jamaica. His solo career covered pop and soul, not to mention a much-overlooked roots period, and he was the frontman of the great vocal group The Paragons, which he joined around 1965, singing many of their greatest hits including "Tide Is High," "On the Beach," and "Wear You to the Ball." John Holt (b. 1947, Kingston, Jamaica) was a child prodigy; he began his career as a regular voice on talent contests run by Vera Johns across Jamaica. He cut his first single in 1963 for Leslie Kong's Beverley's label and sang many duets with various singers of the day, including "Rum Bumper" with Alton Ellis. 1965 to 1970 were John Holt's Paragon years, a period in which he also ran solo with hits such as "Fancy Make Up," "A Love I Can Feel," and "Let's Build Our Dreams." Holt's 1976 album Before the Next Tear Drop was produced by Bunny "Striker" Lee, part of Holt's extremely productive period working with the legendary producer. It's filled with classic after classic sung effortlessly by Mr. Holt. First reissue.



"An Irishman, an Italian, and a German walk into a bar..." What sounds like your tipsy uncle telling you a joke is actually the story behind Rishi. Legendary musician Shit Robot (DFA) invited his buddies Rino Spadavecchia (Space Ranger) and Kai Philipp to his lab to create two interpretations of "Rishi." The result is a killer 12" that features two unapologetically hypnotic dancefloor cuts.



YEH/LORENZ/JEWELL: Live at CAC 7.21.08 7" (KRAYON 012EP) 6.50
2009 release. Two sides of bent frown jazz from the hardcore supergroup of C. Spencer Yeh, Jon Lorenz, and Ryan Jewell. Side A comes on all fifth dimension -- violin scrunch and squeal, hard tom rub, and dense harmonic blowing pushed right to the front of your brain box; a frantic fanfare with locked horn and strings before giving in with a wheeze and a tinkle. Side B's call and answer shies away as fragments fragment into bowed skin, seesaw string microtone, and rasped mouthpiece until spunk rock free jizz looseness explodes in downtown turntable street. Artwork by Wyvern.


2010 release. Wheezing skyward-born machine groans and gasped tremolo root to a kinetic pulse, while distant melody zones ascend to circulate around the bass flex on this face-chewer by Neil Campbell. On the flip is the first vinyl cut by Glockenspiel; flocculent tones weave with tom rub and bowed metal harmonics, drifting on the back of a drum dub to the heart of a snow-blind haze of feedback, amplified string scrape, and analog electronics. Art by Noah Campbell.


2010 release. 180-gram vinyl. A jawdropping collection of crop circles etched in sonic candy-floss by New Zealand's beardsmith/noise-farmer Campbell Kneale. Rated by the horse's mouth as the best thing he ever made, EVER, Blue Eyes Are My Reward shimmers like an icicle-clad forest resplendent in its own crystalline magnificence. Snake-charming groove, dub-like boomph, and bleary-eyed strum blast the path out of a decidedly graying world of so-so metalized MySpace drone into a miniaturized drone-prairie of super-powered star-shine and dazzling stellar-commotion. Beyond the tyrannous clutches of omnipresent zeroes and ones, the macro and micro merge into an all-encompassing nowhere of sound, each expansion checked by equal contraction like Messiaen's "modes of limited transportation" scrambled by the Large Hadron Collider and replayed by one of those little twinkly watch reflections that occasionally dance around on the roof.


2010 release. On the Flaherty/Corsano/Yeh side, oceans of drum kit fire bawling and fluttering string overtones fuse a complex web of ear asterism, infiltrated by a woozy sax line that soon reduces in duration and increases the overall vehemence with fragmented reed chewing rasp and roar joining a myriad of coordinates in this dense labyrinth of free magic. On the flip stunningly crafted harmonic percolations of feedback glare and riff particles slam into tantric drum force blast beats by Matt Skitz Sanders, on this unexpected monolith from Oren. Art by Paul Coors.


VIBRACATHEDRAL ORCHESTRA: Unnatural with Pain-Relief LP (KRAYON 021LP) 25.00
The A-side drops straight into one of those time-evaporating sleights-of-hand from a simple stack of loops. A tidal guitar figure wraps around sparse ricocheting foundations of moiré percussion as harmonic resonances flow in and around the space, segueing into one of the most beautiful pieces Vibracathedral Orchestra have ever caught on tape. A truly glorious cascade of pentatonic feedback augmented by circling horn ascensions and the ever-present hand drum and shaker, rattle and oomph. The B-side was recorded on the same binaural bonce as the A but instead is a fully blown-out NO-FI blast documenting a performance at Cafe OTO and features trap-star Chris Corsano. A wild, snow-blind, open-cranium trip. Corsano's drums flatten to a blur of metallic clatter, spiky overtones, and room-levitating bass drum punctuation. Ideas rise and fall from within the maelstrom of their ritual; a two-finger tonebank solo teeters on the brink of its own crisis, the occasional astral whizz-bang floats around the ear-space drawing out your mind's focus, a bloated, head-nodding bass riff appears, everyone gets involved. The shred goes seriously out, taking every head and item of furniture not nailed down with it. Art by John Godbert; design by Michael Flower. Mastered and cut by Lewis Hopkin.



PINA: Transit LP (LAPSUS 011LP) 19.50
Pina has been a key figure in Barcelona's electronic underground since the late '90s (Sloan, anyone?). His passion for musical experimentation has not only remained intact over time, it has also led him to develop his sound to a level of purification and thoroughness that has established its own distinct, immediately recognizable style. Transit continues to explore the sound that materialized in his albums Onda Corta (Lapsus, 2011) and Hum (Lapsus, 2013), and forms the final part in the trilogy. With slow and solid percussion midway between the laboratory and the dancefloor, Pina combines his characteristic muscular, distorted rhythms with soaring melodies and bubbling acid passages. Undoubtedly, his most brilliant and personal work to date. All songs by Pedro Pina. Mastered by Pedro Pina. Artwork by Basora. Cover photo by Albert Miralles.



KENT, JULIA: Asperities LP+CD (BAY 092LP) 20.00
LP version. Includes CD. "Vancouver-born and New York-based, acclaimed cellist Julia Kent rose to prominence with Rasputina and Antony & The Johnsons. Her extensive résumé includes recent work with Swans, Aidan Baker, Rachel Grimes, Rutger Zuydervelt, Barbara Morgenstern, Library Tapes and Khan of Finland. Asperities is the artist's fourth solo album. As the title suggests, this is a record born of conflict: internal, personal and global. Universal themes. The build of pressure and the threat of violent release. Modern guilt. Modern fears. Kent draws from a rich well of emotion, the pieces deceptively rendered, each feeling like a miniature dramatic epic in its own right -- sculpted and self-contained. Her work on recent film scores is very much in evidence. While cinematic in scope, there is no trite Hollywood ending here. There is tension and darkness, the edges cracked and frayed. Asperities was recorded, produced and mixed in its entirety by the artist in her New York studio. Looped cello, electronics and found sounds create a world where the technological and the organic merge in perfect symbiosis, the layers of sound peeling back to reveal a beating, bloody human heart at its center. Throughout the plaintive strains of opener 'Hellebore,' the prowling grace of 'The Leopard,' the elegant restraint of 'Heavy Eyes' and the immersive closer 'Tramontana,' Kent's cello evokes romance and loss, a yearning for simplicity. This is the soundtrack to the transitory nature of life and the inevitability of death."


COMET IS COMING, THE: Prophecy 12" (DOCK 061EP) 19.00
"The Comet Is Coming's freak-out space funk is a musical metaphor for society as it speeds toward meltdown. For it has been written. In 1682 and 1757. In 1997 and 2020 and 2148. Just like Halley's Comet and Hale-Bopp before them, this trio is here to blaze a trail across the firmament like a fireball on an unalterable collision course, smash through the atmosphere and rocket off into unknown territories on a one-way ticket to the center of the mind's third eye. This is no doom-trip, though; it's last-night-of-the-earth party time. Five tracks of freewheeling psychedelia and honking jazz-punk mayhem is the soundtrack. Strap in and lift off to the dizzying 'Neon Baby.' Slip down the helter skelter wormhole of 'Star Exploding in Slow Motion' and come down to the dark ambient state-of-the-universe address that is 'Final Days of the Apocalypse.' But most importantly: hit the floor and shake it like there's no tomorrow."


LR 102CD

VA: No New York CD (LR 102CD) 22.00
2006 release. One of the brightest and most famous projects of the entire punk/new wave scene, No New York was released in 1978 on Island's sub-label Antilles. Featuring some of the most incredible rule breaking bands of the underground N.Y.C. art and music scene, the project - produced by Brian Eno - is a genuine snapshot of the massively creative N.Y.C. scene. Artists: Contortions, Teenage Jesus And The Jerks, Mars, D.N.A.. The CD digipack version includes a detailed booklet.

LR 102LP

VA: No New York LP (LR 102LP) 22.00
2006 release. One of the brightest and most famous projects of the entire punk/new wave scene, No New York was released in 1978 on Island's sub-label Antilles. Featuring some of the most incredible rule breaking bands of the underground N.Y.C. art and music scene, the project - produced by Brian Eno - is a genuine snapshot of the massively creative N.Y.C. scene. Artists: Contortions, Teenage Jesus And The Jerks, Mars, D.N.A..

LR 107CD

HARDIN, TIM: Tim Hardin 2 CD (LR 107CD) 8.00
2006 release. Considered Hardin's best album. "Lady Came From Baltimore," "Red Balloon," and especially "If I Were a Carpenter" rank among his finest and most famous songs. Original artwork. Digipak.

LR 111CD

BLACK MERDA: Black Merda CD (LR 111CD) 8.00
2006 release. Hailing from late-'60s Detroit, Black Merda (pronounced "Murder") were both aesthetically and musically way ahead of their time. When most black groups (including Parliament/ Funkadelic) were still sporting suits, singing about love and using a horn section, Black Merda had already become a tight guitar-heavy freak-funk four piece. By weaving guitar rock and psychedelia into soul and R&B they were the gods of the underground 'black rock' movement which fell somewhere between Jimi Hendrix and Parliament and MC5. But it wasn't just about the music, the message was just as important. As with the original release, features a 30-second 11th track not mentioned in the track listing on the outer sleeve but present on the album.

LR 113LP

KISS: Gene Simmons PIC. DISC (LR 113LP) 22.00
2006 release. In 1978, Kiss simultaneously released solo albums from all four members. Gene Simmons, most associated with Kiss's heavier side, is revealed to be a closet Beatles fan as evidenced by "See You Tonite," "Always Near You," "Man of 1,000 Faces," and "Mr. Make Believe." But the surprises don't stop there: choirs and string arrangements, 70s funk, and good time rock n' roll also appear alongside heavy rockers like hit single "Radioactive." This eclectic mix of material is supported by guests like Aerosmith's Joe Perry, Cheap Trick's Rick Nielsen, Bob Seger, Donna Summer, and Janis Ian.

LR 114LP

KISS: Ace Frehley PIC. DISC (LR 114LP) 22.00
2006 release. Considered the best of the four solo albums that Kiss released simultaneously in 1978, Ace Frehley does not stray far from Kiss's trademark heavy sound. With future David Letterman band members drummer Anton Fig and bassist Will Lee backing him up, Frehley shows that he is more than a songwriting match for bandmates Simmons and Stanley. In fact, the album yielded a Top 20 hit in "New York Groove."

LR 130LP

CURE, THE: Three Imaginary Boys LP (LR 130LP) 22.00
2007 release. The undisputed leaders of the early gothic scene, and a seminal band that contributed to the rise of British post-punk, The Cure recorded their debut album Three Imaginary Boys at London's Morgan Studios and released it in May 1979. After touring for almost all of 1977, the band changed their name to The Cure and rearranged their line-up with the sacking of Porl Thompson, giving birth to an unusual power trio. This line-up lasted only for their first album, making it unique in its essentially minimal sound. The year was now 1978, and the three (imaginary?) boys soon signed to Chris Parry's Fiction Label.

LR 138LP

FAUST: Faust LP (LR 138LP) 22.00
2015 restock. Legendary German post-rock band formed in 1971 by undisputed noise pioneer Uwe Nettelbeck, Faust garnered an immediate following due to its artistically extreme experimentations with music cut ups and other mixed sources hinging on cacophony and distortion. Don't miss their 1971 cult classic debut, now reissued with its original clear printed sleeve on 180 gram clear vinyl.

LR 140LP

CREAM: Disraeli Gears LP (LR 140LP) 22.00
2007 release. What can really be said that hasn't been said already about the quintessential power trio /supergroup of the late sixties? So let us just be content to pay tribute to this seminal hard rock ensemble of geniuses with a newer version of their second and most acclaimed album, Disraeli Gears (1967) where Bruce, Clapton and Baker reach immense peaks in inspiration and technique. This version features a 180 gram virgin vinyl LP with an embossed cover; now you can feel the angel.



DREAD D: Siege 12" (LOC 026EP) 16.50
Though he's mostly known for house anthems on labels like Local Action and PMR, in the early 2000s T.Williams was known as Dread D. His tracks as a key part of Jon E Cash's seminal Black Ops crew still sound great, as proven by his 2013 Boiler Room set for RBMA. For Siege, T combines his classic Black Ops sound kit with the studio expertise he's developed since for timeless grime tracks that could be classics in 2002 or 2015. Also includes a re-tooled version of an overlooked vintage Dread D cut, "Time Command." This is as authoritative as grime gets.



FIDENCO, NICO: Zombi Holocaust 12" (MNQ 073EP) 14.50
Nico Fidenco's score for the 1980 Italian zombie film Zombi Holocaust is a thing of beauty and great depth -- a rich blend of electronic/synthesizer tracks, experimental electronics, and soaring acoustic and orchestral numbers with tinges of Spaghetti Western soundtracks, frenetic drumming coupled with woodwind instruments, and chants and manipulated wordless vocals. This selection includes tracks that feature dark synthesizers, drones, and slow-burning electronic beats. Mannequin Records founder Alessandro Adriani used to play tracks from the soundtrack in his DJ sets; here, he transforms "The Magic Is in Progress" into a ten-minute dancefloor acid/EBM ride.



DHAZE: Subatomic Pussy 12" (MLTD 080EP) 14.00
Italian producer Dhaze has released on Amam, Little Helpers, Bla Bla, Body Parts, Inmotion, and more. Opener "Subatomic Pussy" is dark and disorienting, with drum patters, crispy hats, and some crazy cavernous Green Velvet-esque vocal snippets. "Waterdrip" is a relentless groovy monster, one for the darkest moments of a tech-house set. Spanish producer Medu follows productions on Dissonant and Wavetech Limited with a remix of "Subatomic Pussy," stripping it down and recreating a similarly hypnotic and driving peak-time techno number. Closer "Hardware in Love" combines a synth bassline with aquatic drums and a squelchy modulated synth.



2016 repress; originally released in 2005. Manuel Göttsching performed the picturesque electronic sounds of his seminal, epic four-part suite Die Mulde to accompany the art installation 34 mirrors R.S.V.P. by Mercedes Engelhardt, at the Denkmalschmiede Höfgen near the Mulde river in Germany, on September 6, 1997. The bonus track, "HP Little Cry," is based on a theme from 1981. In 2004, Göttsching added a guitar melody and dedicated the piece to a Norwegian fan, who gave the track its title.


GOTTSCHING, MANUEL: Live at Mt. Fuji CD (MGART 305CD) 15.50
2016 repress; originally released in 2007. Manuel Göttsching's performance at the Anoyo Prism festival on Mount Fuji in Japan, April 29, 2006. High-quality recording with highly sought-after tracks including "Shuttlecock." Göttsching performed the entire concert alone, accompanied by stunning visuals by a Polish graphic artist. He dug into his back catalog, coming up with new arrangements of classic material. The album opens with "Sunrain," which was originally released on the 1976 Ashra classic New Age of Earth. Göttsching takes the familiar, hypnotic sequencer pattern in a slightly different direction and extends the piece to nearly 15 minutes. The second track, "Saint and Sinner," was originally released on Concert for Murnau (2005). Göttsching takes it a step up from its laid-back studio counterpart, adding a bluesy Clapton-esque guitar lead. "Trunky Groove" debuted at this performance, and is a showcase of the psychedelic style that was the norm for Göttsching back in his very early days in Ash Ra Tempel. A techno-style rhythm is accompanied by a long drone and intense orchestrations before giving way to an effects-drenched guitar solo. "Die Mulde" is a 20-minute excerpt from Göttsching's 1997 long-form piece of the same name (MGART 301CD). It begins with the "Die Spiegel" section of the piece and shifts into the closing "Zerfluss" movement. As with "Saint and Sinner," Göttsching adds a guitar lead that is not present in the original version. Finally, to close the album, Göttsching presents another arrangement of the classic "Shuttlecock," which was originally released on the 1977 Ashra masterwork Blackouts (SPA 14759LP). The arrangement is similar to the 1976 live version that appeared on the 1996 CD The Private Tapes Vol. 1 (later released on Joaquin Joe Claussell Meets Manuel Göttsching (MG 501CD/601LP, 2006)), but definitely has a modern twist. Göttsching's guitar playing is front and center here and is stellar -- almost like taking a trip back to the mid-'70s.


GOTTSCHING, MANUEL: Inventions for Electric Guitar CD (MGART 401CD) 15.50
2016 repress of MG.ART's 2011 reissue; originally released in 1975. Remastered by Manuel Göttsching. Recorded July-August 1974, Inventions for Electric Guitar is Manuel Göttsching's first solo album. Written and performed entirely by Göttsching on electric guitar, with a four-track TEAC A3340, Revox A77 for echoes, wah-wah pedal, volume pedal, Schaller Rotosound, and Hawaiian steel bar.


GOTTSCHING, MANUEL: Joaquin Joe Claussell Meets Manuel Göttsching CD (MGART 501CD) 15.50
2016 repress; originally released in 2006. Many listeners know Manuel Göttsching from his 1984 masterpiece E2-E4 (MGART 424CD/904LP), which has been sampled on numerous occassions -- think "Sueno Latino" to start. The plethora of further re-recordings includes works by Derrick May and Joe Claussell and a bootleg by Carl Craig, all of which proves how iconic and enduring Göttsching's work is. Joaquin Joe Claussell Meets Manuel Göttsching is the first attempt to bring these once-illegal mixes to a broader and wider audience. It contains the first official release of two very rare tribute mixes of '70s Göttsching classics, carefully remodeled by Joe Claussell (a 22-minute version of "Deeper Distance" and an 11-minute version of "Ain't No Time For Tears"). The last words, however, are left to MG himself, with "Shuttlecock," a 19-minute excursion that has Göttsching improvising over a soft carpet of delayed bell sounds before the guitar fades away and the track deepens and thickens like a dark river sweeping along more and more motifs and harmonies. The three original concert recordings were first released on The Private Tapes Vol. 2 (Manikin, 1996); "Deep Distance" and "Shuttlecock" were recorded at the Bataclan in Paris, December 1976 and "Ain't No Time For Tears" was recorded in Berlin, August 1979.


GOTTSCHING, MANUEL: Joaquin Joe Claussell Meets Manuel Göttsching LP (MGART 601LP) 25.00
LP version.


GOTTSCHING, MANUEL: E2-E4 Live in Japan CD/DVD (MGART 801CD) 67.50
2009 release. Japanese import. Limited one-time edition of 3000; last available copies released as this 2016 MG.ART edition. SHM CD and NTSC DVD; includes 16-page booklet. Recorded live in August 2006 at the open-air Metamorphose festival in Japan. Composed, performed, and mixed by Manuel Göttsching. Recorded in 1981 and first released in 1984, Manuel Göttsching's masterwork E2-E4 (MGART 424CD/904LP) has since become a milestone in electronic music. This 2006 concert marks its first-ever live performance. DVD includes an additional excerpt from the original LP.


SPA 14759LP

ASHRA: Blackouts LP (SPA 14759LP) 26.50
2004 reissue on Spalax Music, distributed through MG.ART. The 1977 second album from Manuel Göttsching's Ashra solo project, Blackouts is one of the most electronic and danceable Ashra recordings. Written and performed entirely by Göttsching on electric guitar and keyboards.

SPA 14760

ASHRA: Correlations LP (SPA 14760) 26.50
2004 reissue on Spalax Music, distributed through MG.ART. Correlations, originally released in 1979, is the third album from Manuel Göttsching's Ashra project, but the first album by the Ashra band -- the first two Ashra LPs (1977's New Age of Earth and 1978's Blackouts (SPA 14759LP)) were Göttsching solo albums. Here, the music is performed by Göttsching (guitar, synthesizer, sequencer), Lutz Ulbrich (guitar, synthesizer, piano, mellotron), and Harald Großkopf (drums, percussion, synthesizer). Cover art by Hipgnosis.

SPA 14761LP

ASHRA: Belle Alliance LP (SPA 14761LP) 26.50
2004 reissue on Spalax Music, distributed through MG.ART. Belle Alliance (1980) is the second studio album by Manuel Göttsching's Ashra trio, following the band's 1979 debut, Correlations (SPA 14760), which expanded Ashra from the solo project of 1977's New Age of Earth and 1978's Blackouts (SPA 14759LP). Manuel Göttsching (guitar, synthesizer, sequencer), Lutz Ulbrich (guitar, synthesizer, piano, mellotron), Harald Großkopf (drums, percussion, synthesizer).



KOHOUTEK: Curious Aroma LP (MIE 034LP) 22.00
"The comet Kohoutek was first seen near earth by a Czech astronomer in March of 1973. David Berg, founder of religious cult Children of God, predicted its passing would cause armageddon the following year. A more welcoming family, the Sun Ra Arkestra, performed a concert dedicated to Kohoutek on December 12th, just two weeks before it came as close to our globe as it ever would. All of this could be insignificant trivia surrounding the name that Philly-by-way-of-D.C. band Kohoutek chose for itself. But somewhere in between all those early-'70s deductions, interactions, and overreactions might just live the keys to this group's expanding music. Inside their open, winding, slow-burning soundscapes lies the hard-edged reality of cosmic science, the hypnotic magic of mass-mind superstition, and the infinite paths of Saturn-bound outer spaceways. On Curious Aroma, that solar-seeking mix manifests as two spacious, patiently-developing LP sides. The music has the everything-works spirit of improvisation, but Kohoutek are just as curious about shapes and forms, equally interested in seeing which lines they can color inside and which they can bend and break apart. Guitars pick through the thickly-textured sonic space built by electronics and percussion, unafraid to knot or tangle, yet nimble enough to find gaps where others might blur. The rhythmic curves traced by bass and drums prove as apt for psych-drenched heaviness as they are for cloudier foundations. One side floats forward and backward and sideways until it wraps around space-time; the other melds sparks of feedback and distortion into metal lumber so hard you can touch it through your speakers. Along the way, Kohoutek conjure the ghost of their daunting live shows, which trek through so much aural territory it's a wonder you can still make out the band by the end. To call these two fully-realized explorations 'journeys' would be fair but insufficient. There are paths here that Kohoutek gradually move through, but that motion has the rare, intangible quality of sounding both spontaneous and guided, both new and determined. In other words, throughout the spaces which they travel on Curious Aroma, Kohoutek might not necessarily know where they're going, but they sure do know how to get there." --Marc Masters, Washington, DC, July 2015. Edition of 350.



SAD HORSE: Greatest Hits LP (MRP 088LP) 15.00
"One of Portland's finest rock bands. Sad Horse is a two piece with just drums guitars and vocals, but with these few tools they create memorable compositions. For the past 7 years, Sad Horse has released tracks on the most underground of cassette and LP labels. Their music is savagely joyful -- Geoff Soul and Elizabeth Venable trading screechy enthusiastic vocals, the guitar whirling through songs as concise as possible, the drums clanging and banging. This is the real underground sound of Portland. A compilation of the best moments of their recordings from small cassette releases. Co-release with Eggy Records."



ABLAZE!: #11 MAG (ABLAZE 011) 10.00
The Ablaze! fanzine relaunches with its first issue since 1993. Ablaze! operated in Leeds and Manchester between 1987 and 1993, and made an impact on the UK's healthy fanzine scene by being bigger, more colorful, and cheekier than its peers. In 2015, editor Karren Ablaze! is sufficiently inspired by what's going on musically to bring back Ablaze! as a real live paper magazine. This special relaunch edition includes features on Sleaford Mods (cover stars), Viv Albertine (The Slits), The Chills, Peaches, Jeffrey Lewis, Conrad Keely (...And You Will Know Us by the Trail of Dead), Lætitia Sadier (Stereolab), Katie Harkin (Sky Larkin, Sleater-Kinney), Slum of Legs, Esper Scout, Trepàt, Hysterical Injury, The Dismemberment Plan, Cowtown, and Joanna Gruesome. Plus: indie music in India, Barcelona scene report, DIY versus austerity, riot grrrl and spirituality, record reviews, book reviews, live reviews, and more.



VATICAN SHADOW: Death Is Unity With God (Complete Version) 3CD (LOVE 100CD) 20.00
Repressed, now in jewel case packaging. Death Is Unity With God finds Dominick Fernow returning to the kind of feral, burned-out productions that dominated 2012's Ornamented Walls (LOVE 080LP). This triple CD includes all the material included on the original 2014 limited six-cassette release of Death Is Unity With God, following Modern Love's double-LP edition containing 12 of the tracks (LOVE 100LP). Nodding to classic Muslimgauze, but also inspired by the parallels between religious fundamentalism at home in the USA and abroad, the oppressive atmospheres and destroyed rhythms isolate the gutted toil and drone in "It's to Come," while "FBI God" reduces the drums to scorched blasts against some harrowing, darkside chords. The quasi-speed torment of "Manufactured Silencers Under Direct Orders" flows into the haunting chorales and chiming percussions of "Living On and Off At the Shadows Motel" and the scything techno roil of "Small Explosives and Blasting Caps Inside the Pages of a Phonebook," before a particularly effective chamber-like meditation, "McVeigh Figure," draws aesthetic lines between ambient black metal, Coil, and early Autechre. "Waco Postmortem (Murrah)" ends the set operating nearly out of earshot with those incredible, sashaying synth motifs persisting in their struggle against the patina of hiss and exasperated rhythms blurred around the edges. Mastered by Miles.



WEISEMANN, SVEN: Let's Swing 12" (MOJUBA 004EP) 14.00
A warehouse find of the o/p 2014 repress; originally released in 2006. Sven Weisemann delivers more blissful late-night house with a strong organic, old-school feel; driving synth pads; and a real uplifting build-up -- transformed into a mind-blowing dub version by Oracy.



CUT LA VIS: One Step Forward LP (NUP 003LP) 25.00
One Step Forward is the debut album from Brighton-based DJ and producer Cut La Vis aka David Lavis. Raised on a diet of '90s hip hop, roots reggae, and ska, Cut La Vis delivers a melting pot of exactly that with his debut album. Making the transition from mash-up maverick to original producer, he still turns in the same reggae-infused bangers, dubwise hip hop, and ska shakers complemented by an impressive array of guest vocalists plus a little help from a tight band of session musicians. Following her appearance on Cut La Vis's summer 2015 hit "Still Have the Love" (NUP 020EP), London-based reggae/soul singer Maddy Carty appears on a number of tracks, as does Bristol songstress Eva Lazarus. Roots Manuva collaborator and Speech Debelle's Mercury-winning producer Lotek blesses the mic on the bouncing "Rinse and Repeat," UK dancehall legend Tippa Irie appears on "Love My Music," and Cut La Vis's regular collaborator Mystro contributes to opener "Hit Me One Time." Rounding things out are Jamaican dancehall MC Peppery and vocalist Parisa (Origin One), giving the album a healthy balance of established artists and newer talent. With a cheeky nod to the classic Max Romeo track, the title of One Step Forward also refers to the fact that this is Lavis's debut album -- his first step into the future, while retaining inspiration from the past.



VA: The Art of Remix CD (NONCLSS 018CD) 16.50
Over the last three decades, the remix has become a central form in the world of electronic music. At first it was a simple way to release a disco version of a popular song, but it has since developed, in some areas, into an opportunity for highly sophisticated re-imaginings (even re-compositions) of electronic tracks, becoming an art form in its own right. Since the Nonclassical label's inaugural release in 2004, the remix has been an essential element of its catalog. Ranging from edgy hip-hop to sublime ambience, this album brings together a selection of the most creative remixes released on the Nonclassical label since its inception, all of which are based on contemporary classical recordings, twisted, cut-up, and reworked into a range of remarkable, genre-defying pieces of music. The Nonclassical "house rule" for remixers: "All the sounds used in every remix must be created exclusively from the master recordings of the original -- no imported beats or samples." Imposing this strict policy on the remixers forces them to adopt a resourceful yet open-minded approach. The result is a series of Nonclassical remixes that, though highly diverse, share an organic and natural sound -- a testament to both the talent of the remixers and the sophistication of modern sound-processing technology. This constant invention and innovation from album to album and DJ-set to DJ-set will ensure that The Art of Remix continues to break new ground while simultaneously maintaining Nonclassical's pioneering spirit. Includes remixes by Thom Yorke of John Matthias & Nick Ryan, Hot Chip of The Elysian Quartet, Murcof of Powerplant, Medasyn of Consortium5 and Gabriel Prokofiev + Peter Gregson, Tim Exile of Prokofiev + Gregson, Samoyed of Consortium5, Heavy Deviance of Mercury Quartet, Gabriel Prokofiev of The Elysian Quartet and The House of Bedlam, Cerebral Productions of Heritage Orchestra feat. DJ Yoda, Marcas Lancaster of Matthias & Ryan, ThimK of Prokofiev + Gregson, Ed Laliq of The Elysian Quartet, Tivannagh L'Abbé of Heritage Orchestra feat. DJ Yoda, Vex'd of The Elysian Quartet, Germ of GéNIA & John Richards, and Max De Wardener of GéNIA & John Richards.


KLAVIKON: Klavikon CD (NONCLSS 020CD) 16.50
Acclaimed composer-pianist Leon Michener aka Klavikon presents his debut album, a work that transforms the piano into a factory of haunting, percussive textures. Indebted to both the American experimental tradition of David Tudor and John Cage and the post-war European innovations of Karlheinz Stockhausen and György Ligeti, the album comprises a suite of brand-new, visceral compositions. Fourteen pieces recorded live at the piano with no overdubbing, sequencers, or other programmed electronics. Michener spent several years honing a disciplined piano technique to create the stunning multi-layered effect heard in the Klavikon project. All sounds are made by the amplified piano, which Michener prepared by adding various objects of stone, wood, plastic, and metal. Credit cards provide rasping sub-basses, washers hi-hats, and rubber wedges kicks. With the use of bolts, screws, and assorted electric toys, Michener reimagines "electronic" music without the use of conventional processes. While tracks such as "Oram Her Toye" and "Kontrapunkd" recall the delicate, fractured sound palette of Cage's work for prepared piano, "Croix" echoes the thick, modulating textures of Stockhausen works such as Kontakte and Mantra. From an early age, Leon Michener combined a focus on Western classical music with a deep attachment to club genres as they evolved through the 1990s and beyond, from acid house to minimal techno, with particular inspiration drawn from such artists as Autechre, Basic Channel, Jeff Mills, Source Direct, Photek, Bambaataa, Squarepusher, and Todd Edwards. It is this dual mindset that has informed his development of Klavikon, and which finds its explosive realization on this debut album. Michener studied classical piano and composition at Trinity College and the Royal Academy of Music. His recordings have been broadcast on BBC Radio 3, and he has performed at the Moderna Museet (Stockholm), Roundhouse (London), Kings Place (London), and more. Klavikon was mastered by Grammy Award-winner Mandy Parnell.


KLAVIKON: Klavikon 2LP (NONCLSS 020LP) 27.50
Gatefold double LP version.


NA 5109LP

MUSI-O-TUNYA: Give Love to Your Children LP (NA 5109LP) 21.00
"Funk, psych-rock, and fuzz-guitar-lead Afrobeat from Zambia's groundbreaking band. The legendary Zamrock band's second album and two rare 7" tracks. Give Love to Your Children follows Now-Again's first foray into the zamrock genre, guitarist, vocalist and songwriter Rikki Ililonga and Musi-O-Tuyna's Dark Sunrise, which compiled Musi-O-Tunya's Pathe East Africa 7" singles, their first album Wings of Africa and Ililonga's first two solo albums, released under his own name: Zambia and Sunshine Love. Dark Sunrise hadn't even entered production when we became aware of Musi-O-Tunya's post-Ililonga trajectory, and its uniqueness in the zamrock landscape. It is the corollary to Ililonga's mature solo offerings: Give Love to Your Children is teeming with energy and tension, hazily affected by copious drug use, and recorded quickly, before its members parted ways for good. And now, it's often sad story can be told, and it's incredible music can be heard, thanks to the participation of Ililonga, Chengala and Barnes, who color the creation and release of Give Love to Your Children in an extensive set of liner notes and interviews included in the album's booklet. Give Love to Your Children is a marvelous, thrilling, charging beast of a thing that has to be stared at in the face so as to be understood. This album's grooves hold the last, sustained shouts from one of the first -- and greatest -- zamrock ensembles: Musi-O-Tunya exploded at the height of the zamrock movement with this burst of fuzz guitar, chunky basslines, funk and Zambian folk rhythms, choral chants and compelling lead vocals. They never recorded together again."

NA 5133LP

"Following their deft handling of musics from Eastern and Northern Africa alongside Western psychedelia, jazz and funk on Unstraight Ahead, Karl Hector & The Malcouns are back with an vinyl-only EP -- the fourth in a series that included Tamanrasset, Ngugna Yeti Fofa and Coomassi -- that represents the band's completion of a cycle of musical forms from around the world, and combines European, African, Middle Eastern and American styles into something new, and of course, pretty damn groovy."

NA 5135LP

VA: Black Man's Cry: The Inspiration Of Fela Kuti 2LP (NA 5135LP) 25.00
"Covers & music inspired by the Godfather of Afro-beat. Includes rare & previously unreleased music from Nigeria, Ghana, Colombia, Trinidad and more. He's best known by his first name: Fela. He's certainly Nigeria's most famous musical export. His name itself conjures images of 70s Lagos. A metropolis awash in the jubilation that swept in after the 1970 armistice in the civil war between the Nigerian Army and Eastern Biafran secessionists. A capital city in the midst of transition. This is the environment in which Fela and his Africa 70 popularized the hybrid of highlife, jazz and James Brown style, big-band funk he invented: Afro-Beat. In Nigeria, his countrymen knew his music like Americans know Elvis. On foreign shores, a chosen few Westerners could claim to know the extent of Fela's genius. As a result, while music historians have filled books with references to the influence of Westerners on Fela's creation, little has been said about Fela's inspiration on others. Thus, our compilation begins. Fela's music, and that of his organization inspired musicians across the global village when Afro-Beat was new and novel. This compilation focuses on the music Fela inspired -- whether by fellow Nigerians recording alongside him in the early 70s, neighbors in Ghana, then-modern Colombian cumbia ensembles inspired by the man who injected a new feel into the Yoruban rhythms that formed cumbia's base, Trinidadian steel bands or the select few organizations left that have maintained Fela's fury in the new millennium. This is but a cursory investigation into those inspired by Fela Kuti's genius, but it is unique: the first time that many of these tracks are not only offered a second chance for worthy introspection, but, in the case of many, the first time they're being issued full stop." Both rare '70s recordings and contemporary artists, including: Cumbia Moderna De Soledad, Dan Satch And His Atomic 8 Dance Band, 6th Infantry Brigade of the Nigerian Army, Bola Johnson, Segun Bucknor, Jerry Hansen, Lisandro Meza, Lever Brothers Gay Flamingoes, Mosco Tiles Fonclaire Steel Orchestra, Sylvania East Side Symphony, Phirpo Y Sus Caribes, Daktaris, Karl Hector and The Malcouns, and Whitefield Brothers.

NA 5137CD

HECTOR AND THE MALCOUNS, KARL: Can't Stand the Pressure CD (NA 5137CD) 16.00
"Following their deft handling of musics from Eastern and Northern Africa alongside Western psychedelia, jazz and funk on Unstraight Ahead, Karl Hector & The Malcouns combine the previously available only on vinyl tracks from four EP's -- Tamanrasset, Ngugna Yeti Fofa, Coomassi and Ka Rica Tar -- into an album as Krautrock as Afro Beat, as Multi-Culti-Psychedelic as Deep Funk."



JT THE GOON: King Triton 2LP (OILGANG 011LP) 27.50
JT the Goon is a grime legend, but you might not know that. JT's music combines grime's raw power with the rich melodies that he's mastered in his development as a producer since the mid-2000s. His full-length debut, King Triton, evokes classic westerns and martial arts movies without ever losing sight of the fact that it's first and foremost a grime record. In addition to the AMS Feedback Lead that JT helped popularize, it draws from a range of the Korg Triton sounds that are at the genre's heart. Equally respected by grime veterans and its new breed, this is one of the genre's best, operating with authority. Includes a collaboration with Dullah Beatz and a remix by Rabit.


OP 035CD

TEENAGE JESUS & THE JERKS: Live 1977-1979 CD (OP 035CD) 15.50
"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


SPC 3354LP

GHANA SOUL EXPLOSION, THE: Soul Makossa LP (SPC 3354LP) 12.00
The Ghana Soul Explosion sole album, originally released in 1973, features a cover of Manu Dibango's "Soul Makossa," plus Stevie Wonder's "Superstition," Shaft In Africa's "Are You Man Enough," and Sly Stone's "Family Affair."



DICTATORS, THE: The Next Big Thing EP (Andrew W.K. 2015 Remixes & Studio Outtakes) 10" (RGM 392EP) 25.00
Black Friday RSD 2015 release. "It's been 40 years since Andy 'Adny' Shernoff, Scott 'Top Ten' Kempner, Ross 'The Boss' Friedman a.k.a. FUNichello, Stu Boy King, and Handsome Dick Manitoba released the Dictators' debut Go Girl Crazy! album and created the loud, fast, and rude template that thousands of punk bands to come slavishly followed. And now the boys are ready to celebrate their anniversary with a little help from a very special friend. Long-time fan, professional party animal and metal/punk singer-songwriter-producer Andrew W.K. took the original album session tapes to three of the songs and, as he puts it ever so modestly, 'remixed, over-produced and totally ruined reimagined' them to create sonically stunning brand new versions of 'The Next Big Thing,' 'Two Tub Man,' and 'Weekend' for this Black Friday exclusive release! But that's only half the treasure that awaits Dictators fans on this 10" EP, which comes on beautiful opaque red vinyl; in the course of reviewing the tapes for this project, Sony Legacy A&R Producer Timothy J. Smith also located a reel of unreleased session outtakes including a completely previously unknown recording that never made it to the album, 'Backseat Boogie,' along with an alternate take of 'The Next Big Thing' and an instrumental take of 'Weekend.' Back cover and label artwork boasting previously unseen photo contact sheets complete the package. LIMITED EDITION OF 2500."



DJ HAUS: Burnin' Up 2LP (RINSE 034LP) 26.50
Double LP version. 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.



Knocking around the UK underground toilet scene since around 2010, Reading's Workin' Man Noise Unit have been busy playing countless gigs, releasing limited run tapes and singles, and making a nuisance of themselves on postage-stamp-sized stages around the country. Along the way they've shared stages with plenty of the current UK underground mafiosi including Hey Colossus, The Unit Ama, Good Throb, Carlton Melton, Terminal Cheesecake, The Wharves, Sly & the Family Drone, Grey Hairs, Gum Takes Tooth, Art of Burning Water, Henry Blacker, Perspex Flesh, Wolf People, etc. The band describes Play Loud: "Most of the songs on this record are pretty self-evident... 'Cruisin' the IDR' is about Reading's Inner Distribution Road, which is a concrete blanket that snakes around the centre of the town, holding Reading in a sort of permanent stranglehold. It's been there since the late 60s and it's ugly to look at. Part of the IDR has big concrete walls and all you can see whilst driving through these sections is tarmac, concrete and, if you look up, sky. We drive around it a lot. 'Cruisin' the IDR' is the closest thing we will ever get to a 'hometown' song. 'Yeah, I was Hypnotised' is about fascination with the atomic bomb, particularly the ubiquitous 'mushroom cloud' image but also the small matter of the human race making this thing in order to destroy itself en masse." Julian Cope reviewing the band's 2012 Drinkin' Stella to Make Music to Drink Stella To cassette: "Okay, now deffo the best way to commence this month's Reviews Section is to pop on to my nearest '90s ghetto blaster this manky chromate yellow cassette emblazoned with the simple words 'play loud'... there's enough cunted Mithraic fire within these two brief sides of monumental midrange and Tinnitus-inducing plateaux to summon up a whole new music scene around these geezers, nay, these Pyramids of Giza. What's it sound like? Fuck knoweth, brothers'n'sisters. How about the bastard offspring of 'Final Solution'-period Pere Ubu plays Tight Bros From Way Back When, or even the Electric Eels performing Monoshock's 'Model Citizen' into a single compressor microphone. Sweeeeeett! ... A classic debut, kiddies; let's just hope nobody with a studio comes to fuck'em up." Includes insert and download code. Edition of 400. RIYL: The Jesus Lizard, Scratch Acid, Part Chimp, Mudhoney.



ORGANUM: Volume One CD (ROBOT 017CD) 15.00
1998 release. The first of two CD anthologies of the Organum/David Jackman back catalog, preceding Volume Two (ROBOT 018CD). The series is not exclusively limited to reissuing early vinyl releases in their entirety, but is rather a "collection" series that also includes alternate mixes as well as previously unreleased material. Remastered for truly maximum fidelity. Volume One includes material culled from the Tower of Silence and In Extremis 12"s (both originally released on L.A.Y.L.A.H. Antirecords in 1985). These pieces easily represent the raw beauty and intensity of the early Organum sound. Also included is Rasa (originally featured on the United Dairies split LP with Nurse with Wound, 1986), which offers a bizarre combination of female voice and dense droning space. This piece has been regarded as the most unusual of all of Jackman's output to date.


ORGANUM: Volume Two CD (ROBOT 018CD) 15.00
2000 release. The second of two CD anthologies of the Organum/David Jackman back catalog, following Volume One (ROBOT 017CD). The series is not exclusively limited to reissuing early vinyl releases in their entirety, but is rather a "collection" series that also includes alternate mixes as well as previously unreleased material. Meticulously mastered for truly maximum fidelity, Volume Two includes material primarily culled from the In Extremis and Horii sessions (12" titles originally released on L.A.Y.L.A.H. Antirecords, in 1985 and '86 respectively). Track one, "Valley of Worms," includes the complete B-side (album version) of In Extremis, which features Jackman's collaborative work with The New Blockaders. This 20-minute piece is a massive eruption of relentless, burrowing atmospheres that are as often disturbing as they are engaging. Track two, "Horii," is an alternate version (differing from the 12" release) that features Jackman's collaboration with Andrew Chalk. At over 12 minutes, this piece offers a very bizarre mélange of sputtering bowed percussion, homemade woodwinds, and voice. Track three, "Ich Reiste Weit Und Verweilte Fur Einigezeit In Tring," is a previously unreleased work from 1989 that captures many of the (purely acoustic) compositional elements associated with the early L.A.Y.L.A.H. sessions. As with Volume One, these early dynamic compositions easily represent the raw beauty and intensity of the early Organum sound.


MARTIN & CHRISTOPH HEEMANN, ANDREAS: Lebenserinnerungen Eines Lepidopterologen 2CD (ROBOT 020CD) 22.00
2010 expanded reissue of the 1999 compilation Lebenserinnerungen Eines Lepidopterologen ("Memoirs of a Lepidopterist"), collecting the collaborative and early solo works of Andreas Martin and Christoph Heemann as an extensive two-CD retrospective. Moving between minimalist guitar compositions, tape-music narratives, and an array of cascading electronics, each of Martin and Heemann's solo recordings blends seamlessly within the milieu of their collaborative work. While one can hear how this forged the groundwork for much of the late-period H.N.A.S. material, the work here took the vision further, and helped shape a path toward their respective solo endeavors. Included are compositions from their first solo releases, Martin's Doppelpunkt Vor Ort (1993) and Heemann's Über den Umgang mit Umgebung und Andere Versuche (1991), each originally released in a limited 10" edition. Also featured is a prime selection of previously unreleased material, obscure 7" tracks, and their collaborative opus from the H.N.A.S. Ach, Dieser Bart! LP (1988). This deluxe set includes two additional tracks not included on the 1999 edition and features fully restored visuals. Packaged in a beautiful mini-LP gatefold jacket with an updated four-page booklet. Over 100 minutes of music covering the years 1987-2000. Remastered sound.


2004 release. Eclipse is the long-anticipated second CD by the Aeolian String Ensemble, following the Lassithi/Elysium disc from 1998 (ROBOT 016CD). Collecting material recorded in 1981, '86, and '99, the disc opens with "Espacios," dedicated to the art and architecture of César Manrique. Wind patterns emerge, interspersed among distant, radiant tonalities. Zephyrs sustain waves of resonance emanating from the Aeolian harp, transporting the sound of the strings while revealing the surface of the harmonic textures. The second composition, titled "K1" (1981), first appeared on the 1986 Journey to the End of Night cassette compilation with a radically different title. "K1" was renamed and remastered for this release to deliver its originally intended listening experience. This early work consists of three movements for Aeolian harp, harmonic extractions, and voice. Each movement consolidates elements from the previous, creating gateways toward new and even more expansive realms. Concluding the album is "Eclipse," which was recorded live in the open air near Bosham Quay, England on the occasion of the 1999 solar eclipse. Performed inconspicuously among the bystanders observing the eclipse, the resulting sounds could most certainly be heard; however, the performers remained eclipsed by the moon. A fresh set of shifting, hazy, and spacious compositions for your total aural immersion. Cover art by Christoph Heemann.


ORGANUM/DAVID JACKMAN: Penguins Eat Fish/Little Dark Wing 7" (ROBOT 033EP) 7.00
2005 release. Split single of compositions by Organum and David Jackman. "Penguins Eat Fish" features a metamorphosis of the Organum sound, integrating more punctuated, real-time acoustic elements with a diverse cacophony of "chordal" loops of fog horn and bugle band. The penguins march to the horizon. "Little Dark Wing" is the first piece to appear from a series of mid-2000s piano works by Jackman. Here Jackman's extensive graphic and visual background reveals a new palette of chordal systems.


FUCHS, LIMPE: Vogel Musik CD (ROBOT 037CD) 14.00
2007 release. Since performing in the late 1960s and through the early '80s as half of the German duo Anima (with Paul Fuchs), Limpe Fuchs continues to explore music-making as a part of everyday life. Her vibrant live performances are numerous and consist of solo as well as ongoing collaborative works. On Vogel Musik (or "Bird-music"), Fuchs is heard performing a series of duos with multi-instrumentalist Christoph Reiserer (saxes/clarinet) (recorded in 2002). The duo then extends to a trio with Julia Schoelzel (on piano) for a piece recorded at Musikfest, Munich, in 2004. The themes that developed from these recordings revealed a beautiful and bizarre series of compositions that are collected on CD here for the first time. With an array of movements and audio dialogue among the performers, the bird-related themes have an equally visual quality that correlates perfectly with such titles as "Zwiegespräch" ("Dialogue") and "Fliegen" ("Flying"). Using her voice and violin, along with a vast assortment of custom and homemade percussion instruments, Fuchs emits a remarkable sense of space and otherworldly atmosphere that one may liken to acts in musical theater. Vogel Musik takes flight with a fresh set of utterly unique pieces from a true musical visionary. Packaged in a full-color digipak with illustrations by Christoph Heemann.


STAPLETON/TONY WAKEFORD, STEVEN: Revenge of the Selfish Shellfish 2CD (ROBOT 038CD) 24.00
2009 reissue. Originally released by Tursa (UK) in 1992, Revenge of the Selfish Shellfish was the first full-length collaboration between Steven Stapleton and Tony Wakeford. Consisting of an eerie yet beautiful combination of songs and surreal locales, Shellfish remains a unique landmark with qualities not easily found in either the Nurse with Wound or Sol Invictus discographies. With a strong sense of narrative, as in Wakeford's vocals on "Lucifer Before Sunrise" and the perpetual tape-music panorama of Stapleton's "The Frightened City," the listener is transported to ominous and quite unexpected destinations. Accordingly, these compositions often blur the line between distant dreams and foreboding reality. This deluxe edition includes fully restored original artwork by Babs Santini, plus new visual flourishes and remastered audio by Matt Waldron. Also included is a bonus disc with previously unreleased mixes by Steven Stapleton from the original Shellfish sessions, along with mixes by Tony Wakeford, irr. app. (ext.), Andrew Liles, and Brian Conniffe. All packaged in a sturdy mini-LP gatefold jacket with six-panel full-color booklet.


HEEMANN, CHRISTOPH: The Rings of Saturn: Complete Edition CD (ROBOT 040CD) 15.00
2012 reissue. This edition features an additional 13 minutes of music not included on the 2010 LP and the original 2008 CD-R. The Rings of Saturn: Complete Edition encompasses a lengthy narrative of music prepared over 1997-2012. Infusing early field recordings with studio compositions, this album of cinéma pour l'oreille ("cinema for the ear") transports the listener to discrete locations that evoke rich memories and sympathetic recollections. This remastered complete edition updates one of Christoph Heemann's finest solo works. Packaged in Japanese-style tip-on mini-jacket reproducing a beautiful variation of the original album artwork.


RUM 2011104LP

PRESLEY, ELVIS: Elvis Presley LP (RUM 2011104LP) 20.00
The very first rock and roll album to reach #1 on the charts and sell over a million copies, Elvis's 1956 debut LP is a classic piece of American music history, from the iconic cover to the unforgettable track listing. Recorded in Nashville, New York, and at the legendary Sun Studios in Memphis, this is THE KING's most famous moment, a debut LP that changed the course of music history.

RUM 2011105LP

PRESLEY, ELVIS: Elvis LP (RUM 2011105LP) 20.00
Originally released in October 1956, a mere half-year after the immortal debut (RUM 2011104LP), Elvis is every bit as iconic as its predecessor. Recorded in early September in Hollywood, The King was in top form, mixing up tracks from Lieber & Stoller, blues legend Arthur Crudup, and country heroes Red Foley, Chet Atkins, and Webb Pierce, as only Elvis could do. A true American hero back in print on Rumble.

RUM 2011106LP

PRESLEY, ELVIS: Elvis' Golden Records LP (RUM 2011106LP) 20.00
A compilation of The King's mid-'50s classics, originally released in 1958. Elvis' Golden Records is perhaps the most recognizable track listing in the history of rock and roll, from "Hound Dog" to "Heartbreak Hotel" to "Don't Be Cruel." This compilation of game-changing rock and roll is as essential as it gets.


SS 005LP

COOPER, MIKE: White Shadows In The South Seas 2LP (SS 005LP) 28.00
"A blend of ambient, exotica and field recordings, inspired by Frederick O'Brien's travel book. 'Twilit dreams spanning Pacific shores in pulsing waves of richly-coloured rythyms, tropical sound fields and Polynesian-inspired slide guitar. Moving deconstructively beyond a passion for Islander kitsch, this is a unique, self-questioning kind of Blues, infused with other musics, bearing witness to the complexities of relationships between Islander people and visitors.' First time out on vinyl; in silk-screened sleeves, with metallic ink."



EN: City of Brides 2LP (SOD 112LP) 25.00
"City of Brides is the third full-length album by En, the Bay Area-based duo of multi-instrumentalists Maxwell August Croy and James Devane. It was recorded over the last few years in a variety of contexts and follows upon 2012's well-received Already Gone, further developing the diverse palette of that record. Across four sides, the pair presents exotic, transportive and richly detailed pieces that toe the line between ecstatic, long-form ambience and elegant, structured electronic composition. As always, Croy's koto is a focal point, its distinctive tone ringing out amidst the hazy guitar, vocal and synthesis environments that surround it. The material ranges from moody to celestial, from cool to white hot. Pieces such as 'Blonde Is Back' and 'Mendocino Nature Rave' merge sizzling modular synth lacework with plaintive, familiar drone clouds to rapturous ends, while the two-part 'Songs for Diminished Lovemaking' sequence charts a more minimal and nostalgic course. Students of Decay is pleased to present En's most realized and defining statement to date, a welcome addition to the ever-expanding and fertile topography of American West Coast drone music."


SV 065LP

MINGUS, CHARLES: The Black Saint and The Sinner Lady LP (SV 065LP) 24.00
Repressed. "Bassist/composer Charles Mingus is one of the most radical figures in American music. Throughout the '50s, he worked as a sideman with legendary players Charlie Parker, Dizzy Gillespie, and more. In the '60s, he gained recognition as a bandleader, often followed by controversy for making strong-minded statements in the press about race, politics and stodgy music critics. While Mingus received many honors posthumously as well as during his career, perhaps his greatest achievement was transcending the restrictive label of jazz. The Black Saint and The Sinner Lady is without question Mingus's magnum opus. Originally released on Impulse! in 1963, the album broke new ground in both genre-defying composition and innovative recording techniques. A six-part suite with dramatic shifts in mood and tempo, The Black Saint and The Sinner Lady features the three-way brass dialog of trumpets, trombone, and tuba; swooping reeds; and awe-inspiring rhythm section. Balancing delicate Spanish modes and Ellingtonian themes, the ensemble breaks into a divine cacophony of group improvisation on par with free jazz giants like Ornette Coleman or Cecil Taylor. In his best-known essay, 'Psychotic Reactions and Carburetor Dung,' Lester Bangs praises, 'the experience of the first few listenings to a record so total, so mind-twisting, that you authentically can say you'll never be quite the same again. Black Saint and The Sinner Lady did that, and a very few others. They're events you remember all your life, like your first real orgasm.' This long out-of-print vinyl release has been carefully remastered from the original master tapes."

SV 077LP

AVENGERS, THE: The Avengers LP (SV 077LP) 20.00
"In the late '70s, The Avengers established themselves as one of the US's preeminent punk bands. Fusing incisive guitar hooks, explosive rhythms and adolescent venom, the group forged some of the most in-your-face songs of the era. Their live shows were legendary, playing up and down the West Coast and even blowing Sex Pistols off the stage at the latter's final performance. As Byron Coley writes in the liner notes, 'Of the best bands of San Francisco's first wave in 1977, The Avengers were by far the coolest and youngest sounding. They roared without irony, as though this were indeed Year Zero (and, for a moment, it was), with history being overwritten by the new. The honesty of their belief was carried by their sound. And it was convincing!' Originally released in 1983, four years after the band's dissolution, The Avengers' self-titled LP is often referred to as 'The Pink Album' for its magenta-hued cover design. Frontwoman Penelope Houston's iconic voice and razor-sharp lyrics resonate on anthems 'We Are The One' and 'The American In Me,' while penetrating ballads like 'Corpus Christi' reveal a truly out-of-body euphony. The Pink Album remains The Avengers' definitive statement -- collecting their classic Dangerhouse EP, sessions recorded with the Pistols' Steve Jones and a half-dozen revelatory demos. While much has been written about The Avengers in the past three decades, rock critic Greil Marcus puts it succinctly, 'The word I always come back to is mystical, and that remains almost theirs alone.'"



PHARCYDE, THE: Running 7" (BIC 105EP) 11.00
Black Friday RSD 2015 release. "Before J Dilla was Dilla - he was Jay Dee. One of the first things he did upon hitting LA in the mid-90s was serve as the producer of The Pharcyde's sophomore effort, Labcabincalifornia. His work on this seminal project lead to a string of (often uncredited) work on singles and remixes for Janet Jackson, De La Soul, Busta Rhymes, A Tribe Called Quest and many others. Drop the needle on his first Pharcyde production 'Runnin' and you have the launch point of a producer's career that mesmerized, titillated and expanded the domes of music fans for decades to come. This stand out selection from Labcabincalifornia is presented for Black Friday Record Store Day with the non-album B-Side 'Emerald Butterfly.' In a nod to the original blue vinyl 45 issued in 1995, the vinyl is in a blue and clear split pressing housed in a full color jacket that's a reproduction of the original pressing."


PHARCYDE, THE: Labcabincalifornia 2LP (BIC 107LP) 26.00
"The 20th Anniversary Edition Of Labcabincalifornia is pressed on limited edition Gold Vinyl. The Pharcyde's landmark Labcabincalifornia just hit its 20th anniversary, having originally been released on November 14th, 1995. The Bicycle Music Company celebrates with an all new pressing of the double gatefold LP. The Pharcyde released Labcabincalifornia, their follow up to their legendary debut Bizarre Ride II The Pharcyde (itself released on November 24th, 1992) with the album ultimately launching three singles, 'Runnin'', 'She Said' and 'Drop' (which would go on to massive MTV music video fame due to it's first ever entirely backwards filmed video directed by Spike Jonze). Over the next 20 years, the legacy of The Pharcyde and Labcabincalifornia has continued to rise. In the case of Labcabincalifornia, that's in no small part due to the production work on the project from the legendary Jay Dee, aka J Dilla."


TPR 5501LP

VA: UFO on Farm Road 318: Twisted Tales from the Vinyl Wastelands Volume 1 LP (TPR 5501LP) 23.00
LP version in gatefold sleeve. "The Twisted Tales From The Vinyl Wastelands series takes the listener on a dark adventure, a wrong turn into a bizarre, alternate world of American country music performed by small town, unknown hicks. The first volume, UFO On Farm Road 318, collects eighteen ultrarare hillbilly 45s recorded for long-lost independent record labels. Booze and desperation mixed in backwoods recording studios to produce songs that tell whitetrash tales of alien abduction, swamp gas, and other off-the-grid weirdness."



BAMBOO: Prince Pansori Priestess LP (UTR 075LP) 23.50
180-gram white LP. Limited edition of 500. Bamboo is a sublime project from Nick Carlisle (of Peepholes, Don't Argue) and Rachel Horwood (of Trash Kit, Halo Halo). Their music is vivid and deeply poignant, locking into a magnetic attraction between Horwood's flawlessly resonant folk cadence and Carlisle's pristine synth pop production. Far from being a one-off, Bamboo is very much a fully realized pursuit, with the band working on multiple records simultaneously from their Brighton and London base camps. Prince Pansori Priestess is the first album to see the light from this pairing of talents. Recorded from spring 2014 to spring 2015, this was before the band expanded to a four-piece for live performances, showcasing Bamboo as an original duo with a sound-world very much their own. The title references a Korean genre of musical storytelling alongside notions of majesty and faith, which are all streams that weave their way through the record. Central to the work's sound is the meeting of the warmer tones evident in the vocals, acoustic drums, and banjo with the immaculate, spatial nature of the synths and beat-scapes. It feels very pure, prismatic, and even mystical at moments without losing any of its human touch. "Auroch" opens this debut album and slowly unpacks all the qualities that make Bamboo such an incredible band. At first the pitched-banjo paces out a chiming circle allowing Horwood's entrancing vocal to follow the line, then Carlisle's pristine beats and synth clusters blossom into almost sub-aqua realms of lush swirling melody. "Stone" is an aching song of self-reflection set amid flourishes of reverberating keyboard that at times sound like gamelan and at others like fireworks in the daylight. "Sangokushi Love Theme" was written by Haruomi Hosono of Yellow Magic Orchestra, and in the hands of Bamboo it begins to shine with even brighter colors. It's beautiful, serene, and nothing short of spellbinding. "Be Brothers" is another highlight from the second half of the album. The first part of the song begins with a fragile plucked banjo motif underscored by drifts of blushing ambience before the percussion picks up, allowing the rippling synths to walk hand-in-hand with Roedelius toward the horizon. Verity Susman (of Electrelane) guests toward the end of "Be Brothers" on saxophone, helping the song reach its more resolved future. Bamboo hit the ground running with this debut record, sounding as unique and mercurial as the gift of song itself.



2015 repress; 180 gram vinyl version. Repro-reissue of this 1967 album on Vault, featuring Ry Cooder. Obscure but classic drug vibed Indian-based psychedelic sitar-led instrumentals w/ an early Beefheart flavor. "Ry Cooder's Ceyleib People are arguably one of the more innovative groups of the late 60s. Taking the loping blues romp of Captain Beefheart and filtering it through Indian music, the group created a very short album of two 10-11 minute parts. For 1967, this is definitely hippy experimental music, hopping from guitar riffs to sitar drones to mellotron rambling and back without regard for convention. It's almost as if there was an intent to fuse the influences of Ravi Shankar with those of the old blues legends, except that rarely is there any true juxtaposition of both styles, instead one will start out and then give way to another, segment by segment. It's as if someone gave a studio the masters for several Ravi Shankar and Captain Beefheart albums, asked them to splice them together, and then left, only to have the engineer play a joke by adding parts of Days of Future Passed in as well. Overall, it's a pretty successful experiment especially considering its age. While this might not have been so impressive had it been from a few years later, its presence in 1967 is quite prescient." -- Mike McLatchey.



BOLLANI, STEFANO: L'orchestra del Titanic CD (VVJ 021CD) 14.50
1999 album from this celebrated Italian pianist, who was voted Best Jazz Talent of the Year in 1998 by Musica Jazz magazine. Featuring a unique quintet that includes accordion and guitar, L'orchestra del titanic is a fine album from a contemporary master. Stefano Bollani: piano; Antonello Salis: accordion; Lello Pareti: bass; Walter Paoli: drums and percussion; Riccardo Onori: guitar.


DOCTOR 3: Blue CD (VVJ 059CD) 14.50
2007 release. Doctor 3 are back. Absent from the music business since 2003, their return is more precious than ever, because these years of silence have not produced anything similar in the panorama of Italian jazz music. The alchemy of Doctor 3 was and is theirs only, belongs only to the trio, although individual members of the group have given birth to albums of all respects. But -- let's face it -- it was not the same thing. Blue, irresistibly jazz, is, unlike earlier works, an album decidedly focused on nocturnal atmospheres of rich blue. Here there is minimalism and synthesis, compared to the four previous productions; there is a crystal-clear sound returned in every note, in every agreement, every nuanced harmonic; it is as if the authors so distant in time and space (from Burt Bacharach to Francesco De Gregori, from Damien Rice to Luigi Tenco, from Rodgers and Hart to Mogol/Battisti, passing by Elmer Bernstein, James Taylor, and John Williams ...) sounded similarly filtered by the soul of the musicians and their instruments. A disc of the soul and for the soul.


IONATA & DADO MORONI, MAX: Two for Duke CD (VVJ 077CD) 14.50
2012 release. The artistic paths of Dado Moroni and Max Ionata intersect in honor of Duke Ellington, giving life and sound to Two for Duke. A one-way trip to Ellingtonia, a land created by two of the greatest musicians of the 20th century , Duke Ellington and his collaborator Billy Strayhorn -- a man who avoided the limelight yet many believe to be the true inspiring source of Ellingtonian aesthetic. Regardless of who did what, these two contemporary geniuses left an indelible mark on music in general, not only on jazz. Ellington and Strayhorn invented something new, laying the harmonic and melodic foundations of a musical language that was several decades ahead of their time. Produced by Jando Music, in collaboration with Via Veneto Jazz, this album reflects the passion that Dado and Max always shared for Duke's music, heavily influencing them through time. The refined dialogue between sax and piano portrays all the passion, love, and admiration for this great American jazz musician who indelibly shaped world musical heritage. Moreover, Dado Moroni worked extensively with key sidemen from Ellington's band such as bassist Jimmy Woode and drummer Sam Woodyard, allowing him to fully immerse himself into the original sounds of the man who, according to many, is considered the greatest composer in jazz history. Thanks to prominent saxophonist Max Ionata's extraordinary interpretative skills, these sounds are unquestionably present in Two for Duke.


BEC 5156257

PHARAON DE WINTER: Pharaon de Winter LP (BEC 5156257) 23.00
LP version. Pharaon de Winter was a relatively unsuccessful 19th-century painter from Northern France. Today it's the name of a band, but also the name of the song that changed its author's life. The ex-leader of the bands Toy Fight and (Please) Don't Blame Mexico (releasing with the latter First Aid (2006) and Concorde (2011), featuring the hit songs "The Protocol" and "Michel Foucault (Saved My Life)"), Maxime Chamoux's musical style could be placed somewhere between North American rock like Spoon or Neutral Milk Hotel and sophisticated British pop like Prefab Sprout or XTC. Then he decided to cut loose: "I was starting to get bored of indie rock and wanted something different," he explains. "I wanted to sing in French. I wanted to use more beautiful chords. For several months, I searched for a new shape and colour to give to these new songs. And one day, I had a kind of revelation. It was called Pharaon de Winter. From that day on, all the music I loved came together in a particular weave." Pharaon de Winter features ten songs naturally uniting influences ranging from the popular to the edgy: William Sheller's precise writing, Lucio Battisti's warmth, Steely Dan's refined groove, Arthur Russell's sense of adventure, Véronique Sanson's feel for melody...


VL 900044LP

VELVET UNDERGROUND, THE: White Light/White Heat LP (VL 900044LP) 23.00
2008 release. While 1967's Velvet Underground & Nico was a part of Andy Warhol's global artistic vision, 1968's White Light/White Heat was free of all Warholian influence, so in a way it could be thought of as another debut album. Here the music was left to fester on its own, with no artistic visionary interfering or trying to create a soundtrack for his pop art, and the Velvets filled that void with an album that is an aural subway car full of drunkards, junkies and whores rumbling through the bowels of NYC with a one way ticket to oblivion. Includes 3 bonus tracks.

VL 900051LP

VELVET UNDERGROUND & NICO, THE: The Velvet Underground & Nico LP (VL 900051LP) 23.00
2008 release. 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.

VL 900068LP

CREAM: Goodbye LP (VL 900068LP) 23.00
2008 release. Cream's fourth and final album, released in 1969, after the band had already broken up and featuring an all-live side A, recorded in Los Angeles at The Forum, and a studio side B with one song written by each member of the group. ?Badge? was a song written by Clapton & George Harrison (with Harrison also playing rhythm guitar) and is considered to be one of both of their best.

VL 900167LP

CREAM: Fresh Cream LP (VL 900167LP) 22.00
2008 release. When the band formed in 1966, Eric Clapton was already fairly well known by this time, having already performed and recorded with the Yardbirds and John Mayall's Bluesbreakers. But it wasn't until Cream that Clapton became a global superstar. Breaking free of the traditional rock & roll song for a more improvisational/jazz-influenced take, the band's long jams gave birth to a whole new approach to rock music. When their debut album Fresh Cream was released in 1966, it immediately became the standard by which all other bands of the era were judged. Includes 5 bonus tracks. 180 gram virgin vinyl.

VL 900181LP

TRAFFIC: Mr. Fantasy LP (VL 900181LP) 23.00
2008 release. Riding fairly high on the success of their singles, the band, whose members included Jim Capaldi, Steve Winwood, Chris Wood, and Dave Mason, released its 1967 debut LP, which also soon shot up to the number 16 slot on the UK albums chart. Aided by their use of unusual instruments (Winwood played the organ, Wood played flute and Mason the sitar) they created a hybrid of pop / blues rock with a sound that was somewhat unique for the time and which soon made them international superstars. This deluxe reissue includes 5 bonus tracks and a poster.

VL 900235LP

CURE, THE: Pornography 2LP (VL 900235LP) 36.00
2015 repress. 1982's Pornography, still considered by many to be their best, was the band's darkest album to date, cementing their role as beacons of the emergent gothic rock genre, with the band sporting their signature red lipstick and big hair look for the first time during this tour. Featuring 8 bonus tracks in a deluxe laminated gatefold 180 gram 2LP with poly-lined inner sleeves.

VL 901288LP

JOY DIVISION: Love Will Tear Us Apart LP (VL 901288LP) 22.00
Love Will Tear Us Apart should have been the band's most shining moment, instead it became their tragic swan song. Released just a month after frontman Ian Curtis' heart wrenching suicide, the song came to be seen as the unheeded warning of the impending tragedy. This special edition features all three versions of the song that transformed Joy Division from mere band into legend. In addition to the original single version, we have two versions remixed by American producers Don Gehman of John Mellencamp fame (the 'radio version') and Arthur Baker (who also produced a hit single for Africa Bambaataa around this same time). The remaining tracks include "These Days" (which appeared on the original "Love Will Tear Us Apart" single), along with "Transmission" (their debut single released in 1979) and "Atmosphere" (originally released as a France-only single) in 1980.

VL 901431LP

MORRISON, VAN: The Complete New York Sessions '67 3LP BOX (VL 901431LP) 52.00
2013 release. Though the relationship was short and volatile, Van Morrison's post-Them tenure with Bert Berns' Bang Records produced what probably remains his most well known tune in "Brown Eyed Girl" as well as one of his heaviest and headiest compositions, "T.B. Sheets". It also produced a "jamming session" that is now notorious and legendary, full of that well documented Van vitriol. All of that and more classic material from the Belfast Cowboy is compiled here in this deluxe 3 LP box set complete with 4 page booklet. Essential for all true Van Morrison fans.

VL 990427LP

GAYE, MARVIN: What's Going On LP (VL 990427LP) 22.00
2014 reissue. Originally released in 1971. "What's Going On is not only Marvin Gaye's masterpiece, it's the most important and passionate record to come out of soul music, delivered by one of its finest voices, a man finally free to speak his mind and so move from R&B sex symbol to true recording artist. With What's Going On, Gaye meditated on what had happened to the American dream of the past -- as it related to urban decay, environmental woes, military turbulence, police brutality, unemployment, and poverty. These feelings had been bubbling up between 1967 and 1970, during which he felt increasingly caged by Motown's behind-the-times hit machine and restrained from expressing himself seriously through his music. Finally, late in 1970, Gaye decided to record a song that the Four Tops' Obie Benson had brought him, 'What's Going On.' When Berry Gordy decided not to issue the single, deeming it uncommercial, Gaye refused to record any more material until he relented. Confirmed by its tremendous commercial success in January 1971, he recorded the rest of the album over ten days in March, and Motown released it in late May. Besides cementing Marvin Gaye as one of the most important artists in pop music, What's Going On was far and away the best full-length to issue from the singles-dominated Motown factory, and arguably the best soul album of all time." --John Bush, AllMusic



SLEEP CHAMBER: SixSixSix 4LP BOX/7" (VOD 079LP) 88.00
2010 release. Limited edition of 600. SixSixSix iz a collection ov material from the first six years ov Sleep Chamber. Mastermind John Zewizz gave permission to and Vinyl-on-Demand to choose the tracks. The outcome reveals and demands a renewed and extended perception of Sleep Chamber's artistic synthesis since the late '70s. The first LP and the 7" contain pure and very strong minimal synth tunes from Sleep Chamber's very early cassette-only releases like Ze Wizz Kidz (released in '82 but recorded in '79/'80), Dream Distillate ('82), and Musik for Mannequins ('83). The second and third LPs reveal previously unreleased recordings from '82 to '87 that range from minimal to the typical Sleep Chamber sound as known from the mid '80s. These LPs are riddled with alternative versions, demos, and previously unreleased tracks, based around the Admit to Desire-period. Any Sleep Chamber admirer will be in the garden ov Eden with such a selection, especially when listening to the fourth LP, which is a previously unreleased LP called Seremony, recorded at the beginning of thee Satanic Sanction session in 1985/'86.


VOICE OF EYE: Anthology One: 1989-91 2LP (VOD 080LP) 32.00
2010 release. Limited edition of 600. Anthology One is culled from the first three cassette releases by Voice of Eye -- Isolation (1990), Voice of Eye (1991), and Resonant Fields/Hot Gypsy Fink Hell (1992) -- all three released on their own Cyclotron Industries label. These are the earliest recordings by Voice of Eye. Voice of Eye are doubtless the protagonists and godfathers of the special genre of ambient-ritual music. Their specialty is "organic sound sculpting," a form of electronic ambient music that relies mainly on electronic drones and manipulated instruments, some of them self-built. The music here was all improvised over a period of two years and covers the evolution of their early sound. It will immediately catch your attention and pull you into an altered but extremely positive state of mind. This is the first in a series of Anthology releases documenting hard-to-find Voice of Eye material and previously unreleased recordings, preceding Anthology Two 1992-1996 (Transgredient Records, 2011).


CROSS, TARA: Tara Cross 1982-89 4LP BOX (VOD 085LP) 88.00
2011 release. Limited hand-numbered edition of 600. Includes tracks from Spurt Ditties (1982), Waiting for the War (1983), and Concocting Chaos ('83); collaboration tracks with Unovidual; Searchlight & Torch ('84, with Stefan Tischler of Port Said); tracks from Limelight ('85); compilation-tracks '83-'88, and Tempus Fugit ('88). Excellent wide-ranging minimal synth tunes by one of the most outstanding female artists in the '80s cassette-culture and minimal wave underground, who released a total of four tapes and one LP and contributing to numerous cassette and vinyl compilations. Tara Cross's family, who had come to the United States from Ireland, kept in touch with their roots by filling the household with lots of Irish and American music. Her father was a great singer and an admirer of Bing Crosby and Perry Como. Cross's interest in music awakened at age 13, when she began to play the guitar. She studied at Hunter College in New York, where she majored in music and psychology, yet she decided not to pursue her musical studies in an academic institution, as her primary interest was centered in the performing arts. Despite the opposition of her family, she devoted her time to her musical career while keeping a full-time job in the corporate world. Her jobs ranged through secretary, typist, microfilm supervisor, librarian, etc. Cross was the first of six children and needed to help with the family finances. In the late '70s and early '80s she formed punk rock bands in New York and later went on to experiment with an Electro-Harmonix mini-synthesizer and a primitive drum box. She developed her efforts into a very unconventional, experimental kind of music. In the early-to-mid-'80s, she herself produced, composed, and performed her own works, acted as her own public relations agent, and took care of administrative and secretarial work. She worked mainly at first with cassettes, later moving to reel-to-reel four-track, then eight-track, recording everything at home and releasing it worldwide. In 1997 she opened a hair salon, getting out of the corporate environment, called Le Chandelier Salon. As a musician, she considers herself a sort of sound structurer who experiments with sound the same way a painter would experiment with colors. Presented in a plush embossed box set featuring full-color inner sleeves (with intense Bobby Houlihan-designed images of the artist's head) and an insert.


VAN KAYE + IGNIT: Anthology 80-85 5LP BOX (VOD 086LP) 118.00
2011 release. Limited numbered edition of 600. Great, fantastic minimal synth tracks from legendary Dutch duo Van Kaye + Ignit. Van Kaye aka Ed van Kasteren (studying art history and serving as the singer of Monomen in the late '70s) and Ignit Bekken (performing artist and painter studying to become an art teacher) met in early 1980 and started working and experimenting with synthesizers. The result were the highly sought-after minimal synth classics A Slight Delay (1981) and With a Little Help (1984), which they distributed and published through their own Ding Dong Records and Tapes label. Another ex-Monoman, William Wiusselink ala Wizkopf, joined the project in 1982. Van Kaye + Ignit's Ding Dong label also published beautifully designed releases of independent minimal wave artists such as The Legendary Pink Dots, Bene Gesserit, Anne Gillis, and many more, including the all-time classic must-have compilation Film Noir (1984). This box includes both tapes, A Slight Delay (as eight-track demo and 11-track original release) and With a Little Help, as well as the ultra-rare Picasso on the Wall 7" (1981), 17 compilation-contributions from 1981-'85 (including the tracks from the 1982 Radionome compilation), seven previously unreleased tracks and demos recorded between '80-'85, and a 30-minute live concert held in Rotterdam in 1983.


ATTRITION: Demonstro 1981-86 2LP (VOD 090LP) 32.00
2011 release. Limited edition of 600. Slices of Attrition's earliest existence. A double LP with previously unreleased, rare, and demo recordings from the earliest days on Third Mind Records and beyond. From the initial post-punk line-up to the early experiments with analog electronics in the band's fledgling home studio. Rescued from forgotten cassette mixes and four-track tapes and restored and remastered by Martin Bowes for their first vinyl release, with sleeve notes by Third Mind's Gary Levermore and previously unreleased photos and artwork. Gatefold sleeve with insert.


GRIM: Works 1983-89 3LP BOX (VOD 092LP) 69.00
2011 release. Limited edition of 600. Three-LP box including tracks from the Vital cassette (1987), Amaterasu 7" (1985), Message 12" (1987), Folk Music LP (1986), and various compilation contributions. Grim was an absolutely amazing, almost schizophrenic, obscure power electronics and noise project of Jun Konagaya. His sound changes its mood and atmosphere in seconds. From extreme harsh and hard power electronics noise-walls to ingenious folk songs. In the very early '80s Jun Konagaya formed White Hospital together with Tomosada Kuwahara. They released one album, Holocaust, in 1984, and split. At that time Konagaya had already released the Vital tape with his Grim project. Kuwuhara moved on to form Vasilisk while Konagaya continued as Grim, releasing one LP, 12", and 7" as well as contributing to several compilations during the '80s.


KLUSTER: Klusterstrasse 69-72 8LP BOX (VOD 102LP) 170.00
2012 release. Limited numbered edition of 500. The Ensemble Kluster was founded by Conrad Schnitzler in 1969. One of the most radical and influential German progressive avant-garde bands, its approach and techniques were related to Stockhausen and the Gruppo di Improvvisazione Nuova Consonanza, and its influences and characteristics can still be found in works of many avant-garde and industrial-bands of today. Schnitzler's continuous working partners over the years have been Klaus Freudigmann and Wolfgang Seidel. Kluster also worked with various friends including Tangerine Dream, and , with whom Schnitzler recorded and released three of the Kluster actions on vinyl in 1971 -- Eruption, Klopfzeichen, and Zwei-Osterei -- before Roedelius and Moebius went on to form Cluster. Kluster performed with regular instruments (piano, electric guitar, cello, percussion, electric organ), which were recorded with a contact microphone, transformed, manipulated, distorted, chopped-up, and conveyed by loudspeakers. The result is an exciting, raw, and roughly structured sound continuum, rich in associations skirting the edges of sound magic. The "Aktions" in this box set are all previously unreleased.

VOD 104-3EP

BIZARRE UNIT: A Strange Functional System 1979-1982 12" (VOD 104-3EP) 21.00
2012 release. In 1981 Bizarre Unit (Paul Nova of Trees Without Leaves (1984)) released their timeless and highly collectable classic 7" Dancing/Away from the Screaming Car, a true treasure for serious fans of British minimal synth. This 12" contains works recovered from a treasure trove of their surviving recordings, which were digitized, edited, and carefully restored from the ¼" reel-to-reel recordings, cassettes, and the crackling but unique acetates, and mastered and edited for maximum possible quality. Includes alternative versions of "Hot Like a Lizard," "Ladytron," "Not Saying Anymore," and "Reinstate Domination," plus the exclusive track "I Can Wave My Hands and Say Hello."



LEGRAND, MICHEL: Qui Etes Vous Polly Maggoo? (Limited Edition) 7" (WRWTFWW 006LTD) 31.00
Ultra-limited (to 100 copies) reissue of Michel Legrand's 1966 cult classic original soundtrack EP, with beautifully handmade and hand-folded original cover art -- a must-have! Includes two important, previously-unreleased-on-vinyl bonus tracks. A true time-capsule of the effulgence of the '60s, Qui êtes-vous, Polly Maggoo? (1966) is an arthouse movie spoofing the fashion world and its excesses. The movie developed cult status thanks to its gyrating scenario satirizing politics, fashion, the media, and more aspects of the mid-'60s French society, and its detours into fantasy sequences and animated segments. In William Klein's movie, fashion often takes on a religious connotation, which is well underlined by Legrand's superb soundtrack. Michel Legrand was behind the music of The Thomas Crown Affair (1968), Summer of '42 (1971), Yentl (1983), Never Say Never Again (1983 (Sean Connery's last Bond film)), and hundreds of other soundtracks, and has recorded with Frank Sinatra, Ella Fitzgerald, Charles Aznavour, James Ingram, Barbra Streisand, and Sarah Vaughan, to name a few.

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