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Forced Exposure New Releases for 12/21/2015

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New music is due from Disappears, Oren Ambarchi and Johan Berthling, and Mocky, while old music is due from Intersystems, John Baker & the BBC Radiophonic Workshop, and Maki Asakawa.


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50 050EP

MODESELEKTOR: Trees/50 Trees 12" (50 050EP) 14.00
180-gram vinyl. Who better than label founders Modeselektor to hammer the last nail into 50Weapons' coffin? Their first solo 12" since 2012 sums up 50Weapons -- on one hand abstract, dubbed out, and experimental; on the other hand banging and bass-heavy, without any regard for so-called trends. Paul St. Hilaire aka Tikiman joins Bronsert and Szary to imbue dub-techno slow-burner "Trees" with the spirit of Jah. "50 Trees" is an ambient/dub-leaning excursion, but don't think of it as non-dancefloor material -- in the hands of skilled DJs this can be just as much a weapon as its beat-driven counterpart.



BRIAN JONESTOWN MASSACRE, THE: My Bloody Underground 2LP (AUK 011LP) 25.50
2015 repress; Gatefold 2LP version on 180 gram vinyl. 2013 release. This is the first Brian Jonestown Massacre album in over four years, recorded with select members from the Brian Jonestown Massacre, Icelandic musicians, and Mark Gardener (Ride). Recorded in Liverpool and Reykjavik in August 2007 and completed in Reykjavik in October 2007. This is the 13th full-length album from the Brian Jonestown Massacre released on Anton's label, A Recordings. This album offers a mix of the traditional Brian Jonestown Massacre sound with a more experimental and avant-garde approach. The Brian Jonestown Massacre is a psychedelic rock band originally from San Francisco, California, led by guitarist/singer Anton Newcombe. Since 1995, The Brian Jonestown Massacre has released numerous albums, first for Bomp! Records, the label which gave them their start, and later for TVT and Tee Pee. BJM has been essential in the development of the modern U.S. garage scene, and many L.A. and SF musicians got their start playing with Newcombe, including Peter Hayes of The Black Rebel Motorcycle Club.

A14 (UK)

A14 002EP

RHYTHMIC THEORY: Forgotten Realms/Spirits of Duality 12" (A14 002EP) 15.50
Blackest Ever Black sub-label A14 presents its second release. Bristol's Rhythmic Theory opens with "Forgotten Realms," a broken-beat assassinator equal parts dancehall-militant snares and tripped-out soulboy shimmer. Nods to breakstep and dark garage and funk of relatively recent vintage too, but the engineering and arrangement are ruthless, dub-disciplined, wholly contemporary. "Spirits of Duality" explores more paranoid and decelerated junglist tekno territory. The bastard offspring of Reinforced and :zoviet*france:. Vinyl only. One-time pressing of 300 copies.



YKO: Tao Remixes (Max Loderbauer/Bee Mask) 12" (AKO 002EP) 13.00
"Max Loderbauer delivers an open-ended and enigmatic re-interpretation of 'Shiro' which was originally released on the album Tao - Ako 01. Bee Mask's version of 'Minako' (also taken from Tao) creates a gravitationally distorted universe of sounds and pushes the sound design to the furthest limit."



INTERSYSTEMS: Intersystems 3LP BOX (NMN 093LP) 88.00
First historical edition! Three-LP box version. One-time limited edition of 500. Remastered by Intersystems founding member John Mills-Cockell; mastered for vinyl by Giuseppe Ielasi. Includes Number One Intersystems (1967), with the correct side sequence and (for the first time) the original tracks' sub-section divisions, in the original 1967 avant-press sleeve designed by Intersystems founding member Michael Hayden; Peachy (1967), with (for the first time) the correct track separations, timings, and titles; and Free Psychedelic Poster Inside (1968), with (for the first time) the original (double) track titles, in a silkscreened envelope reproducing the original 1968 sleeve. Also includes a 132-page book with the detailed chronology of all the Intersystems Presentations and 110 full-page images illustrating for the first time ever the story of this essential collective, as well as the following texts: "How the Mind Excursion came to be" by Michael Hayden, covering details on Intersystems Presentations and meetings with Andy Warhol, Lou Reed, John Cale, Timothy Leary, Richard Alpert, Ralph Metzner, John Cage, Robert Rauschenberg, and Allen Ginsberg; "Intersystems" by John Mills-Cockell, introducing his sonic adventures from the early encounters with Ann Southam and Udo Kasemets to the accomplishment of the Intersystems multimedia works; "Selected Poems" by Intersystems founding member Blake Parker; "Notes" by Michael Hayden; "Network" by Bart Schoales and John Mills-Cockell, on the early mixed-media Presentation of the same title and meeting with Jerry Rubin and Abbie Hoffman, founders of the Yippie movement; "Intersystems" by Nick Storring, including a short introduction to Blake Parker as well as analysis of Intersystems' sonic productions in relation to their historical context; "Radically Rethinking Art" by Dennis Reid, analyzing the chronology of Intersystems Presentations in relation to contemporary art; "Intersystems and Allied" by Jack Boswell (founder of Allied Records); "Intersystems and Moog" by William Blakeney; "Recalling Intersystems" by Tom Recchion; "The 60s: something happened but what?" by Ed Fitzgerald; "Memoir" by Russ Little, on John Mills-Cockell; and "Notes on the mastering of Intersystems recordings" by William Blakeney.


BRUHIN, ANTON: Vogelsang/Vogelsong/Vogelsung/Vögelsäng 4CD BOX (TES 096CD) 57.00
On the occasion of the 2015 exhibition Le Caselle di Anton Bruhin at the Istituto Svizzero di Roma in Milan, Alga Marghen presents the complete edition of Anton Bruhin's 1977 cycle Vogelsang/Vogelsong/Vogelsung/Vögelsäng. If the idea of recording birds came from Bruhin's friend, the Swiss painter Hans Krüsi (this was a common practice for the art brut master, who layered recordings of the many birds sharing his living space into primitive multi-track sonic sculptures), Bruhin is able to use the same material to create a cacophonic and distorted world of unrecognizable nature, all in one low-fidelity stroke. In the 1960s, Anton Bruhin began organizing happenings and performances, creating sound works, designing and typesetting his own books (which he self-published with Hannes R. Bossert through April-Verlag), and drawing and writing poetry. Bruhin was a member of the first class to study at the F+F Schule für experimentelle Gestaltung in Zürich with Serge Stauffer, famous art teacher and specialist in Marcel Duchamp, where he came into contact with concrete poetry, Fluxus, and experimental music. Dieter Roth and Andre? Thomkins are recognizable influences too. In the mid-1970s, Anton Bruhin was surely at the peak of his tape manipulation work. Always using poor techniques and equipment, he sculpted everyday-life sonic objects and turned them into very accomplished and yet totally experimental musical artifacts. The works presented here belong to this same period of expanded creativity, combining themes of excess and chaos with a pragmatic interest in simple structural schemata. To be consistent with the aesthetic quality of these works, Alga Marghen presents each of these four CDs in a silkscreened jewel case, with the four CDs housed in a numbered slipcase. Limited edition of 200.


AP 008LP

T.E.S.O.: No.3. Obliate 2LP (AP 008LP) 27.50
t.e.s.o. are an electronic music duo based in Milan, formed in 2014 by Matteo Castiglioni and Jacopo Biffi. No.3. Obliate is a towering tour de force of sonic architecture and the pair's second album. If the contemporary Brutalist architecture of Le Corbusier and Alison and Peter Smithson had a soundtrack, this surely would be it. Their sound research is inspired by contemporary music, early 20th-century artistic ideas, jazz, and IDM, but with a deep interest in developing a personal vision about soundscapes, rhythms, and melodies. Born as a live act commissioned by the Milan Conservatory, the duo released their first track on FatCat Records, which was followed by their first self-produced album, Over a Neutral Landscape, and the 2015 Plato EP on Rxstnz Records. Alongside music production, the duo created a multimedia installation called neMachine in 2015 that investigates the geometric studies of Le Corbusier in parallel to the musical production of Erik Satie. Always looking for new sound architectures, the duo manipulate their self-programmed software and hardware machines to produce new sonic landscapes. No.3. Obliate is a no-holds-barred vision of their beguiling Brutalist sound design. A future of twisted concrete and rusted steel shot through with warmth and humanism.



VA: Hawai'i Authentic: The Pre-War Era, Vol. 1 (1925-1936) LP (ASH 002LP) 17.00
"Hawai'ian music is oft relegated to the confinements of Exotica, Easy Listening, or background 'vacation music' for cultural tourist throwing a themed party with tropical drinks. In reality, the archipelago's recorded legacy is as rich, dense and emotionally complex as any other nation with developed musical sensibility. By the time recording capabilities came to the islands, Portuguese, American and English musical traditions, namely Jazz, had already made a huge impact on the native population and were quickly adapted into their already rich musical traditions. The Hawai'ian approach to the guitar and the advent of the ukulele not only changed the music on the islands, but swept across the Americas, with skilled Hawai'ian players like Sol Hoopii becoming very much in demand among continental Jazz and Pop troupes. From that period onward, mainland America begun recording their own renditions of Hawai'i's newly-amalgamated and wholly original genre to some excellent results, but also many co-opted sounds and hollow imitations. Over time, the taste of the American and British ears to what made Hawai'ian music 'Exotic' to them -- the breezy elements of 'Vacationland' and tranquility -- began to dominate the increasingly larger amount of 'Hawaiian' music exported from the state. The same was true for music recorded abroad by musicians, who, adequate as they were, had never stepped foot on true Hawai'ian style. While authentic Hawai'ian music is still recorded, performed and evolving to the present day, it mainly falls on the ears of Slack-Key Guitar enthusiasts and island locals. The purpose of this volume, and the entire series, is to present a piece of the early ear of Hawai'ian music, focusing mainly on lyrics in the native language and tracks that show the full depth of this musical sub-genre. We feel it is as rich and deserving as any other folk music and its pioneers should be regarded in the same light as those of their early Jazz, Blues and Country contemporaries."


KUMASI TRIO: Fanti Guitar in West Africa 1928, Vol. 1 LP (ASH 003LP) 17.00
"These rare recordings are some of the first ever featuring traditional African music played on western instruments. This cultural exchange led to completely new genres in music, most importantly, Highlife. Kumasi is a Gold Coast city in Ghana, West Africa, that, at the time, did not feature much more than an open air market and one of the first British department stores in the continent. The Trio is made up on H.E. Biney on guitar, Kwah Kanta on percussion, and Jacob Sam on guitar, with all three contributing on vocals. The trio was brought to London to record these tracks in the Summer of 1928. While efforts were made in the mastering process to attain the highest possible audio quality, the limitations of the source 78s are evident. Do not, however, let that disturb your listening enjoyment or regard for their historical significance."


JUSTUS, DOMINGO: Juju Music in Nigeria 1928, Vol. 1 LP (ASH 004LP) 17.00
"The music of Domingo Justus is some of the earliest known recorded in the African folk tradition. Quite interestingly, however, the music was recorded in the city of London, and Justus himself was not believed to be a resident of the African continent at the time. On the contrary, Justus was a West African transplant to Brazil, originally from Lagos, Nigeria, relocated to London. Such transplant culture was a significant component of the immigrant experience, particularly during the United Kingdom's colonial era. The music resulting from these experiences is likewise imbued with a sense of this duality and transitory way of life. In his time, specifically circa 1925-1927, Justus recorded several original and traditional songs inspired by his experiences as part of the African Diaspora, mixing his Lagosian and Yoruba folk song roots within the context of his day-to-day existence in his adopted home. He also provided backing vocals to many Ghanaian performers recording around the same time, and much of this output was recorded for the Zonophone Record label of the RCA-Victor Group. While efforts were made in the mastering process to attain the highest possible audio quality, the limitations of the source 78s are evident. Do not, however, let that disturb your listening enjoyment or regard for their historical significance."


AUS 1589EP

HAWKES, MARQUIS: Chances 12" (AUS 1589EP) 14.00
Aus Music follows landmark 2015 records from the likes of Shenoda (AUS 1588EP) and 2015 addition Fold (AUS 1587EP) with the return of the esteemed London-born, Berlin-based Marquis Hawkes. In the wake of his 2015 outing on Houndstooth (HTH 048EP), Hawkes packs his first full-length EP on Aus with disco loops and tough analog drum-work. Ripe, punchy drums propel the tumbling, truncated, funky loops of "Chances" before the syncopated rhythms of "A Very Deep Groove" lay the groundwork for a rich, hypnotic mood. The sparse sampling and naturally sequenced drum tracks of "Free of Sin" make for steadily blooming tension.


BEC 5156155

LES FILS DU CALVAIRE: Rester avec Toi 10"/CD (BEC 5156155) 14.00
Parisian trio Les Fils du Calvaire (Jo, Damien, and Clément), creators of the hybrid electronic music project dOP (Circus Company), create a hybrid of elegant French pop, decadent club music, and outgoing cabaret. They compose for people who sing in the shower, but without any nostalgia. They also know how to pick their cast; they enlisted Ash Workman (Metronomy, Christine and the Queens) to mix their debut album, Fils de. Rester avec Toi is a perfect extract from Fils de, toggling the switch between pop and psych delights. Title-track features Miss Kittin. 10" in cardboard sleeve with CD.


BH 023EP

JAPAN BLUES: Stoned Bird 12" (BH 023EP) 17.00
"Japan Blues strikes back with another set of edits. Meticulously picked, chopped up, and ready to go for the after hours crew."


BJ 016LP

CARN, DOUG: Revelation LP (BJ 016LP) 11.50
2015 repress. 1998 vinyl reissue of Doug Carn's third album for Black Jazz, Revelation (1973). Carn's songs convey altruistic messages that he deemed vital to the success of his distinctive brand of soul-jazz music. René McClean (alto saxophone, tenor saxophone, flute), Walter Booker (bass), Buddy Williams (drums), Nathan Page (guitar), Olu Dara (alto horn, trumpet, vocals), Doug Carn (piano, vocals), Earl McIntyre (bass trumpet), and Jean Carn (vocals). CD reissue available on Snow Dog Records (SDGBJ 1216CD).



MANEK, TARQUIN: Tarquin Magnet LP (BLACKEST 047LP) 21.00
A unique synthesis of time-dilating folk-jazz romanticism, brittle chamber dub, and plasmic post-techno electronics, Tarquin Magnet is Australian musician Tarquin Manek's first full solo release on Blackest Ever Black, but by no means his first contribution to the label; as one-half of Tarcar (with Carla dal Forno), he has released the dysfunctional dreamsongs of Mince Glace (2014), and as one-third of F ingers (with dal Forno and Samuel Karmel) he has helped summon the baleful backyard apparitions of Hide Before Dinner (BLACKEST 044LP, 2015). Manek has been busy elsewhere, too; he released Th Duo under his LST alias on Another Dark Age in 2015 (ADA 003LP). Still, none of this activity prepares one for the disturbed and enchanted environments of Tarquin Magnet. Its raw materials are the result of improvisation and domestic field recording, of literally grabbing at whatever's available -- clarinet, keyboard, dictaphone, cell phone -- and throwing it into the pot. And then, of course, untold hours of hunched and red-eyed editing. For all its rough textures and strange juxtapositions, this is masterfully mixed and arranged music; to adepts, and really to anyone listening at high volume, its deep spatial dynamics and higher dub logic will be powerfully apparent. Comparisons are pointless, but one might imagine "Edges of Illusion"-era John Surman meeting Karel Goeyvaerts's minimalist phase, delivered with the no-fidelity recklessness of the best underground traditions of Australia and New Zealand. The spooling tunnel visions of "Fortunes Past" (like a scene from Jane Arden and Jack Bond's Anti-Clock (1979)) and strung-out junkyard gamelan of "Fortunes Begun" precede "Perfect Scorn," a tour de force of crack'd kosmische pitched somewhere between folk tale and science fiction. Imagine The Shadow Ring or Small Cruel Party trying to find common ground with Dettinger or Pole, or the sound of a million servers crashing and taking their users' memories with them. Manek's psycho-acoustic landscaping culminates in "Blackest Frypan," a puzzle-box of insinuating, paranormal resonances wrought out of plucked steel guitar strings, stifled screams, and subaqueous bleeps. This truly progressive, THC-ushered marriage of wracked bedroom psychedelia, gloopy alien concrète, and dubwise, third-eye-open sound-design is a fitting finale to a record of singular and persuasive vision. Mastered and cut by Matt Colton at Alchemy, London; pressed at Optimal; housed in reverse-board sleeve with printed inner sleeve and download code (MP3/FLAC).



MOUSE SLUTS: Mouse Sluts 12" (BRD 018EP) 12.50
This EP began with a newspaper story that tickled the warped funny-bones of Dan Melchior and Graham Lambkin and gave birth to some lyrics. The wonderful keyboard talents of the late Letha Rodman Melchior (1959-2014) were pivotal in the most "musical" of the tracks, the poignant closer "Vaccanti." Glen Rodman Melchior (whose claim for "most recorded budgie" with Guinness World Records is pending at the time of this release) lent his indispensable and unmistakable vocals to "Mower Bath Man." Without too many signposts or safe footholds, this just might scratch that itch you didn't even know you had.


BB 048CD

MOEBIUS & PLANK: Rastakraut Pasta CD (BB 048CD) 14.50
2016 re-release of Bureau B's 2010 reissue. Dieter Moebius and Conny Plank got to know each other through their work on Cluster's 1971 album (BB 058CD/LP) and remained close friends until Plank's death in 1987. They made a congenial pair as musicians, as amply demonstrated by their first album as a duo, Rastakraut Pasta, originally released on Sky Records in 1980. On this album, drums, electric guitars, and bass are the cornerstones of every track; they provide the framework to which Moebius adds fresh color and life with his synthesizers. Thanks to the technical merits of Plank's studio, the keyboards sound barely distinguishable from one another. No samples -- strictly analog from start to finish. Holger Czukay (Can) plays bass on three pieces and his consummate professionalism sees his virtuosity finely tuned to the concept of Moebius and Plank. Moebius has a predilection for surrealist cascades of noise, heard throughout the album, grotesque yet playful. An enigmatic form of pop music came into being on this album, a breakneck, elegant mix of diverse elements -- a touch of Krautrock, some avant-garde pop, new German electronica, even sporadic echoes of reggae. Includes liner notes by Asmus Tietchens.

BB 058LP

CLUSTER: Cluster 71 LP (BB 058LP) 25.00
2016 re-release of Bureau B's 2010 reissue. 140-gram LP. Cluster's self-titled debut was originally released by Philips in 1971; this edition is the first reissue to restore the track running order of the original Philips release. Includes liner notes by electronic avant-garde pioneer Asmus Tietchens. In 1998, The Wire listed Cluster's self-titled debut as one of "100 Records That Set The World On Fire (When No One Was Listening)." Very few albums from Germany can lay claim to this honor. Cluster is a monster; it contains a mere three untitled tracks and was quite an ordeal for untrained ears when it was released. Yet the album pointed the way forward like no other electronic opus. Cluster's previous incarnation was a trio called Kluster. A change in direction and musical differences moved Dieter Moebius and Hans-Joachim Roedelius to split from the group's third member, Conrad Schnitzler, in 1970. The following year, in addition to playing live, they recorded their first album in publisher Ralf Arnie's Star Musik Studio in Hamburg. Here they first met Conny Plank, who would himself become a legend. They remained close friends until Plank's death in 1987. Early Cluster music was new. New in the sense that it did not continue any tradition, instead laying the foundations for a future tradition. The duo's utter renunciation of conventional harmony and rhythm, embrace of near total aural abstraction, and confident use of noise, rigorous live electronic improvisation, and a positive mindset were all factors in Cluster's innovative trailblazing of 1971. For want of a better category, Cluster was classified rather inappropriately and incorrectly as "cosmic." Few recognized Cluster for what it was -- a synthesis of pop music, stripped of embarrassing glamor, and so-called serious music without intellectual constraints. Moebius and Roedelius took the liberty of raiding both disciplines to perfect their musical concept. A common enough practice today, but akin to a palace revolution in 1971. So it is that three pieces of electronic music meander and pulsate through Cluster, with no beginning and no end. Cluster's music is free and open in all directions. There are sounds, noises, and structures to be heard on this album that would become ingrained in the electronic pop music of the 1980s and 1990s. Cluster had taken the first step into the future.



"A brand new compilation of rare material by John Baker from the BBC Radiophonic Workshop! John Baker (who worked for the BBC alongside Delia Derbyshire) ranks as one of the world's most influential electronic musicians. His talent as a jazz pianist & ability to manipulate tiny fragments of tape into new sound is legendary. Whilst working on The John Baker Tapes compilation for Trunk Records, producer Alan Gubby unearthed several reels of music & sound effects from the 1960's BBC TV series Vendetta -- a mafia themed cop thriller starring Italian actor Stelio Canelli (Barbarella, Django, Planet Of The Vampires). The theme tune for the show was composed by John Barry whilst Baker produced all the incidental music. He created brilliant, tense, rhythmic & unhinged James Bond style themes for the show between 1966 & 1968, featuring radiophonic beats, twanging bass lines & screaming jazz solos. Available for the 1st time ever, Baker's soundtrack for Vendetta displays his skill in fusing groovy tape loops, ambient drones & bass textures with real instruments. The music is thrilling, sleazy, deranged & very hip. Highlights from the score are presented on this compilation alongside other rare & previously unreleased Baker tracks, all digitally remastered by Mark Ayres from the Radiophonic Workshop archive."



GAD, PABLO: Trafalgar Square LP (BSR 996LP) 21.00
"1980's Trafalgar Square album re-issued on 180 gram vinyl in its original cover."



SHARROCK, SONNY: Monkey-Pockie-Boo LP (BYG 337LP) 14.00
2015 repress. 37th volume in the BYG Actuel series; gatefold sleeve, 180 gram vinyl. The quintessentail Actuel album and your basic cornerstone of Free Music 101. "An album recorded in Paris (on June 22nd, 1969) with his wife Linda plus Ben Guerin (bass) and Jacques Thollot (drums). Sonny Sharrock was one of the top avant-garde guitarists and his playing was intense and ferocious. He mixed together Jimi Hendrix and Pharoah Sanders." "Sharrock was the first guitarist to really embrace fire music. He wanted his playing to mirror the emotional scream of the tenor saxophone." --Thurston Moore and Byron Coley.



LUCIANO FEAT. JAW: 7direction(s) 12" (CADENZA 105EP) 14.00
Luciano's "7direction(s)" held pole position in his 2015 sets, ending his momentous off-Sónar show at the Poble Espanyol and becoming a staple at his weekly Vagabundos residency at Space Ibiza. Brooding pads and spikey synths linger over a spacious drum pattern, live drum fills, and claps bouncing off the bass pulses as wandering keys usher in the unmistakable vocals of JAW aka Jonathan Illel (dOP). With his remix, New York house royalty Dennis Ferrer (Nite Grooves, Defected, Ibadan, Objektivity) sprinkles the track with his own inimitable style. Matthew Herbert (Accidental) joins the party with a head-scrambling "One Direction Dub" mix.



ROCCO: Viana EP 12" (COLOUR 014EP) 12.50
French heavyweight producer and long-time friend of Colourful Recordings Rocco returns to the label and his techno roots. Sporting a gritty Lyon sound, "Viana" is built around a funky hook and housey beats. On the B-side, Rocco takes it up a notch with "Mosday," a Basic Channel-esque techno groover. Romanian Marcman steps up to deliver an almost toolish remix of "Viana" that's been hammering dancefloors. Mastered by Andreas at Schnittstelle.


CS 9217HLP

HOUSE, SON: Father Of Folk Blues LP (CS 9217HLP) 16.50
2015 repress; 180 gram reissue of the first album of Delta blues legend Son House on the Columbia label, originally released in 1965. Canned Heat founding member Al Wilson appears. Includes the 9+ minute closing track "Levee Camp Moan."



EMMANUELLE: Free Hifi Internet 12" (DEEWEE 004EP) 14.00
"Five years ago we met Emmanuelle in an office in Milano. For years we asked her to play us some of the music she'd been making on her laptop in her bedroom. When DEEWEE was built we invited the Rio born / Miami raised / Milano based artist to make some music together. This is the first of many things we've done so far..." --Deewee founders David and Stephen Dewaele (Soulwax, 2manydjs), 2015



BASIC SOUL UNIT: Under the Same Sky 2LP (DKMNTL 028LP) 23.00
Stuart Li, better known as Basic Soul Unit, has been dropping quality records via a litany of highly respected imprints like Ostgut Ton, Crème Organization, Mule Electronic, and Versatile since the mid-2000s. Hypnotic and deep, but always funky, Li now brings his rugged house to the Dekmantel imprint for the very first time, serving up this finely crafted follow-up to his 2012 debut album. He delivers ten Detroit- and Chicago-inspired house tracks of the finest caliber, with his offset and grubby bruk drums a constant nod to the dancefloor while his melodies lean toward an unparalleled industrial-edged emotion. From the LFO-like synth-line and crunchy jack of "Fate in Hand" through the Levon Vincent-esque techno shuffle 'n' mutter of "Landlocked" and the Morphosis-gone-wild style of "Unwavered" the to the dark sub-bass welt of "The Rift Between" and the relentless floor-destroyer "Temptress," Under the Same Sky truly sets the bar high for raw yet extremely original house music.


ANDERSON, JOEY: Invisible Switch CD (DKMNTL 029CD) 17.00
The art of omission is a craft New Jersey native Joey Anderson masters like few others. After releasing his acclaimed debut album After Forever in 2014 (DKMNTL 017CD) and the 1974 EP in 2015 (DKMNTL 023EP), Anderson returns to the Dekmantel label, serving up the signature sound for which he's beloved. Invisible Switch is the perfect example of what Anderson can do with very little, catapulting him to his place as one of the finest and most original techno and house producers to date. CD includes three extra tracks.


VA: Dekmantel Anniversary Series: Part 3 12" (DKMNTL AS5-3EP) 12.50
Last copies of this deleted 2012 release... Dekmantel lets out the celebration 12"s like fireworks, this time, with the third edition in their Anniversary Series. This time it's the turn of Hundred20 (Motor City Drum Ensemble & Praterei) and Hunee, turning in two awesome tracks. Hundred20 crafted analog Chicago sounds for this one, resulting in a cut-the-crap-and-get-on-the-floor-and-dance track. Hunee digs up some oldschool sounds -- 909 action and a string-laden climax do the job properly.



SUN RA: Sun Song LP (DELMARK 411LP) 21.50
2015 repress. This is the debut album by Sun Ra, originally released in 1957 on Transition Records under the title Jazz By Sun Ra. Tracks: "Brainville," "Call For Demons," "Transition," "Possession," "Street Named Hell," "Lullaby for Realville," "Future," "New Horizons," "Fall Off The Log" and "Sun Song."



AUTECHRE/POWELL/DJ STINGRAY: Remix Russell Haswell 12" (DIAG 027EP) 16.50
The Diagonal label, which FACT rated highly in its "10 best record labels of 2015" list in December 2015, presents remixes of tracks from Russell Haswell's dancefloor-generous 2015 album As Sure as Night Follows Day (DIAG 024CD/LP). Autechre's "Conformity Version" of "Heavy Handed Sunset" effectively dubs Haswell into submission. Not to be outshone, Powell pays dues to his mentor with a cork-popping "Cov Megamix" ov "Hardwax Flashback" littered with samples of Russell doing Russell for RBMA, making for his most DJ-tempered tools to date, while DJ Stingray delivers hollow-skulled clank with the darkside descent of his grimacing "Atropine Mix" of "Gas Attack."



DEMONS: The Wrong Person Spec 12" (DISTRICT6 008EP) 15.50
180-gram 12". So there he sits in the Dub Basket, vintage desk overloading, Space Echo waiting for a waveform from Tuff Scout to Dub. Out there by the river amid the Ballardian wastelands producing some beats... facilitating the Sons of Kemet or Róisín Murphy, mixing Micachu, or maybe he's just taking a nap. A bag of outboard lies at the back, put down from a last trip with the Matthew Herbert live expedition. Up on the wall in the vinyl rack lies a track back into pre-history, remixes, Japan, names, places, styles, beats, bands, Cage's Silence and Herzog on Herzog... all the way back to New York mid-'80s making tea for KRS-One and learning a trade. Borrowed amplifier in the corner going back to brother Marco -- didn't have it when they did the Young Disciples... or maybe they did. Two Banks of Four test pressings; William Adamson acetate got checked and put in a pile by the quarter-inch tape machine; the long mic that was used to record Shaka v Fatman "Wood Green 89" is an older resident resting on some obscure jazz waiting their turn to get Ableton'd. Doesn't really say any name above the door, too many names -- could see it as a problem... or a benefit, that all depends. It seems more chaotic than it actually is, but his name is Demons and he's made an EP. Odds are he's been involved in music you've heard before... or not... in which case enjoy this new artist.


DG 12001EP

M5K: Healin Feelin 12" (DG 12001EP) 12.50
Melbourne producer M5K delivers three edgy house tracks with smooth, synthesized melodies and a wicked kick. "We Got It (Goin' On)" reels you in with the synthesized boogie and sci-fi sound effects for which the Melbourne sound is known. The track steadily climaxes to a high-energy war of sounds, making you want to get on down by laying the track down with a double kick. The grimy bass of "Shawty Is a Ten" precedes "Healin Feelin," with its layered, repeating chords over a groovy baseline. M5K really breaks it down with "Healin Feelin," like Melbourne's Mike Dunn.


DNC 1205CD

TRAXMAN: Slash Time CD (DNC 1205CD) 12.50
Traxman, the originating footwork DJ and producer, is now constantly touring Europe, Asia, and the States. Member of Teklife and mastermind of Tekk DJ'z, he is most famous for his classic Da Mind of Traxman series on Planet Mu, begun in 2012 -- not to mention the ghetto house tracks he's released since. In 2015, he released Birds Not Bitches on UK label Albion Records and 5000 on Berlin's Dizzy Tunes. With Slash Time, Traxman returns in full footwork battle glory with an extension -- or, better yet, an upgrade -- to the highly acclaimed EP of the same name released in 2014 on Duck N' Cover. This is not Da Mind of Traxman Vol 3; this is not not a follow-up to Teklife, his great album on Lit City; this is Traxman's most personal and intimate album to date. Each of his releases has made people turn their heads, surprised and stunned at the quality, soul, musicianship, and inspiration, and this one is no different. Taking on a rough edge, this is an accurate document of what it means to grow up, live, and DJ in the projects of Chicago. Beats and cuts sharp as a knife; snares and synths like gunfire. Five tracks feature fellow Tekk DJ'z member and good friend DJ Fred. CD includes six extra tracks.

DNC 1205LP

TRAXMAN: Slash Time LP+CD (DNC 1205LP) 17.50
LP version with CD. The vinyl features 8 tracks while the included CD contains the entire 14-track album. Traxman, the originating footwork DJ and producer, is now constantly touring Europe, Asia, and the States. Member of Teklife and mastermind of Tekk DJ'z, he is most famous for his classic Da Mind of Traxman series on Planet Mu, begun in 2012 -- not to mention the ghetto house tracks he's released since. In 2015, he released Birds Not Bitches on UK label Albion Records and 5000 on Berlin's Dizzy Tunes. With Slash Time, Traxman returns in full footwork battle glory with an extension -- or, better yet, an upgrade -- to the highly acclaimed EP of the same name released in 2014 on Duck N' Cover. This is not Da Mind of Traxman Vol 3; this is not not a follow-up to Teklife, his great album on Lit City; this is Traxman's most personal and intimate album to date. Each of his releases has made people turn their heads, surprised and stunned at the quality, soul, musicianship, and inspiration, and this one is no different. Taking on a rough edge, this is an accurate document of what it means to grow up, live, and DJ in the projects of Chicago. Beats and cuts sharp as a knife; snares and synths like gunfire. Five tracks feature fellow Tekk DJ'z member and good friend DJ Fred.


BEC 5156196

BREAKBOT: Get Lost 10" (BEC 5156196) 14.00
French DJ and producer Breakbot returns after his 2010 hit "Baby I'm Yours" and 2012's By Your Side album (BEC 5161259) with Get Lost, released in advance of his 2016 Still Waters album. The A-side of this limited clear 10" reveals the exclusive single "Get Lost," a very catchy song, as always with Breakbot, accompanied by Irfane on vocals and production. The same duet appears on the B-side's "Back for More," originally released digitally in 2015 as the first single from Still Waters.

BEC 5156318

BOSTON BUN FEAT. MAYER HAWTHORNE: Paris Groove 12" (BEC 5156318) 14.00
"Paris Groove" came to life when Mayer Hawthorne got lost in Paris and decided to jam in the studio with Paris-based producer Boston Bun. It's a mixture of Parisian funk and Hawthorne's incredible vocals -- a guaranteed show-stopper. Boston Bun: "I always wanted to make a special song for my city. ... Mayer swang by the studio in May. ... I was working on the track and he said 'OK, plug a microphone, I gonna sing on it now.' Two hours later it was done." Includes a perfect club edit. Limited edition of 300.



"Helios is typically credited for our solar well-being, but let's not forget that his four horses have been the ones doing the heavy lifting day in and day out all these years... They must have bailed on the bossman somewhere above Connecticut because on September 9, 2013 in New Haven it was not Pyrois, Aeos, Aethon, and Phlegon but Tiger Hatchery (Ben Baker Billington, Mike Forbes, Andrew Scott Young) and Paul Flaherty who brought the heat. Neither party is any stranger to fire music: after cutting their teeth in Texas and Cleveland like so many other purveyors of the ecstatic now Tiger Hatchery congealed in Chicago and their blistering take on free jazz earned them a recent entry in the venerable ESP-Disk'ography; Paul Flaherty needs little introduction having lent his biting reed attack to countless outfits since his 1978 debut, among them mind melds with Chris Corsano, Thurston Moore, C Spencer Yeh, and Bill Nace. Live In New Haven documents both entities convulsing as one, with Forbes' and Flaherty's labyrinthine saxophone mutations squirming against the brink of the Billington-Young skins 'n' strings throb unit. Yet despite the volcanic nature of the session, the quartet exhibits a sage capacity for both restraint and an elevated plane of almost-composed melodicism unheard in Tiger Hatchery's corpus of abandon as a trio. Front and back cover art by Graham Lambkin."



AYLER, ALBERT: Bells/Prophecy: Expanded Edition 2CD (ESPDISK 4076CD) 15.00
Albert Ayler's trio with Gary Peacock and Sunny Murray is best known for the July 10, 1964, recording of Spiritual Unity (ESPDISK 1002CD), the album that made both Ayler and ESP-Disk' famous when it was released in 1965. A decade after that, in 1975, ESP-Disk' also released, as Prophecy (ESP-3030), the first documentation of the group, recorded a month before Spiritual Unity by Canadian poet Paul Haines at a concert at a 91st Street club. These Cellar Café recordings are augmented here beyond the five cuts from the original Prophecy release by another six tracks from the same gig. (This edition uses the more accurate titles found on their release in the 2004 Holy Ghost box set on Revenant, rather than the fanciful titles from their 1996 first issue, as Albert Smiles with Sunny on the German label InRespect. Note also that "Wizard" on CD 1 and "The Wizard" on CD 2 are different compositions.)1965 yielded Ayler treasures as his style shifted. The transitional Bells was just under 20 minutes, originally released in 1965 as one side of a clear vinyl LP, with the other side empty of music. It was recorded at a May 1, 1965, Town Hall concert of ESP artists, displaying Ayler's new group. Murray remained, Albert's brother Donald joined on trumpet, and Lewis Worrell held down the bass slot. The denser sound of "Bells" shows Ayler moving toward the bigger sonic statement made on Spirits Rejoice (ESPDISK 1020CD/LP, 1965), his September 23, 1965, Judson Hall session. By the way, "Bells" as heard here is not, in fact, a single composition; rather, it is a medley moving from "Holy Ghost" to an unnamed theme and then into "Bells" proper. ESP-Disk' founder Bernard Stollman was so excited by "Bells" that he released it on one side of an LP without delaying to record additional music to fill the other side. "Bells" also happens to be the recorded debut of saxophonist Charles Tyler, who would go on to record for ESP as a leader (Charles Tyler Ensemble (ESPDISK 1029CD, 1966), and Eastern Man Alone (ESPDISK 1059CD, 1967)).



EPIRUS QUARTET: Transatlantic LP (FWF 001LP) 22.00
180-gram LP. Limited edition of 300. Grammy Award-winner Adrian Quesada (Prince, Grupo Fantasma, Brownout, Shawn Lee, Ocote Soul Sounds) meets the Austin collective Epirus Quartet (The Temptations, Cayetano, Doss, Roxy Roca, The Diplomats of Solid Sound) for a series of timeless cross-over jazz sessions. Recorded live at Big Orange studio, Transatlantic radiates raw groove from needle-drop to needle-lift.


TENDTS: Cheap Poetry LP (FWF 002LP) 22.00
180-gram LP. Limited edition of 300. Following a split EP for Project Mooncircle (Berlin) in 2013, Christos and Fotis Papadakis, the two brothers from Thessaloniki, Greece, set out to capture the essence of summers long gone. Cheap Poetry smells of sand and careless thoughts, the glow of the stars in the air, the light breeze that swept her hair, the promises you never kept, your eyes as you watched the sun set. Bittersweet and wild.


FL 451EP

DEE/OC TOLBERT, JACKIE: Who/Love Bandit 7" (FL 451EP) 11.00
"The vinyl debut of two exceptional 70s soul productions from the studio of Detroit legend Dave Hamilton. Swirling, filtered organ -- school of Bobby Byrd -- over grits 'n' gravy funk, with tough, feeling vocals by the one-away Ms Dee. Plus a knockout OC Tolbert on the flip, teaming his raw, gospelised expressiveness with a giant serpent of a bass-line, and rough-and-ready beat box. Fully licensed, mastered from tape. Limited one-off pressing in hand-stamped brown paper sleeves. First Light Records, kicking off with a scorcher."



FM3: Buddha Machine 5 - Black Soundbox (BUDDHA05-BLACK) 23.50
Restocked. Buddha Machine 5 - Black. 2015: a decade of drone. In 2005 the Beijing-based duo of Christiaan Virant and Zhang Jian released their first Buddha Machine loop box, a quirky pocket soundsystem that propelled sound art into the consumer mainstream. In 2015, the duo present the fifth-generation Buddha Machine in classic black and white and featuring a special five-layer silicon coating to give the machine a warm and fuzzy handfeel. The nine loops in Buddha 5 are taken from the songs on FM3's 2014 CD Ting Shuo and focus heavily on deep, orchestral tones, a Steinway Grand piano, and the ambient washes of a vintage monosynth. The previous four Buddha Machines have won consistent praise in media worldwide, from sources a diverse as Pitchfork, The New Yorker, and The Wall Street Journal. In his 2012 bestselling book How Music Works, David Byrne cites the Buddha Machine as an early glimpse into the future of music. And fans around the world continue to enjoy the device as a source of tranquil tunes and musical inspiration, with hundreds of remix works posted on Soundcloud, Bandcamp, and other online outlets. Requires two AA batteries (not included).


FM3: Buddha Machine 5 - White Soundbox (BUDDHA05-WHITE) 23.50
Restocked. Buddha Machine 5 - White. 2015: a decade of drone. In 2005 the Beijing-based duo of Christiaan Virant and Zhang Jian released their first Buddha Machine loop box, a quirky pocket soundsystem that propelled sound art into the consumer mainstream. In 2015, the duo present the fifth-generation Buddha Machine in classic black and white and featuring a special five-layer silicon coating to give the machine a warm and fuzzy handfeel. The nine loops in Buddha 5 are taken from the songs on FM3's 2014 CD Ting Shuo and focus heavily on deep, orchestral tones, a Steinway Grand piano, and the ambient washes of a vintage monosynth. The previous four Buddha Machines have won consistent praise in media worldwide, from sources a diverse as Pitchfork, The New Yorker, and The Wall Street Journal. In his 2012 bestselling book How Music Works, David Byrne cites the Buddha Machine as an early glimpse into the future of music. And fans around the world continue to enjoy the device as a source of tranquil tunes and musical inspiration, with hundreds of remix works posted on Soundcloud, Bandcamp, and other online outlets. Requires two AA batteries (not included).


FJ 005EP

PALLASPEOPLE: Airotic 12" (FJ 005EP) 14.00
Phonk D, Sascha Ciminiera, and T-Rax join forces once again for '80s-flavored synth-sex. Includes an insane, fabulous remix by their old idol, the legendary DJ Duke of Power Music and Sex Mania.


MVD 7274BR

ELFMAN, RICHARD: Forbidden Zone: Ultimate Edition (Includes Soundtrack) BLU-RAY/CD (MVD 7274BR) 38.00
"The Citizen Kane of underground movies! Plus Danny Elfman soundtrack CD! Richard Elfman's Forbidden Zone, starring Hervé Villechaize (Fantasy Island) and Susan Tyrrell (Fat City, Cry-Baby), will make its way to the home video market with the black and white and color transfers of the film. In the film Sexy Frenchy falls into an insane underworld ruled by a horny little king and his jealous queen. Chicken-boy comes to the rescue, only to have his head cut off by the soul-singing Devil himself -- played by Danny Elfman and the Mystic Knights of the Oingo Boingo. Frog butlers, topless princesses and rioting school kids sing and dance in unforgettable musical numbers by Danny Elfman, Cab Calloway, Josephine Baker and other greats. Forbidden Zone is truly a ground-breaking, fun-filled timeless classic! Elfman says: 'Forbidden Zone, the Ultimate Edition is coming shortly to DVD and Blu-ray from my good friends at MVD Entertainment. For the first time ever we include both the original black & white plus the new color version -- all in sterling hi-def and state-of-the-art sound mix. There's a terrific booklet and loads of bonus features (including an utterly insane introduction by some idiot who looks a lot like me). I'm very proud of this best ever Forbidden Zone release! Officially Elfo-recommended!'"



DICKINSON FEAT. ROBERT OWENS, FELIX: A Day's Reality 12" (FBR 039EP) 14.50
DJ and producer Felix Dickinson presents his second full-length EP for Futureboogie and perhaps his most accomplished work to date, created with legendary Chicago vocalist Robert Owens (Fingers, Inc., Frankie Knuckles). The "Classic Mix" delivers classic Chicago house elements in abundance, with Owens's vocals sounding great as ever alongside Dickinson's authentic, energizing production. The "Dedication Mix" features the musical directorship of Mikey Yamada and live bass and guitars by Tsuyoshi Kosuga. Brooklyn-based Justin van der Volgen, supplier of fine sounds to labels like Golf Channel and Boogiefuturo, also joins the party with a version that further complements Owens's vocal prowess.



MUSETTE: A Cosmic Serenade LP+CD (HAPNA 053LP) 20.00
"The eagerly awaited follow-up to Drape Me in Velvet (HAPNA 046CD, 2012) is here! In the making for quite some time it features a large cast of players and in the midst of it all Mr Musette himself -- Joel Danell. This man has carved a niche for himself with a sound world merging both the most ancient and the newest of the new. Hip hop, polka, novelty music and sound tracks all go down in the blender. For each record Musette has deepened the colours and now he's at a point where he's so much his own that his sound is immediately recognizable. Jack Nitzsche and his albums The Lonely Surfer and Three Piece Suite are opaque references, but this is just to point at the grandiosity A Cosmic Serenade has. It's music out of time, full of references but at the same time existing in a world of its own" --Chester Petranick. Music by Joel Danell. Musicians: Christopher Cantillo, Daniel Ögren, Edvin Nahlin, Vilhelm Bromander, Anna Dager, Hanna Ekström, Nils Berg, Anna Ahnlund, Anders af Klintberg, Johan Norin, Ylva Ceder, Joel Danell. Published by Music Super Circus Extravaganza. LP includes CD.


"Oren Ambarchi and Johan Berthling are two masters of reducing music's peak intensities to their root meaning. Oren's early solo guitar works rendered this process with an instantly recognisable combination of sine wave throb and precisely controlled attack that has bloomed in maturity -- concentrating the ecstatic potential of the guitar solo by folding it back on itself and stacking the points of greatest liminal intensity into waves of powerfully psychedelic excess while also encompassing more explicit references to his deep love of pop/rock songform and rhythmic/riffing minimalism. Johan Berthling's attention to purity of sound and his unflagging pulse has made him one of Europe's finest bass players whether invigorating numerous acoustic ensembles (Arashi/LSB/Martin Küchen etc) or keeping Fire!'s free/jazz/rock amalgam locked during explosions of orchestral colour. He first came to my attention in the trio Tape -- a group that have continued to refine an open approach to pastoral minimalism, rich and strikingly gorgeous without resorting to emotional posturing. Though Ambarchi has since joined Berthling in Fire! and its orchestral incarnation as a guest -- it's been well over a decade since they convened as a duo in Stockholm to record My Days Are Darker Than Your Nights -- a gorgeous half-hour of luminous sustained tones sourced from Ambarchi's guitar and electronics and Berthling on harmonium. Initially reacquainting us with those times Tongue Tied slowly drifts into consciousness -- an overture of flickering held hammond chords and harmonics set aloft like lanterns celebrating the new year before dramatically shifting into the present with a strummed double bass run and Ambarchi's swinging cymbals ushering in the pair's shared mode of simultaneous propulsion and physical suspension. We see things a little more clearly in this time. I think about The Ecstasy of Woodcarver Steiner -- the scene shot at 500 frames a second and played back at 24 -- but here it's just the core of music in motion -- the bottom of the tongue's tip tethered to the floor of the mouth sending the mind sky high" --John Chantler. LP includes CD.



MOCKY: Key Change LP (HEAVY 003LP) 17.50
Repressed; LP version. Includes two bonus tracks and download code. Performer, producer, songwriter, composer, and multi-instrumentalist Dominic "Mocky" Salole rose to prominence in the Berlin electronic scene of the mid-2000s, releasing three acclaimed solo albums, co-writing and producing classics like Jamie Lidell's Multiply (2005) and Feist's The Reminder (2007), and making waves on stage with close collaborators (and fellow Canadians) Peaches, Feist, and Chilly Gonzales. A critical favorite, his 2009 album Saskamodie was described by Pitchfork as "an exceptionally musical album -- there's no other word for it -- that could fail to seduce only the hardest of hearing, or the hardest of hearts." Key Change documents Mocky's move from the musical community of Berlin to that of LA, and reflects the city's underground jazz and psychedelic scene. "Frank Sinatra was the first techno artist," declared Mocky in a 2015 interview on PRI's The World. As Sinatra was one of the first singers to use microphone technology to bring more intimacy to his sound, Mocky uses software and laptop-recording to bring the listener within close range of his music. Mocky is a radical multitracker -- he plays most of the instruments on Key Change himself -- but he strictly avoids presets and uses no samples. As Mocky said in a 2015 interview in Wired, "The most modern thing I can do in 2015 is make music with my bare hands." Key Change is also a testament to Mocky's musical family: the wondrously lush "When Paulie Gets Mad" features frequent Flying Lotus collaborator Miguel Atwood-Ferguson on strings; the infectious "Living in the Snow" features a Feist cameo on drums; Moses Sumney and Joey Dosik, two singers for whom Mocky has written and produced and who have been making a mark on the LA scene, turn in a smoother-than-smooth vocal performance on "Tomorrow Maker"; and longtime collaborator Chilly Gonzales sits in on piano and Rhodes on "Head in the Clouds." Mocky draws on the past and the future to give us back the present as only someone with deep roots in electronic music can. If "machines have become the arbiters of emotion," as Mocky claims, then Key Change offers another way. Deeply familiar yet utterly new, dreamy and ethereal yet earthy and grounded, this is the music of paradox. It resists classification, as many a music journalist has discovered. It lives on its own terms. You can talk about it all you want. But in the end, you just have to listen.



MOONDOG: The Viking of Sixth Avenue 2LP (HJR 018LP) 23.00
2015 repress, originally released in 2005. Tremendous gatefold presentation and one of HJR's most impressive documents to date. "The first overview of Moondog's amazing artistic life -- including recordings spanning from 1949 till 1995, with numerous 78s and various other vanished records revived for the first time (not to mention a couple of Weegee photographs!)."


ASAKAWA, MAKI: Maki Asakawa 2LP (HJR 111LP) 23.50
Repressed! Double LP version. A stunning survey of the 1970s heyday of great Japanese singer and countercultural icon Maki Asakawa (1942-2010). Deep-indigo, dead-of-night enka, folk, and blues, inhaling Billie Holiday and Nina Simone down to the bone. A traditional waltz abuts Nico-style incantation; defamiliarized versions of Oscar Brown Jr. and Bessie Smith collide with big-band experiments alongside poet Sh?ji Terayama; a sitar-led psychedelic wig-out runs into a killer excursion in modal, spiritual jazz. Existentialism and noir, mystery and allure, hurt and hauteur. With excellent notes by Alan Cummings and the fabulous photographs of Hitoshi Jin Tamura. "Japan's answer to Scott Walker, with a visual aesthetic and a death-decadent appeal that is straight out of the Keiji Haino songbook." --Volcanic Tongue



MODINI: The Answer 12" (HYPE 049EP) 15.50
A collaboration between techno visionary Neil Landstrumm and fellow Scottish producer Hostage, Modini (Dixon Avenue Basement Jams) plunder the deeper shades of techno and electro music. "The Answer (Version)" touches on the classic side of electro, its infectious vocal hook rolling over incessant bleeps and chugging 4x4 beats like a pitched-down Relief Records cut for the modern age. Its "Original Mix" makes fine use of twisting, loose broken beats before "Impressive Pineapple" ratchets up the tempo with rolling beats, head-scrambling bleepwork, a hefty bassline, and choppy vocals. "Saluting Magpies" features more bassline-madness and drilling drums alongside imaginatively off-the-wall samples.



ELKLINK: Farm Stories LP (KYE 036LP) 18.00
"Kye is proud to announce the release of Farm Stories, the second archival collection from the extinct duo of Adris Hoyos and Graham Lambkin. Unlike the hermetic Rise of Elklink LP, Farm Stories features creative use of the great outdoors, recorded in 2002 at Green Chimneys rehabilitation center for children and animals, in Brewster, NY. We hear pigs, birds, thunder, cows, children, their parents, and planes. These recordings were then fed through a mixing board where Lambkin added Kurzweil K2500 synth, and Hoyos added electric guitar and FX. The results were made into a private run CDR that was given away at Christmas to friends. This 2015 edition of Farm Stories has been restored from the original cassettes by Graham Lambkin and fully remastered by Jason Lescalleet at Glistening Labs. Farm Stories arrives in a full color high gloss sleeve that replicates the Elklink Christmas card of 2002 in an edition of 500 copies."


MORLEY, MICHAEL: Moonrise LP (KYE 037LP) 18.00
"Kye is proud to announce the release of Moonrise, the brand new solo LP by Michael Morley. After a 30-odd year history cutting electric music with the likes of Wreck Small Speakers on Expensive Stereos, The Dead C, and Gate, Morley opens a new chapture with Moonrise, being the first readily available document of the man in solo acoustic mode. "Moonrise was recorded as an experiment in my newly established recording studio to see what might happen if I played acoustic instruments only, with an ear to some early Spanish guitar music and the Persian oud. After 30 years of playing the acoustic guitar in private for no good reason, I decide to record the activity." (Michael Morley). Moonrise arrives in a full color Morley designed matte stock sleeve, with complimentary inner bags, in an edition of 500 copies."



HAZLEWOOD, LEE: The Very Special World of Lee Hazlewood CD (LITA 131CD) 15.00
"Album remastered from the original tapes with bonus track. Liner notes booklet with exclusive interviews and archive photos. Lee Hazlewood was a late bloomer. Following a meandering career as a disc jockey, producer, songwriter, label executive and solo artist, Hazlewood hit the jackpot at the ripe age of 37 with 'These Boots Are Made For Walkin',' the song Nancy Sinatra took to the top of the charts on both sides of the Atlantic. Its success convinced MGM Records that Hazlewood was a bankable star, and they signed him as an artist in his own right the same year. But as a self-described 'non-singer' whose cult 1963 debut, Trouble Is A Lonesome Town, was little more than a happy accident, they'd perhaps gotten the wrong end of the stick where Lee was concerned. In three years on the label, Hazlewood delivered three albums and sundry odds and ends, beginning with 1966 album The Very Special World Of Lee Hazlewood. The LP found Hazlewood gunning -- in as much as he ever did -- for commercial success, blending country, pop, novelty, mariachi, and lounge music into something unusually of-the-moment. Lushly orchestrated and -- like the album that preceded it -- half-sung, half-spoken in a way that Hazlewood made all his own, the album collected solo versions of songs made famous by Sinatra and others ('Sand,' 'Boots,' 'So Long Babe,' 'Summer Wine' -- included as a bonus duet with Suzi Jane Hokom) alongside some of his career-best solo compositions, among them the Morricone-like opener, 'For One Moment.' It's a record of extremes: 'When A Fool Loves A Fool' is as light and throwaway as anything he ever laid down, while the wistful 'My Autumn's Done Come' (sample lyric: 'Let those I-don't-care days come in, I'm tired of holding my stomach in') is as raw and honest. Despite MGM's best efforts, Hazlewood proved difficult to market without a Sinatra to temper his baritone drawl, and you'd suspect Hazlewood wasn't taking it quite as seriously as they might have hoped anyway. By 1967, Hazlewood had founded the LHI imprint and was busy building his own empire -- one we've been lovingly archiving for the past few years."


HAZLEWOOD, LEE: The Very Special World of Lee Hazlewood LP (LITA 131LP) 22.00
LP version. Housed in a deluxe gatefold Stoughton tip-on jacket.


HAZLEWOOD, LEE: Lee Hazlewoodism: Its Cause and Cure CD (LITA 132CD) 15.00
"Album remastered from the original tapes with bonus tracks. Liner notes booklet with exclusive interviews and archive photos. The mid-to-late '60s were strange days for Lee Hazlewood. Having struck gold as songwriter and vocal foil for Nancy Sinatra, he signed up to MGM as an artist in his own right, and between 1966 and 1968, produced three ambitious solo albums that were eclectic, idiosyncratic, and most of all, unpredictable. It was a happy time for Lee; his music was hot on the charts, he was fully immersed in his collaboration with his muse, Suzi Jane Hokom. The second of his MGM trilogy -- 1967's peculiarly named Lee Hazlewoodism: Its Cause And Cure -- took on countrified French ye-ye ('The Girls In Paris'), a tale of a young bullfighter built on Spanish guitar and choral cowboys ('Jose'), a string-drenched song about the passing of time ('The Old Man And His Guitar'), and a western epic about a Native American tribe ('The Nights'). And that was just the first four tracks. Elsewhere, the honky tonk madness of 'Suzi Jane Is Back In Town,' the Byrds-like jangle of 'In Our Time' and -- in the bonus tracks -- an instrumental named 'Batman' confirm this to be one of Hazlewood's most far-ranging, far-out LPs ever. It's the result of two main factors: ambition -- to top Phil Spector, primarily -- and cash, which paid for orchestras, plush studios, and the inestimable talents of arranger Billy Strange. 'I think the big sound of those records came out of the Spector thing,' says Hokom, in the new liner notes. 'If you can have a big sound and you have money to burn? it was a flamboyancy.' Released before the Nancy & Lee LP -- a bona fide hit for Reprise Records -- Hazlewoodism was a tougher nut to crack, a record that confused by combining po-faced delivery with unabashed comical touches. By 1967, Hazlewood had founded the LHI imprint, and was busy building his own empire -- one we've been lovingly archiving for the past few years."


HAZLEWOOD, LEE: Lee Hazlewoodism: Its Cause and Cure LP (LITA 132LP) 22.00
LP version. Housed in a deluxe gatefold Stoughton tip-on jacket.


HAZLEWOOD, LEE: Something Special CD (LITA 133CD) 15.00
"Album remastered from the original tapes with bonus track. Liner notes booklet with exclusive interviews and archive photos. The three years spent on MGM Records between 1966 and 1968 were golden ones for Lee Hazlewood. He spent them working with his muse, Suzi Jane Hokom, writing a still-unreleased book, The Quiet Revenge of Elmo Furback, competing with Phil Spector from their respective studios, and coming up with the formula for the 'boy/girl' songs for which he'd become famous. In fact, the unflattering portrait on the cover of Something Special did little to hint at how hip this late-flowering talent (he was in his late 30s when 'These Boots Are Made For Walkin'' made him a star songwriter) had become. The common strand on the MGM trilogy is one of the unexpected happening. They were an ill fit for a major label -- experimental, difficult to pigeonhole, and unpredictable. Those descriptors apply nowhere more aptly than Something Special. Where 1966's The Very Special World Of Lee Hazlewood and 1967's Lee Hazlewoodism: Its Cause And Cure had employed an arranger, Billy Strange, and a full orchestra, Something Special stripped things back and brought in a flavor of jazz and blues, complete with gravelly-voiced scatting courtesy of collaborator Don Randi. This sat alongside tracks like 'Little War' and 'Hands,' the kind of late night, acoustic balladeering Hazlewood would later seize for his career-highlight LP, Requiem For An Almost Lady. The sound was that of a stripped-down nightclub jazz/blues/folk combo, fully rejecting the psychedelic music going on all over the world. The album made clear that forging a career as a serious star was not at the top of Hazlewood's agenda, and at the third opportunity, he'd let the listener in on the joke. Tellingly, Hokom recalls Hazlewood saying the MGM albums were his 'expensive demos. I'm sure that MGM thought that they would be successful.' Little chance of that with Something Special -- it was originally released only in Germany. The same year, Hazlewood founded the LHI imprint, and began building his own empire, one we've been lovingly archiving for the past few years. We now present this missing link in the story, three albums that generated some of Hazlewood's best -- and most varied -- work."


HAZLEWOOD, LEE: Something Special LP (LITA 133LP) 22.00
LP version. Housed in a deluxe gatefold Stoughton tip-on jacket.


VA: This Record Belongs To ________ TURNTABLE (LITA 145TT) 130.00
"How can you fully introduce your children to the magic of vinyl records without letting them interact with the record player a bit themselves? Third Man Records realizes your high end turntable might not be kid-friendly, so they are co-releasing a portable, suitcase record player just for the kids. The new Third Man Records children's turntable made by Jensen is compact and portable, featuring images of Manny, the Third Man mascot. The three-speed turntable with built-in speakers has a USB port for converting vinyl records to digital, an automatic return tone arm, and is as lightweight as a portable turntable can be. Included with the turntable is a Manny t-shirt and sticker. Turntable features: portable three-speed stereo with built in speakers: belt-driven three-speed stereo turntable -- 33/45/78 RPM; USB Port with cable included for converting vinyl records to digital format; auxiliary input jack with cable included for connecting your iPod, MP3 player or other digital audio players; software included for recording, editing and converting your audio content to MP3 format; RCA line-out jacks; leatherette case; fully automatic return tone arms; 45 RPM record adapter; two built-in speakers. Power: AC120V 60Hz or 8 x 'C' (UM-2) batteries (not included). Size: 4.33"(H) x 14.96"(W) x 12.6"(D)"



L'ESTASI DELL'ORO: Every Light Is Blue EP 12" (MACROM 045EP) 14.00
Oh, the terror. L'estasi Dell'oro delves deeper into New York's gritty shades of techno. Returning after 2014's super-bold "Iscariotic Lips" (MACROM 035EP), he enforces his signature clashing of disparate ends within the same, driving beat with the Every Light Is Blue EP for Macro. The A-side's "Pyrrhic Mundi" is endless drama, stages after stages toward eliminating mind/body separation. The B-side holds percussive structure rubbed against edgy metallic sound first with "Every Light Is Blue," and then unfolds into ultimate basement club action in "Sky Unknown." Heavy low end maintained throughout.



CHOSEF, JACK: Water&Fear CD (MAMI 009CD) 14.00
In his typically laconic, incisive manner, Jack Chosef says that Water&Fear was "influenced by the panorama function of my smartphone, motorbikes & landscapes." The idea of smartphone panorama music really captures what separates the CD's drum-centered sound from its motorik antecedents -- while that propulsive motion supposedly invoked a smooth ride on the autobahn, a relentless progression into the future, Water&Fear sounds a lot like an impromptu panorama shot taken from the road; extended, flowing, but jaggedly glitch-stitched together where the turbulence of the journey disrupts the technological illusion of faultless continuity. That jagged quality is provided by the agitated chopped and pitch-shifted vocals, which, previously only a background effect, now take on a prominent role -- an addition which dramatically expands Chosef's powers of song construction. If the styles of "krautrock" highlighted by the British music press allegedly put the strangeness of West Germany's "economic miracle" into sound, then Water&Fear is a kind of post-industrial update to them. Not that this is gloomy or pedantically conceptual music -- the tone is of amiable curiosity in the face of one's own pervasive anxiety. "Hard to Be," which sounds like a theme from the soundtrack of a giallo film set on a space station, "is about missing a person while standing beside that person," while the wavy title-track meditates on the curious surge of sweat that comes with an inconsequential visit to a roller coaster. Other highlights include the broken-cassette-deck-disco of "Rational" and the exceedingly catchy "My Fault," on which thick buzzy synth chords interplay with the bassline's churning bubble. Jack Chosef's background as a drummer continues to show through in his music and the focus on rhythm is both what allows Chosef to remain untethered to any particular genre and what allows him to linger on worry without being pulled under; it cuts to the simple truth that as long as there's a beat, you're alive. Limited edition of 200.



MODUS: Piano Chain 10" (MARMO 005EP) 15.00
"It has in mind a snow storm painting, by Turner. A brawny, bubbling, clangorous, locomotive house thumper is winched -- arpeggiated -- into the swirling light. On the flip, a different, sustained-release sublimity... skipping, all-body, shimmering, basking in the sun. Ace ten."



GAUNT: Crowd Noise 12" (MISTY 006EP) 16.50
Beneath's Mistry label declassifies the debut drop of UK soundboy pressure from Gaunt for public consumption, with four tracks of blunt bass and toiling percussion that sound like they've been at it since '92, wearing down their threads and cogs until they're sufficiently grinding for 2016. "Crowd Noise" opens with drily functional dynamics before "JP" trips out to electro-avian chatter socked with gut-punch subs. The lop-sided "MMRH" is sure to scatter the dance with bullying force, while "SP12" delivers a deft mix of gloomy voices, viscous subs, and dub sleight that's cannier than Gaunt's brutish gestures may first indicate.



BASTIEN, PIERRE: Blue As An Orange LP (DOSER 028LP) 19.50
French composer and multi-instrumentalist Pierre Bastien delivers another entry in Morphine's increasingly diverse catalog. Active since the mid-'70s, Bastien is best known for building automated orchestras. His previous album, Machinations, was released on Aphex Twin's Rephlex label in 2012 (REPH 215CD). For this work, Bastien recycled components of his Silent Motors live set and assembled mechanical organisms -- using amplified Meccano parts, motors, fans, rattles, paper, and nails -- to generate rhythmic scaffolding. Live instrumentals, created with prepared trumpets, African kundi harp, Javanese rabab, sanza, electric harpsichord, bass, drums, and gongs, were then superimposed on top. But for all their haptic mechanics, the assembled works on Blue As An Orange -- spanning jungled ambience to yellow jazz grooves -- are surprisingly delicate and nuanced, and generously laced with human warmth. As an installation artist, Bastien also captures shifting patterns of light and spatial texture in sound. This LP takes its name from Paul Éluard's poem "La terre est bleue," and offers a fresh symbiosis of speculative anthropology and old-world jazz. Produced by Rabih Beaini; mastered by Neel; designed by Tankboys; original cover art by Nathalie du Pasquier.



SPLIT IMAGE: nd01 12" (NEWD 001EP) 12.50
Loopy, straight-to-the-point techno. Split Image debuts with the first release on New Dimensions, a label with a style akin to the likes of Foundation Sound Works, among others.



HUXLEY & J.PHLIP: What You Want 12" (NIO 001EP) 14.00
180-gram 12". British DJ and producer Huxley launches his No Idea's Original imprint with two robust collaborations with US artist J.Phlip and a strident 808-workout remix from Clone's Vin Sol. "Everything has to have an 'original concept' these days, or so people in the music industry will tell you, and it's bollocks -- not least because no idea is original these days," says Huxley. "Just putting music out or doing parties because you want to and are passionate should be enough." Precedes label releases from the hotly tipped Sage Caswell, Kalyde, Pierre Codarin, and Huxley himself.



FYOELK: Klaus 12" (RHD O25FYOELK) 14.00
Fyoelk with his debut 12" EP. Five elasticated machine tracks from the curlier end of Laser Poodle. Silkscreened sleeve. Drawing by Ronan Riou. Limited one... be quick.


NA 5105LP

WITCH: Lazy Bones!! LP (NA 5105LP) 21.00
New 2015 repress. "Our comprehensive overview of Zambia's premier garage, psych, prog, funk, afro-rock ensemble Witch... The band's third album, Lazy Bones!!, is the band's masterpiece -- a dark, brooding psychedelic opus that makes equal use of wah-wah and fuzz guitars, that relies as heavily on the stomping feel of hard rock as it does the syncopation of funk."



DJ KOZE: XTC 12" (PAMPA 024EP) 14.00
Repressed. DJ Koze's 2013 opus Amygdala (PAMPA 007CD/LP) has continued to bewitch all who encounter it since its release, with classic songwriting at its core, house in its heart, and veins coursing with psychedelic color. "XTC" begins in the same spirit as album standout "La Duquesa," before sweetly imploring tones become demanding, gentle gradients between chords turn hard-edged, and sharp hi-hats cut through the haze. "Knee on Belly" recalls Koze at his most tongue-in-cheek and overt; bright and bold, it features cut-up horns of all shapes and sizes, and a swollen, thrumming bassline that brings this floor-filler to life.


PP 018LP

ASTOR: Lina in Nida LP (PP 018LP) 25.50
Mark Harwood's third album under his Astor moniker slips away from the obtuse atmospheres and concrete field recordings of Alcor and Inland (released on Graham Lambkin's Kye label in 2012 and 2013 respectively). Lina in Nida sits more in a melodic electronic framework covering a wide range of sonic and emotional states. "The East" initiates proceedings as a proposed anthem for Britain during a potential invasion by ISIS. Things soon move into the uncomfortably claustrophobic "The Landowners," where an oblique narrative by Estonian artist Kris Lemsalu spirals into a blurred fantasy of musical roads, nocturnal wanderings, and entrapment under floorboards. The B-side relocates itself further out as "They Cling to Each Other" hovers over uncharted ketamine lows while "The Sleepwalkers" lurches around a spider-like environment. "Amusement" tackles a cosmic music, but one that hurtles itself far beyond the outer regions of the cosmos, while "5:00am" contains within the greatest sound known to mankind. As a further shift from reason, Lina in Nida is a thrilling expose of intense atmospheres, emotional states, and ecstatic physics. Recorded in a bedroom in Clapton, East London, throughout 2014 and '15. Mastered by Rashad Becker in August 2015. Matte sleeve with artwork by Mark Harwood and design by Maja Larsson. Edition of 400.



DLUGOSCH, BORIS: Keep Pushin' 20th Anniversary 12" (PJMS 189EP) 14.00
140-gram vinyl. Club anthem "Keep Pushin'" (1995) by Hamburg-based producer and DJ Boris Dlugosch is a timeless classic. Originally released in a time when house music from Germany was not that common on the international club circuit, "Keep Pushin'" was a huge success due not only to Inaya Day's vocals but also to the predominant bassline, which ended up playing a huge role on the UK garage scene. A whole generation of DJs have since rediscovered the immense power of "Keep Pushin'." This remastered reissue of the original recording includes remixes by Session Victim, Purple Disco Machine, and Oliver Dollar.



DEEPBASS & NAX_ACID: Exomoon 12" (PHORMA 010EP) 14.00
The tenth release on the Stockholm-based Phorma label is Deepbass & nAX_Acid's "Exomoon," an 11-minute journey through hazy space between disjoint galaxies. On the flip-side, Neurotron give "Exomoon" a dub treatment, transforming the original track into an atmospheric beauty. Vinyl only.


PLUS 825-1EP

Richie Hawtin reveals From My Mind To Yours, a new series of seven 12 inches via his own label Plus 8 Recordings, for which Hawtin has revived some of his most revered aliases -- Plastikman, F.U.S.E., Robotman, Circuit Breaker, 80XX, Childsplay and R.H.X. The title of the release is a play on the now classic early Plus 8 compilations From Our Mind To Yours from 1991 and 1992. Tracks on this first installment are Hawtin's "No Way Back," "Childsplay's "Stretching" and Robotman's "Simple Simon." Embossed generic sleeve.



IUDIN, PAVEL: Waxology EP 12" (PFRWAX 002EP) 14.00
Pavel Iudin (or Paul Yudin, as he's occasionally known in Anglophone circles), a respected resident at St. Petersburg's Stackenschneider club, continues Poker Flat's foray into vinyl-only releases. "Waxology" is a luxurious meditation of precision-engineered deep house, thoughtfully layered with subtle builds and shifts and fine-tuned to send you into head-nodding ecstasy. The circling, bubbling groove of "Tokamak" precedes "Anchor," which contrasts its dubby foundation with echoing chimes, crisp percussion, and shimmering timbres that whizz in and out of earshot. "Charmel" is deeper still -- a heavy dancefloor stomper with a booming kick married to a sinuous bassline.



MILLS, HELLEN: Stereomoon EP 12" (RARE 003EP) 14.00
The Paris-based RA+RE label presents Moldovan artist Hellen Mills's Stereomoon EP, the label's third vinyl-only release. It's a perfect club EP, with three varied tracks mixing deep and minimal house. Oshana brings her distinctive sound signature with an atmospheric and loop-driven version of Mills's "Lavanda."


RAD 7001LP

JOHN'S CHILDREN: Orgasm LP (RAD 7001LP) 23.50
180-gram vinyl. The sole album from unhinged UK psychedelic mod rock outfit John's Children, recorded in 1966, right before Marc Bolan joined the band. Produced by The Yardbirds' manager Simon Napier-Bell, who referred to them as "positively the worst group I'd ever seen," John's Children's debut LP was shelved for three years due to its then-unthinkable title, Orgasm, and released only in 1970, on the US White Whale label. Acclaimed by many as precursors of glam rock for both their theatrics and music, John's Children quickly disbanded in 1968, leaving behind a half-dozen singles ranking among the most collectible British '60s rock artifacts ever.



LO & MATTEO LUIS: Won't Cry 12" (RTGD 001EP) 14.00
135-gram 12". Marlon Hoffstadt and Goldberg inaugurate their Retrograde label with Won't Cry by Cologne natives Lo & Matteo Luis, released in advance of the duo's debut album. "Won't Cry" is a warm, atmospheric work from the pair's archives, sure to induce a dreamy state with Matteo's deeply driven signature sound and Lo's lyrics. Hoffstadt delivers a drifty and impulsive close-to-the-floor interpretation, label friend Johnjon turns in a gleaming remix with percussive sequence sounds and a deeper touch, and Tuff City Kids (Gerd Janson and Phillip Lauer) present an ingeniously constructed rework. Artwork by Berlin-based surrealist Hermann Reimer.


R1 7262LP

NELSON, WILLIE: Shotgun Willie LP (R1 7262LP) 13.00
2009 reissue of Willie Nelson's 1973 album. "The recording marks a change of style for Nelson, who later stated that the album 'cleared his throat'. When Nelson refused to sign an early extension of his contract with RCA in 1972, the label decided not to release any further recordings. Nelson hired Neil Reshen as his manager, and while Reshen negotiated with RCA, Nelson moved to Austin, Texas, where the ongoing hippie music scene at the Armadillo World Headquarters renewed his musical style. In Nashville, Nelson met producer Jerry Wexler, vice president of Atlantic Records, who was interested in his music. Reshen solved the problems with RCA and signed Nelson with Atlantic Records as their first country music artist. The album was recorded in the Atlantic Records studio in New York City in February 1973. Nelson and his backup musicians were joined by Doug Sahm and his band. After recording several tracks, Nelson was still not inspired. Following a recording session, he wrote 'Shotgun Willie' -- the song that would become the title track of the album -- on the empty packaging of a sanitary napkin while in the bathroom of his hotel room. Waylon Jennings and Jessi Colter collaborated on the album, providing vocals and guitar. Shotgun Willie was released in June 1973. In spite of poor sales, the album received good reviews and gained Nelson major recognition with younger audiences. The recording was one of the first albums of outlaw country -- a new subgenre of country music and an alternative to the conservative restrictions of the Nashville sound, the dominant style in the genre at the time."

R1 7291LP

NELSON, WILLIE: Phases and Stages LP (R1 7291LP) 13.00
2009 reissue of Willie Nelson's 1974 album, recorded in Muscle Shoals by producer Jerry Wexler. "Nelson met Jerry Wexler at a party where Nelson sang songs from an unreleased album he had recorded in 1972. The single 'Phases and Stages' was originally recorded the same year. Nelson re-recorded the album at Muscle Shoals Sound Studios in two days and Wexler produced it.The album became one of the first concept albums in country music. The theme of the songs centers in divorce, narrated from both viewpoints. The one of the woman is narrated on side one; while the man's on side two. The recurrent song 'Phases and Stages' is repeated throughout the album, introducing several other songs."



MAXSTA, BOOTHROYD & MANIAC: 100 Problems EP 12" (RINSE 069EP) 14.00
Limited edition of 300. Maniac, one of grime's early kingpin beatmakers, makes his long-awaited return with MC Maxsta (known for his breakthrough 2009 anthem "East London Is Back") and Boothroyd (Tri Angle producer). On "100 Problems," Maniac's influence is felt first as sci-fi zaps and pulses fizz around a grizzly, low-end beat while Maxsta attacks every bar. "No Retreat" sees Boothroyd come to the fore with his wildly off-beat, atmospheric haze and staggered, cosmic FX allowing Maxsta's lyricism to take center stage. On "Local Spitter," Maxsta's words cut through swirling HD melodies, glossy textures, and a thick-edged bass lean.


RUM 2011108LP

CASH, JOHNNY: With His Hot And Blue Guitar LP (RUM 2011108LP) 20.00
1957's With His Hot And Blue Guitar is the debut album of country and rock and roll pioneer and all-around American hero Johnny Cash. Featuring his backing band, The Tennessee Two, the album includes all-time classics like "Hey Porter," "The Wreck of the Ol' 97," and "Folsom Prison Blues." The beginnings of an American country hero also happens to be some of the finest recordings of his career, absolutely stellar Southern Americana.



JANSON PRESENTS, GERD: Musik For Autobahns 2: Ambient Race Car Music Compiled by Gerd Janson 2LP (RHM 018LP) 23.00
"So, what awaits you on the second edition of a compilation that claims to present 'ambient race car music'? Exactly what it says. A fresh and exclusive collection of music that hopefully sounds as great in a car as it will in the comfort zone of your own living room or during dusk and dawn in your favorite club environment (see Bicep and Fort Romeau for further reference). But first and foremost it is truly inspired by many trips on the Autobahn between Frankfurt and Heidelberg. Going to and fro from one club to the other was the way to spend countless hours of adolescence in excitement instead of tedious purposelessness. But I will not bother you with droll stories of my youth. Musik for Autobahns 2 is the result of a collective effort by dear friends and esteemed colleagues who picked up where the first one ended, while paying attention to the prevailing theme. From Leon Vynehall and his profound research of the BAB 5 highway to Joy Orbison's 'A213' or Lauer's heartfelt and wry Kraftwerk pastiche, all of the tracks have a certain compatibility in common or just sound great, while having a drive. 'Breaking' by AKSK for instance made the stop-and-go traffic in the blazing heat of Los Angeles so much more bearable (the vintage Volvo helped as well). Also, you will meet freshmen like Orson Wells, whose idea of traveling exceeds the boundaries of our planet, next to elusive characters like Disco Nihilist. All bringing their special skills and imagination to the table" --Gerd Janson. Also includes tracks by Shan and Conga Radio.


S-S 082LP

LIFE STINKS: You'll Never Make It LP (S-S 082LP) 19.00
"Present-day San Francisco is a beautiful city but also a hyper-active, tech-grinding rat race. The money chase is on 24/7, the rats hustling for tiny morsels of cheese, praying for the day when a big hunk o' cheddar falls from the sky. If you've lived in the city for a good while and are some creative type or working Joe or Jane, you can be overwhelmed by it all. Life Stinks's second album You'll Never Make It is a perfect portrait of that mind-frame. Feelings of anger, self-doubt and vindictiveness weave though a sonic template that shifts from a Flipper / Fang arms-a-swingin' groove (as on the title track) to standout Velvet poppers ('Anchor'), Stooge-oid stomping ('Sliding Down a Wire'), and outright demented thuds ('I'm a Weed'). And then just when you are ready to take out a few windows, Life Stinks slyly slides in a gentle number which reminds you that the band paints from a complete emotional palette. You'll Never Make It is a great followup to their 2013 debut, which was called 'album of the year' by some yuks at Maximum Rocknroll and earned high praise at Raven Sings the Blues, It's Psychedelic Baby, Terminal Boredom and other places. Also like the first album, You'll Never Make It is produced by Kelley Stoltz and Mikey Young (Total Control)."



HUNTEMANN, OLIVER: Pech & Schwefel/Schwarzlicht & Filmriss 12" (SENSO 013EP) 14.00
180-gram 12". Oliver Huntemann always delivers, especially on his own Senso imprint. On "Pech," elements unfold and flower organically -- including a sustained and deliciously pitch-bent bass tone -- as the tune reaches its climax of dancing synths. The echo and distant music-box pings of "Schwefel" are finally subsumed by gritty synth repetitions before the pitch-bent bass of "Schwarzlicht," precision-engineered for a massive system, twists like a contortionist while piercing stabs pulse and ping. On "Filmriss," a pitched-up pulse -- like a string slowly tightening to its breaking point -- makes way for a truly monstrous and memorable sub bass.


SA 7528CLP

RAMONES, THE: Leave Home (Colored Vinyl) LP (SA 7528CLP) 15.00
Red colored vinyl reissue, manufactured by Rhino under license from Sire Records. Originally released in 1977, The Ramones' classic second LP contains their second song about sniffing glue (the once controversial "Carbona Not Glue" -- which has been correctly reinstated on this version) and is the first LP to feature their iconic presidential seal logo.


RAMONES, THE: The Ramones (Colored Vinyl) LP (SASD 7520CLP) 21.00
Red colored vinyl reissue, manufactured by Rhino under license from Sire Records. Originally released in 1976. Not much needs to be said about The Ramones' immortal first album. Occupies the same headspace as Velvets, Stooges, Black Flag. If you don't know, you better ask somebody.

SR 6042CLP

RAMONES, THE: Rocket To Russia (Colored Vinyl) LP (SR 6042CLP) 21.00
Red colored vinyl reissue of The Ramones' third album, originally released in 1977. Includes the songs "Sheena Is A Punk Rocker," "Teenage Lobotomy," "Do You Wanna Dance?" and "Locket Love." Manufactured by Rhino.



DISAPPEARS: Low: Live in Chicago LP (SCR 095LP) 27.50
Chicago four-piece Disappears cover David Bowie's 1977 classic Low in its entirety live in their hometown. It's the perfect balance between a tribute and a work that furthers the experimental nature of the original. The band ran through the album twice on November 22, 2014, as part of a concert series titled Bowie Changes, which featured several Chicago-based musicians reinterpreting the Bowie catalog to mark the opening of the David Bowie Is exhibition at the city's Museum of Contemporary Art. "Naturally we chose the hardest one," jokes guitarist and singer Brian Case. They succeed by being faithful to the original, while turning it into something that sounds very much like a Disappears album. The seven songs on the first side are buzzing and muscular, injected with steroids by the ferocious rhythm section of Noah Leger (drums) and Damon Carruesco (bass). However, it is the more avant-garde songs on the B-side that are the revelation. Stripped of Eno's EMS Synthi AKS and Minimoogs, "Warszawa" becomes an intense battleground between Case and Jonathan van Herik's treated guitars; "Subterraneans" swaps saxophones for Rother-esque kosmische curlicues; and "Weeping Wall" builds to an appropriate and fearsome (Berlin) wall of noise. Mastered by Sonic Boom. Limited-edition orange vinyl in see-through PVC sleeve with fold-out insert. Includes download code.



TOURE, FANTANI: Salif Keita Presents N'tin Naari CD (STCD 1080CD) 16.50
1997 release. Born a Touré, a descendent of one of the oldest noble families of the Malinké people, Fantani was by custom forbidden to sing in public, but won school prizes for her singing and dancing. She also earned a degree in business management and opened a clothing boutique in Bamako, Mali. Two of Mali's greatest musicians convinced her to share her musical talents with the public: the great kora virtuoso Toumani Diabaté, who persuaded her to join his concert orchestra, and Mali's most famous singer, Salif Keïta, who produced her first CD, N'tin Naari, which Sterns Music released internationally in 1997. A role model to Fantani for the way he had defied the conventions of his noble birth, Keïta encouraged her to present her true self, beholden to neither tradition nor passing fads. There was no going back. Fantani Touré went on to international festivals and tours and feature roles in two popular Malian films. Named Malian Star of the Year in 2003, she used her fame to advocate for girls' education and women's entrepreneurship. She died in 2014 at the age of 50.


ISAAC, ISMAEL: Black System CD (STCD 1091CD) 16.50
2000 release. Ismaël Isaac was a 15-year-old growing up in a densely-populated lower-working-class district of Abidjan, Ivory Coast, when Bob Marley died in 1981, and it was a defining moment for him; that was when, he recalls, "reggae became, de facto, a genre of African music." It was also when an older neighbor who called himself Alpha Blondy started singing reggae songs in local languages. And that's when Isaac made up his mind to be a reggae singer himself. With little more than faith in his talent, he managed to get himself on Ivorian radio and television and soon on records. Black System is his seventh album and his strongest. Listening to this, one might be convinced that reggae has been African music forever.



PORTER, ROLY: Aftertime LP (SUB 004LP) 22.00
2015 repress. LP version. Continuing the re-emergence of Bristol's Subtext label, former Vex'd artist Roly Porter presents his debut solo album Aftertime, which fuses his background in bleeding edge British sound system music with experimental compositional strategies and a forensic attention to detailed sound design. The results explore the terrain of an emerging industrial classical aesthetic, connecting new approaches to digital manipulation and processing with the instrumentation of chamber music in an immersive examination of texture and tonality. Aftertime connects the dots between the legacy of dubstep and seminal jungle labels such as Metalheadz and Full Cycle while absorbing aspects of noise, drone and contemporary classical. Haunting angular assaults crafted across the 11 tracks create a logical post script to Porter's roots in Vex'd, the seminal dubstep project launched in 2004, that adopted the tropes of bass production and sonic detailing inherent in sound system culture and translated them into a highly atmospheric dark ambient progression. Aftertime radiates a central narrative tension between themes of nature and technology, the ancient and modern, and the real and synthetic, revealing a compulsive cinematic netherworld, like a communiqué from an earth ravaged by science. The use of instrumentation, in particular the haunting tones of the Ondes Martenot (performed here by Cynthia Millar) reflects Porter's fascination with rare and dying technologies, the Martenot being playable by only a remaining handful of performers. Placing this rare instrument's eerie aesthetics alongside muscular sheets of noise and heavily machined tones, the album maps out a compositional territory that chronicles a dying sonic language while ushering in the dawning of the new. At the outer edges of this map, Aftertime stands as a re-imagined present -- an apparition of a mythologized past and an unreachable future.


SV 058LP

GORAGUER, ALAIN: La Planete Sauvage LP (SV 058LP) 24.00
2015 repress. "Animated sci-fi masterpiece La Planète Sauvage (aka Fantastic Planet), winner at Cannes Film Festival in 1973, is a bizarre and beautiful film. Towering blue-skinned figures, tiny humanoids in the midst of revolt, and drug-induced Tantric sex transport viewers to a truly magical setting. Composer Alain Goraguer creates an equally hypnotic score from a palette of effects-laden guitars, flutes, Fender Rhodes, and strings. While the lush arrangements are reminiscent of Goraguer's collaborations with Serge Gainsbourg in the 1960s, space-age synth flourishes suggest a more psychedelic era. Moody vignettes flow together in tense, slow-paced funk rhythms and Baroque textures. It comes as no surprise that La Planète Sauvage has been cited as an influence on contemporary artists such as French duo Air and American hip-hop producers J Dilla and Madlib. Gorgeous, interplanetary soundscapes resemble the surreal meeting point between Pink Floyd's Obscured by Clouds and Broadcast's Future Crayon. This long out-of-print vinyl release features the original soundtrack recording and newly designed artwork. Recommended for fans of Ennio Morricone, Basil Kirchin, and David Axelrod."



JEROEN: Vespertine 12" (TAPE 010EP) 12.50
First solo release by Tape Records cofounder Jeroen. Features Social Lover. Deniro remix on the B-side.



ACRE: Better Strangers 2LP (TEC 089LP) 23.00
Double LP version. Better Strangers is the debut album by Manchester, England-based producer Acre, following EPs on Tectonic (TEC 080EP, 2014), its sister label Cold Recordings, and Visionist's collaboration with PAN, Codes (CDS 001EP, 2015). As influenced by rave, jungle, grime, and techno as by electronica, ambient, and drone, his EP releases have been rhythm-driven snapshots of other-worldliness spliced with dancefloor sensibilities. Acre has sought to explore a wider variety of textures on Better Strangers to re-contextualize elements from UK bass music and bring them away from the dancefloor and into new possibilities. "I tried to include more emotion in this album than my previous releases and wanted to represent a broader side of my productions. The title 'Better Strangers' comes from the feeling that some people make better strangers than friends (or better off being strangers) in your life, and the album is about recognising that." --Acre



VA: Tempa Allstars Vol. 8 2x12" (TEMPA 104EP) 20.00
Manchester-based Acre's "Messages" is a chilly, percussive number that melds tempered whacks and thick, heaving bass tones with distant synths. New Zealand newcomer Epoch's brash, menacing stepper "The Ville" is built for peak play. Sydney's Cliques turns in "AUT," an intense, capacious, dubby tool, before London's Fracture follows up his 2015 contribution to FACT's mix series with "Excalibur," an immaculately produced, patient burner rich with razor-sharp percussion. Youngsta & Distance's untitled collaboration harkens back to the heyday of dubstep with its rich, cavernous textures and dramatic, reverberated drum shots before Biome lays out a sparse, sub-heavy groove.


SPHERES 015-17

CURRENT 93: Swastikas for Noddy/Crooked Crosses for the Nodding God 2LP (SPHERES 015-17) 31.00
Limited repress. Reissue of Current 93's seminal and liminal 1986 album Swastikas for Noddy, including the 1987 re-recording of the album, Crooked Crosses for the Nodding God. Packaged in a full-color gatefold bearing the original artwork plus a previously-unpublished photograph of Current 93 by Ruth Bayer, tinted by Ania Goszczy?ska. Includes insert with track listing, group line-up, and a photograph of Current 93 at the time of the recording, again by Ruth Bayer. One record is opaque green; the other is opaque lilac. Swastikas for Noddy has been unavailable on vinyl since 1987. Crooked Crosses for the Nodding God has never been available on vinyl. Both have been beautifully remastered by the bricoleur.



SLACK DJS: Glasshouse Mountains EP 12" (TRILOGY 033EP) 17.00
"D.K. and Low Jack."


EMG & BATTISTA: The Bridge EP 12" (TRILOGY 034EP) 20.00
"In hand stamped, silk screened sleeve."


EKMAN: Aphasia EP 12" (TRILOGY 035EP) 17.00
Four tracks by Ekman on The Trilogy Tapes: "Aphasia," "I Only Hit You 'Cause I Love You," "Rook," and "Scröpferesque."


CHEMOTEX: Thulsa EP 12" (TRILOGY 036EP) 17.00
Marcos Cabral aka Chemotex's third 12" for The Trilogy Tapes.



JON E CASH: Black Ops 12" (TTRS 001EP) 14.50
Limited-edition release of four previously unreleased tracks from the vaults of West London grime legend Jon E Cash, one of the key members and founding fathers of the Black Ops crew and inventor of sublow music, a particular pocket of the overarching grime movement specific to West London taking in influences from UK garage, jungle, reggae, and hip hop. These four previously unreleased smashers -- "Gangster," "War Bashie," "Cash Combo," and "Sen U Rita" -- date from circa 2002, the prime time of the grime and sublow movements.



RHODE & BROWN: Tunnel Woman 12" (TOYT 044EP) 14.00
Limited edition of 300. Vintage house freaks and soul kids: Rhode & Brown, who have hosted their own night at Munich's Kong club since 2012, return to Toy Tonics with a great funk-driven instrumental EP following a few 2015 remixes (check the one for Brooklyn-based label Good Company Records). Produced on a Stradivari-build MPC1000 in their beautiful studio in the heart of Munich, the record showcases the pair's self-described "weißwursthouse" sound, influenced by old soul records, Detroit legends Theo Parrish and Moodymann, and experimental house from the Scandinavian labels around Studio Barnhus. Includes a remix by up-and-coming producer Hodini.


UY 100EP

RESMANN, MARCO: 100 12" (UY 100EP) 12.50
The Upon.You label celebrates the 100th release in its continuous sequence of catalog numbers with a gold-colored 12" single by label cofounder Marco Resmann, bearing gold-colored label prints in transparent packaging. "100" is a big-room monster of a tech house tune, providing maximum tension through scattered shakers, carefully arranged synth sweeps, and strident build-ups of dark, psyched-out, proggy bass and mid-range warps that lead toward an ultimate climax. The "Jubiläum Mix" pairs intense, spiraling basslines with layers of ecstatic stabs and a continuous swell of uplifting, positive synths for high-octane levels of buzzing dancefloor energy.



DIE WERKPILOTEN: The Wonderful World of Werkpiloten 2LP (VOD 105LP) 32.00
2012 release. Limited edition of 500. Die Werkpiloten were Christian Aufderstroth aka Krischi (vocals) and Stefan Caesar aka Prinz Eisenhart (programming). The duo was active from 1981 until 1986, and released four cassettes including a compilation on their label Werkpilot Industrial Releases, as well as contributions to various tape compilations of the '80s cassette culture. This double LP compiles their first two tape releases published on their own tape label including 22 beautiful wave songs in the style of Factory acts like New Order, and even recalling the legendary Joy Division. The first LP features the contents of the Der Werkpilot compilation, released in 1983 and collecting recordings from 1981-'83 by Die Werkpiloten, Prinz Eisenhart, Landungsbrücken, Der Vorkriegsrausch, and Rhabarberkompott. The second LP features the highly sought-after masterpiece The Wonderful World of Die Werkpiloten from 1984. It's music that, except for guitar and bass, mainly has electric origins; it flows, sways, and encourages one to dream. It should kidnap the listener out of everyday life and into another, wonderful world. Constantly changing between introverted soundtracks and elaborated electro tracks. A complex and multifarious industrial pop, inspired by a melancholic attitude with its origins in the Mancunian Factory label of Section 25 and Joy Division. This is not surprising, considering where the duo grew up. They came from the Ruhr region of Germany, characterized by coal industry, a working-class environment, and disillusionment.


MONTGOMERY, GEN KEN: Postcards 1981-1986 2LP (VOD 106LP) 32.00
2012 release. Limited edition of 500. Gen Ken Montgomery, a New York-based visual artist and sound composer, is absolutely genuine; he has no training in traditional music or art. He was never a follower of any direction or school. Instead he founded his own school of off-beat DIY-electronics, driven by irresistible curiosity and ingenuous enthusiasm for sound experimentation and process-oriented performance. His music is dense and full of polyrhythms and counter harmonies with singular control over layers of randomly pulsing, bleeping synthesizers and drum boxes. As a composer in the early '80s Montgomery created multi-channel sound works often performed in total darkness. He began his sound explorations with electronic toys, cheap synthesizers, and household gadgetry, for which he had a special fascination. His ever-present objects of affection are electric machines including an ice crusher ("Icebreaker"), aquarium pump, refrigerator, shoe shine machine, hand massager, and laminator ("Laminator Model 2291"). Postcards contains 41 (!) tracks. Twenty-two tracks on the first LP, compiled from his first tape, Gen Ken & Equipment (1981); his second tape, Collaborations (1982); his third official tape, Kalckreuth Keks (1986), recorded at Conrad Schnitzler's studio; and several live recordings under the name KMZ with Michael Zodorozny of Crash Course in Science. The second LP includes 19 songs from the fourth official tape, Beatmusik (1981-84) released by Sound of Pig, New York; songs from his fifth release, Room to Roam (1984); and three previously unreleased tracks from the same time period, one also as KMZ. Montgomery's activity in international cassette culture networks led to relationships and collaborations with such luminaries of the underground music scene as Conrad Schnitzler, Giancarlo Toniutti, Chop Shop, David Lee Myers (Arcane Device), Al Margolis, John Hudak, Francisco López, AMK, Istvan Kantor (Monty Cantsin), GX Jupitter-Larsen (The Haters), Rod Summers (VEC), Maurizio Bianchi, Masami Akita (Merzbow), CM von Hausswolff, and Leif Elggren, among others. "Cassettes were an inexpensive and practical way of getting feedback from the developing international community of sound/noise/music experimenters. Cassettes allowed for spontaneous freedom and experimentation without the burden and commitment of releasing vinyl which was expensive to mail and costly to press in editions of less than 500" --Montgomery. Montgomery used the earliest Casio keyboards, self-made electronic gadgets, cheap drum boxes, and his favorite instrument, the Korg MS-20 synthesizer. The mixture of noise, pop, rock, electronic, and soundscapes on one cassette show how musical genres hadn't yet become entrenched in the cassette culture scene.


LAUGHING HANDS: Tape-Works 1981-1982 4LP BOX/DVD (VOD 109LP) 88.00
2013 release. The members of seminal Melbourne-based improvising experimental group Laughing Hands and its alter ego The Invisible College were Paul Schütze, Gordon Harvey, Ian Russell, and Paul Widdicombe. Their spectrally shaded instrumental post-punk-by-way-of-post-industrial constructs were effectively post-rock before the genre existed. The group continued in several permutations until disbanding in 1982. They released two LPs (Ledge (1980) and Dog Photos (1981)) and one cassette (E E: (The Welder's Bible) (1981)) on their own Adhesive label, as well as two cassettes on the Australian tape label Rash (Decisions) (Nights (1982) and The Luxery of Horns (1982, credited to The Invisible College)). This set includes the contents of all three cassettes, as well as a DVD. While the esoteric Eno-by-way-of-Dome post-punk instrumental constructs doled out across their two LPs are some of the most mesmerizing examples of this sort, their work on the tape-only releases finds them exploring a decidedly more shrouded, nocturnal, and formally abstract dimension of their universe. The two tapes issued under their heading as well as the material they issued under the pseudonym The Invisible College tease out certain territories only hinted at on the vinyl releases. Nights comprises two side-long pieces. Side A's mesmerizing title-track is filled with spectral synth shadings, distant metallic clatter, and pained wails, while the B-side's "Infinite Summer" unfurls a protracted stream of stutter pulse across a vast terrain of preternatural and phantasmagoric incident. The material on E E, divided into subsections titled Vibrate, Scatter, Picture, and Splinter, spans the gap between Night's atmospheric abstractions and The Invisible College's more forcefully driving and art rock-ish confections, each section highlighting a facet of their cumulative praxis. Vibrate foregrounds the rhythmically forceful dimension of their aesthetic as heard on the Invisible College material, Scatter proposes a more fractured and hermetic attack that carries a whiff of Can's ethnological forgeries, Splinter explores the more nocturnal and mechanistic side of their nature, and Picture sets its sights on the cosmos with pore-penetrating widescreen tracts of alternately shearing and suspended krautrock-ish acid sound-scaping that is perhaps the epiphanic peak of their whole discography.


UN-KOMMUNITI: Black Dwarf Wreckordings '83-'85 4LP BOX (VOD 114LP) 88.00
2013 release. Un-Kommuniti (sometimes also called Un-Kommunity or Thee Un-Kommuniti) was an early-to-mid-'80s project run by Tim Gane with support of Joe Manning, Vince "Van Hire" Adams, Dave "Smut" Smit, and Pete Levy. Tim Gane went on to achieve renown with his band Stereolab and his participation in the band McCarthy in the late '80s. Un-Kommuniti ran their own tape label, Black Dwarf. The group was interested in musical alchemy and the result of this approach in the creation of their music is an incredible mix of psychedelic elements paired with the heaviest power electronics and noise sound-walls, leading the listening to the ultimate psychedelic journey. People familiar with the music of Stereolab will definitely recognize the roots of their musical output in this four-LP box set. They were active from 1983 until 1987 and released on numerous cassette culture labels including Freedom in a Vacuum, Broken Flag, Selbstmord Organización, Cause for Concern, Sound of Pig, and more. Besides their Brutality of Fact 7", released on Cause for Concern in 1984, they just had two other vinyl releases -- contributions to the compilations Freedom in a Vacuum (1987) and Statement (Broken Flag, 1984). This is the ultimate chance to enjoy a musical journey with almost four hours of carefully selected tape tracks by Un-Kommuniti. All the tracks selected for this box were recorded between 1983 and '85 and were previously only released on the group's own Black Dwarf label. Includes tracks from Black Dwarf (BDRS1), Doktrine (BDC1), Overliberated/Live in the Shithouse (BDW 06), The Prime Advantage (BDC10), Anarchist Bingo Hall/Soundtracks (BDC11), Sense of Unmaking (BDC12), Dhol Chants (BDC14), and Ex-Oblivione (BDC17), as well as the compilations Faith Will Never Die... (BDC05) and Crusade (BDC08).


FROHMADER, PETER: Nekropolis 81 Volume I-IV 2LP (VOD 118LP) 34.00
2013 release. Limited edition of 500. Peter Frohmader aka Nekropolis is a German artist known for his distinct, dark, atmospheric electronic compositions as well as his extreme visual art projects, which have manifested in many exhibitions, films, multimedia events, and collaborations in the fields of art and music (including projects with H. R. Giger, Chris Karrer, and more). In 1981, at the age of 23, Frohmader self-released his first LP, Musik aus dem Schattenreich. At the same time he self-released a series of four tapes called Nekropolis '81, which are reissued as this comprehensive double LP. Throughout the '80s and '90s Frohmader released many of his works on labels like Multimood, Hasch Platten, Auricle, Cuneiform Records, and Atonal Records, and contributed to cassette culture labels like Inkeys, Dark Star, and Necronomicon, while also releasing works on his own Nekropolis label.


RICH, ROBERT: Premonitions 1980-1985 4LP BOX (VOD 122LP) 81.00
2014 release. Limited edition of 500. Robert Rich's solo and collaborative recordings have proven extremely influential on a range of new school ambient and experimental artists. Although almost a decade younger than his cohorts, Rich's association with the West Coast scene of space-music pioneers such as Steve Roach, Kevin Braheny, and Michael Stearns also makes him one of the few of that generation to have interfaced creatively with the new wave of experimental electronic composers. A northern California native, Rich began building his own analog synthesizers in the late '70s before attending Stanford University, where he completed a degree in psychology. While at Stanford, Rich's involvement in the university's prestigious Center for Computer Research in Music and Acoustics expanded his interest in digital synthesis, and his Bay Area location brought him in contact with a wide range of non-traditional and non-Western musical ideas. Rich's innovation of the all-night "sleep concerts" during this period derived from his interests in psychophysiology and sleep research, and helped solidify an aesthetic focus on psychoacoustics, perceptible in early recordings such as Sunyata (1982), Trances (1984), and Drones (1984). Rich's mid-period works such as Rainforest (1989) and Propagation (1994) combined that interest with more recognizable electro-acoustic elements (Rich plays a wide range of instruments, from synths and effects racks to lap steel guitar, hand drums, and flute), but the influence of digital sound manipulation also moved increasingly to the fore. Inspired by the more textural works of artists like SPK and Throbbing Gristle, Rich's interest in the edgier side of electronic composition has also earned him a reputation among fans of gothic, industrial, and dark ambient, made most obvious by his collaboration in 1995 with Brian Williams of Lustmord. In addition to his more ambient-leaning works, Rich released albums with the experimental pop band Amoeba, and in 2013 with Meridiem. He has been influential in spreading interest in harmonic tuning systems (just intonation), works closely with music software and hardware companies in product development, creates sound design for film and television, and teaches a university course on audio mastering. This four-LP box set focuses on Rich's early stage of composition and performance, from 1979-'85. Most of this music is previously unreleased, or came out on limited cassettes on the UK Auricle label or the Swedish Psychout Productions label, which later became Multimood, and released Rich's Numena LP in 1986.



JORDAN, CLIFFORD: Soul Fountain (180 Gram Vinyl) LP (VORTEX 2010HLP) 15.00
180 gram vinyl reissue. Chicago saxophonist Clifford Jordan with Jimmy Owens (trumpet & flugelhorn), Julian Priester (trombone), Frank Owens (piano & organ), Ben Tucker (bass), Bob Cranshaw (bass) and Bob Durham (drums). Originally released in 1970; manufactured by Rhino.


WB 3218HLP

COLTRANE, ALICE: Transfiguration 2LP (WB 3218HLP) 24.00
2015 repress. Recorded live at Schoenberg Hall, UCLA, April 16, 1978. Tracks: "Transfiguration," Spoken introduction, "One For The Father," "Prema," "Affinity," "Krishnaya," "Leo, Part One" and "Leo, Part Two." Coltrane plays piano and organ with Reggie Workman on bass and Roy Haynes on drums. Gatefold exact repro on 180 gram vinyl.



RECKONWRONG: Whities 005 12" (WHYT 005EP) 16.50
After a cool 2015 debut on Pinkman, here's Reckonwrong with more experiments -- this time on Young Turks sub-label Whities.


WO 002LP

MODUS: Quattro LP (WO 002LP) 21.00
"Recorded between 2013 and 2014 at his Marmeria Studio in Genova, Modus' debut album Quattro is the best introduction to the author's extraordinary soundscapes and compositional variety. It's a work of intimacy, love, struggle, as much as visions of grandeur and sonic adventure."



BROONZY, BIG BILL: The Young Big Bill Broonzy LP (YAZ 1011HLP) 17.00
2015 repress. 180 gram reissue, originally released in 1968. "Big Bill Broonzy was probably the most important Chicago blues artist of the thirties and early forties (that's before the period of 'Chicago blues' represented by Muddy Waters, Willie Dixon, Little Walter, Howlin' Wolf)."


BROONZY, BIG BILL: Do That Guitar Rag 1928-1935 LP (YAZ 1035HLP) 17.00
2015 repress. 180 gram reissue, originally released in 1973. "The late Big Bill Broonzy looms as one of the few country blues greats whose career seems as remarkable as his musicianship. He played every professional role available to the untutored black guitarist of his generation: that of the country blues soloist catering to dance audiences, the city bluesman beguiling record-buyers with full-dress lyric themes and a slow song delivery, and the folk entertainer trading on familiar standards ear-marked for white listening audiences... It is his early career as a country bluesman that this LP, like its companion volume The Young Bill Broonzy commemorates."


BLIND BOY FULLER: Truckin' My Blues Away LP (YAZ 1060HLP) 17.00
2015 repress. 180 gram repro of the 1978 album from North Carolina's Blind Boy Fuller. Blues circa 1935-1939, including "Homesick and Lonesome Blues," "Truckin' My Blues Away," "I Crave My Pig Meat," "Walking My Troubles Away" and "Sweet Honey Hole."

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