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Forced Exposure New Releases for 12/28/2015

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New music is due from Consumer Electronics, Andy Vaz, and Prins Thomas, while old music is due from John Cage, Esplendor Geométrico, and Erik Satie.


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Iskra String Quartet is a collaborative group of string players who enjoy making music together regardless of genre. Ivo Stankov (violin), James Underwood (violin), Sarah Chapman (viola), and Charlotte Eksteen (cello) have travelled extensively across Europe with Icelandic composer Jóhann Jóhannsson, performing at various prestigious concert halls and festivals, including "Different Trains: Steve Reich at 75" at the Barbican in London and Cork Opera House in Ireland. A highlight includes performances of The Miners' Hymns (2010), a collaboration with American artist and filmmaker Bill Morrison. Iskra has also enjoyed working closely with pianist and composer Ólafur Arnalds. A concert at the Queen Elizabeth Hall in London and a European tour led to an invitation to perform at the sold-out launch of Arnalds's 2013 album For Now I Am Winter (Mercury Classics) at the Barbican, accompanied by the Britten Sinfonia conducted by André de Ridder. The quartet's work with producer Jamie xx featured on the number-one best-selling album by The xx, Coexist (Young Turks, 2012). In 2015, Iskra contributed strings to Jamie xx's score for Tree of Codes, a ballet created with choreographer Wayne McGregor and visual artist Olafur Eliasson for the Manchester International Festival. Iskra's collaborations with composer Alex Baranowski have featured on the soundtrack to Jacqui and David Morris's 2012 two-time BAFTA-nominated film McCullin and in Sir Nicholas Hytner's production of Hamlet at the National Theatre in London starring Rory Kinnear. In 2007 Iskra were commissioned by Radiohead and XL Recordings to create a string quartet remix of Radiohead's "Reckoner" as part of the promotion of Radiohead's 2007 album In Rainbows. Other highlights include collaborations with artists such as Vampire Weekend, Sufjan Stevens, Benjamin Francis Leftwich, Katie Melua, Duke Special, My Brightest Diamond, and composers Dustin O'Halloran and David Julyan. In May 2015, Iskra performed as a trio alongside The Lone Bellow on the BBC Two TV show Later... with Jools Holland. Iskra includes compositions by Peter Gregson, David Julyan, Jóhann Jóhannsson, Alex Baranowski, Isobel Waller-Bridge, Ólafur Arnalds, Luke Anthony, and Paul Frith, and musical contributions from Gregson (cello), Baranowski (piano), and Christina McMaster (piano).



JAH THOMAS: Dance on the Corner LP (AACD 1398LP) 11.00
First reissue in many years, originally released 1979. Mixed by Prince Jammy & Scientist; edited by King Tubby. "Jah Thomas was an important figure on the Jamaican music scene during both the roots era of the '70s and the subsequent dancehall decade of the '80s. Besides releasing several DJ sides of his own in the latter half of the '70s, Thomas also came into his own as one of the island's top producers for both singers and DJs. Many of these sides found their way to the dub studios of King Tubby, who transformed a wealth of Thomas' rhythms into a some of the best dub tracks to emerge from Jamaica."



CROMIE: At Interfaces 12" (AMA 016EP) 14.00
180-gram vinyl. LA house producer Cromie follows a killer debut for NYC-based label Peach with his Amadeus debut. "At Interfaces" introduces a beautiful saxophone solo and the occasional vocal to complement the massive bassline and percolating pads that form its backbone. The B-side is all fascinating rhythms for the DJs. "Tariff" is pure peak-time business. The B2, or "inside cut," "Clear To Me," features James del Barco, with whom Cromie throws underground raves in LA; the track mixes a hyperactive 2-step kick with a jacking snare and just the right amount of LA G-funk action, with a sampled diva sweetening the mix.


AP 116CD

SATIE, ERIK: Gymnopedies, Pieces froides, Petits Chorals, Avant-dernieres pensees, Nocturnes, Gnossiennes CD (AP 116CD) 22.00
"Pianist, conductor, arranger and composer Bruno Fontaine is the perfect example of a 21st century artist. This collection features a broad selection of Satie's piano works. The Gymnopédies represent an important precursor to modern ambient music. Satie's Nocturnes were his final works for solo piano and are considered among his most significant achievements in the genre. The Gnossiennes are a highly experimental form invented by the composer. Also included are the Avant-dernières pensées, the Pièces froides and Petits Chorals."



DETROIT, EDDY: Shock-A-Lock-A-Lickum LP (ASSO 007LP) 17.50
Where to start with Eddy Detroit? Born and raised in Detroit, Michigan, it was there, in 1966, that he was in attendance for the first Iguanas gigs (Iggy Stooge's first band). He joined the White Panther party in Detroit and was "there" for the pre-punk sounds of The Stooges and MC5 ("We all smoked dope on the state Capitol and got beat up by the cops"). In the early '70s he traveled to London, where he stalked Marc Bolan and tried to seduce Tony Visconti's then-girlfriend Mary Hopkin. It was with Ms. Hopkin, when he was dropping off a demo tape at the Apple store, that he witnessed the moment when Ringo found out that The Beatles had broken up! (We've got the pictures to prove it!) In the mid-'70s, Detroit settled in Hollywood and started The Terminal Wave Band (bongo/synth/punk) which was the soundtrack to the hippy/biker/S&M/satanic/polyamorous scene that Detroit ruled in dingy, underground LA -- that's when he wasn't trying to seduce Nico (The Velvet Underground) to become one of his muses and lovers ("True story bub"). When rents in LA got too much for an acid-fried biker/S&M/punk, Eddy moved to Phoenix, AZ, and was seminal in fostering one of the most interesting underground musical scenes of the early '80s. He was an unofficial member of the Sun City Girls, toured with the Meat Puppets and Mighty Sphincter, and was the pith-helmeted shaman-in-residence at his club The Grotto! This LP contains recordings made from 1979 to 2010. They run the gamut of Detroit's musical landscape, from the UK acid-folk of Tyrannosaurus Rex and The Incredible String Band through bongo-fueled satanic calypso to his new phase as a troubadour recounting tales of hobos, whores, and one-eyed jacks from the old west. Limited edition of 500 copies.


AU 1001LP

RUSSELL, ARTHUR: Calling Out of Context 2LP (AU 1001LP) 30.00
New 2015 repress. "The compilation that started the renaissance. In 2002 Audika Records entered into an exclusive licensing agreement with the estate of Arthur Russell to compile and issue previously unreleased and out of print material from Arthur's vast archive. This first album Calling Out of Context, features 12 previously unreleased tracks of Buddhist Bubblegum Alt Disco Pop recorded during Arthur's prime years 1985-90."

AU 1002LP

RUSSELL, ARTHUR: World of Echo 2LP (AU 1002LP) 30.00
2015 repress. "Arthur Russell's most extraordinary work, World of Echo is reissued in this remastered vinyl edition by Audika Records. 18 tracks are featured including drumless versions of his disco classics 'Let's Go Swimming,' 'Tree House,' and 'Wax The Van' along with four previously unreleased tracks. Originally released in 1986, World Of Echo is a deeply intimate and meditative work of awe-inspiring grace and remains a timeless work of sublime beauty. Arthur's aim was to achieve what he calls 'the most vivid rhythmic reality,' with just cello, voice, and echoes. Arthur achieved all of this and more on one of the most incredible albums you will ever hear."

AU 1010LP

RUSSELL, ARTHUR: Love Is Overtaking Me 2LP (AU 1010LP) 30.00
2015 repress. "Compiled from over eight hours of material, Love Is Overtaking Me reaches back further to Russell's first compositions from the early `70s, the most rare and, at the same time, arguably the most accessible part comprising 21 demos and home recordings of unreleased pop, folk and country songs selected by Audika's Steve Knutson, Ernie Brooks and Russell's companion, Tom Lee. A number of the songs feature prominently in the film Wild Combination: A Portrait of Arthur Russell."



NOMADS, THE: Stagger in the Snow 2LP (BANG 091LP) 30.50
150-gram vinyl in gatefold sleeve; limited to 500 copies. This is the first reissue of The Nomads' 1984 cassette Stagger in the Snow, originally released in Sweden in 1984; only available for impossible second-hand prices ever since. Beware -- this is by far the wildest and rawest sound of The Nomads, as they were in 1984. 29 tracks including covers of The Sonics, The Cramps, 13th Floor Elevators, The Kinks... ultra wild stuff. Remastered sound; includes liner notes.



DANGEROUS RHYTHM: Dangerous Rhythm LP (BEAT 057LP) 21.00
Dangerous Rhythm formed in Mexico in August 1978 and can claim to be one of the first punk bands in the country. Piro, the band's vocalist, immersed himself in the whole Los Angeles scene, and was in contact with the Chicano side of the city through Tito Larriva from The Plugz and other bands from the area like Circle Jerks, Fear, and Black Flag. The impact of punk classics like the Sex Pistols, The Clash, or the Ramones obviously had an influence on the sound of the group. Dangerous Rhythm never forgot their family tree, absorbing large doses of unconventional rock like the New York Dolls, The Stooges, and Lou Reed. All these elements helped the band forge their own style and sound, starting with songs sung mostly in English and vibrant, direct melodies. After laying the foundations of the non-existent punk scene and recording their debut, Electroshock, they released their first eponymous LP in 1981. It was released by Hip 70, a label run by Armando Blanco, who owned the club of the same name, which was the focal point of the Mexican scene in the '80s. Key figures of '70s counterculture like Ricardo Ochoa (Peace and Love, Nahuatl) and veterans like Max Reese (sound engineer for Tom Petty) collaborated on the recording, which was then mastered by Wally Traugott, who worked on the live album The Beatles at the Hollywood Bowl (1977). The end result was mind-blowing and shows a band with nerve that played new wave with a punk rhythm. This first vinyl reissue is pressed on 180-gram vinyl and features replica cover art and insert plus a new article written by Piro. Edition of 500.



ALLIEN & APPARAT, ELLEN: Orchestra of Bubbles 2LP (BPC 125LP) 18.00
2015 repress. Double LP version; originally released 2006. Ellen Allien, the head of the BPitch Control aesthetic steamroller, teams with Apparat, partner in the Shitkatapult brand empire to develop a remarkable sonic salvo.


CDR 12016EP

VA: Kvlt Acid 12" (CDR 12016EP) 21.00
After finishing off the Dark Acid series with installment five in 2015, Clan Destine delves deeper into the underground for Kvlt Acid. Bronze Teeth (Factory Floor's Dominic Butler and Richard Smith of L/F/D/M) open the record with a gnarled acidic beat track called "Acid Hag 2." Satin Doll (Scott Young) brings a degraded noise soundscape with "Escort." Glasgow's Lord Real (Becoming Real, Zone), drops two tech beat tracks for the B-side -- "More Slugs" and "Printed Mon3y." "Teenager" by DRMCNT (aka Acidliner, drummer for Hey Colossus) is a bass-heavy, banging track for the floor.



MARLEY, BOB: African Herbsman LP (TMG 113LP) 11.00
2015 repress. Tracks: "Soul Rebel," "Try Me," "There She Goes," "Duppy Conqueror," "Small Axe," "African Herbsman," "Brain Washing," "Go Tell It On The Mountain" and "Fussing And Fighting and Keep On Moving."


DJM7 101EP

KONDO, KOJI: Super Mario Bros. Original & Orchestral Version 7" (DJM7 101EP) 16.00
4th (and last?) pressing on black vinyl! "First time reissue of the worldwide famous video game theme released in Japan in 1986. Identical 7" reissue with original artwork, with folded poster sleeve and sticker."


ESK 507408

PRINS THOMAS: Paradise Goulash Versions 2x12" (ESK 507408) 31.00
This double-12" set contains previously unreleased Prins Thomas versions of tracks used in his 2015 Paradise Goulash mix (ESK 507275/507378). Includes tracks by Actress, Blacknecks, Box Saga, Joachim Holm & Alejandro Mosso, Hieroglyphic Being, and Ü, each of which received a special individual treatment from Prins Thomas."Dear Vinyl Enthusiast / DJ, Thank you for purchasing this grand finale of my recent Paradise Goulash mix cd. The tracks on this 2 X 12" received some special individual treatment which I hope you'll enjoy listening to or playing in your local disco as much as I did making them. Box Saga has been a firm favourite of mine for a good 20 years already and although its baggy pants and loose groove is exactly why I love it so much I thought it would be fun to do a slightly different take on it. Ü is a recent fave of mine but as the record is super long and has a very DJ-unfriendly ambient intro, I gave it a couple of chops and hope you're brave enough to bring it to the dancefloor where it belongs. The tracks by Joachim Holm & Alejandro Mosso, Actress, Hieroglyphic Being and Blacknecks are all quite sparse to begin with and with the approval of all involved you can now smile or cringe at these 'Versions' where I 'join the band' on some of my recent favourite records. Thanks to the artists and labels involved for letting me use their music." --Prins Thomas, August 28, 2015

ESK 507410

PRINS THOMAS: Paradise Goulash Edits 12" (ESK 507410) 14.50
"Dear vinyl enthusiast, thank you for purchasing this individual Paradise Goulash (ESK 507275/507378) sampler 12". I've cherrypicked four very special songs, edited them slightly where I thought they could benefit from it, quality-checked the mastering personally, and made sure only the highest-quality virgin vinyl was used in the pressing. All audio has been sourced from the highest-quality formats available to use and they can (should) be played loud on big club rigs as well as on your home stereo." --Prins Thomas, July 28, 2015



WESTBAM & NENA: Fuck Reality 01 12" (FUCK 001EP) 14.00
To shorten a night-time tale into its evidence: Fuck Reality is finally here. The "Piano Mix" can be heard on dancefloors around the globe -- the true, undeniable Westbam classic -- and now it can be dug again by kids and ravers. The time is now. Smallpeople deliver a version as well, of which the unbeatable Gerd Janson turns in his "String Dub." Go dance!


FUNK45 042EP

MORGAN: Gettin' to Business/Cooker 7" (FUNK45 042EP) 8.00
A furious piece of super tough Afro-funk. "Gettin' to Business" is a heavy-duty, densely syncopated dancefloor-killer with a commanding vocal complete with JB-style screams and grunts. This was once thought to only exist as an uncredited acetate before a couple of copies of a French-only 45 pressing were unearthed.



HARDY, FRANCOISE: Mon Amie la Rose CD (FDR 616CD) 15.00
"Includes exclusive interview with Françoise Hardy and liner notes by Kieron Tyler. Following the French success of 1962's Tous Les Garçons Et Les Filles and 1963's Le Premier Bonheur Du Jour, 1964 was the year Hardy went truly international. Having competed in the Eurovision Song Contest and acted in a Roger Vadim film, this was the year Dylan dedicated a poem to her on the sleeve of Another Side and the year she ventured to Britain to record English language songs for the first time. Hardy's first three French EPs of the year, from which just 'Pourtant Tu M'aimes' appears on Mon Amie La Rose, were largely recorded on home soil with Paris-based arranger Mickey Baker. After the third, Françoise changed tack, abandoned French studios and arrangers, and headed to London's Pye Studios. She would not record again in France until 1968, instead employing a series of British producers and musicians that even included then-studio guitarist Jimmy Page. 'It was very difficult for me to convince my record company to go to London for the production because my artistic director was having lots of success with very bad arrangements,' she says dryly. 'Since they were having success with bad arrangements, they could continue like that.' Hardy got her way and, working with arranger Charles Blackwell, a former protégé of Joe Meek, set about creating a new interpretation of her glacial, existentially yearning music: part pop, part chanson, part soul music. On one hand, she was marrying yearning melodies with lyrics examining feelings of otherness. On the other, she was interpreting the music coming from Britain and America -- both that of Phil Spector and country, too. Blackwell was the first arranger with whom Hardy was happy, and Mon Amie La Rose was the first album she thought of as more than an afterthought. 'She chose her own songs and was very in control,' says Blackwell. 'She was very much a perfectionist.' As Hardy's sound was changing, so was her life; the British were enchanted by her Parisian style and sophistication and didn't see her as the shy, sad soul that those at home painted her as. A new era was beginning, and Hardy's music was traveling further than ever."


HARDY, FRANCOISE: La Maison ou J'Ai Grandi CD (FDR 618CD) 15.00
"Includes exclusive interview with Françoise Hardy and liner notes by Kieron Tyler. Hardy's fifth album was a collection of English-language recordings. For her next, released in October 1966, the focus was back on her home market in France, where things were changing quickly. Writing much of her own material was no longer a novelty -- her future partner, Jacques Dutronc, was doing the same, and artists like Antoine were following Dylan's lead. 1966 was the year Hardy met Dylan, who demanded an audience with her at his Paris gig and later performed for her at a party. 'It was only later that it occurred to me that he was singing "I Want You" because he actually wanted me,' she says. Françoise said Dylan was not part of her world. As La Maison Ou J'Ai Grandi proved, Hardy's world was perfect and fleshed out and set -- five albums in, she had a sound, mood, and feel all her own. Recorded in London, the hit 'La Maison Ou J'Ai Grandi' solidified what Hardy did best: marrying French chanson songs to epic production influenced by Phil Spector, Dusty Springfield, and George Martin; the toweringly powerful 'Je Changerais D'avis,' which opens the LP, is a prime example. Though Hardy had formed a strong working relationship with producer Chris Blackwell, nine of the twelve tracks were arranged by Johnny Harris, known for his work with Petula Clark and Tom Jones. Although the artist and language were French, the album drew from an internationalist, polyglot world -- six tracks were penned by Hardy, the remainder cherry-picked from French, British, and Italian songwriters. And despite its varied sources, the album was a cogent artistic statement. Françoise had returned to acoustic sounds like with her earliest songs, accompanying herself on a Spanish guitar, and was reasserting her own vision of her music. These were yearning songs delivered with an intimate authority, at odds with the perception of Hardy in Britain and beyond, where she was seen as an ultra-fashionable, ultra-hip Parisian sophisticate, but totally in line with everything she'd ever striven for musically."


GR 2136LP

ESPLENDOR GEOMETRICO: Selected Tracks 1. 1992-1998 4LP BOX (GR 2136LP) 63.00
Limited numbered edition of 700 copies celebrating Esplendor Geométrico's 2015 35th anniversary. The band formed in Madrid in 1980 and went on to become an international cult act and one of the most influential pioneers of industrial music. This set contains four LPs packaged inside a special deluxe box and individually screenprinted using a metallic copper ink. The four covers, when put together, make up a main image. The box set also includes a poster. The LPs feature a selection of tracks recorded between 1992 and 1998, a period during which the EG sound evolved thanks to the digital synthesizers available at the time. The group developed a singular style of industrial music that incorporates techno-esque elements, hypnotic rhythms, and tribal influences. The tracks were originally released only on the CDs Control Remoto 1.0 (1992), Veritatis Splendor (1994), Balearic Rhythms (1996), Tokyo sin fin (1996, Japan-only), and Treinta Kilómetros de Radio (1996). Now they see the light on vinyl for the first time, carefully remastered for this release by Alek Stark, with improved sound quality. Included are some of the best tracks recorded by Esplendor Geométrico throughout their career; classic titles such as "América," "Al-Giabr," "El empuje del Desarrollo Técnico," and "30 Km de Radio."



Sixth LP -- and part one of a two-part set -- from Manchester, UK-based free rock floatation unit DSDV. The band accepted an invitation by Burnt Hills' guitarist Parashi to hole up in his Clifton Park, NY, basement and make a record in April 2015, and Parashi sat in with his bandmate Rambutan to wail with the guys. Starting out with an uncharacteristically straight-up Nick Mitchell riff, the record soon picks up a cloud and surfs it to 300,000 feet, the wind whipping through the band's hair for almost a solid hour of what turned out to be the most ecstatic jam they ever did have. Mixed and mastered by Bojanic Audio & Mastering, Manchester, UK. Dave Birchall: guitar; Andrew Cheetham: drums; Dylan Hughes: guitar; Nick Mitchell: guitar; Parashi: guitar; Rambutan: guitar; Edwin Stevens: guitar; Otto Willberg: bass. Features unique artwork combinations by John Moloney with every copy -- no two alike. 140-gram vinyl. Edition of 250. "Absolutely essential two volume collection with crazy Heitkotter esque artwork courtesy of Sunburned Hand's John Moloney -- both references work sonically as well -- DSDV are one of the preeminent 'free rock' bands out there, cutting edge, tip of the spear, reconciling out-there free jazz -- maybe think Coltrane's Ascension -- with pummeling heavy psych straddling Bardo Pond and The Stooges -- the drummer and bassist maintain an in-and-out telepathic groove while six freaked out guitarists cut loose like almost nothin you've ever heard, a semi improvised yet well considered exposition of riffs -- my god, it's full of riffs -- prepare yourself for a hundred minute hurricane of mind-blowing finger-blistering bliss." --Psi Lab


Seventh LP -- and part two of a two-part set -- from Manchester, UK-based free rock floatation unit DSDV. The band accepted an invitation by Burnt Hills' guitarist Parashi to hole up in his Clifton Park, NY, basement and make a record in April 2015, and Parashi sat in with his bandmate Rambutan to wail with the guys. The first jam of the night up had turned out so well that back down they went, this time falling quickly into a rhythmic trance that dallied and then collapsed into free rock Helheim. Drones, counter-rhythms, shifts into major pentatonic Allman Brothers-isms, and spitting, all-out Mahavishnic curses and hexes make this the band's most erratic statement of unswerving cacaphonic intent. Mixed and mastered by Bojanic Audio & Mastering, Manchester, UK. Dave Birchall: guitar; Andrew Cheetham: drums; Dylan Hughes: guitar; Nick Mitchell: guitar; Parashi: guitar; Rambutan: guitar; Edwin Stevens: guitar; Otto Willberg: bass. Features unique artwork combinations by John Moloney with every copy -- no two alike. 140-gram vinyl. Edition of 250. "Absolutely essential two volume collection with crazy Heitkotter esque artwork courtesy of Sunburned Hand's John Moloney -- both references work sonically as well -- DSDV are one of the preeminent 'free rock' bands out there, cutting edge, tip of the spear, reconciling out-there free jazz -- maybe think Coltrane's Ascension -- with pummeling heavy psych straddling Bardo Pond and The Stooges -- the drummer and bassist maintain an in-and-out telepathic groove while six freaked out guitarists cut loose like almost nothin you've ever heard, a semi improvised yet well considered exposition of riffs -- my god, it's full of riffs -- prepare yourself for a hundred minute hurricane of mind-blowing finger-blistering bliss." --Psi Lab


GR 021EP

MULLAERT, SEBASTIAN: You're an Orchestra in the Cosmos 12" (GR 021EP) 14.00
Sebastian Mullaert follows his boundary-blurring collaboration with Ulf Eriksson, The Dance (Kontra-Musik, 2015), with another future-focused dispatch from his secretive sound-lab. An eight-minute freeform jazz-minded jam that owes just as much to Bugge as it does the Belleville Three, "You're an Orchestra in the Cosmos" is a luxurious groove peppered with cosmic improvisation and star-gazing spoken-word. Mullaert has invested every atom of his soul and thought into the original, his "Blinkarp Dub," and the spacious dub hypnosis of his vinyl-only Wa Wu We remix. Green label co-founder Joris Voorn offers his own deep, peak-time interpretation of the track.


GR 023LP

VA: Coco May May: 1955-1962 Spanish Harlem Dancefloor Fillers - The Afro-Cuban Roots of Boogaloo LP (GR 023LP) 21.00
140-gram LP in 350-gram reverse-printed cardboard sleeve. Remastered and restored sound. Edition of 500. In the '50s in El Barrio, pachanga, mambo, rumba, cha-cha-chá, and, above all, guajira and son montuno are the preferred rhythms. On Friday nights at The Palladium, the best orquestas, like Tito Puente's, Jack Costanzo's, and Joe Quijano's, keep the atmosphere hot as Machito, Cugat, and Bauzá did before them. Afro-Cuban rhythms had been finding a place in jazz and it was in the '40s and '50s when things gathered momentum, and that Latin thing that would explode later and be known commercially as "salsa" began to emerge, although there was a gap between those first pioneers and the new generation for whom boogaloo was king. Boogaloo has deep roots in Afro-rhythms, soul, and rhythm 'n' blues. It is fair to say that the bands who played charanga, mambo, and son considered boogaloo an inferior genre, and later they asked why this music was called "salsa," when it had always been Afro-Cuban music. With this series, Grosso! Recordings brings in some of the Latin bands based in New York between 1955 and 1962 and other recordings done in Cuba by orquestas of the likes of Arsenio Rodríguez, José Curbelo, Roberto Faz, and the immeasurable Sonora Matancera, Orquesta Kubavana, and La Playa Sextet. This collection documents not only the Latin sound of the big city -- "Pachanga en changa" by Joe Quijano, "Conmigo" by Eddie Palmieri, and "Mambo de Cuco" by Mongo Santamaria -- but also the more traditional sound of "El divorcio" with the incomparable "tres guitar" of Arsenio Rodríguez and the mambo at the end of "Guajira y Tambó" by Ray Barretto, together with the double meaning present on the lyrics of all Cuban music, such as Sonora Matancera's version of "Esto se hincha" and "Las Bobitas" by Roberto Faz. A must-have to understand the arrival of boogaloo and salsa. Format and selection designed for DJs, collectors, and the general public. Includes tracks by Tito Puente, Pío Leyva with Bebo Valdés & His Orchestra, Arsenio Rodríguez, Bienvenido Granda & La Sonora Matancera, Roberto Faz & His Conjunto, Fantasmita with C. Barbería & Kubavana, Ray Barretto, Jack Costanzo & His Afro Cuban Band, Joe Quijano & Conjunto Cachana, Cachao & His Combo, Eddie Palmieri & "La Perfecta", La Playa Sextet, Mongo Santamaria, and La Lupe.

GR 024LP

VA: Sugar's Delight: 1955-1962 Spanish Harlem Dancefloor Fillers - The Afro-Cuban Roots of Boogaloo LP (GR 024LP) 21.00
140-gram LP in 350-gram reverse-printed cardboard sleeve. Remastered and restored sound. Edition of 500. With this series (also including Coco May May (GR 023LP)), Grosso! Recordings brings in some of the Latin bands based in New York between 1955 and 1962 and other recordings done in Cuba by orquestas of the likes of Arsenio Rodríguez, José Curbelo, Roberto Faz, and the immeasurable Sonora Matancera, Orquesta Kubavana, and La Playa Sextet, which were a big influence for the Latinos in New York -- musicians of the stature of Jack Costanzo (of Italian origins), Ray Barretto, Eddie Palmieri, Mongo Santamaría, Sabú Martínez, Joe Cuba, and The Alegre All Stars, Cubans Pío Leyva, Cachao, and Arsenio Rodríguez, the powerful voice of Carlos Embale, the elegant ad-libs of Ibrahim Ferrer and Vicentico Valdés, and the unmistakable and overwhelming presence of La Lupe. Here, "Sugar's Delight" is an easygoing pachanga on which one can hear the unmistakable sound of Ray "Hard Hands" Barretto on congas. The collection opens with "Camina y Ven," a countryside guajira by Celina and Reutilio, with Carlos Embale on vocals accompanied by Orquesta Kubavana directed by Carlos Barbería. "Descarga Guajira," an impressive jam by Cachao, starts with a montuno that ends with a masterful trumpet performance by Alejandro "El Negro" Vivar and Yeyo Iglesias and Tata Güines on percussion. "Abaniquito" is a powerful mambo by Tito Puente performed here by Jack Costanzo & His Afrocuban Band. Puente shines on "Mambo Beat," a fusion of mambo and Latin jazz, which is followed by "Joe Cuba's Mambo," in a typical El Barrio sound with the added playing of Joe Cuba on congas. The very Cuban rhumba "Cachita" is revisited by Eddie Palmieri, and the collection closes with "Ay camina y Ven" by Kako Bastar and his Alegre All Stars, consisting of Johnny Pacheco, Cheo Feliciano, Yayo El Indio, Al Santiago, and Barry Rogers on trombone, who would later give the Fania All-Stars so much swing. Soulful music that will make you move your hips, and a necessary collection for understanding the boogaloo and salsa that would come later. Format and selection designed for DJs, collectors, and the general public. Also includes tracks by José Curbelo & His Orchestra, Vicentico Valdés, Ibrahim Ferrer with Chepín & His Orquesta Oriental, and Sabú Martínez.



CONSUMER ELECTRONICS: Dollhouse Songs LP (HARB 152LP) 25.00
Punk/electro/techno-noise trio Consumer Electronics return with their studio album Dollhouse Songs, following 2014's acclaimed Estuary English album and 2015's Repetition Reinforcement 12" on Diagonal (DIAG 019EP). Housed in a sleeve featuring stunning cover artwork by Tokyo-based artist Trevor Brown (creator of the iconic cover art for Whitehouse's Halogen (DPROM 109LP, 1994) and Quality Time (1995), among others), Dollhouse Songs further chronicles frontman Philip Best's trawl through the seedy thoroughfares of crumbling Tory Britain. "Learn your fucking place," sneers Best, in trademark style, aping the austerity-mongers of Britain's right-wing junta. Ably assisted on dark cracked electronics by Sarah Froelich and stunningly produced by noise/beat guru Russell Haswell, this installment in CE's state-of-the-nation polemics features seven studio tracks: "History of Sleepwalking," "Knives Cut," "Condition of a Hole," "Nothing Natural," "The Push," "Colour Climax," and "Murder Your Masters" (which surfaced briefly in 2015 as an ultra-rare tour-only 7" split with Sleaford Mods). CE now features a twin vocal attack from the Best/Froelich husband-and-wife team, with a furious tide of words spat out over a chaotic spew of mangled beats, bracing synths, and state-of-the-art noise generation. This is their most personal and political album yet. Mastered by Matt Colton at Alchemy for maximum effect. Includes inner sleeve featuring all the lyrics.


HERZ 051-3LP

BODZIN, STEPHAN: Powers of Ten Remixes 3LP (HERZ 051-3LP) 37.50
Three 180-gram LPs in glossy triple-gatefold sleeve with download code. After the success of Powers of Ten (HERZ 050CD), Stephan Bodzin's 2015 full-length, the German tastemaker has now invited a key selection of artists to remix tracks from it. The original album was released on Bodzin's own Herzblut Recordings and was a hugely personal affair that has been played far and wide by DJs and danced to by clubbers all over the world. Things kick off with Ellum Audio co-owner Maceo Plex and Shall Ocin, who flip "Powers of Ten" into a serene and slow-burning track full of spiritual synth-lines and heavenly pads. Spanish pair Edu Imbernon and Coyu work their magic on "Wir" and reimagine it as a sumptuous and slow-burning tech track with a droning bassline and cosmic melodies. Influential Crosstown Rebels act Fur Coat tackle "Singularity" and cook up a brooding, elongated main-room track that locks the listener into its groove and never lets go. Long-time Bodzin collaborator and friend Marc Romboy makes "Ix" into a tense tech tool that balances on a knife-edge as menacing bass roams and rolls below. Cocoon team and live specialists Extrawelt make "Blue Giant" into a spooky minimal cut full of haunting atmosphere. Festival-headlining Second State pair Pan-Pot offer lots of tense groove and somber machine melodies on their version of "Zulu." A dark remix from Max Cooper, an intense synth jam from Agents of Time, a typically beautiful and musical offering from Dominik Eulberg, and remixes by Nicolas Masseyeff, D-Nox & Beckers, and Victor Ruiz are also included. This collection plays out almost like a mix, taking the listener up and down and through many different styles of electronic music, each as absorbing and essential as the next, and that's all thanks to the on-point and informed A&R of label boss Stephan Bodzin.



DJ SOTOFETT: Drippin' for a Tripp 2x12" (HJP 074EP) 20.00
Repressed! Epic, protean brilliance from the Sotofett corner, bumping nylon new age and ill chill out against reggaeton and jungle exotica, spilling batucada-style percussion workouts out of clean-heeled house. Each side introduces a new collaborator or two -- Jaakko Eino Kalevi, Thomas "Paleo's Buddy" Mende, JEKS -- Phillip Lauer from Tuff City Kids is here; Gilb'R from Versatile... The knockout punch comes with Karolin Tampere and Maimouna Haugen: "Nondo" -- "Heaven," "Eternity" -- starts out as an electro-lullaby from Côte d'Ivoire, sotto voce and abuzz, before lifting off as a zinging, anthemic, future-house classic. A real tour de force all round.


H 018LP

LIL UGLY MANE: Mista Thug Isolation 2LP (H 018LP) 31.00
150-gram vinyl. 2015 reissue of Virginia-based rapper and producer Lil Ugly Mane's classic 2012 album Mista Thug Isolation. "Mista Thug Isolation is far more than datpiff fodder. Lil' Ugly Mane has fully developed into his ideal Memphis hardcore caricature and exudes pure evil without resorting to shallow shock tactics. But even in the presence of the hellish, the attention to detail -- whether in his commitment to country-fried pronunciations or... devilishly dissonant flips -- makes it evident that this project wasn't born from a love of violence or horror, but rather a love of hip hop" --Matt Sullivan, Impose, February 17, 2012. Design by Lil Ugly Mane.



PADILLA, JOSE: Blitz Magic 12" (IFEEL 050EP) 14.50
José Padilla concludes his So Many Colours campaign with a bang, following the 2015 release of the forward-thinking balearic album on International Feel (IFEEL 042CD/LP). Album track "Blitz Magic," a Telephones production remixed here, is a lovely balearic ride that bears the influence of Manuel Göttsching's all-time classic E2-E4 (1984), and, in turn, 1989's "Sueno Latino." Munich-based trio Tambien (Bartellow and Public Possession owners Marvin & Valentino) create that intriguing, intelligent remix. Award-winning Swiss producer and DJ Deetron keeps his soul in Detroit and his heart in warm techno, and his remix cleans out the drums and takes it back to pure club values.



JACQUES, DANIEL: Discovery Change Part 3 12" (JADAC 001EP) 14.00
Daniël Jacques inaugurates his Jadac Records label with the first part of a four-part project called Discovery Change, produced by Jacques between 2005 and 2015. "Slaves of Rhythm" and "Lost Count" mastered by Frederic Stader at Music Matters Mastering, Berlin. Jacques debuted on Ben Sims's Ingoma label in 2003; subsequent releases include a 12" on DJ Bone's Subject Detroit label. His 2014 track "End of My World" (DVS1's Mistress Recordings) was listed in both Resident Advisor's Top 50 tracks of 2014 poll and the German magazine Groove's Top 50 Singles charts; Ryan Elliott also featured it in his 2014 Panorama Bar 06 mix.



DJ KAOS: Me High 12" (JOLLY 025EP) 12.50
Jolly Jams founder DJ Kaos delivers a turn-up for the dancefloors. Eight highly collectible and rare jams showcasing the label's stunning sound. Opener "Lay Back" is a house/acid stormer that is pure dancefloor dynamite. On the flip it's psych-rock class in the form of "Hurricane Wheels." Listen for yourself to the other six jams. Don't miss out on these pieces of history!


JBJ 1066EP

WATSON, JOHNNY: I Say I Love You/Sweet Lovin' Mama 7" (JBJ 1066EP) 11.00
All-time great evergreen R&B dancer from the legendary Johnny "Guitar" Watson. With its call-and-response vocals and snappy riff, "I Say I Love You" features Watson coming across a little like Ray Charles with a more casual, streetwise attitude. And don't let the mid-tempo fool you, this is about as infectious as it gets and a guaranteed floor-filler every time. On the flip, "Sweet Lovin' Mama" is another cool R&B side that Watson cut for King Records in the early '60s -- slightly less known than "I Say I Love You" but ripe for a little more exposure.

JBJ 1067EP

GAYTEN, PAUL: For You My Love/Down Boy 7" (JBJ 1067EP) 11.00
Previously unissued rhythm & blues magic from the great New Orleans-based bandleader Paul Gayten. "For You My Love" is an up-tempo romper with a groovy Latin rhythm and catchy melody, while "Down Boy" is more of a slouching tempo, full of honking horns and playful vocals. Both sides were originally recorded for the Chess brothers' Argo offshoot but went unreleased at the time. They now appear here together at 45 RPM for the very first time.



ISHIKAWA, CHU: Tetsuo OST LP (KAILP 1001LP) 23.00
"23 years after its first release on CD, the Original Soundtrack of the first two episodes of the famous trilogy Tetsuo, composed by Chu Ishikawa, is being released on vinyl record. This classic of Japanese underground cinema, directed by Shinya Tsuakamoto, first hit the big screen in 1989. Its mix of gore and science fiction paved the way for the cyberpunk movement in Japan. Tetsuo does not follow a classical film narrative but rather consists in a series of twisted sequences, which makes it unique and considered by many as a height of experimental cinema. It opens on a car crash where a man - the anti-hero of the film -- is hit by a car. His body then becomes a sort of magnet that inexorably attracts all the metal objects present in our society, slowly transforming him into a monster made of flesh and steel! The trilogy's uncompromising and violent directing, supported by its original score, soon contributed to make it a classic. As a matter of fact, director Tsukamoto and composer Ishikawa managed to produce a sensory experience in which visual and hearing assaults go hand in hand to make it a total work of art. The film is at the crossroads of Metropolis, Videodrome and Blade Runner in its depiction of a post-industrial world where machines have surpassed humans and taken possession of their bodies. Chu Ishikawa, born in 1966, started his musical career in various bands when he was only 15 years old. He then gained some success as a founding member and percussionist of two industrial bands: Zeitlich Vergelter and Der Eisenrost. That is when he came to the attention of Tsukamoto, who asked him to compose the soundtrack of his film. Ishikawa's transgressive and provocative music is the perfect sound illustration of the Tetsuo trilogy. Mixing techno drum loops with a dark ambient mood flirting with harsh noise, the Japanese composer translates the convulsive and metallic quality of Tsukamoto's images into oppressive sound blasts that will delight the fans of Test Dept. Foetus and Esplendor Geometrico. Limited to 1000."



BAHAR, SADAR: Tik Tok/At the Concert 12" (KKS 004EP) 14.00
repressed! After a furious release from Cuttlefish & Asparagus (Hang On in There (KKS 003EP, 2015)), Kalakuta Soul presents a 12" from Sadar Bahar, one of the major influences on the label's work. Listeners who are still dancing and sweating to his unforgettable Chicken Wing Edits series may have been wondering what he's been doing. Well, Soul in the Hole's true soul and DJ's DJ Sadar Bahar has been travelling the world giving everybody a serious lesson in soul music that he calls disco beatdown. Some would also call Sadar's ceremonies "exorcism" -- pretty apt for the fantastic disco tracks here.


KL 084CD

CAYETANO: The Right Time CD (KL 084CD) 17.00
Cayetano follows his acclaimed 2012 album Once Sometime -- which received support from artists such as Thievery Corporation, The Herbaliser, Mop Mop, and Skeewiff, to name a few -- with The Right Time, containing 11 different stories about everyday life, love, and loneliness, to be heard as one. It's the first album on which Cayetano plays almost all instruments by himself, apart from the guitars, performed by Alex Papoulidis, and guest appearances from Georges Perin and Elli. From the fusion feeling of "Talk to Me" through the deeply emotional "Something in You," "Hold Me Tight," the funky "Third World War," the cinematic "Leningrad," and the jazzy "Fading Away" to the pop-oriented "Treat You Right," "Where the Sun Shines," and "Never Said It's Easy," Cayetano creates another sonic kaleidoscope for your special moments. Electronic music at its best. Music with soul and a heartbeat by one of the leading Greek artists.



LIVADITIS, ALEC: Clear and Cloud LP (KYE 040LP) 18.00
"Kye is proud to announce the release of Clear and Cloud, the debut LP by Alec Livaditis. Recorded over the summer of 2015, Clear and Cloud showcases Alec's unique vision for extended cello technique across two varying settings. Side A's 'Clear and Cloud' presents Livaditis (cello, objects) and Killick Hinds (Vo-96 guitar) live in an extraneous sound environment, where music and conversation seek to undermine each other in a morose and thrilling tussle, whereas Side B's 'Through The Open Window' finds Livaditis alongside John Kiran Fernandes (clarinets, violin) in a discrete collage of live/studio improvisations that test the elasticity of form and structure. Mastered by Jason Lescalleet at Glistening Labs, Clear and Cloud arrives in a full color Lee Turner designed sleeve, in an edition of 400 copies."


LE 003EP

UNKNOWN: Legit Edits #3 12" (LE 003EP) 14.00
Philpot presents Legit Edits. "Thanks for purchasing a real copy!"



STOTT, ANDY: Passed Me By 2x12" (LOVE 069LP) 23.50
Limited late 2015 repress. Produced slowly and meticulously, these seven tracks by Manchester's Andy Stott take influence from an array of seemingly incoherent noises, from the indefinable and unforgettable mind-tricks of Arthur Russell to the slow house of Kassem Mosse, from the alternate VHS realities of James Ferraro and Jamal Moss to the LinnDrum classics of the vintage Prince era. These seven tracks create their own pace and agenda, largely shying away from the dancefloor in favor of something more complex and hard to define. Following on from the tribal malfunctions of opening intro "Signature," "New Ground" heads into a chasm of layered loops, creating a decimated and re-wired funk template colored in with frayed percussion and dislodged vocal samples. "North To South" starts off from similar ground but adds a shuffling vibe at a deceptively intoxicated 110 bpm. "Intermittent" is something altogether different, taking perfectly formed boogie templates and screwing with them until nothing quite fits, brittle elements floating in and out of time yet somehow keeping it together, before "Dark Details" delivers the most dancefloor compatible six-minute stretch of the set, all clanging stabs and dense percussion, somewhere between Shackleton and Bam Bam. "Execution" and "Passed Me By" end things off on a slowed-down tip, the former deploying an anaesthetized and padded 4/4 template sunk deeper into the abyss by deformed, time-stretched vocals, the latter ending off proceedings with a more delicate palette, letting go of all that pent-up emotion with nothing but that rumbling low-end and some strings for company. Mastered and cut at Dubpates & Mastering, Berlin.


STOTT, ANDY: We Stay Together 2x12" (LOVE 072LP) 23.50
Limited late 2015 repress. Recorded in the immediate aftermath of his last EP Passed Me By, this new double pack from Andy Stott features six new productions that are more desolate and exposed than anything on its predecessor. The opening "Submission" tumbles into being with layers of washed-out digital revolutions, creating an artificial landscape that's quite at odds with the analog machinations that follow -- yet somehow rendering the alienated feel of this material perfectly. "Posers" nudges its way into being abruptly and embeds another squashed funk variant that's all low-lit neon and growling textures, awkwardly shuffling into a more robust 4/4 template suffused with sparkling percussion and disembodied vocals. "Bad Wires" is the centerpiece of the EP, a relentless percussive clusterfuck that belies its slow tempo with a fearless, rhythmic attitude. It's as immersive and narcotic as anything ever produced by Stott -- peeling away one layer after another with each repeated listen. "We Stay Together" (Part One) was the first track written for the EP and offers a more spacious narrative and a more sparkling, hazy palette -- culminating in a beautifully frayed central hook that's somehow in keeping with the VHS aesthetic of both Jamal Moss and Ferris Bueller. "Cherry Eye" tumbles deep into a darkened hole before EP closer "Cracked" turns up, fuelled by an odd mixture of adrenalin and sorrow to send you on your way, buzzing and forlorn. Mastered and cut at Dubplates & Mastering, Berlin.


STOTT, ANDY: Luxury Problems 2LP (LOVE 079LP) 25.50
Limited 2015 repress. Gatefold double LP version. Following on from a pair of extended players released in 2011 (Passed Me By/We Stay Together) Andy Stott returns to Modern Love with Luxury Problems, an eight-track album of new material recorded over the last 12 months. Five of the tracks on the album feature the voice of Alison Skidmore, Andy's one-time piano teacher whom he hadn't seen since he was a teenager back in 1996. There was no grand gesture in mind, it just sort of happened -- but after almost a year of studio work, the result is really quite unlike anything you'll have heard from him before. "Numb" opens the album with Alison's voice; layered and looped, but essentially left bare and exposed, tumbling into a dense shuffle, sort of somewhere between Theo Parrish and Sade, but more fucked. "Lost and Found" follows and deploys a growling rave bass line and a disturbed vocal, the beat assembling itself around a squashed Linndrum like a submerged Prince/Cameo production, haunted and impenetrable, but full of funk. "Sleepless" started life as an African drum edit that sooner or later succumbed to Stott's intense rhythmic shifts. It's a sound that's been imitated countless times since the release of Passed Me By, here re-tooled and re-built for its next evolutionary phase. "Hatch the Plan" ends the first half of the album with some heavily treated location recordings and a low-end grind that probably doesn't quite prepare you for the vocal arrangements that follow -- it's just a beautifully inverted pop song. The second half opens with "Expecting," the most recognizably "Stott" moment on the album: a wrecked, deliriously knocked-out 4/4 shuffle deployed at half-speed; those heavy kick drums sucking in everything around them. "Luxury Problems" offers up the album's most quietly euphoric moment; conventional arrangements and drum loops are disrupted by sharp disco bursts that mess with what you know: it's straight and beautiful and unbalanced and damaged, somehow all at once. "Up the Box" fucks with the narrative and goes somewhere else entirely, an extended intro that seems to build continuously for 3 minutes before breaking off into a slowed-down amen edit, creating a kind of narcotic jungle variant that fragments everything and ends just at the point you think it's going to go off, before "Leaving" finishes the album with an almost unbearably-beautiful arrangement of voice and synth and a final key-change that takes you from joyful to forlorn in an instant. Mastered and cut by Matt Colton at Air Studios.


MR 353CD

JAPANESE GIRL, THE: Sonic-Shaped Life CD (MR 353CD) 17.50
The Japanese Girl is a Portuguese band formed in late December 2013 by Bruno Sousa, Corinna Sousa, and Emanuel Cunha. Starting with two guitars, an organ, and vintage drum machines, they immediately forged a raw and powerful sound somewhere between garage rock and psych lo-fi, and have since been joined by a drummer hammering through their opiated layers of reverb. Their intense, noise-filled live performances are accompanied by mysterious visual elements, and in addition to their own shows as headliners the band has played with Jacco Gardner, The Wand, and Girls Names, and as part of the Reverence Festival Party. In early 2015 they recorded their debut album, Sonic-Shaped Life. It was put down on tape at Estúdios Sá da Bandeira in Porto, Portugal, by Cláudio Tavares and João Brandão and mastered by Miguel Pinheiro Marques at SDB Mastering. Lead single "You Should Have Switches," released in September 2015 (MR 7271EP), gave the first clues about their own brand of hypnotic rock, where pulsating psychedelia, droney garage, and shimmering, trippy pop provide the setting for haunting compositions, catchy hooks, and engaging melodies. Over the course of ten tracks, the band sounds commanding in the darker passages and punked-up outbursts, while shining in the more sunny moments; the flow and pace of the album make for a wholly entrancing listen.

MR 353LP

JAPANESE GIRL, THE: Sonic-Shaped Life LP (MR 353LP) 19.50
LP version. The Japanese Girl is a Portuguese band formed in late December 2013 by Bruno Sousa, Corinna Sousa, and Emanuel Cunha. Starting with two guitars, an organ, and vintage drum machines, they immediately forged a raw and powerful sound somewhere between garage rock and psych lo-fi, and have since been joined by a drummer hammering through their opiated layers of reverb. Their intense, noise-filled live performances are accompanied by mysterious visual elements, and in addition to their own shows as headliners the band has played with Jacco Gardner, The Wand, and Girls Names, and as part of the Reverence Festival Party. In early 2015 they recorded their debut album, Sonic-Shaped Life. It was put down on tape at Estúdios Sá da Bandeira in Porto, Portugal, by Cláudio Tavares and João Brandão and mastered by Miguel Pinheiro Marques at SDB Mastering. Lead single "You Should Have Switches," released in September 2015 (MR 7271EP), gave the first clues about their own brand of hypnotic rock, where pulsating psychedelia, droney garage, and shimmering, trippy pop provide the setting for haunting compositions, catchy hooks, and engaging melodies. Over the course of ten tracks, the band sounds commanding in the darker passages and punked-up outbursts, while shining in the more sunny moments; the flow and pace of the album make for a wholly entrancing listen.

MR 354LP

BILLY BAO: Lagos Sessions 2LP (MR 354LP) 25.50
Munster Records, Billy Bao, and Night School Records present Lagos Sessions, featuring Billy Bao, Ambido, Diana Bada, Duro Ikujenyo, Mark Ido, Oduyomi Isaiah Oluseye, Joel Isioma Okoh, Orlando Julius, Mendo, and Emeka Ogboh. Presented in gatefold sleeve with liner notes by Kunle Tejuoso and Ed Emeka Keazor. "Experimental; Conceptual? That's what these sort of things are usually called, when references are anything but immediate: in the feeling, hearing, and seeing, especially by many. Even more troubling, when the accustomed in us gets ajar... We lack articulation of the seemingly unfamiliar! Even at that, I think the most charitable review of this live electronic exploration will suggest the four sections bordering on insanity. How else? Even when not a few self-styled patriots were booking their flights out of the country, with an election looming to signal the end of a nation, and a band of modern day faith-heads detonating grenades in every other street corner, two dreamers swim against the currents and sneak through the lagoon into the country collecting inputs of derelict art; of garbage can noise; of hooting; honking horns on screeching brakes squelching tar; rackety generator booms? For an imagined program! What's that? Who, what do these doods think they're doing with Lagos?! I'll call it rebirth. That simple. How to find a centre here? The output? The hum-drum of the street's daily accent compels the sense of the immediate, the terrestrial; and then those primitive, primeval-seeming echoes of the earliest beginnings of the big bang and its wavesound simultaneously releasing Sun Ra's reverb sensation of end time! This should not be danceable but these guys are suggesting the possibility of rhythm in the inchoate. Believe me, you can't miss the Lagos Faaji, Sakara flow, Awurebe, Afrobeat slices; its jazz, highlife/Euro-Afro funk/rock/rap and seedy night echoes too. But in their otherworldly dimension. No matter the accolades, I will encourage a therapy of some sorts to the creators of this production." --Sola Olorunyomi (poet, bassist, co-editor of Glendora Review) & Kunle Tejuoso, Jazzhole, Lagos

MR 357LP

DESECHABLES: La Maqueta LP (MR 357LP) 19.50
Desechables formed around 1980 in Vallirana, a village in the Barcelona suburbs where three friends got together to create one of Spain's most visceral and dirtiest primitive rock groups: Tere (screams), Miguel (guitar), and Dei Pei (snare and tom). Tere was 14, Dei Pei was 17, and Miguel was the oldest of the three at 22. Without any musical knowledge, Miguel established a unique personal guitar style that would define the Desechable sound. Pei recalls, "Our way of rehearsing was like eternal zeroes, like mantras... Tere was especially amazing because Miguel was constantly having a go at her; come on baby, come on, come on. He got the shyness and childishness out of her teenage beauty, so blonde and so perfect." Jaime Gonzalo, music journalist and the band's friend, remembers the first time he saw them live: "It was spectacular. Spectacular in the sense that it was still a mirror copy of The Cramps and it didn't go beyond that ... But Miguel's guitar was hellish. They used their limitations well and achieved great chemistry." One day Pei went by the office of Ernest Casals, who ran the independent label Flor y Nata Records and wrote for the Radio Carolina fanzine, to tell him that the fanzine was shit, and left a low-fi demo on his desk with three tracks Desechables had recorded in a dubbing studio. The cassette was sent to Jesús Ordovás, a Radio 3 presenter in Madrid, who broadcast Desechables nationwide for the first time when he played "Fuera de la ley." Casals persuaded his partners that launching Desechables would be beneficial, and the first Desechables demo came out in 1982 (in an edition of 750) as the first release of the Anarchi Records sublabel, run by brothers Ferran Sahún and Joni Destruye and mainly conceived to release cassettes. It was recorded in just one evening without any kind of production, in a gloomy Barcelona studio in October of 1982. "There was a total connection the whole evening, we all had a great time and Miguel gave us a lot of confidence... We felt at home. From beginning to end, everything came out seamlessly," remembers Tere. The demo became the best Spanish garage punk artifact from the '80s and the best legacy from the original Desechables trio. This first vinyl edition includes "El peor dios," recorded at the same session but not featured on the original cassette.

MR 7273EP

JUSTIN TROUBLE: Ponytail/No Love 7" (MR 7273EP) 8.50
Reissue of the first Justin Trouble single, originally released in 1980. Produced by his friend Johnny Thunders, who also co-wrote the B-side, "No Love," it features two fantastic short and punchy songs in the Thunders/Syl Sylvain/NY Dolls vein with a touch of '50s rock 'n' roll, power pop sensibility, and punk immediacy. Co-released by Spanish label Munster Records and French label Mono-Tone Records.



S:VT: Urgency Grip EP 12" (MYTH 004EP) 14.00
Myth Music returns with the Urgency Grip EP by s:vt aka Sven von Thülen, including a remix from White Material's Young Male. The four-track EP shifts between pulsing bass tones, robo-rhythmic drum grooves, and sleek Detroit-inspired sequences, making it a perfect addition to the Myth Music family.



PASCALIDIS, SAVAS: Transforced 12" (NONSERIES 020EP) 14.50
German producer Savas Pascalidis (founder of the Sweatshop and Lasergun labels, with releases on Figure and 909 Pervertions), active since the mid-'90s, presents his fourth EP for Non Series. "Year Two Alpha" is a timeless composition that sticks to the fundamental roots of techno. The added sharpness of "Interpositive" originates from dirty, agitated, and unfiltered chords climaxing into speedy rhythmic hi-hats. "Cold Front" presents itself with a rolling bassline before its cymbals build dynamism throughout the track. The smooth melody of "Quartz" stomps away at a smoother BPM, building a comfortable rhythm.



JOSKE HARRY'S/BURT BLANCA: Louie Louie/Taboo '69 7" (MARTIKO 002EP) 20.00
High-quality 7" in handmade silkscreened company sleeve. Limited to 300 copies. "Louie Louie" by Belgian schlager legend Joske Harry's (aka Joe Harris) blows The Kingsmen's version away. Absolute dancefloor-filler. There must be about 11,283 versions of "Tabou." This ultra-rare gem by Burt Blanca just might be the ultimate version... or maybe not. In any case, this is a must-have for your collection. Both tracks performed with the King Creoles.


RB 113EP

BROWN, RUTH: Daddy Daddy/I Would If I Could 7" (RB 113EP) 11.00
Back-to-back, two more sexy rhythm and blues jivers from the queen of sass, Ruth Brown. "Daddy Daddy" glides along a slinky Latin rumba beat as Ruth sings a lascivious ode to her lover. Turn it over and "I Would if I Could" is built around a more straight-ahead, pounding rhythm with horn and piano stabs contrasting nicely with Ruth Brown's high pitched vocals.



GNOD: Infinity Machines 3LP (LAUNCH 072LP) 33.00
2015 repress. Triple LP version. Salford, England-based Gnod's Infinity Machines explores a unique vision informed by experimental élan and metaphysical intensity. In an era in which the word "psychedelic" too often tends to signify a reductive and retrograde rag-bag of second-hand shapes, it was in Gnod's nature to venture forth in search of new and expanded sonic terrain. At first, this led them to pursue a purely electronic sound in the live arena, yet as they knuckled down to chronicle this expansion and experimentation for posterity, it became clear that a mixture of live instrumentation and binary audial research would be the path that would prove most fruitful. Thus began the process that would ultimately produce these recordings, and a far-reaching mission that would result in uncanny crepuscular atmosphere locking horns with sinister electronic intensity. Infinity Machines traverses between and beyond a variety of different headspaces, from the bleak to the beatific; yet, while touching on nocturnal jazz, soothing yet unsettling ambience, menacing aggro-industrial battery, and opiated bliss-out alike, it's shot through with an undercurrent of fiery countercultural zeal and small-hours revelation, as if the hive-mind of their home collective had manifested itself on disc. Tracks were put together from an initial blank canvas, and as the band themselves emphasize, "We got pretty tactical in the approach. We have certainly noticed that the emphasis has shifted from full on 'throw everything at it' Gnod vibes to a more stripped spacious sound which was not fully intentional but more of a natural progression."


TEETH OF THE SEA: Highly Deadly Black Tarantula LP (LAUNCH 084LP) 25.00
LP version. Since their debut in 2009, the iconoclastic four-pronged force of Teeth of the Sea has traversed from its origins in North London pub gigs and basement rehearsal rooms to far-flung locales that its members could scarcely have considered possible when they first began. Yet this band has never lost sight of its original vision to reconcile a fearless experimental drive with a primal lust for noise and to exist outside of all or any compromise, yet never to lose sight of the crucial irreverence of their inception. Their fourth album, Highly Deadly Black Tarantula, in all its malevolent glory, may well be the apex of their mission thus far, following in the wake of the 2013 release of their mind-melting third album MASTER (LAUNCH 059CD/LP). As 2015 dawned, the band set about reinventing themselves once again, both returning from the ornate and expansive sounds of MASTER to their gnarled roots and pushing firmly forward in search of adventure anew. What resulted was Highly Deadly Black Tarantula, their most focused and aggressive album yet. Machine-driven yet melodically abundant, the widescreen industrial expanses of this album combine the influence of long-time band favorites like Aphex Twin, Angelo Badalamenti, and Throbbing Gristle with new inspiration that spans from Chicago footwork to black metal. What's more, it's a collection as rich in scope as it is powerful in intent. While the pummeling and incisive "Animal Manservant" and the kinetic dancefloor attack of "Field Punishment" maintain an audial assault both concise and corrosive, the monomaniacal "Have You Ever Held a Bird of Prey" represents a fearless plunge into the experimental deep end. Elsewhere, the bleak cinematic drama of "All My Venom" strikes like hammer to anvil, and "Love Theme for 1984" may be the most richly emotive work the band has yet created. This is no less than a vital reinvention, abusing technology and warping convention to arrive at a monochrome psychedelia as stylish as it is savage. Yet even while ushering in delight and deliverance for both fans of this band and the uninitiated, Highly Deadly Black Tarantula -- a fearsomely coherent assault of post-everything dementia -- sounds like no one but Teeth of the Sea. The amazing album sleeve image is courtesy of photographer Oli McAvoy.


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


SS 023LP

SANI, MAMMAN: Taaritt LP (SS 023LP) 16.00
2015 repress. "Cosmic synth from Niger's Mamman Sani. Polyphonic analog synthesizers and drum machines interpret ancient Saharan folk ballads in an imagined science fiction future. A proposed relaxation guide, sonically lying somewhere between ambient library music and minimal wave. Recorded in Niger and France in the late 1980s and never before released."

SS 027LP

VA: Nouakchott Wedding Songs LP (SS 027LP) 18.00
"Raucous and electrified wedding songs from the desert kingdom of Mauritania. Luxurious overload of microtonal scales, phaser pedals, and unpredictable polyrhythms. Documentation of a little known music scene where disparate influences meet in beautiful permutations. This is desert music as it's performed - loud and unfiltered. Comes with 12 page full color booklet. Limited to 1000."


TISDASS: Yamedan Cassette (SSC 015CS) 7.00
"Self produced album from Niger Tuareg rock outfit TisDass. Looping electric guitar and thumping two chord rhythms. Led by singer songwriter Kildjate Moussa Albadé, former bassist for Group Bombino, his solo project draws on his vast repertoire of influences, inspired from his years on the road. Covers and some original compositions, paying homage to desert origins of assouf music, while ushering in a new global sound."



SCENARIO #3: Restless 12" (SCENARIO 003EP) 14.00
Hand-stamped white label. A tribute to the early-'90s rave sound. Vinyl only.



MUNGO'S HI FI (FEAT. JOHNNY OSBOURNE): Ice Cream Love 7" (SCOB 057EP) 12.50
Mungo's love classic '80s rub-a-dub without apology. So they jumped at the chance to re-record Johnny Osbourne's ice-cold classic with the Bumpy one himself. They enlisted the help of Prince Fatty, whose all-star cast of musicians licked over the classic "He Prayed riddim" with such warmth you would never guess he lives in breezy Brighton. Then they bolstered it with two scoops of Mungo's drum and bass.


MUNGO'S HI FI (FEAT. YT & JOHNNY OSBOURNE): No Wata Down Ting 7" (SCOB 058EP) 12.50
Mungo's deliver a sound burial combination pairing the great Johnny Osbourne with the lyrical pride of Ipswich, YT, in advance of Mungo's Hi Fi's album. Over-proof, unadulterated, undiluted -- it sums up the album's theme perfectly. Nothing is watered down here.


EGOLESS: Like a Nuclear Bomb 12" (SCRUB 012EP) 12.50
Egoless has been causing some serious waves far beyond the shores of the Adriatic Sea. His production style is deep and heavy, modern yet warm, analog and quirky. By far some of the deepest instrumental tracks signed to Scrub a Dub. Often vinyl loses out when it comes to bonus tracks on digital downloads. Not anymore -- there is a hidden track that exists only on this 12" and Egoless's hard disk recorder.


SQUAREWAVE & DOCTOR/MUNGO'S HI FI (FEAT. YT): Police Officer/Boomsound 12" (SCRUB 013EP) 12.50
Hailing from Leeds, the production unit and brothers Vital Techniques are setting fire to all genres under the bass music bracket. Along with Mikey B, the trio step up with two of their best remixes to date. This version of Squarewave & Doctor's "Police Officer" has been literally destroying dancefloors worldwide. Mungo's have been championing this track for some time; they rarely play a gig without someone asking, "What is that 'police officer' tune?" The remix of Mungo's Hi Fi and YT's "Boomsound" transforms the sound system roller into a climactic banger. An essential record for lovers of 140 and bass music.


SA 008LP

VA: Library of Sound Grooves: Erotic Vibrations & Bossa Moods from the Italian Cinema (1966-1973) 2LP (SA 008LP) 24.50
Erotic Vibrations & Bossa Moods is the definitive alchemical mix of seductive lounge, sensual moods, and breezy bossa from the never-ending well of the Italian composers' genius. These velvet arrangements are imbued with sexy vocals, impeccable melodies, and tight instrumentation hailing from all points "erotique" from deep inside the Italian soundtrack/library scene of the 1960s/1970s. Many of the greatest composers of the time (Nicolai, Morricone, Alessandroni, Bacalov, and many others) are featured here in this gorgeous collection, which has been lovingly assembled to provide the most pleasurable listening experience possible. Gatefold sleeve bearing lavish full-color collage artwork with still shots from Italian films of the period. Limited edition of 750. Also includes tracks by Bruno Battisti d'Amario, Armando Trovajoli, Daniele Patucchi, Chico Buarque, Piero Umiliani, Mostra Colletivvo, Gianni dell'Orso & Gianni Oddi, Stelvio Cipriani, Gianni Ferrio & Mina, Ennio Morricone & The Sorrows, Gianfranco Plenizio, Antonio Amurri, Franco Pisano, and Giovanni Fusco.

SA 009LP

VA: Library of Sound Grooves: Action Beat & Psycho Grooves From the Italian Cinema (1966-1974) 2LP (SA 009LP) 24.50
Action Beat & Psycho Grooves is yet another sensational explosion of audio excitement from the 1960s/1970s Italian cinema and library scene. Landmark recordings of top-shelf compositions by Ennio Morricone, Nora Orlandi, Cipriani, Fidenco, and others from the pantheon of the genius Italian composers pool. Performed by some of the best studio musicians on earth at the time, the works on this volume range through shimmering psych, mod-pop nuggets, breathless Euro folk-rock, sinister crime hard-rock, and a host of other addictive tracks that will blow your mind! Full-color gatefold sleeve bearing collage artwork with still shots from Italian films of the period. Limited edition of 750. Also includes tracks by Stefano Torossi, Loredana Mongardini (as Valeria Mongardini), Guido & Maurizio de Angelis, Francesco de Masi & Alessandro Alessandroni, Gerardo Iacoucci, Berto Pisano & Jacques Chaumont, Piero Piccioni, Roberto Pregadio, Armando Trovajoli, Salvatore lo Turco & Walter Rizzati, Bruno Battisti d'Amario, Augusto Martelli, Piero Umiliani, Carlo Pes, Peppino de Luca, Gianni Ferrio, Girolamo Ugolini, Marcello Giombini, and Franco Campanino.



DIOD: Fructose EP (Delaze Remixes) 12" (SINO 030EP) 12.50
"Fructose" was part of the Styles of the Abstract EP released in 1996 on DJ Hyperactive's Contact label. Diod aka Kikoman is a Michigan veteran and techno pioneer, and "Fructose" proves that he was ahead of his time. This 12" features two remixes from Delaze.



SKATEBARD: Data Italia 12" (FPSP 001EP) 14.00
The Full Pupp label inaugurates its Slagerparade imprint, dedicated to sought-after or neglected classics of Norwegian heritage, with a 2015 remaster of Skatebård's "Data Italia," which originally appeared on the B-side of Skatebård's 2006 Flashes in the Night EP on Digitalo Enterprises. "Data Italia" is a true gem, and you really need to listen to believe how good it is. As one Discogs user wrote regarding Flashes in the Night, "I really dig the b side. Data Italia is enchanting Italo disco." This remastered edition also includes remixes by Sagtann and Prins Thomas. Mastered at Schnittstelle, Berlin.


SI 010LP

UNTIED KNOT, THE: Rien N'existe LP (SI 010LP) 29.00
Clear LP version. 2012 release. The Untied Knot's second album, featuring the duo of Nigel Bryant on guitar and synthesizer and Matt Donovan on tabla, percussion, and synthesizer with guest Alison Gregory on cello. Mastered by Rothko's Mark Beazley. The sound recalls contemporary folk instrumentalists such as Voice of the Seven Woods, Fripp & Eno ambience, and early-'70s Pink Floyd.

SI 013LP

UNTIED KNOT, THE: Description of a Flame 2LP (SI 013LP) 38.50
Double LP version. Heavy deluxe vinyl, gatefold sleeve. Limited to 100 copies. The Untied Knot is the London-based improvisational duo of Nigel Bryant (electric guitar and synthesizer) and Matt Donovan (drums, percussion, and synthesizer). Their approach to free composition fuses elements of psychedelic rock, drone, electronic, and folk musics. Description of a Flame, the group's third album, is the culmination of a year of sessions -- both at Press Play Studio with Stereolab drummer Andy Ramsay at the controls, and at Block H, The Untied Knot's home studio -- and was mastered by Rothko's Mark Beazley. The music was edited from a number of studio improvisations. Where overdubs were added, the majority were also improvised. Guest Shane Gilliver added his lap steel guitar to "Legendary Fountain" with no previous exposure to the track. The duo's sound has evolved from its earlier instrumentation of acoustic guitar and hand percussion to an electrified drone-rock consisting of drum kit, electric guitar, and synthesizers. The sound recalls a range of influences, from the analog electronics of Harmonia and Add N to (X) to psych-tinged post-punk to Fripp & Eno ambience. The Untied Knot's live appearances have included performances at Union Chapel in North London and the Purcell Room in London's Southbank Centre. They have performed on bills with underground legends Daevid Allen, Chris Cutler, and Charles Hayward. Bryant is co-curator of the successful monthly Sonic Imperfections experimental music night in Southeast London and co-presents a monthly Resonance FM show of the same name. Donovan has also played drums with Eat Lights Become Lights, including a set at the 2013 Liverpool International Festival of Psychedelia and an improvised performance with Damo Suzuki.


SA 025EP

CHEVEL: Blurse Remixed 12" (SA 025EP) 14.00
Chevel follows his 2015 album Blurse (STROBO 006CD/003LP) with four remixes of album tracks. Paula Temple's remix of "Stranded" blasts into the listener's headspace with a prowling bass and radioactive zaps that contrast unexpectedly well with the placid synth swells of the original. The angular funk machine of Lee Gamble's remix of "Watery Drumming" is interrupted by alien chatter before Perc's remix of "Heimweh" mixes of time-reversed drones, shivering organ, and spectral winds. Minor Science's remix of "Loop #42" lays down sheets of glittering, rippling texture atop a curious and exploratory bass pulse.



BJORK, HARALD: Fritids EP 12" (BARN 036EP) 14.00
Studio Barnhus has been meaning to release some music by its friend Harald Björk ever since its inception in 2010. The Swedish DJ and producer brings his top game to the label with the Fritids EP; starry-eyed pop melodies, dusty machine riddims, and the maestro's sweet, trembling voice, all synched up (sort of) to tell stories of imperfect love, blossoming Nacka gardens, and bicycle rides on wet gravel. Also on this record: Suzanne Kraft jammin' harmonic on the remix and Malin Gabriella Nordin straight-up slaying it with the artwork. Released alongside Harald Björk's vinyl-only Strings of Harald 7" (BARN 037EP).


BJORK, HARALD: Strings of Harald 7" (BARN 037EP) 11.00
Studio Barnhus has been meaning to release some music by its friend Harald Björk ever since its inception in 2010. Here, solemn chord improvisations recorded in the secret gardens of Nacka, Sweden, pair up with a shameless yet humble cover of a techno evergreen on this perfect little vinyl-only release, beautifully designed by Malin Gabriella Nordin. Released alongside Harald Björk's Fritids 12" (BARN 036EP).



HAZEL & TFOX: We Are Grawlix 12" (SCRATE 001EP) 16.50
Häzel has established a mature signature sound deeply rooted in soul and influenced by the legacy of the late J Dilla, placing him firmly at the forefront of soulful hip hop music, aligned through collaboration with Onra, Mikäel Columbu, Slakah the Beatchild (with whom Häzel has crafted hits for the likes of Drake), Ebrahim, and others. We Are Grawlix is a collaboration with TFox, a talented producer straight out of Virginia whose unique, experimental sound has had Häzel's ear for some time.



CROMBY: Planets and Parks 12" (TDPR 019EP) 14.00
Cromby is an exciting addition to the London house scene; originally hailing from Belfast, he has made camp in the British capital and brought his Akai MPC2000XL with him. He grew up listening to Chez Damier and Moodymann, and makes use of the Japanese sampler in a fresh and creative way, combining raw drums with sweet, melancholic pads and chords. On Planets and Parks, Cromby balances an understanding of traditional deep house and a forward-thinking attitude. The cover art concludes Tenderpark's series conceived by art director Till Sperrle and photographer Magdalena Bichler. Mastered and cut by Helmut Erler at Dubplates & Mastering.



DIEUF-DIEUL DE THIES: Aw Sa Yone Vol. 2 2LP (TBLP 020LP) 25.00
Gatefold double LP version. Includes download code. Teranga Beat proudly presents the second volume of previously unreleased early-'80s recordings by Senegalese band Dieuf-Dieul de Thiès, demonstrating their ability to move from Mbalax to Afro-Cuban and Afro-jazz ballads without losing any of their original psychedelic sound and unique identity. Five out of these seven tracks feature Bassirou Sarr, a truly exceptional singer. Whether he's singing a ballad or some explosive Mbalax, his voice is always full of emotion. One of the two other tunes, a great Latin cover sung by Assane Camara, shows the true skill of Dieuf-Dieul; the other, a powerful Mbalax track sung by the great griot Gora Mbaye, displays his strong links to the tradition of Senegal. These three singers, together with bandleader and guitarist Pape Seck, combined traditional rhythms from all the regions of Senegal with fuzz guitars, horn sections, and hallucinatory percussion to create an explosive mixture of electric psychedelia and the wisdom of local musical traditions. Aw Sa Yone Vol. 2 includes the rest of the recordings from the early-'80s session featured on Vol. 1 (TBCD 017CD, 2013), plus three tracks from a lost 1981 recording. Mastered and mixed from the original tapes. At the time of this release, Dieuf-Dieul are back together for the first time since 1983, preparing for their first international tour to prove that their fame is not merely an urban legend. Bassirou Sarr: vocals; Assane Camara: vocals; Gora Mbaye: vocals; Pape Seck: guitar; Cheikh Ndiaye: drums; Ibou Diallo: bass; Doudou Leo: rhythm guitar; El Hadji Diouf: percussion; El Hadji Ngom: percussion.


DIEUF-DIEUL DE THIES: Aw Sa Yone Vol. 2 2LP (TBLP 020LTD-LP) 40.50
Limited double LP version in silkscreened sleeve with large poster and download code. Edition of 300.


WIRE 383

WIRE, THE: #383 January 2016 MAG (WIRE 383) 9.50
"On the cover: Rewind 2015: Records of the year charts plus opinion, analysis, musings and reflections from critics, contributors, artists, musicians and more. Inside this issue: Invisible Jukebox: Gnod (Salford's neo-psych warriors trip over The Wire's mystery record selection); Global Ear: Zagreb (The Croatian capital's disparate underground music scene is alive with possibilities); Inner Sleeve (Noveller on Sonic Youth's Goo videos); Collateral Damage: Ergo Phizmiz."



TRIPEO: Seventh Trip 12" (TRIP 007EP) 14.50
Darko Esser returns for the seventh edition of his Tripeo series with Seventh Trip, featuring two tracks, both exceptionally deep and undulating. "Untitled #13" opens with mystical, hypnotic low frequencies while spiritual melodies find their way from darkness to light. "Untitled #14" shines in its own shadow, as sullied unfiltered pads slowly climb; the track continuously adds elements as it gathers speed before climaxing in a fervent clash of dynamic beats.



LACEY, BRUCE: The Spacey Bruce Lacey: Film Music and Improvisations Vol. 1 LP (JBH 053LP) 20.00
Limited restock. LP version; volume one of two volumes. Bruce Lacey is the quintessential British eccentric. Bruce Lacey is an artist, a musician, a filmmaker, a shaman, a genius and visionary. Since the 1950s he's made film, music, art and performances, and collaborated with everyone from The Beatles to Throbbing Gristle. He was part of the groundbreaking Cybernetic Serendipity exhibition in 1968. He even built a robot that won the Alternative Miss World. This is the first time his extraordinary music has been released. Made and recorded using household objects as well as a modified synthesizer (made by a schoolboy in the early 1970s), it ranges from abstract tribal concrète to droning electronic trance.


VA: Britxotica! London's Rarest Primitive Pop and Savage Jazz LP (JBH 057LP) 23.50
So you thought exotic recordings only came from Hawaii or the USA? Well, you're wrong. Here's a collection of amazing, far-flung sounds from the UK. Rare, wild, and just itching to turn your turntable into a strange pagan place of sonic worship. Just try to keep those cocktails from flowing and your clothes on. "Britxotica" (pronounced "Britzotica") is a word you may never have come across before. Trunk hadn't either until DJ and tastemaker Martin Green made it up in 2014. This term neatly describes an odd and yet undocumented pre-Beatles musical scene in which famed UK composers, singers, and bandleaders threw convention to the wind and went wild wild wild! Drawing influences from Hollywood, Hawaii, and holiday (any hot and frantic destination would do) they conjured up sounds to suit a modern but fledgling escape from the gray trudge of postwar London. The result is a bunch of rare, mod, wild, and naïvely experimental trips into the tribal, but keeping the white suit, shirt, and tie firmly in place no matter what the temperature. Fascinating, sometimes fierce, and often absolutely bananas, this new album of old toss is an absolute trip! All cues mastered and sequenced by Jon Brooks aka The Advisory Circle. Single LP. Standard black wax. None of this dicking around with 180-gram tip-ons, multi-colored wax, obis, useless inserts, or unwanted novelty extras. Just rare and interesting music. Performers include Lyn Cornell, Ted Heath, Allan Bruce, Rawicz and Landauer, Lucille Mapp, Sounds Incorporated, Nadia Cattouse, Brian Fahey, Tony Mansell and Johnny Dankworth, Reg Owen, Harry H Corbett, Laurie Johnson Orchestra, Edmundo Ros, Maxine Daniels, Cherry Wainer, and Jerry Allen.



DE WITTE, CHARLOTTE: Weltschmerz 12" (TURBO 175EP) 14.00
Belgium's Raving George aka Charlotte de Witte (releases on Bad Life and a collaboration with Oscar and the Wolf that sold 15k copies in Belgium alone) sheds her alias for an expertly crafted EP of big-room techno. "Weltschmerz" sounds like an instant Berghain classic; dark, massive, trippy, and with an emotional character all too rare within the genre. The confident, housier "Damage Control" is a straightforward flex-a-thon. "Lonesome" brings the emotion back with its super-tense, unresolved melodies. "Relatives of None," with its screechy synth hook, is the nastiest of the bunch. "Weltschmerz (Melodic Theme)" provides an epic ambient outro.



L-VIS 1990 PRESENTS DANCE SYSTEM: System Preferences EP 12" (LVX 022EP) 12.50
System Preferences delineates L-Vis 1990's path through a multi-faceted musical career, harnessing his affiliation to Chicago's underground with a more futuristic complexion. Under his Dance System alias, he follows his appearance on Ultramajic's Metaphysix II: Rhythm (2014) with a full EP. The driving exuberance of "Safe Mode" and the animated chords of "Turbulence" present the effervescent characteristics of any Ultramajic release. "DOS 4," however, curtails some of this freneticism, leaving space for tension-building and narrative.


TRUNCATE & JIMMY: Submission 12" (LVX 023EP) 12.50
Within Jimmy Edgar's 2015 FabricLive 79 compilation (FABRIC 158CD) oscillated the robotic undertones of Submission, a collaborative project between Edgar's Ultramajic label and LA native Truncate (aka Audio Injection) coupling Truncate's aptitude for mechanical DJ tools and Edgar's chunky synthetic elegance. The machine-gun hats of "Submission," dissected by crunchy thunder claps, lay the foundation for the clockwork repetition of an overbearing artificial intelligence. Truncate's rework applies generous reverb for a more dense spatial distribution, while Edgar's retains the track's original minimalism, sparingly peppering additional synthetic tones over the top. Kris Wadsworth's rework infuses textures and synthesis for a more evolving composition.



GO MARCH: Go March LP+CD (UNDAY 044LP) 27.50
180-gram LP version in gatefold sleeve. Includes CD. Go March are an instrumental group based in Antwerp, Belgium, consisting of Philipp Weies (guitars), Hans de Prins (synthesizers), and Antoni Foscez (drums) (members of Intergalactic Lovers). The project, born out of jam sessions, is now realized in the band's self-titled debut album, an electronic, Germanic-infused, post-rock screamer that's a sort of Mogwai-meets-Kraftwerk synthesis yet with all the futuristic propulsions of a fresh, hungry band making music not just for 2015 but for beyond. That said, while the group have landed on this irresistible blend of electronics, rock, and more ambient passages, on Go March the initial conceptions varied somewhat. "My initial ideas for a possible sound were actually based around bands like Boris or Lightning Bolt, but the moments when we just improvised were simply far more interesting," says Weies. "When I first showed our demos to a friend of mine he said it reminded him of something between Trans Am and Maserati. My reply was: 'Wow, we need to check them out!'" While the group state that "it's quite difficult to pinpoint where inspiration actually comes from," Weies does concede that one particular inspiration holds especially strong for him. "I am vastly inspired by the movies of David Lynch, especially Lost Highway and even more specifically the sequence where a car is driving through the dark and all you see are the median strips passing by. The image has this distinct tunnel vision-feel to it that I am often looking for when making music. ... I can totally dig a perfect 3:22 pop song, but I always had a weakness for seemingly endless repetition, mainly because it can put you in that state of trance. At a certain point you just get sucked in there and lose yourself completely." "Repetition," "groove," and "minimalism" are words that might spring to mind when describing Go March, but that's not to say the album is single-minded. While the impact of Germanic proto-techno bands is a clear influence on the group, the freedom of contemporary electronic music, math rock, and modern classical are all audible in the grooves of the album. From debut single "Rise" (UNDAY 040-1EP, UNDAY 040-2EP (2015)), which stretches a post-rock groove over the five minute mark, to "Slow Horse" and "The White Lodge," which are smothered in glacial keys, synthesized throbs, and shuffling poly-rhythms, Go March is an album that defies expectations and challenges the listener in equal measures.



MAR OTRA VEZ: No He Olvidado Cómo Jugar Embarrado/Fiesta del Diablo y el Cerdo LP (MRSSS 038LP) 25.00
180-gram vinyl. First reissue. "It was 1985. Scrap metal wasn't a common sight on those stages. A large can sprinkled with alcohol on its surface was used as percussion. Over that menacing piece of junk hung a glass bottle, whose contact against the can stimulated a rhythm chaos loaded with grunts and violence. The band was called Mar Otra Vez. The song, 'Jonás.' Its last note was the loud noise caused by that bottle smashing against the can. Shattered to pieces. Destroying the tasteful notions of melody and colour. Confronting Madrid's Movida (the late '70s/early '80s countercultural movement). ... Julián Sanz (bass), Javier Corcobado (vocals and wind instruments), Javier Rodrigo (guitar), Luis Corchado (drums) and Andrews Wax (keyboards) built on the daring experiences, two or three years earlier, of bands such as 429 Engaños -- where some of the Mar Otra Vez members had started to play with noise -- or La Gran Curva, whose members had a stall at Madrid's Rastro market where they sold recorded cassette copies of 'difficult' music. ... It's the summer of 1983. 429 Engaños break up. Compulsory military obligations drive them away from each other. ... after finishing the military service Corcobado chooses Tenerife as his residence, where he experiments with industrial composition techniques such as the 'cut and paste' of magnetic tapes. He corresponds with Julián Sanz by letter, they exchange lyrics, sounds and theories. ... No he olvidado cómo jugar embarrado (also Fiesta del diablo y el cerdo) was recorded over three days in February 1985. ... Their young adrenaline was channelled towards a real tension, sometimes brutal, others psychological. If 429 Engaños had been an exercise in experimentation, the first Mar Otra Vez mini-LP became an exercise in intellectual composition. Being different was the best virtue. So much that they refused to wear dishevelled dandy uniforms, in the style that their admired Nick Cave had done in his Birthday Party period, thus freeing themselves from aesthetics. The wildness of the Australian band was present. But so were New York's no wave, jazz-rock bass lines and the most aggressive funk. It was a complete initiation to otherness that would yield another two records (Edades de óxido (1986) and Algún paté venenoso (1987)) and which nobody in Spain would be able to match, although it would serve as template for record labels of the next decade such as Triquinoise and Por Caridad." --César Estabiel


WER 7320

CAGE, JOHN: Cage After Cage CD (WER 7320) 26.00
"Anyone performing John Cage's music cannot avoid silence. In all the works performed on percussionist Matthias Kaul's collection, silence is realized in the most concrete way. For this major project, Kaul used ninety different instruments and objects including conch shells and pine cones."

WER 7326

COWELL/JOHN CAGE, HENRY: Amiable Conversation CD (WER 7326) 26.00
"Wergo offers this pair of new releases featuring two icons of contemporary American music, John Cage and Henry Cowell. . . . Sabine Liebner's collection of piano works by Cowell and Cage explores the period from 1912-1948 and documents not only the emergence of American experimental music, but also their teacher-student relationship. Amiable Conversation allows us to compare Cowell's piano pieces with Cage's to reveal common features that are as clear as the differences."



VAZ, ANDY: House Warming 2LP (YORE 033LP) 25.00
Gatefold double LP version. Andy Vaz returns with his third full-length album on his own Yore label. Due to Vaz's half-Indian roots, he is lucky enough to own a beach house just outside of Mangaluru in the South Indian state of Karnataka. This is where most of House Warming was written, over a period of six months. In this totally isolated, hidden, entirely tourist-free spot, which had become Vaz's second home in the years before the album's creation, the artist found himself outside of the usual routines of Western life and in a position to simply sit down and create. The result is House Warming. As the title suggests, it's house, without a doubt -- but in the form of an album that's thoughtfully crafted from beginning to end. This is house music in all its aspects: the soulful, the deep, and the raw; or, if you prefer, deep house, acid house, and garage/vocal house. The joints range through downtempo, elektro, and even hip hop beats. This may sound old-school, and in spirit, it may be; it was produced entirely with analog synths and the Roland series -- from 808, 909, 505, and 606 to the original 303 -- but in a modern studio environment. Andy Vaz has been around long enough to know how to program his very personal ideas into the music, without denying influences from Detroit, Chicago, and New Jersey, to create something that goes further than a simple reflection of the past. "Deep" isn't a genre, it's a feeling. A warm feeling most of all. You're invited to find it here. Features contributions from Eva Soul and Niko Marks.

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