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Forced Exposure New Releases for 2/22/16

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New music is due from Keiji Haino and zeitkratzer ensemble, Ulrich Krieger, and Heliocentrics, while old music is due from The Durutti Column, Russ Garcia and His Orchestra, and Johnny Moped.


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8MM 021CD

GUNMAN & THE HOLY GHOST: The Story of Radiate & Novocaine CD (8MM 021CD) 14.50
The Story of Radiate & Novocaine is the second album by Icelandic psych country outfit Gunman & the Holy Ghost, fronted by Hákon Aðalsteinsson, who resides in Berlin and doubles as guitarist for Tess Parks & Anton Newcombe. Recorded and co-produced with sound artist BJ Nilsen in various locations in Berlin over more than a year, the album collects misery-ballads of dark alternative country and tells tales of love and separation, inner demons, and the surreal aspects of human existence. Songwriters like Leonard Cohen and Nick Cave are underlying influences on these wonderful, smooth alt-country songs.

8MM 021LP

GUNMAN & THE HOLY GHOST: The Story of Radiate & Novocaine LP (8MM 021LP) 18.00
LP version. The Story of Radiate & Novocaine is the second album by Icelandic psych country outfit Gunman & the Holy Ghost, fronted by Hákon Aðalsteinsson, who resides in Berlin and doubles as guitarist for Tess Parks & Anton Newcombe. Recorded and co-produced with sound artist BJ Nilsen in various locations in Berlin over more than a year, the album collects misery-ballads of dark alternative country and tells tales of love and separation, inner demons, and the surreal aspects of human existence. Songwriters like Leonard Cohen and Nick Cave are underlying influences on these wonderful, smooth alt-country songs.



VA: Afrobeat Airways 2: Return Flight to Ghana 1974-1983 2LP (AALP 074LP) 23.50
2016 repress; Double LP version. From the coastal cities of Accra and Cape Coast, basked in a tropical sound heavily influenced by highlife, to the semi-Saharan cities of Tamalé and Bolgatanga (part of a self-proclaimed "Islamic Funk Belt") via the central city of Kumasi, Analog Africa has criss-crossed Ghana in search of rare tracks for the Afrobeat Airways series. Following the success of the first installment in 2009, Analog Africa is proud to present the second volume -- a selection of 13 ultra-rare tracks composed by some of the musical giants who had created a movement that rocked the West African nation throughout the '70s: legendary singer K. Frimpong; Nana Ampedu (leader of the mighty African Brothers Band); Gyedu-Blay Ambolley and his superb guest appearance with The Complex Sounds; Afrobeat star Ebo Taylor, backing his son on an unreleased track called "Children Don't Cry"; the enigmatic Rob and his unique blend of twisted Afro-funk; innovative drummer De Frank; and Uppers International, with their raw, Islamic funk style. More obscure artists such as Los Issufu And His Moslems, Waza Afrika 76, and Tony Sarfo And The Funky Afrosibi make northern hemisphere debuts, adding to a rich list of Ghanaian artists whose music could be transferred seamlessly to any dancefloor in the world.



RENDERERS, THE: In the Sodium Light CD (BING 110CD) 10.00
"The seismic rumbling of The Renderers goes beyond the fiendish pastoralia of their music. Long-time Christchurch residents, Brian and Maryrose Crook witnessed the earthquakes crumble the city. That, and Maryrose's developing career as a painter (she is self-taught, only starting in her late thirties), inspired them to move to America and concentrate on touring here. So, where do they move? Obviously, a rock-throw's distance from the San Andreas Fault, to Joshua Tree. Not surprising, given the tenacity of the Crooks. Through endless band lineups and continual challenges, they have maintained a focused sound and approach to their music. A Renderers song creates its own space, one that threatens dissemblance at every turn. With two of the most distinct voices in New Zealand rock, they trade off vocal duties, and both contribute toward burying their songs in layers of swelling and swirling guitars. For their new record, In the Sodium Light, The Renderers take a step back from the furious chug of their last album, A Rocket Into Nothing. Instead, they appear to be representing the landscape of their new home. Songs creep out of holes, seep and spread, permeating the room. The album is a languid, calm-waters drift over the abyss in a glassbottomed boat. Let the tide take you."


RENDERERS, THE: In the Sodium Light LP (BING 110LP) 19.00
LP version.


STRANG, KANE: Blue Cheese CD (BING 112CD) 10.00
"Kane Strang's first proper album, Blue Cheese, picks up on the rough disaffection of his earlier demo collection, A Pebble and a Paper Crane, which he recorded in a WWII bomb shelter in Germany. Back in his hometown of Dunedin, New Zealand, Strang spent two curious months alone, housesitting for his parents. Re-nested, yet still isolated, Strang composed all of Blue Cheese over those quiet days. Lead-off track 'The Web' channels pummeling bass lines punctuated by a twinkling synth that calls upon microscopic pop principalities of restlessness ('Yeah, I met someone else / Without leaving my little house / No, I haven't held her yet / I met her on the internet'). Its abrupt ending parallels Strang's own disconnect. 'She's Appealing' weaves Day-Glo guitar motifs into distant, detached '80s garage pop vocals. 'Never Kissed a Blonde' is driven by a slapping delay on both vocals and guitar. Strang's path toward a melody is always surprising, and he never misses a hit-on-the-head-obvious-in-retrospect memorable line."



HOWARD VS THE DEVASTATIONS, ROWLAND S.: Autoluminescent/Ocean 7" (BANG 018EP) 9.00
Heavyweight 80-gram 7". Limited edition of 500. Finally a reissue of this out-of-print and in-demand 2005 single by the late Rowland S. Howard. The A-side is a revision if his track "Autoluminescent" and the B-side is an awesome cover of The Velvet Underground's "Ocean." Howard, a pillar of The Birthday Party, Crime & the City Solution, and These Immortal Souls, always surrounded himself with musical geniuses -- Hugo Race, Nick Cave, Tex Perkins, Barry Adamson, Lydia Lunch, Nikki Sudden, and more -- and on this occasion he chose as his supporting band the Devastations.


GUN CLUB, THE: Danse Kalinda Boom LP (BANG 093LP) 21.00
150-gram LP. Remastered sound. Deluxe gatefold sleeve. Limited edition of 500. The Gun Club's 1985 live album Danse Kalinda Boom, recorded in 1984, is finally reissued on vinyl for the first time, with liner notes by founding member Jeffrey Lee Pierce. Featuring Pierce and Kid Congo Powers at their wildest, this record came to be for The Gun Club what Smell of Female (1983) was for The Cramps. A total must.



COURTNEY MELODY: Black Liberation 12" (BRCR 002EP) 11.00
2007 release, restocked. Another vicious, militant bad-bull from the Crat label out of Brooklyn, revived by Basic Replay. Emerging from the Stereo One sound, Courtney Melody ruled the dancehall -- with hits for Tubby, Jazzbo and Jammys and co. -- and, like the rhythm, is devastatingly focused. Two songs, both with dub versions, naturally; and top-notch remastering as always by Basic Replay.


ACKIE/CHESSE ROOTS: Call Me Rambo/Rambo Gun Salute 12" (BRHW 003EP) 11.00
2004 release, restocked. This was recorded in 1986 and originally released on the Heavyweight label (an offshoot of the Heavyweight soundsystem, based in the Wood Green and Tottenham areas of north London), featuring Chester Roots at the controls and his nephew Ackie at the microphone. Raw and ballistic British dancehall.


LEVI, IJAHMAN: I Am A Levi 12" (BRIJL 001EP) 11.00
2004 release, restocked. Surely this is music-making of any kind at its most inspired. Recorded in 1975 in London's Gooseberry Studios by Dennis Harris, Ijahman Levi -- aka Trevor Sutherland -- remembers his unscripted performance "pouring out from inside." Maybe the short spell he'd just spent in jail has to do with it. This is the original, way superior version of a song later recut for his Island debut Hail I Hymn Chapter 1. The dub, too, is breathtakingly powerful -- a Shaka special.


MITTOO, JACKIE: Ayatollah 12" (BRJM 001EP) 11.00
2005 release, restocked. Ayatollah is an apocalyptic record, full of dread -- dubwise and deep from the first chords of Jackie Mittoo's interstellar keys, over classic Wackies-style steppers drum and bass -- with a dream-like atmosphere in which pain and suffering are swirled together with devotional mystery and redemption. Originally released on the Nefertiti label in the early eighties when Jackie Mittoo was between New York and Toronto. The B-side here is another essential, extended version of that rhythm -- dancefloor murder. Such a killer.


VA: King Culture Presents: Cuss Cuss 12" (BRKC 001EP) 11.00
2006 release, restocked. Six murderous outings for Lloyd "Cuss Cuss" Robinson's immortal rhythm on this showcase EP collecting singles produced by King Culture in Toronto and Kingston, Jamaica, during 1980-81. Rod Taylor was voiced in JA; Barry Brown between both cities. Stamma Rank was mic man for the JA sound "Taurus": this was his recording debut. Mixing was done at Tubby's, assisted by his apprentices Professor and Puggy (an expert with the Delta 4 machine tape-delay). These versions tore up dancehalls at the time.



JOHNNY MOPED: Cycledelic LP (BEAT 058LP) 23.00
180-gram LP. Official reissue with replica cover art and insert. Limited to 500 copies. Paul Halford aka Johnny Moped played in various bands in the early '70s before forming his own band in 1976 with Fred Berk (bass) and Dave Berk (drums), plus help from Captain Sensible on guitars. Their first performance took place on January 2, 1977, at the mighty Hope & Anchor pub in London. Captain Sensible soon left to concentrate on The Damned, so Johnny Moped enlisted a pre-Pretenders Chrissie Hynde to help him out. They played numerous gigs in London opening to lots of the current radical bands. They released their first 7", No One/Incendiary Device, in 1977, and followed it in '78 with Darling, Let's Have Another Baby. Both records boosted the band's status in the UK punk and pub rock scenes. In April 1978, the Chiswick label released Cycledelic, Johnny Moped's only full-length album, with Roger Armstrong as producer. Twelve hymns, one after the other, that make for an absolutely perfect record.


BEC 5156085

CERRONE: Afro 10" (BEC 5156085) 14.00
It's a well-known image: behind dozens of multi-colored drums, with a Bee Gees haircut and a Burt Reynolds moustache, Marc Cerrone shakes with each drum kick. With his '70s hits, the French musician made American club culture pulsate. Thirty million album sales and five Grammys later, the master of disco pays tribute to the rhythms of Africa with Afro, released in advance of his 2016 album. "2nd Chance" features Tony Allen, Fela Kuti's legendary drummer, while "Funk Makossa" features Cameroonian saxophonist Manu Dibango. Includes remixes by Italian electropop musician Mind Enterprises and American producer Todd Edwards, a regular collaborator of Daft Punk's.

BEC 5156298

MIND ENTERPRISES: Idealist LP+CD (BEC 5156298) 25.50
LP in gatefold sleeve with spot varnish; includes CD. Andrea Tirone aka Mind Enterprises follows his 2013 debut EP, My Girl (BEC 5161371), with Idealist, his debut album. Idealist encompasses the electronic sounds of Todd Terje, the disco of West-African inspiration William Onyeabor, and the rhythms of seminal New York post-punks Liquid Liquid. The album was partly inspired by a chance discovery of some music on a hard drive given to Tirone by Liquid Liquid vocalist Salvatore Principato, after the two crossed paths in 2011 when Principato produced an EP for Tirone's previous band. "I was looking for something to inspire me," recalls Tirone. "So I plugged it in and suddenly there were all these amazing sounds."


TYB 7100LP

VA: Michigan Nuggets 2LP (TYB 7100LP) 25.50
For vinyl collectors of artifacts from 1960s Michigan, the holy grail is Michigan Nuggets, an impressive double LP set released on the Belvedere label. The 31 cuts include many of the biggest Detroit-area garage band local hits of the '60s including those by the Woolies, the Rationals, the Unrelated Segments, the Shy Guys, the Human Beings, Tim Tam & the Turn-Ons, the Wanted, the Underdogs, and the Tidal Waves. It also has seven rare Bob Seger recordings from the Hideout label including "Persecution Smith," "Chain Smokin," and "East Side Story." In addition to all these treasures, the double album features four early MC5 titles, and the hard-to-find Amboy Dukes single "You Talk Sunshine, I Breathe Fire." For laughs, you even get an audio curio called "An Important Message" featuring Dr. Jack van Impe railing against the evils of rock and roll! This is one of the very best garage-oriented compilations of the era, and a pretty diverse one. The sound is excellent, as are the liner notes in a beautiful gatefold sleeve. Edition of 500. Also includes tracks by Terry Knight & The Pack, ? & The Mysterians, Southbound Freeway, and Ormandy.



BREMEN: Eclipsed 2LP (BLACKEST 048LP) 29.00
Bremen return with Eclipsed, a double LP of glacial electronics, strung-out drone-punk, and smoldering space-rock minimalism. Following the release of their self-titled debut on Skrammel in 2013, the Swedish duo of Jonas Tiljander (Brainbombs) and Lanchy Orre (Brainbombs, Totalitär) joined the Blackest Ever Black fold in 2014 with Second Launch (BLACKEST 033LP). If the mood of that record was brooding and stygian, its monochord intensity unfaltering, then Eclipsed, this equally sprawling set, could be construed as a warmer, more dynamic, and variegated offering. Perhaps. There are still passages that are heavier than a death in the family. Still a staunch obsession with the consciousness-altering power of repetition. The band's points of departure are specific: a particular organ sound from J. A. Seazer's 1970s recordings, the squalid alien guitar tone of Chrome, the cranked psychic roar-out riffage of Hawkwind, the melancholic mode of Swedish jazz pianist Jan Johansson, minimalism from La Monte Young to Eleh, "cold '80s electronic sound," and sloppy, lo-fi psychedelic rock from the likes of Pärson Sound and Träd, Gräs och Stenar. Tiljander's icily poised synth and organ drones and the grieving cosmic howl of Orre's guitar dominate the landscape, but their instrumental palette has also expanded to include various percussion treatments, saxophone, strings, and dissolved vocal fragments. Their exploratory jamming, overdubbing, and dub-savvy mixing yields a music of unbelievable eloquence and physicality. Eclipsed is another masterpiece of black hole psychedelia from one of the greatest underground rock 'n' roll units on the planet. No serious void-worshipper's collection is right without it. All songs by Orre/Tiljander. Mastered by Tomas Bodén. Cut by Noel Summerville. Pressed at Optimal. Housed in gatefold sleeve. Includes MP3/FLAC download code.


BC 048LP

HOLDEN & CAMILO TIRADO/LUKE ABBOTT, JAMES: Outdoor Museum of Fractals/555Hz 2x12" (BC 048LP) 29.00
Border Community's eager improvisers James Holden and Luke Abbott flirt with the new age on this split double LP with a pair of extended synth meditations indulging their respective loves of arpeggio and drone, both originally composed for the occasion of Terry Riley's 80th birthday in 2015. Holden's "Outdoor Museum of Fractals" fuses the endlessly unfolding fractal complexity of luxurious arpeggio washes with the pitched tabla drumming of Camilo Tirado, copilot on this hypnotic, meditative journey. Abbott's metallic gong-drone offering "555Hz" layers this mystical frequency and its related harmonics in a sequence of transportive, wave-like swells. Running over 45 and 30 minutes apiece, each composition is split in two for the heavyweight vinyl format, but both are available in uninterrupted form via the included download codes.



BOYS NOIZE: Midnight/Los Niños 12" (BNR 150EP) 12.00
Two massive, industrial-inspired analog tracks from Boys Noize. "Midnight" features a darkly processed spoken mantra -- "Midnight, 1 a.m., 2 a.m., 3 a.m., 4 a.m. . . . 9 a.m., 10, let's do it again" -- over rough breaks and distorted, cavernous bass, making it a hauntingly effective dancefloor tool for any time of night (or morning). "Los Niños," is an impeccable nod to classic EBM and new beat that could be a lost production from decades ago. If Liaisons Dangereuses, Frankie Goes to Hollywood, and Silent Servant had children together, they would be "Los Niños." Vinyl only. Limited edition of 300.



TODD, GARRY: Time Goes On (feat. Nat Page) 12" (BPC 321EP) 12.00
"Club music that makes you wanna dance." Garry Todd's description of his art is as simple as that. One could also add that it's in the house domain, it doesn't cater to any clichés, and it has a certain twist that points to a natural-born talent. As a teenager Garry Todd danced to sets by Masters at Work. In the early 2010s, he became a central figure as a DJ, producer, and promoter in the nascent club scene in and around Sydney, delicately and subtly explores the house genre in his productions. This EP features Nat Page on the title-track.



BASANTA, ADAM: A Room Listening to Itself Cassette (SAUNA 027CS) 9.50
Adam Basanta is a Montréal-based sound artist and experimental music composer. His sound installations investigate intersections between sound reproduction, consumer technologies, and the activity of listening. To create A Room Listening to Itself, the artist produced sound exclusively through amplification techniques that make audible the physical relationships between microphones and reclaimed speaker cones within a gallery's surrounding acoustic environment. In this work, eight iconic SM58 microphones and eight reclaimed speaker cones are dispersed throughout the gallery space, arranged in a manner that produces complex computer-controlled feedback and recursive amplification networks. Using these acoustic phenomena, the gallery space is turned into a giant resonator that amplifies acoustic space as a product of spatial relationships. Custom-built software algorithms constantly recalibrate the room to ever-changing acoustic situations, aiming for a sonic equilibrium that remains out of reach. The result is an ever-changing spatial composition encompassing ambient passages, resonant chords, and rhythmic activities -- created solely using feedback -- through which gallery visitors can navigate. Finally, a mention should be made that the album was recorded live at the Center for Contemporary Arts, Santa Fe, NM, in August 2015.


SERRIES & STEVEN R. SMITH, DIRK: Hymnal Cassette (SAUNA 028CS) 9.50
Multi-instrumentalist Steven R. Smith and veteran experimentalist Dirk Serries team up for a collaborative album that is as familiar as it is different from their individual sonic endeavors. Made with electric guitars, Fender Rhodes, organs, and various types of bowed instruments, this album is about organic evolution. Each "mantra" is constructed from the directness of each instrument, meticulously layered against each other, creating the drone. Four long-form mantras; four harmonic themes that excel in their own beautiful organic progress over time.


CF 070CD

SUNWATCHERS: Sunwatchers CD (CF 070CD) 15.00
"'Hard to pin down, harder to hold onto; bent circuit board snake charmers unfurl across hexagonal grids. A seemingly familiar sound, but then you realize you have your ear pressed against a reflection. Sunwatchers are a distorted prism to so many past greats: reminiscent of Ethiopiques, John Handy Band, Terry Riley, Art Ensemble meets Laddio Bolocko. Forever-swirling saxophone blended belly-to-belly with elastic guitar and tinfoil-thin phin (a Thai instrument not unlike an electrified tenor guitar or sitar); a whirlpool of repetitious interpretations; militaristic marches ascend into meditations. These songs map out great pyramids and deep, buried labyrinths; they are massive, they are leviathans. The band is comprised of NYC improv heavy hitters -- Jim McHugh (guitar, electric phin), Peter Kerlin (bass), Jeff Tobias (alto sax), Cory Bracken (vibes, percussion), Jason Robira (drums) -- and sitting in are Dave Harrington (guitar, synth), Ben Greenberg (guitar), Dave Kadden (keyboard), Jonah Rapino (fiddle). Notable previous projects include Dark Meat, Arthur Doyle's New Quiet Screamers, NYMPH and Chris Forsyth's Solar Motel Band. Amazing cover painting of Handsome Jimmy Valiant by artist Scott Lenhardt -- a strange but somehow sensible match made in heaven. Dream machinery, just plain far out. Look for traces of this one in your brain jelly afterwards.' -- John Dwyer"

CF 070LP

SUNWATCHERS: Sunwatchers LP (CF 070LP) 19.00
LP version. Includes download code.

CF 071CD

FEELS: Feels CD (CF 071CD) 15.00
"Get a load of Castle Face's first local release from their new home in East LA: native Angeleno four-piece Feels and their debut self-titled LP. Scuzzy, slanted guitar interplay, a little grrrlish swagger, flashes of raw emotion and a cement chip of punk attitude propel these songs directly to your dome and down the brain stem. Kinetic, omnivorous, and easy to get stuck in the noggin, Feels has charm and grit to spare and is pushed deeper into the red, weird wilds by Ty Segall's home-cooked production."

CF 071LP

FEELS: Feels LP (CF 071LP) 19.00
LP version.


CH 072LP

TWERPS: Twerps LP (CH 072LP) 17.00
Reissue of Australian band Twerps' 2009 debut EP, collecting all of its songs on vinyl for the first time. Twerps started off with a "the" in their name some time in 2008, playing their first gig at a warehouse party above a drug store in the Melbourne suburb of Brunswick East. Their ambitions were humble and their musicianship was rudimentary, but their songs were touching, cheeky, and instantly captivating. At first it was guitarist and vocalist Martin Frawley, guitarist Julia McFarlane, bassist Rick Milovanovic, and drummer Patrick O'Neill. After releasing some lo-fi home recordings on Myspace, the band received an offer from US label Night People to do a cassette. Guy Blackman and Ben O'Connor from Chapter Music were at their first gig and also asked to release something, but after a while Twerps thought they'd changed their mind -- turns out the band had forgotten to send the label their recordings. Recorded by Mikey Young, the nine-song self-titled EP eventually came out on Night People and Chapter in 2009. Chapter's version took the odd form of a four-song 7" accompanied by a nine-song CD. Everyone loved it. From that simple starting point, Twerps have become one of Australia and the world's favorite guitar pop bands, releasing two much-loved albums, Twerps (CH 091CD, 2011) and Range Anxiety (2015). The band has changed over time -- they dropped the "the," Milovanovic and O'Neill departed and were replaced by Alex Macfarlane and Angus Lord, and McFarlane stepped forward to share songwriting duties with Frawley. It's clear that Twerps captures a special time and a special magic. Out of print physically for years, the 2009 EP is now available on vinyl in its entirety for the first time, with new photos, liner notes, and a download code, plus a bonus rehearsal version of early classic "Little Guys."



STOYA, PHILIPP: Azra EP 12" (COMP 476EP) 12.00
Philipp Stoya follows appearances on several Compost compilations (including Compost 500: Some Michael Reinboth Favourites (2015), which features his stunning 2013 remix of Madpac's "Angry Nerds") with his debut EP, a testimonial of his love for music, electric pianos and synths (such as the Fender Rhodes and the Roland Juno 106), and his wife (whose name gives the EP its title). The Rhodes and Juno give this record a unique flair and atmosphere.



STEWART, TOMMY: Disco Love Affair 2LP (COS 005LP) 20.00
2016 repress; Double LP version. "Tommy Stewart's Disco Love Affair is the sound of Hotlanta nightclub music in the late 70s. That's right - Cultures of Soul is bringing you an album of sensual disco delights from classic producer/composer/ arranger/pianist Tommy Stewart. Stewart is already well known among disco collectors for his track 'Bump and Hustle Music' as well as his studio work with artists as diverse as Major Lance, Tamiko Jones and Loleatta Holloway. Disco Love Affair features 14 cuts of rare disco funk. This includes the great disco jams 'Pay the Price,' 'Party Nights' and 'Hotbox,' as well the brilliant unknown modern soul track 'Universal Love.' Featured are two cuts reworked by famous disco DJ/remixer Al Kent. This album also contains two unreleased tracks, 'Night Flight' and 'Beyond Love,' taken from the vaults of Tommy's private archives."


DY 278LP

TOTAL ABUSE: Excluded LP (DY 278LP) 19.00
"Active since 2007, Total Abuse has released three LPs and two 7-inches. They are one of the innovators of a unique style, mixing old-school hardcore punk and '80s industrial / noise aesthetics. Many bands have tried to copy their sound and vibe but no one has been able to duplicate the hellish intensity of Total Abuse. Excluded is their fourth full-length LP and was recorded in Austin, Texas, at Ohm Recording Facility and produced by David Williams. After the sludge noise mess of Prison Sweat, the band decided focus on pure riffs. Each song batters the listener down with raging, buzzsaw guitar and unadulterated heaviness. Total Abuse have always been huge fans of true guitar gods like Nirvana and Slayer and here it is most apparent. These new tracks are still filthy and as noise-drenched as ever, but Excluded is unlike the three albums that preceded it. It's a work about survival, a work about identity, a work (as always) about obsession. Excluded is Total Abuse at their best!"



MASIN/ALESSANDRO MONTI/ALESSANDRO PIZZIN, GIGI: The Wind Collector/As Witness Our Hands 2CD (DPL 009CD) 22.00
The Wind Collector/As Witness Our Hands contains Gigi Masin, Alessandro Monti, and Alessandro Pizzin's recordings from 1989 and 1990; this definitive, remastered double-CD edition was compiled and sequenced by Alessandro Pizzin, the original studio producer and assistant on keyboards and arrangements. The first CD contains the complete eight-track master tape, including all of its unreleased tracks plus two trio improvisations. Some of these recordings were released in 1991 as the LP The Wind Collector. The second CD was lovingly compiled from over five hours of demos, sessions, and rehearsals taken from the original reference cassettes, and includes versions of Nick Drake's "Know" and Terry Riley's "Medusa's Refrain." "They're far from perfect but they give a broader perspective of our work. We recorded this music in a basement ('Bunker' studio in Padua, Italy) under ideal conditions, no time or financial restrictions; we were allowed all kinds of facilities including a baby grand piano and excellent recording equipment so we were able to capture on tape ideas in real time. The music reflected our common purpose: mixing songs and harmonies with noises and experiments using both the electronic and the acoustic instruments. Unfortunately we weren't lucky with the distribution and acceptance at the time, but after 25 years it seems that there's an entire new audience for The Wind Collector; perhaps we were unconsciously ahead of our time . . . like a young DJ recently wrote: these pieces, which were made before the computerization of music, still are beyond the standard of the cold binary track." Digital mastering at Brandenburg Mastering, Amsterdam. Original drawings by Gigi Masin. Cover artwork and layout by Alessandro Pizzin.



OCH: First Contact 12" (DREIKLANG 001EP) 14.00
180-gram vinyl. Limited edition of 500. Berlin-based vinyl-only label Dreiklang presents its first release, Londoner OCH's First Contact. Each Dreiklang release presents three contrasting takes on the same source material, juxtaposing and unifying three particular sub-currents of electronic music. "First Contact" takes a simple keyboard line into menacing territory, steering the dancefloor toward the grittier ends of tech-house. Italian producer Hydergine's remix is a smart dub-techno rework with mind-numbing kicks inciting an atmospheric joyride through the deeper ends of narcosis. Kelovolt's immersive remix sets drone-heavy soundscapes at center-stage for a delicately hypnotic finale. Artwork by Berlin artist Nils Altland.



LITTLE JOHN AND BILLY BOYO: What You Want To Be 12" (DO RI003EP) 12.50
2010 release, restocked. Rougher than rough Roots Radics cut from 1982, fired up with wild effects, murderous dubbing, and live, jostling microphone interplay; and with an excoriating version. Who come fe mash it, man, them can't stand a chance, cah tell you Billy Boyo and Little John in a the dance, and any way we come we make you jump and prance... So tell me what you want to be.



DURUTTI COLUMN, THE: Amigos Em Portugal LP+CD (LOTTA 001LP) 27.50
Reissue of Amigos Em Portugal by The Durutti Column, originally released in 1983. 180-gram LP. Includes CD. Digitally remastered from two different original sources for vinyl and CD for optimum sound quality. New artwork and design by Manchester-based graphic designer Trevor Johnson. Limited edition of 500. A precursor to one of the great Durutti Column albums, Without Mercy (1984), Amigos Em Portugal was recorded in only a couple of days -- as is always the case with Vini Reilly -- and was allegedly supposed to be a single or EP, but the newly formed Portuguese label Fundação Atlântica had the tapes and different ideas. Reilly was just enjoying the tape time, playing many of his current works in progress. These sketches later became part of Reilly's classical experiment with Tony Wilson and students of The Royal Northern College of Music, Without Mercy. Most of the tracks here have a beautiful fragility, whether they're solo guitar instrumentals ("Estoril A Noite") or piano pieces ("Wheels Turning"), not to mention the piano loop from "Without Mercy" and "Favourite Descending Intervals." Yes -- this set documents a time when Reilly played piano, before he came to believe that he was "an awful and discombobulated pianist." This reissue is the first in a series of five releases of rare or previously unreleased material from the band on the Durutti imprint.


DURUTTI COLUMN, THE: Live At The Venue London LP+CD (LOTTA 002LP) 27.50
First vinyl reissue of Live At The Venue London by The Durutti Column, originally released in 1982. 180-gram LP. Includes CD. Digitally remastered from two different original sources for vinyl and CD for optimum sound quality. New artwork and design by Manchester-based graphic designer Trevor Johnson. Limited edition of 500. The show captured here covers work from the then-contemporary albums The Return of the Durutti Column (1980) and LC (1981), along with tracks that would later appear on Another Setting (1983) and Without Mercy (1984). At the time, the band were approached after the show by a well-known live recordings dealer, who was interested in putting out an album based on the desk mix he had acquired without any knowledge of the band. Intrigued, the group agreed to meet him at the location of his choice -- a Mayfair hotel -- where he arrived in his crème Rolls Royce. A deal was struck on a napkin to release only 4000 copies, with Vini Reilly having full control over the choice of Mark Warner's artwork. This reissue is the second in a series of five releases of rare or previously unreleased material from the band on the Durutti imprint.



REED, BLIND ALFRED: Appalachian Visionary CD/BOOK (DTD 048CD) 28.50
Hardcover 84-page book with CD and streaming/download code. Born blind on June 15, 1880, in Floyd County, Virginia, Alfred Reed grew up on a West Virginia farm. In the 1920s, when radio became available in his area, Alfred listened to and enjoyed performances by several of the era's popular singers. Alfred would purchase songbooks and hymnbooks, and his wife Nettie would read the lyrics to him. Because the songs he learned from others did not always express aspects of what he was thinking, feeling, and experiencing, Alfred felt compelled to compose his own songs, and he was exceptionally talented in this endeavor -- a craftsman with many things to say. Relying upon his talent to generate money, he gave music lessons, performed at dances and various social and church gatherings, sold printed copies of his own lyrics, and, in 1927 and 1929, made the commercial recordings included on this set. Also includes performances by The West Virginia Night Owls, Orville Reed, and Alfred and Orville Reed. Compiled by Ted Olson, a scholar, poet, photographer, and musician based in east Tennessee. Olson has written or edited several books on Appalachian music, literature, and folklore, and he has curated book/album sets documenting such Appalachia-related music stories as the 1927-1928 Bristol Sessions, the 1928-1929 Johnson City Sessions, the 1929-1930 Knoxville Sessions, the Joseph Hall field recordings from the Great Smoky Mountains, and the early studio recordings of Tennessee Ernie Ford.



TAPES, THE: Selected Works 1982-1992 2LP (ELP 017LP) 25.50
A fascinating, often dizzying insight to the primitive industrial minimalism of Italian siblings Giancarlo and Roberto Drago aka The Tapes, sourced from original tapes and pressed to vinyl for the first time ever. This set surveys a blind spot in most people's knowledge of early-'80s Italian underground music, framed against a backdrop of the Anni di piombo or Years of Lead -- a period of domestic political turmoil between the late '60s and early '80s -- and the mushroom shadow of nuclear war. Like their international tape-scene allies, The Tapes reacted to this world thru a matrix of mono-synths, drum machines, microphones, and four-track recorders, mostly recording ideas direct to tape in one take and making a virtue of their lo-fi set-up's infidelities and imperfections -- randomness and mistakes were embraced rather than discarded -- while absorbing the counter-cultural influence of William Burroughs and Throbbing Gristle and the sci-fi dystopia of J. G. Ballard and John Foxx. These 21 tracks, drawn from ten different limited tape releases, perfectly distill a wandering, weirdo spirit, ranging from the funereal swagger of "Tanz Fabrik" and the darkwave hip-thrust of "The Day of Silence" to freeform, motorik trajectories such as "Time Out of Joint" and singular enigmas like the Actress-esque bobble of "The Wait" and the weightless, hyaline spindles of "Falso Movimento B2." Collected and compiled by Alessio Natalizia (aka Not Waving) and remastered by Matt Colton, Selected Works 1982-1992 represents a decade of modest but searching and instinctively grooving experimentation of the most precious and compelling kind. As Giancarlo Drago explains, "The Tapes was an unplanned experience, an unplanned need to express myself Looking back on this music I wonder sometimes how I did it -- the whole process from the concept to the completion. Everything I do now seems trivial and obvious and I just end up aborting the idea. And exactly for this reason I think that everything has its time, with a beginning and an end . . ."


MTE 059-60CD

TEST: Always Coming from the Love Side 2CD (MTE 059-60CD) 20.00
NYC free jazz cooperative TEST was literally an underground favorite -- as part of the Music Under New York program in the 1990s, TEST was out on the street and subway platforms year-round, playing long-form unadulterated free jazz with an energy and creativity rarely encountered. Even on a scene known for strong personalities, these guys were renegade cats. Eremite heard and recorded TEST many, many times over a ten-year period; Always Coming from the Love Side, a two-CD set from TEST's 1999 US tour captured live by Malachi Ritscher at Fred Anderson's Velvet Lounge just weeks before Y2K (on November 13, to be exact), is right up there among the band's strongest and most memorable performances. The cover photo, for those who don't recognize it, is of the Velvet Lounge's legendary wallpaper. Other images include a portrait of Fred Anderson in front of the club (shot November 2005 by Peter Brötzmann just months before the building was destroyed by the city of Chicago to build a parking garage) and Tony Getsug's photos of TEST tearing up the bandstand there, as well as art and photography by Joshua Abrams and TEST bassist Matthew Heyner. Tom Bruno, drums; Daniel Carter, winds; Matthew Heyner, bass; Sabir Mateen, winds. Edition of 550 copies. Presented in a tri-fold Stoughton sleeve.



SHULGIN, YURI: Polyphonic Mind 12" (ESCP 001EP) 14.00
Parisian label Escapade presents its first release, a four-track 12" by Russian artist Yuri Shulgin, who first appeared in 2010 as Mistanomista. His productions mix jazzy and funky vibes with electronic elements, calling to mind the classic Detroit house sound. The laid-back groove of "Nothing in the City" features his friend Yuri Smirnov on alto saxophone; trumpeter Victor Netesov aka Humsafar joins them on "Polyphonic Mind" for a jazzy session. On the B-side, Shulgin reveals his experimental side with two jams using synths and delays. "Livetrackrecording (Dubby)" leans into hypnotic territory while "#1stereo (Analog Jam)" rounds out the record with dreamy explorations.



EATS EVERYTHING: Fabric 86 CD (FABRIC 171CD) 16.00
Eats Everything has come a long way since he first got his hands on a set of decks. His big break came with 2011's Pets Recordings smash "Entrance Song," and a global touring schedule and releases on Hot Creations, Dirtybird, and Crosstown Rebels followed. After being named Best DJ at DJ Mag's Best of British 2015 awards, he steps up to join the fabric compilation series. The resultant continuous live set recording is a musical treat for lovers of all shades of house, from the classic to the modern. Packaged in bespoke slipcase containing die-embossed tin. Includes tracks by Ananda Project remixed by Danny Tenaglia, Toka Project, Cavalier, Peter Horrevorts, Lauren Lane, Jaz Woods remixed by Tim J, Stephen Brown, Âme remixed by Dixon, Kerrier District remixed by KiNK, Tim J remixed by Jeff Bennett, Gabi 2B, DJ 3000 remixed by Truncate, Booka Shade, Golden Boy with Miss Kittin remixed by X-Press 2, Mosca, Trikk, Joi Cardwell, Whiplash, Cajmere (aka Green Velvet), and Moonman.



HARDY, FRANCOISE: La Maison ou J'Ai Grandi LP (FDR 618LP) 24.00
180-gram LP version. Housed in deluxe Stoughton gatefold sleeve.


GET 54076LP

J.B.'S, THE: Doing It to Death LP (GET 54076LP) 25.00
"Special limited edition. 150 gram virgin vinyl. Faithful reproduction of the original release featuring Stoughton 'tip on' style jacket. Includes free 22" x 22" poster! For starters, this platter begins with one of the great intros of all time: 'Ladies and gentlemen, there are seven acknowledged wonders of the world. You are about to witness the eighth...' Lodged in a deep groove between the JB's' debut LP Food For Thought (1972) and the more complex and at-times political Damn Right, I Am Somebody (from 1974) sits the ridiculously vampy and infectious classic, Doing It To Death. First moving hips and making heads nod in 1973, the James Brown-produced, 5-song album is one big funk lick, broken up into many delicious moving parts. As with pretty much everything produced by the JB's -- led by Fred Wesley with heavy help from a supporting cast that included saxophonist Maceo Parker, guitarists Jimmy Nolen and Hearlon 'Cheese' Martin and drummer John 'Jabo' Starks -- all songs began and revolved around a devastating riff. The title track is most certainly guilty-as-charged, as it starts strutting right out of the gate and continues for just over 10 minutes, driven by a guitar lick and MCed by the inimitable James Brown, with soloists stepping up and out while the song chugs on. The other centerpiece of the album is the 8-minute 'You Can Have Watergate Just Gimme Some Bucks And I'll Be Straight,' whose groove is interestingly teased two times before it arrives in full form. The song title itself is provocative, and the music keeps a stone-cold groove despite the less than cheery undertones. Again driven by an infectious guitar morsel, the breakdowns in this song gave sampling producers and DJs sweet dreams in the '80s, and Fred Wesley's trombone solo rides beautifully over the group's cries of 'We need some money.' Beyond the aforementioned sure-shots, the twitchy 'More Peas,' 'La Di Da La Di Day' and the much jazzier, solo-heavy 'Sucker' round out this incredible album. It's just another perfect example of how James Brown's funk machine could stop the world when they hit a groove."


JUNGLE BROTHERS: I'll House You 7" (GET 729EP) 11.00
"Get On Down presents a unique way to proudly re-live your 'hip-house' past, with a 7" reissue of the Jungle Brothers' infectious 1988 hit 'I'll House You,' which was arranged by the legendary Todd Terry. On the B-Side is a fan favorite from the group's stellar Straight Out The Jungle album, 'On The Run,' which was released as its own single in 1988."



LIGHTDREAMS: Islands in Space CD (GKL 005CD) 17.00
". . .we can make [enough] progress inside our heads and the heads of our friends to lay the foundations of an intergalactic life more meaningful than our earthbound condition . . ." --John Peel, International TimesFirst reissue; remastered sound. Includes full-color booklet containing informative liner notes by collector Jack D. Fleischer prepared from artist interviews, as well as full lyrics and rare photos. Mirroring the sentiment of the prescient UK radio legend in his Vibrations column for the International Times in the '70s, LightDreams leader Paul Marcano took one step beyond his intimate colleagues and chose to spread his ideals concerning peaceful outer-space colonization to all with open ears. Islands in Space, dotted with acoustic jams, backward guitars, lyrics alluding to the British progressive era, smoking-hot electric leads, synths galore, and the dreamiest of melodies, is both Marcano's love letter to the work of science-fiction author Gerard K. O'Neill and the psych-tinged folk explorers who came before him such as McDonald and Giles. Originally privately issued in 1981 in an edition of 1,000 copies, Islands in Space explores space travel and cosmic ideology in a sci-fi psych odyssey and is filled with atmospheric, lysergic creations atop a hybrid of sounds from the cosmic psych/progressive folk/new age spectrum. Home-recorded (yet hi-fi), Islands in Space carries a singular quality, defies easy categorization, and has long been savored by collectors of otherworldly joys. This singular, beatific work now has another chance to shine from Earth's surface to the outer reaches of the galaxy. RIYL: Dreamies; Donovan; Pete Fine; Robert Lester Folsom's hazy, synth-led moments; McDonald and Giles; Ramases; Simones; the out-of-time bliss of Bobb Trimble; et al.



VA: The Sound of Durban Vol. 1 2LP (GQOM 002LP) 27.50
The Sound of Durban Vol. 1 is the first full-length compilation collecting the sound of the suburbs and townships of Durban, South Africa, a music known as gqom. The album unites many of the genre's local producers over 15 tracks. Rome-based DJ and musician Nan Kolè and South Africa-based Lerato Phiri set up the Gqom Oh! label to highlight the music and artists of Durban, the often-overlooked cradle of the new South African sound; as Kolè recalled in an interview with The FADER in October 2015, "Thanks to [Phiri's] work the artists I was interested in had greater trust in a stranger who contacted them from Italy to promote a kind of music that even South African promoters don't want to promote or to enter the club." Taking its name from an onomatopoeic Zulu word signifying a drum, this extraordinary, apocalyptic bass music encompasses many influences. Each polyrhythmic track draws on the darker side of electronic music, hip hop, sound system culture, kwaito, UK funky, and deep African vibrations. As Kolè puts it, "You can feel the troubled history of South Africa. It's riot music." Tied to a specific dance called bhenga, gqom exists in a DIY-oriented universe, grafting organic and homemade samples on sourced software to create this wholly unique sound. Gqom Oh!'s greater aim is to invest in much-needed technology to help build a local creative infrastructure. The Sound of Durban Vol. 1 showcases a host of local talent including Julz da DeeJay, Cruel Boyz, Citizen Boy, and Formation Boyz. With its mix of ethnic tradition and urban tension, South Africa has been a cradle of cultural phenomena. In its own way it is a country of great wealth, particularly rich in contradictions, yet decades after the end of the country's apartheid, little appears to have changed for the millions of black people who live in its notorious townships. It is from this background that innovation is continually being injected into the living body of the local music culture. The heartbeat of Durban is gqom. Also includes tracks by Dominowe, Forgotten Souls, DJ Mabheko, Emo Kid, DJ Bradolz, and TLC Fam. Includes download code.



UTHER PENDRAGON: San Francisco Earthquake 2CD (GUESS 059CD) 23.50
A treasure trove of previously unreleased West Coast guitar psychedelia, 1966-1975. "Uther Pendragon was more than just a band, it was a family. Closer than brothers, they lived together, made music together, worked, played, laughed, cried and dreamed together." --Mike Stax (Ugly Things)This is the incredible story of Uther Pendragon, a lost psychedelic band from San Francisco whose music has remained buried until now. Formed in the Bay Area in 1966 as a teen garage group called Blue Fever, Uther Pendragon lasted from 1966 until 1978. During that time, the band went through different names and phases, as their music evolved from garage to psychedelia to hard rock, but the core of the band always remained the same: Mark Lightcap (rhythm guitar, vocals), Bruce Marelich (lead guitar, vocals), and Martin Espinosa (bass, vocals). After finding their ultimate drummer in Mike Beers, the group finally settled on the Uther Pendragon name in the early '70s. But despite being active for all that time and recording at numerous studios (including their own in Palo Alto), Uther Pendragon never released any recordings. Their complex and fascinating story, which involves winning a Bay Area Battle of the Bands and playing with Country Joe & The Fish, recording a killer garage-psych 7" acetate in 1967, going to the legendary Pacific Recording Studios in 1969 to record a demo, living as a family in the same house for many years and rehearsing seven days a week, building their own recording studio and music corporation, being managed by Craig Pedersen (Something Wild, Tripsichord Music Box), being involved in an occult-themed rock opera called Sabbat, and much more, is told with all the details by Mike Stax from Ugly Things in this set's extensive liner notes, with rare photos. Produced from the band's vast archive of original master tapes, San Francisco Earthquake includes their unknown-until-now 7" acetate from 1967 (fab garage-psych in the vein of The Human Expression or The Music Machine); tracks from 1966-'69 including a groundbreaking, moody psycher from 1966; a demo tape from 1969 recorded at Pacific Recording -- an incredible document for any lover of early SF garage-psych (think Oxford Circle, The Savage Resurrection, Moby Grape . . .) -- and many tracks recorded at their home studio in Palo Alto. 100% unadulterated West Coast guitar psych and hard rock that recalls QMS and even Kurihara-era White Heaven.


HG 1601LP

DRIFTMACHINE: Eis Heauton LP (HG 1601LP) 27.50
Berlin electronic duo Driftmachine follow their 2014 debut, Nocturnes, with Eis Heauton, which takes its title from the Greek phrase "ta eis heauton," or, roughly, "a conversation with oneself." Accordingly, the album was constructed from self-generating patches, with Florian Zimmer (Saroos) and Andreas Gerth (Tied & Tickled Trio) providing technical parameters and letting their modular system talk in its own musical language. The self-generating patches recorded here can be understood as a transcript of those machine-produced monologues, and as artistic research. By evoking a ghostly presence of modular synthesis, the duo find traces of individuality inside their machines. Eis Heauton exhibits a strange and haunting musical cosmos, a quality that is always present in Driftmachine's live shows. Originally released on cassette by Umor Rex in 2015.



WYNN, MARK: The Singles LP (HARB 158LP) 25.00
After NME included him in its "50 Brand New Artists Set To Storm 2015" list, Mark Wynn promptly quit music. Harbinger Sound spent the summer of 2015 coaxing him out from early retirement, and Wynn spent the autumn of 2015 touring with Sleaford Mods before delivering The Singles, a compilation of 18 tracks from two years' worth of limited self-released CDs. Wynn's scattershot acoustic avant-skank blends despair, bleakness, and humor. It then pulls apart any worthless comparisons to The Fall, Wreckless Eric, Patrik Fitzgerald, et al. with irreverent, awkward, smart lo-fi songs. This album features such classics as "Rip Off The Fall" and "She Fancies Me That One In Age Concern." Includes 20-page A4 booklet with text, flyers, and artwork. Edition of 500.



CORDERO, DAVID: El Rumor del Oleaje CD (HOMEN 047CD) 16.50
Edition of 500. Four-panel recycled card package with additional eight-page inlay featuring photography by Juan A. Romero and unique artwork and design by Sr. Go?mez and Srta. Swallow."Each piece of this album unfolds his wander through the Spanish coast where the musician meticulously recorded the unique and familiar sound of the water -- sometimes in a bright, evanescent way; others as a hypnotic spell -- which he completed once in the studio with pianos and guitars in a delicate interpretation. During the field recordings by the sea, wandering the shores of his country, David Cordero was surely searching for the healing of contemplation and that's the reason why every piece has crystallized in its title the name and image of a place, like a snapshot of the moment when he pressed play and rec. Perhaps, the last sunshine on the rocks of Bermeo, on the sands of San Sebastia?n and Mundaka have dictated him these beautiful, delicate strokes of instrumentation to match with the waves. This album is an invitation to travel to the seashores and start the adventure of looking at the sea as if it were for the first time, surrendered to a lonely and magical fascination." --Federico Durand"The record emerges as a wish of wellness, the feeling of being at peace with myself and isolation. All of us confront the sea in different ways, being that not all the waves are the same. That is the starting point of this work; to render through these songs the healing impact the waves have on me when I face them. That's why I went on board with my friend Juan A. Romero on a trip through different beaches between Bizkaia and Cadiz, searching water sounds that would broadcast the emotions and memories to immerse in them. These recordings have dates, hours, and specific tides. Each song is a beach, a story, a different wave. El Rumor del Oleaje is what you hear when you close your eyes and you can submerge in yourself. I hope you like it." --David CorderoNacho García: piano (1, 2, 3) and keyboards (4, 6); Niño de Elche: voice (1); Gustavo Domínguez: bass clarinet (2, 3, 5); Moisés Alcántara: French horn (2, 3, 5); Marco Serrato: double bass (2); Rafael Femiano: electric guitar (4).



HYPNOTIC BRASS ENSEMBLE: Hypnotic Brass Ensemble 2LP (HJR 042LP) 20.00
2016 repress; Double LP version. The Hypnotic Brass Ensemble is comprised of eight brothers from the south side of Chicago who come from an extraordinary musical family. Other sisters and brothers are professional musicians, their mothers are singers, and Phil Cohran, their father, has roots running back to Mississippi, the musical hothouse of 1940s St. Louis, Sun Ra in Chicago in the 1950s, and the founding of the Advancement of Creative Musicians (AACM)...This album is the result of a chance encounter in 2005: during a cold market day on Portobello Road, strains of Ellington and the swagger of brassy funk cut through the morning fog. Stationed on the corner of Talbot Road, eight horns and a drum kit rocked Ladbroke Grove. Since their initial meeting, Honest Jon's and HBE have stayed close. In 2007, HBE contributed a monster of a track "Sankofa" to the Tony Allen remix project, Lagos Shake (HJR 034CD/LP), and have not stopped blowing minds since.


TREMBLING BELLS: Carbeth LP (HJR 043LP) 17.00
2016 repress, originally released 2009. LP version. This is the hotly-tipped debut of new new-folk outfit, Trembling Bells, masterminded by protean drummer Alex Neilson, one of the UK's leading young improvisers. Having served apprenticeships with some uniquely talented songwriters (Bonnie "Prince" Billy, Current 93, Alasdair Roberts, Baby Dee, Red Krayola, Six Organs Of Admittance, Josephine Foster, amongst them), Neilson sets out with the group to reanimate the hidden, mythic landscapes of Yorkshire and Glasgow (in particular) via a love of canonical rock, early music, and traditional folk. Featuring the diverse musical talents of medieval music scholar and psychedelic siren, Lavinia Blackwall, Venusian bluesman, Ben Reynolds, Lucky Luke progenitor Simon Shaw, plus trombonist George Murray, and viola player Aby Vuillamy from Scatter and the Bill Wells Group. Carbeth is absolutely sweeping, grandiose baroque-folk like a newly-minted Pentangle or Fairport Convention, but with strange keyboard/horn arrangements, and sometimes thunderous percussion. This isn't music for tatted lace-wearers, but for folk-rockers wearing sturdy woolen travelling capes for backwards horse-rides through a long-lost Britain.


ASAKAWA, MAKI: Maki Asakawa CD (HJR 111CD) 14.50
2016 repress. A stunning survey of the 1970s heyday of great Japanese singer and countercultural icon Maki Asakawa (1942-2010). Deep-indigo, dead-of-night enka, folk, and blues, inhaling Billie Holiday and Nina Simone down to the bone. A traditional waltz abuts Nico-style incantation; defamiliarized versions of Oscar Brown Jr. and Bessie Smith collide with big-band experiments alongside poet Sh?ji Terayama; a sitar-led psychedelic wig-out runs into a killer excursion in modal, spiritual jazz. Existentialism and noir, mystery and allure, hurt and hauteur. With excellent notes by Alan Cummings and the fabulous photographs of Hitoshi Jin Tamura. "Japan's answer to Scott Walker, with a visual aesthetic and a death-decadent appeal that is straight out of the Keiji Haino songbook." --Volcanic Tongue



DAHLEN, ERLAND: Blossom Bells CD (HUBRO 2525CD) 17.00
Blossom Bells is the long awaited follow-up to drummer and percussionist Erland Dahlen's critically acclaimed 2012 debut solo album, Rolling Bomber (HUBRO 2512CD/3512LP). Dahlen's second album has a playful, richly visual mood, but is also quite dark and menacing in places. Elements of krautrock, drone music, ambient music, and contemporary music are woven together here with dark, rock-inspired energy. The album is named after the legendary instrument-maker Pete Engelhart's unusual chromatic set of bells, the Blossom Bell, which Dahlen plays in several places on the album. He also plays a variety of percussion instruments, saw, electronic instruments, and some specially constructed instruments, such as cake molds with springs built by Hallvard W. Hagen, a custom-made percussion bass made by Harald Hougaard, and a wind-up wood instrument with elastic band constructed by Kenny Wollesen. The collection of instruments used on the album is extensive, imaginative, and unique. Dahlen is passionately interested in new sounds, and spends a great deal of time traipsing through offbeat second-hand shops while touring all over the world; he also uses eBay to acquire percussion instruments from the 1920s, '30s, and '40s. His compositions are often inspired by improvisations based on the exploration of fascinating sounds. Here, Dahlen plays all the instruments himself, as on Rolling Bomber, but has produced the album with Johnny Skalleberg as well as Hagen and Jens Petter Nilsen from the electronica duo Xploding Plastix, a group with which Dahlen has worked since the early 2000s. Dahlen has played on over 160 records since the mid-1990s, and has toured with an impressive list of top-ranking artists in more than 30 countries, including Madrugada, Xploding Plastix, John Paul Jones, Pantha du Prince & The Bell Laboratory, Årabrot, Kaada/Mike Patton, Eivind Aarset (on Sonic Codex), Serena-Maneesh, Anja Garbarek, Arve Henriksen, Hanne Hukkelberg, Ane Brun, and many others. For the past few years Dahlen has been a regular member of Nils Petter Molvær's band, and he plays in the trio Stian Westerhus & Pale Horses. His talents are also frequently put to use for film music. Blossom Bells was recorded at Oslo Klang with technician Johnny Skalleberg and at Coffee Fabric with technicians Jens Petter Nilsen and Hallvard W. Hagen. It was mastered by Helge Sten at Audio Virus Lab.


SUNDSTOL, GEIR: Furulund CD (HUBRO 2533CD) 17.00
Furulund is a collection of atmospheric, low-key, and evocative instrumental pieces, recorded using analog equipment at Geir Sundstøl's home studio, Studio Intim. The guitarist and self-taught multi-instrumentalist from Halden, Norway, has been making music for a living since 1988. He has left his unique musical mark on 260 records featuring everyone from a-ha to Nils Petter Molvær. Furulund is his first album under his own name, a long-awaited debut from an extremely popular musician. Sundstøl has toured all over the world, and has been the most frequently played performer on Norwegian radio for several years. A concert he held with country artist Jimmie Dale Gilmore in the USA in the 1990s gave film directors Joel and Ethan Coen the inspiration for Gaear Grimsrud, Peter Stormare's character in their 1996 film Fargo. Sundstøl's music draws inspiration from jazz, blues, roots, and country, but can be characterized most of all as original, eccentric, and lovely. Sundstøl is an avid collector of instruments, and his home studio is full of rare and unusual finds. He plays most of the instruments on the record himself, but has also enjoyed the input of a few colleagues representing what can without exaggeration be called the upper echelon: keyboardist David Wallumrød (Bern/hoft) and drummers Erland Dahlen and Michael Blair (Tom Waits, Elvis Costello, Lou Reed). Dahlen and Sundstøl have played together in a number of contexts, including Nils Petter Molvær's group and the band Morris. Furulund was mixed by Bård Ingebrigtsen at Amper Tone Studio and mastered by Helge Sten at Audio Virus Lab.


MONKEY PLOT: Angående Omstendigheter Som Ikke Lar Seg Nedtegne CD (HUBRO 2547CD) 17.00
The members of the acoustic trio Monkey Plot have been playing together since 2000. With acoustic guitar (Christian Winther), double bass (Magnus Nergaard), and drums (Jan Martin Gismervik), they have carved out an expressive idiom that evokes other musical references but is at the same time unique. They started out as a raw electric guitar trio belonging to a Hendrix-in-the-rough tradition, with a reputation for throwing bananas at their audiences. But at some point they pulled the plug and began to listen their way into a new and uncompromising acoustic expression. Monkey Plot's style is intimate and unpretentious. It would seem more accurate to call it "music for small spaces" rather than the more formal-sounding "chamber music." There is something straightforward and grounded about the band's music. Although dramatic effect has been abandoned, their music has become neither boring nor lifeless. Monkey Plot is an improvisational band, in the sense that improvisation is the tool used by the trio's members to make music. They describe it themselves as a simple method that gives a varied and organic result. The music is always pressing onwards. Nevertheless, it would be wrong to categorize their music as belonging within the improvisational genre. One suspects that Neil Young and Nick Drake are more influential sources of inspiration for guitarist Christian Winther than, for instance, Derek Bailey. Monkey Plot's first album, Løv Og Lette Vimpler (Gigafon), was released in 2013. It was recorded at home in the living room of free jazz legend Frode Gjerstad. That same year the group won the Jazzintro competition, receiving the title "Young Norwegian Jazz Musicians of the Year" and a grant from Gramo, the Norwegian organization responsible for collecting and distributing music royalties. The band have toured extensively, and have held concerts in Norway, the rest of Europe, and Asia. In 2015 they have had several collaborative concerts with the Swedish poet and sound artist Pär Thörn, who is also the source of this album's title, Angående Omstendigheter Som Ikke Lar Seg Nedtegne. The members of the band also play together in the experimental rock band Karokh. Like previous winners of Jazzintro such as Urban Connection, In the Country, and Albatrosh, Monkey Plot are proving to be a major exponent of Norwegian jazz, both in Norway and abroad.


FINLAND: Rainy Omen CD (HUBRO 2557CD) 17.00
Although the band Finland has existed since 2010, Rainy Omen is their first release. Finland consists of five musicians who have made their indisputable mark on the Norwegian music scene since the mid-2000s, and who have individually been involved in countless other bands and recordings. The band project has come about more as a result of excess enthusiasm than of necessity -- and musical enthusiasm is, in fact, what characterizes this debut release. The members of Finland are guitarist Ivar Grydeland (Huntsville), drummer Pål Hausken (In the Country, Ida Jenshus), keyboard wizard Morten Qvenild (In the Country, sPacemoNkey, Susanna and the Magical Orchestra), and the superb bass player Jo Berger Myhre (Splashgirl, Nils Petter Molvær, Mariam the Believer). In Finland they are investigating a more rock-oriented, spontaneous, and extroverted type of music than in many of the other bands they play in. Their music encompasses an encyclopedic number of genres and sources of inspiration, and their debut album serves as documentation of the point where different musical paths and dialogues intersect in the band at this particular time. Elements of instrumental film music; post-, prog-, noise, and freedom rock; and airy Americana are all included in the appealing and well-composed musical melting pot that constitutes Rainy Omen. Finland as a rock band cannot be described with superficial metaphors or by listing their sources of inspiration, but even on their debut album they already have their own distinctive sound. Rainy Omen was recorded at Parachute Studio in Oslo with technician Øystein Frantzvåg, and was mixed by Juhani Silvola.


QVENILD, MORTEN: Personal Piano CD (HUBRO 2563CD) 17.00
Since 2000, pianist and keyboardist Morten Qvenild has been one of the most creative musicians in the Norwegian music scene. Qvenild has both an unusual flair for pop and a passion for experimentation and improvisation. Now, at last, his long-awaited debut solo album has arrived. Qvenild is probably most well known as a member of the unusual piano trio In the Country, half of the duo sPaceMonkey with drummer Gard Nilssen, and Susanna Wallumrød's partner in Susanna and the Magical Orchestra, but he has also played in a number of other bands. Altogether Qvenild has appeared on at least 50 albums with artists such as The National Bank, Solveig Slettahjell Slow Motion Quintet, Susanne Sundfør, Arve Henriksen, Thomas Dybdahl, Marit Larsen, Nils Petter Molvær, Shining, Jaga Jazzist, Frida Ånnevik, and Trinity, as well as many others. Since 2012, Qvenild has been working on developing a project called The HYPer(sonal) Piano. By integrating various types of electronics into the grand piano he has radically expanded the instrument's sonic palette. The inventive tunes and improvisations on his solo debut, Personal Piano, create a platform that highlights a unique and heavily processed world of sound and a remarkably intense musical idiom. The music is primarily instrumental, but Qvenild also sings on a few tracks. The music on Personal Piano is the sum of Qvenild's personal interests combined with a wealth of sources of inspiration: a catchy melody, birches, noise, restlessness, snow, James Blake, words, wood, Radiohead, plastic, running, the abrupt, the child, the pine tree, melancholy, Frode Grytten, travelling, travelling too much, not travelling, travelling to the wrong place, a cabin, ashes, Olivier Messiaen, Hans Børli, not knowing, metal, electrons, euphoria, contemplating, skis, underground, Murakami, kayak, country, in the country, the dark chords and the shimmering light. The album was recorded and produced by Morten Qvenild himself at The Green Room, and mixed and mastered by Jørgen Træen.


MOSTER!: When You Cut Into the Present CD (HUBRO 2565CD) 17.00
"When you cut into the present the future leaks out." --William BurroughsOn their third album in as many years, following 2013's Edvard Lygre Møster (HUBRO 2527CD/3527LP) and 2014's Inner Earth (HUBRO 2548CD/3548LP), saxophonist Kjetil Møster's band Møster! take another leap forward and appear even closer, more unified, and better synchronized than ever. This album was recorded during a break in an extensive tour on a shared bill with the Norwegian-American band The Young Mothers. On Inner Earth, the band took a step in the direction of prog rock, and slowly and very patiently built up to an enormous climax. On When You Cut Into the Present, this gradual build-up has been replaced with a more direct and confrontationally effective style. Prog rock, psychedelia, and John Coltrane's jazz are obviously still sources of inspiration for the band, but this time they share space with everyone from King Crimson in their Red period to Alice Coltrane and Can. The music has also incorporated references from the originators of the Nordic jazz sound of the 1960s and '70s such as Jan Garbarek, Terje Rypdal, Arild Andersen, and Jon Christensen. From the very beginning, the musicians hit the floor running, propelling themselves toward ecstasy with constant sonic excesses and grooving with marathon-like stamina. The result is a catchy, addictive, and consistently creative eruption. Saxophonist Kjetil Møster is apparently everywhere all the time. He plays in a number of jazz and improvisational bands, but also performs regularly with Röyksopp & Robyn, Datarock, King Midas, and Lars Vaular. Since recording Inner Earth he has also released an album with the Hungarian trio Jü and launched a concert collaboration with Chicago musicians Jeff Parker and John Herndon (Tortoise) and Joshua Abrams (Natural Information Society). In addition to Kjetil Møster himself, Møster! consists of the same musicians as on the previous album: the legendary Hans Magnus "Snah" Ryan, guitarist and vocalist in Motorpsycho; Nikolai Hængsle Eilertsen, bass player in Elephant9 and BigBang; and the ubiquitous drummer Kenneth Kapstad, also from Motorpsycho and Monolithic. When You Cut Into the Present was recorded at Øra Studio in Trondheim with technician Jo Ranheim. It was mixed by Christian Engfelt, Kjetil Møster, and Nikolai Hængsle Eilertsen at Engfelt & Forsgren Studio in Oslo, and mastered by Jørgen Træen at Grotten in the Bergen Kjøtt building.


DAHLEN, ERLAND: Blossom Bells LP+CD (HUBRO 3525LP) 22.00
180-gram LP version. Includes CD.


SUNDSTOL, GEIR: Furulund LP+CD (HUBRO 3533LP) 22.00
180-gram LP version. Includes CD.


MONKEY PLOT: Angående Omstendigheter Som Ikke Lar Seg Nedtegne LP+CD (HUBRO 3547LP) 22.00
180-gram LP version in gatefold sleeve. Includes CD.


FINLAND: Rainy Omen LP+CD (HUBRO 3557LP) 22.00
180-gram LP version. Includes CD. Edition of 500.


QVENILD, MORTEN: Personal Piano 2LP+CD (HUBRO 3563LP) 26.50
140-gram double LP version. Includes CD. Edition of 500. Cut by Rashad Becker at Dubplates & Mastering.


BRUTTER: Brutter LP (HUBRO 3564LP) 22.00
Dry and clear, abstract and fascinating. Brutter, an electronic duo consisting of two brothers, presents its debut with an eponymous limited edition LP. The result sounds as though a gigantic collection of machines has taken control over itself and has produced its own distinctive, confusing, and tenacious dance music. Brutter consists of Christian and Fredrik Wallumrød, a team with extensive experience in various parts of the Norwegian music scene. Fredrik Wallumrød (drums, electronics) is known primarily as a rock and metal musician with bands such as Span, El Caco, and Dog Almighty. He also plays with Jarle Bernhoft and Susanna. Christian Wallumrød (drum machines, synthesizers, electronics) has made a name for himself with his own ensemble among others, and with the quartet Dans les Arbres, which was nominated for the 2015 Nordic Council Music Prize. Both the Christian Wallumrød Ensemble and Dans les Arbres have released a number of recordings with ECM Records, and have toured all over the world. In 2015, Christian released his solo piano album, Pianokammer (HUBRO 2542CD/3542LP) to excellent reviews. He is most often associated with acoustic music, but has also worked a great deal with improvised electronic music in, for example, the trios Merriwinkle and Close Erase and in projects together with Audun Kleive. As a brief digression, it can be noted that the German-Chilean electronic music producer Ricardo Villalobos used Wallumrød's music as a point of departure for five of the tracks on the 2011 remix album Re: ECM. Brutter's music is demanding, clear-cut, and well defined. At a point beyond melody and harmony, they have dug out a totally distinctive, fascinating musical landscape in which colliding rhythms and pulsating beats play the main role. Brutter's debut album is available in a limited edition of 300 numbered copies as a white-label LP with a download code.


MOSTER!: When You Cut Into the Present LP+CD (HUBRO 3565LP) 22.00
180-gram LP version in gatefold sleeve. Includes CD. Edition of 500.



THIRD EYE FOUNDATION, THE: Semtex (20th Anniversary Edition) 2CD (IDA 111CD) 14.00
On the occasion of the 2016 20th anniversary of The Third Eye Foundation's 1996 debut album Semtex, one of the most influential drum and bass albums of its time, it is worth revisiting the career of Matt Elliott, its composer. Elliott was not even 16 when he decided to stop his studies and devote himself to his passion for music. He got a job at the famous Revolver Records in Bristol (profiled in Richard King's 2015 book Original Rockers, which explains how the shop influenced the spread of indie music and especially trip hop) and began DJing in Bristol clubs, though he wasn't old enough to be there legally. Beginning as The Third Eye in 1993, he appeared on albums by Movietone and Flying Saucer Attack and started his own band, Linda's Strange Vacation, with Kate Wright and Rachel Brook; he also used the band's name for his micro-label, on which he released the first songs from The Third Eye Foundation. In 1995, Elliott was one of the very few artists involved in the tribute album for the famous US krautrock duo Silver Apples, Electronics Evocations. He was then invited to open for them on their US reunion tour. By the age of 20, Elliott had already been involved in nearly every area of the music industry. But the story was only just beginning. In 1996, he finally released his first album as The Third Eye Foundation, Semtex, on his own label, with support from Domino (the beginning of a longstanding collaboration). Recorded in a squat Elliott shared with Matt Jones from Crescent on a four-track recorder borrowed from Dave Pearce from Flying Saucer Attack and mixed with headphones at excessive volume (resulting in permanent hearing loss at around three kHz), Semtex is brutal and uncompromising. Featuring a mix of noisy, ripped-up guitars and hectic drum machines, with Debbie Parsons's vocals on some songs, it is the antithesis of electronic dancefloor music. It branded its style into Elliott's discography, in which social unrest, loneliness, political confusion, anger, and anti-establishment feelings are regular themes. This deluxe 20th-anniversary reissue includes eight previously unreleased tracks, mostly recorded on cassettes between 1991 and 1997 and all remastered by Anders Peterson. This expanded document testifies to the corrosive never-say-die attitude of The Third Eye Foundation. Play very loud (bearing in mind the risk of ending up completely shattered by music of such rare scope and scale).



BROWN, DENNIS: Dubbing at King Tubby's LP (JRLP 060LP) 15.50
LP version. Dennis Brown has always been cited as Jamaica's favorite singer. While Bob Marley set out to conquer the world, Brown's popularity on the island grew with every year. His most prolific period is said to be with producer Niney the Observer, who led the singer down a more roots-oriented avenue and put Brown on some of his heaviest rhythms, which were then mixed by the Dub Master himself, King Tubby. Dubbing at King Tubby's collects tracks from this period, when the Crown Prince of Reggae met Niney the Observer at King Tubby's.


JBJ 1068EP

BROWN, AL: Take Me Back/Sweet Little Love 7" (JBJ 1068EP) 11.00
Al Brown's Tunetoppers made their mark in 1960 with "The Madison," the smash hit tribute to one of the biggest dance crazes of the era. Though they may be much less well known, these two crackers show that the Baltimore troupe were far from one hit wonders. "Take Me Back" is a dancefloor burner with a tempo and rhythm more suited to the Twist than the Madison, while "Sweet Little Love" is a more languid, jazzy, finger-clicking affair, oozing with hip attitude and charm.


KH 9023LP

2016 repress; LP version on 180 gram vinyl. Captain Beefheart & His Magic Band are firmly established as one of the most imaginative acts to have emerged from late-'60s America. The historically vital recordings preserved on this set -- a live set captured from Avalon Ballroom in 1966 and a radio station set from 1967 -- capture Beefheart and his musicians as they emerge from their blues-based beginnings and begin to evolve into something far stranger. The set is accompanied by background notes and rare images. Features two tracks not previously available on the CD version.



TRUCE: Be There/Uhh 12" (LDN 059EP) 12.00
Truce cites Kenny Dope, Frankie Knuckles, Marc Kinchen, and Dennis Ferrer as influences, though "most important is my Dad who was doing music before I was born . . . Studio time with him was my biggest influence." His father is calypso artist Ras Shorty I, formerly known as Lord Shorty. "Be There" and "Uhh" are hypnotic, bassy rollers; estranged cousins to both Beneath's Keysound EP (LDN 034EP, 2102) and LFO's "LFO". Be There/Uhh is Keysound's first release from the vast, vibrant, and under-reported deeptech movement, the successor to UK funky scene.



POLAR BEAR: Peepers LP+CD (BAY 074LP) 20.00
"There is no immediately apparent unifying sound to The Leaf Label. The imprint has a magnetic attraction to artists operating on the fringes, to startling hybrids and mercurial fusions. One finds Leaf in the places where electronic music, classical, jazz, pop, folk and rock meet -- the places where the sparks are flying. In recognition of 20 years of loyal service to releasing beautiful noise, Leaf is reissuing ten landmark albums in limited editions. Most of the selected works have been out of print on vinyl for many years, and the choices have been driven in part via an online poll. They are spread across the years and begin to reflect the length, breadth and consistent quality of the label's output in that time. Peepers is the fourth album from Polar Bear, the London-based ensemble lead by Sebastian Rochford, and was the group's Leaf Label debut."


MELT YOURSELF DOWN: Dot to Dot 12" (DOCK 062EP) 19.00
"Look to the skies and read the signs: Melt Yourself Down is back. New single 'Dot to Dot' is nothing less than a celebration of those cities built on a thousand tones, scents, accents and flavors. New York--London--Paris--Berlin: here the people are the pulse. 'Dot to Dot' rides the underground arteries. It crackles with the kinetic surges of all that electricity in close proximity, sees the shadows of feral creatures grow tall on alleyway walls, steps through tendrils of rising steam. On the flipside comes a stone-cold uppercut of a remix by mysterious Italian producer DJ Khalab, who bends 'Dot to Dot' into intoxicating, exotic new shapes."



NESS, EDDIE: Afro 12" (LHLT 004EP) 14.00
180-gram 12". Eddie Ness produced his solo debut in the small red hut in the Swedish woods pictured on the label of Lucky Charmz's Follow Me to Flottbek Falls, the Lehult label's 2014 debut. "Ombré" is so cheerfully detached that the thumping, powerful groove is almost the only thing keeping the elements from unwinding in separate, psychedelic directions. The concentrated and moody "Afro" radiates some warmth from a place beyond the dancefloor, before the swelling pads and massaging bass of "Menjou." With his remix of "Ombré," Borrowed Identity effortlessly moves to the big room with wet, driving drums and merciless acid blips.


MR 358LP

DESECHABLES: Golpe Tras Golpe LP (MR 358LP) 19.50
180-gram LP. First standalone reissue. Features facsimile artwork and includes liner notes by Alejandro Montes, director of the 2013 Desechables documentary El Peor Dios. On December 23, 1983, five days before the show at which Desechables planned to record their debut album, Miguel González López, the band's guitarist, died of a bullet wound at a jewelry shop in Vilafranca del Penedés. The live album was never recorded, but Esteban Torralva, the band's manager, rescued soundboard recordings of the last Desechables gigs from the autumn of 1983 (mainly an October gig in Madrid) and assembled Desechables' first LP, Golpe tras golpe, released in the summer of 1984. In the words of Desechables vocalist Tere González, "Golpe tras golpe is the real Desechables." After the success of a late September concert in Lyon, Torralva had managed to get Desechables booked at two more European showcases on December 14 and 15, 1983, first at 120 Nuits in Paris and then at the Salle de la Cité in Rennes for Les Rencontres Trans Musicales. Everything seemed to be going well, and Desechables were on their way to establishing themselves with the recording of their first album, live. "Desechables were a live band and we decided to record our first LP at Rock-Ola," explains Tere. Ana Curra (Parálisis Permanente) recalls, "I remember how big an impression they made because they were so young, especially Tere. It was shocking to see that girl, she must have been 17 or so at the time, I guess. And she was very sweet. So to then see her acting so wild on stage, it was amazing, very shocking. And the austerity, the band's primitivism. Miguel's distorted guitar, giving off feedback, dirty, sewer-like . . . and Pei playing standing up with just small drum and snare. It was so primitive, so wild, that you were immediately drawn to them." As Tere and Pei explain, "It was obvious that the record represented Miguel and it must be understood as an homage to his memory. It perfectly documents the Desechables sound in our first period. Since then, we've listened to it and we recognize in it our way of performing on stage, the strength within the band, it portrays all of us just as we were then, in the chaos, the noise, the few words. We weren't a band that said thanks or talked between songs."



INNELLEA: Saladin 12" (MAUT 006EP) 12.00
The Innellea duo has been making waves in the Munich club scene, with DJ sets at the Musica Autonomica parties at Club Kong and Harry Klein; Saladin is their debut, featuring four original tunes that were highlights in Musica Autonomica DJ sets of 2015. Not restrained or bound by convention, Innellea's visions and impressions transfer into their music. The duo creates a personal journey to reach an undefined destination. Includes a remix by Marco Resmann.



FEELS: Digadoo/Expedition 12" (NKD 015EP) 14.00
"The magic happens within our own emotions" --Feels. Discovered somewhere in the murky corners of the internet, Feels bring forth the sounds of transcendental dancefloor moments designed for inner mind journeys with their debut EP on Naked Naked.



ALLAMI, KHYAM: As I Open My Eyes/A Peine J'ouvre Les Yeux (Original Soundtrack) CD (NAWA 004CD) 16.50
Nawa Recordings presents the worldwide release of Khyam Allami's original soundtrack to Leyla Bouzid's 2015 award-winning debut feature-length film À peine j'ouvre les yeux (As I Open My Eyes). With As I Open My Eyes, Bouzid (a winner of 16 international film awards at the time of this release) tells the story of 18-year-old Farah (played by Baya Medhaffar), who sings in an alternative rock band called Joujma, and her coming of age in pre-revolutionary Tunisia against the will of her mother Hayet (played by Tunisian songstress Ghalia Benali). The 14-track soundtrack of the film features original music composed, arranged, and produced by Khyam Allami for the fictional band created for the film, Joujma, alongside oud-based incidental music and Maurice Louca's "Benhayyi Al-Baghbaghan" ("Salute the Parrot"), the title-track from his 2014 album (NAWA 002CD/LP). Working closely from the early stages of casting and pre-production through to the final sound mixing of the film, Allami and Bouzid aimed to develop a new and youthful sound for the band, informed by Tunisian folk music such as the vocal-driven songs from the city of El Kef, and inspired by artists such as Patti Smith, PJ Harvey, and the female leads in bands such as Sonic Youth and Stereolab. The five-piece band of non-professional actors and musicians features Baya Medhaffar as Farah (vocals), Montasser Ayari as Borhene (oud), Deena Abdelwahed as Ines (keys and electronics), and the brothers Marwen Soltana as Sami (bass) and Youssef Soltana as Ska (drums). Teaching the band the songs by rote, Allami tried to keep a balance between their musicality and a natural yet amateur edge to their performance. The lyrics for the band's songs were written by Tunisian writer Ghassan Amami in colloquial Tunisian Arabic, based on the film's narrative and dramatic context. Allami used the lyrics as a catalyst for his composition, to heighten their latent symbolism alongside their social, cultural, and political referencing, while serving the dynamic trajectory of the film's plot. The songs in the film are performed live by the band, all of whom make their acting debuts. They were then recorded in a music studio in Tunisia to form the first part of this soundtrack album. Features artwork by Lebanese designer Jana Traboulsi and tri-lingual booklets with lyrics in Arabic, English, and French.


NA 5136CD

HELIOCENTRICS, THE: From the Deep CD (NA 5136CD) 16.00
"Returning after their Last Transmission collaborative album with Melvin Van Peebles, the Heliocentrics finish off their trawl through the vaults of tracks recorded at their old digs -- Quatermass Studios -- with psychedelic tinged funk and jazz instrumentals Rolling Stone describes as '...sprawling, with percussive patterns that suddenly morph into extraterrestrial sound blasts and opaque, detouring patterns.' The CD combines tracks from both Quatermass vinyl volumes."

NA 5136LP

HELIOCENTRICS, THE: From the Deep LP (NA 5136LP) 21.00
"Full on psychedelic-funk songs first heard on Gaslamp Killer's Helio x GLK EP. Download card included."


PERL 092-1LP

VILLALOBOS, RICARDO: Dependent and Happy 1 2x12" (PERL 092-1LP) 26.50
2016 repress. 2x12" version, part 1. The distance from Ricardo Villalobos' last field trip Thé au Harem d'Archimède (PERL 043CD) in 2004 to the present epic album is a galaxy of electronic expression through sound, independent from time and space. It is said that funk is defined by the notes that are not being played. The space between the notes here is so vast, that funk becomes transformed into the spirit that creates unfathomable emotional adventure. The rules of dynamics between 0 and 1 shift the relation from reality to relaxation. Previously-unreleased, mixed, free-floating sessions are made out of natural, secret ingredients from the limbic system of astro-Aztecs. They evolve from rituals, ending in the release of the sinuous percussion ghost from the machine who breathes out a score for easy living, which sounds like a primordial soup aerosol of funky molecules and molluscs. The vinyl edition comes in three parts and contains a total of 14 tracks.

PERL 092-2LP

VILLALOBOS, RICARDO: Dependent and Happy 2 2x12" (PERL 092-2LP) 26.50
2016 repress. 2x12" version, part 2. Tracks: "Zuipox," "Kehaus," "Die Schwarze Massai," "Put Your Lips" and "Samma H2 Ferenc."

PERL 092-3LP

VILLALOBOS, RICARDO: Dependent and Happy 3 12" (PERL 092-3LP) 14.00
2016 repress. Part 3 of the vinyl editions of the full-length from Ricardo Villalobos.



RED AXES: Sun My Sweet Sun 12" (PERMVAC 143EP) 12.00
Red Axes (Tel-Aviv-based producers and DJs Dori Sadovnik and Niv Arzi) follow a string of releases on labels like Multi Culti, Crosstown Rebels, Hivern Discs, and their own Garzen with Sun My Sweet Sun, their first release on Permanent Vacation. With a background as members of post-punk band Red Cotton, Sadovnik and Arzi often combine live instruments with techno elements, blurring the boundaries between songs and tracks. Here they add a tropical facet to their sound for an EP of percussion-filled, sun-drenched club music.


LAUER: Borndom Remixes 12" (PERMVAC 144EP) 12.00
Normally Phillip Lauer -- either solo or with Gerd Janson as Tuff City Kids -- is the remix machine for others. But here, four tracks from his 2015 Borndom album (PERMVAC 139CD/LP) get the remix treatment. Fort Romeau delivers an extended house rework of "ByBy"; The Working Elite (Daniel Nentwig and Thomas Sabrowsky) turn "Alright" into a boogie house bomb of the highest order; Prins Thomas gives the new wave inspired "ESC" the Norwegian disco funk treatment; and Swiss DJ and producer Lexx smooths things out for "Hump Acid," proving once again that Lake Zürich is part of the Balearic Sea.


ASH 3002LP

2016 repress. Deluxe LP format; 180 gram pressing. Reissue of the second Flower Travellin' Band album, originally issued by Atlantic Records in Japan in 1971. Satori is a conceptual hard rock/psych album driven by Hideki Ishima's furious guitar licks which erupt and explode over the harmonic heart beat of the drums and bass. Yamanaka's banshee-like vocal style turned him into an occidental Iggy Pop or Robert Plant while the band itself was rapidly becoming Japan's answer to Led Zeppelin. Satori is a huge album in every way. From power chords to Eastern-tinged North African six-string freak-outs and crashing tom-toms, the band flexes its collective muscle from start to finish. In short, this is a real rock classic of the type they simply don't make any more.



CHURCH/TITUS TURNER, EUGENE: 16 Tons/Coralee 7" (POPC 140EP) 8.00
Originally recorded in 1946 by Merle Travis, "Sixteen Tons" went on to become a standard in many circles, and somewhat against the grain, it's an example of a song originally performed by a country artist that crossed over widely into jazz and blues circles. So it is that we have a cracking popcorn R&B-style rendition from Eugene Church here, swinging and as snappy as you like. On the back, a top side from the great Titus Turner, whistling and singing an ode to a girl named "Coralee."


RB 115EP

COASTERS, THE: Three Cool Cats/Down in Mexico 7" (RB 115EP) 11.00
Two offerings of R&B history back-to-back from The Coasters, perhaps the most successful and popular of the many vocal groups that sprung to prominence in the doo-wop era of the '50s. The Leiber-and-Stoller-penned "Three Cool Cats" was certainly aptly named; decades later, the song retains all of its easy charm, swagger, and instant appeal. It's one of those records that will never date. The same could be said for the flip, "Down in Mexico," a song that appeared in its 1970s reworked guise in a Tarantino flick, but appears here in its superior, original, super-sleazy 1950s form.



CAPRA INFORMIS: Womb of the Wild 12" (LAUNCH 087EP) 20.00
2015 release; previously available exclusively from the Rocket Recordings mailorder service. "Capra Informis" translates from the Latin to "Shapeless Goat," a curious turn of phrase given that this project is the work of the nameless djembe player from Swedish psychedelic warriors Goat. While Capra Informis may share some stylistic touches with Goat, it also boasts a markedly darker approach. The guitar-driven inferno of "Womb of the Wild" finds kindred spirits in the likes of Dead Skeletons and early Skullflower, while the glacial synths and garage-birthed organ of "Cold and High" resemble a score for an ayahuasca ritual filmed by Kenneth Anger.


MAMUTHONES: Symphony for the Devil 12" (LAUNCH 088EP) 20.00
2015 release; previously available exclusively from the Rocket Recordings mailorder service. The lead track herein is a spectacular and sacrilegious reinvention of The Stones' original, filtering Mamuthones' avant-garage sensibility through a kosmische-disco prism to arrive at a deviant marriage between the electro-charge of LCD Soundsystem and the elegiac lysergia of Spacemen 3's "Big City" before an imposing remix by Bristol's kings of noise Giant Swan (Howling Owl). "Any Longer" taps gloriously into the ley-lineage of Monster Movie and Live at the Witch Trials before being disassembled in another remix by Italian dance maestro Lucretio.


ONEIDA: Positions 12" (LAUNCH 089EP) 20.00
2015 release; previously available exclusively from the Rocket Recordings mailorder service. Brooklyn's peerless experimental rock iconoclasts Oneida have been delighting and perplexing the wider world since 1997, informed by the art-orientated mindset of krautrock, the chutzpah of post-punk, and the radical ethos of minimalism, yet never falling prey to cliché or homage. Here, they use the rhythmically intense mantras of This Heat's "S.P.Q.R." and Chrome's "All Data Lost" as jumping-off points for searing blasts of kaleidoscopic invention and white-hot intensity that destroy boundaries and defy categorization at every turn, adding their own sinister drone-based mantra "Under Whose Sword" for good measure.


RCD 2177CD

KROKOFANT: Krokofant II CD (RCD 2177CD) 17.00
This young, semi-improvising power trio -- Tom Hasslan (guitars), Axel Skalstad (drums), and Jørgen Mathisen (saxophone) -- typify a new and invigorating movement currently sweeping across the Nordic region: hard boiled improvisation and strong instrumental personalities bolted onto rock beats and driving rhythms. Equally powerful on record and on stage, Krokofant pull no punches, sounding like some unholy three-way marriage of early '70s jazz rock (Mahavishnu Orchestra, Terje Rypdal, Ray Russell), the sprawling progressive odysseys of King Crimson and Henry Cow, and the fierce heat of Peter Brötzmann's harsh free jazz ensembles. If their 2014 self-titled debut (RCD 2154CD/RLP 3154LP) was a fresh breath of youthful energy, this follow-up shows a trio very confident in their abilities. They ally a strong discipline with wide, exploratory arcs; Hasslan's agile guitar and Mathisen's snaking sax are always fighting to break out, just held in check by Skalstad's tough, rhythmic tumble. Only 22 years old at the time of this release, the young drummer is something of a sensation, combining pure energy with superior technical skills. This is a trio in which you can hear the individuals pushing each other to new heights while keeping the solid group foundation intact. Originally performing as a guitar-and-drums duo, Hasslan and Skalstad met at a guitar shop in Kongsberg, a town in southern Norway famous for its annual jazz festival, where they developed a strong bond playing free music together. In 2012 they hooked up with Mathisen, who already had a reputation in musical circles after playing in groups like The Core and Zanussi Five. When the duo eventually decided to try to capture their unruly sound at the proudly analog Engfelt & Forsgren Studio in Oslo, they invited Mathisen to join them, and the group was properly born during the sessions that led to their self-titled debut. This studio, with Christian Engfelt in charge of recording and mixing, has proved perfect for capturing the essence of a group like Krokofant, so it was only natural that they went back for the second album. Real musicians captured playing together in real time -- you simply can't beat that when it comes to this kind of music!

RCD 2178CD

FIRE!: She Sleeps, She Sleeps CD (RCD 2178CD) 17.00
Fire! is a Swedish trio comprising Mats Gustafsson (The Thing), Johan Berthling (Tape), and Andreas Werliin (Wildbirds & Peacedrums), which came together with the idea of a fresh approach to improvised music drawing upon a number of influences from free jazz, psychedelic rock, and noise. Fire! is also these musicians' vehicle for rekindling their instrumental skills, playing outside their comfort zones, and collaborating with such prestigious guests such as Jim O'Rourke (Unreleased? (RCD 2111CD, 2011)) and Oren Ambarchi (In The Mouth - A Hand (RCD 2130CD/RLP 3130LP, 2012)). A parallel but no less powerful project is their gargantuan Fire! Orchestra, previously a 30-piece behemoth (now scaled down to a mere 18 piece) of a band that convened for the first time in January 2012 for a memorable concert. She Sleeps, She Sleeps, the trio's fifth album, is an intriguing cocktail of dark, brooding, hypnotic slowcore jazz. After providing live music for the long-running play Det flygande barnet at the Orionteatern in Stockholm in February and March 2015, Fire! were strongly inspired to return to the theater's amazing large industrial hall and set up the necessary studio equipment. As Gustafsson explains, "After two years of extreme activities with the Fire! Orchestra we felt an urge to record in a studio setting and to strip everything down; fewer instruments, acoustic instruments, down to the roots of it all -- raw, inyrface, beautiful. And with two amazing guests adding layers of poetic beauty: Oren Ambarchi on guitar and Leo Svensson on cello, She Sleeps, She Sleeps is where we are right now -- no return!" Mats Gustafsson: tenor, baritone, and bass saxophones; Johan Berthling: double bass; Andreas Werliin: drums and lap steel guitar.

RCD 2179CD

MOTORPSYCHO: Here Be Monsters CD (RCD 2179CD) 17.00
Since meeting in high school in the central Norwegian town of Steinkjer in the early 1990s, Motorpsycho's founding members Magnus "Snah" Ryan and Bent Sæther have embarked on musical progressions over multiple genres, with collaborations, occasional line-up changes, and the development of a global following -- not to mention numerous awards -- cementing their position as Norway's preeminent rock behemoths. Here Be Monsters is the zenith of the Norwegians' motorpsychodelic tendencies, with the emphasis on the blissful and melodic rather than their more hair-raising elements, but maintaining an intensity all its own. Here Be Monsters began as a commission for the centennial jubilee of the Norwegian Museum of Science and Technology in November 2014, and was originally performed with keyboardist Ståle Storløkken (Elephant9, Supersilent, Terje Rypdal, etc.). While Storløkken's commitments meant he had to pass on making an album out of it, Sæther, Ryan, and Kenneth Kapstad (drums) turned it into a full-blown Motorpsycho project. Recorded in 2015 at Trondheim's Nidaros Studio, the album contains five of the trio's own compositions -- the tantalizing piano intro "Sleepwalking" (and its brief reprise, "Sleepwalking Again"); the serene, beautiful "Lacuna/Sunrise" and "Running With Scissors"; the pulsing, pounding "I.M.S."; and the expansive and stunningly scenic 17-minute closer "Big Black Dog." Motorpsycho also felt it was the perfect occasion to record one of their favorite psych nuggets of old; their take on American band H. P. Lovecraft's version of Terry Callier's "Spin, Spin, Spin" adds a slightly sinister vibe to the old folk tune, which offsets and complements the grandiose, cinematic sweep of the trio's own songs. Co-produced, engineered, and mixed by long-time co-conspirator and fellow sonic explorer Thomas Henriksen, Here Be Monsters is Motorpsycho's most hi-fi, headphone-friendly music yet, taking the listener closer to the songs' themes. While the museum version focused lyrically on history and time, this revised version looks at other aspects of life; perhaps not a jubilant celebration of existence, but a personal take on the human condition. It is Motorpsycho taking a long look into the abyss, to drive the darkness out by accepting that it is real and true and a part of us all. "When you look long into the abyss, the abyss also looks into you" --Friedrich Nietzsche, translated from the German by Walter Kaufmann. "Better out than in" --Granny LeBad. "Here be monsters." --Motorpsycho

RLP 3173LP

ERIKSEN TRIO, ESPEN: Never Ending January LP+CD (RLP 3173LP) 22.00
LP version. Includes CD. First pressing of 500. The Espen Eriksen Trio, after worldwide tours that further refined their signature sound, present Never Ending January, their third album. Beautifully recorded and mixed at Propeller Studio in Oslo, the album focuses on typically Scandinavian elements such as folk music, melancholia, and the deep woods. In that respect it's fair to say that they belong to the same tradition as Tord Gustavsen and the late Esbjörn Svensson, even Jan Johansson in some respects, but without really sounding like any of them. But it's also fair to say that the trio's less-is-more approach is in stark contrast to many contemporary piano trios, with shorter tunes and a strong focus on melodic content. Pianist Espen Eriksen's musical background is varied, ranging from pop music to jazz and the church organ. He has played with top Norwegian jazz musicians like Bendik Hofseth, Mats Eilertsen, and Thomas Strønen, and was the pianist, arranger, and composer for singer Christina Bjordal for three years leading up to her international debut, Brighter Days (Universal, 2006). Bassist Lars Tormod Jenset lived and worked as a musician in Copenhagen for seven years before relocating to Norway in 2007. He is also a member of Hot n Spicy (Denmark/Norway), Bendik Giske Kvintett (Norway), and Rodent (Iceland). Andreas Bye is one of Norway's most-requested drummers in jazz and pop. He was a member of Bugge Wesseltoft's New Conception of Jazz and has played with John Scofield, Joshua Redman, John Taylor, Dhafer Youssef, Nils Petter Molvær, Håkon Kornstad, and many others.

RLP 3174LP

ELEPHANT9 WITH REINE FISKE: Silver Mountain 2LP+CD (RLP 3174LP) 26.50
Double LP version in gatefold sleeve. Includes CD. First pressing of 500. It's not often a jazz band takes the big step from the club scene to a 1300-capacity rock venue like Oslo's Rockefeller. But then again, Elephant9 is not your ordinary jazz band. Often cited as Norway's best live band -- surely quite rare for an instrumental band -- they are equally popular in jazz and rock circles. On this, their fourth studio album, Elephant9 once again join forces with Reine Fiske, the Swedish guitarist from Dungen and The Amazing, for an epic slice of mindblowing modern rock 'n' jazz prog psychedelia. Silver Mountain is their finest album so far, a work on which all the parts fall into place. The core trio is still Ståle Storløkken, Nikolai Hængsle Eilertsen, and Torstein Lofthus, three of Norway's finest musicians. Guest Reine Fiske brings another dimension to the band and is now so integrated that he might as well be considered a permanent member. Silver Mountain contains five tracks between 10 and 22 minutes; four originals, plus the most spaced-out version of "You Are the Sunshine of My Life" you're likely to encounter. Ståle Storløkken (Hammond organ, Fender Rhodes, Minimoog, Prophet t8, piano) is widely considered to be the most inventive keyboard player from the fertile Norwegian jazz scene, a reputation founded in his work with bands and musicians like Supersilent, Humcrush, Motorpsycho, Terje Rypdal, and countless others. Nikolai Hængsle Eilertsen (bass, acoustic guitars) is a long-time member of popular rock group Big Bang as well as Kjetil Møster's quartet Møster!. Torstein Lofthus (drums) is a versatile drummer who has done a lot of session work and played in jazz, soul, and rock bands, most notably Shining. Reine Fiske (electric and acoustic guitars) is a member of Dungen and The Amazing and has guested on two Motorpsycho albums. He is also heavily involved in the Swedish record label Subliminal Sounds.

RLP 3175LP

JONO EL GRANDE: Melody of a Muddled Mason LP+CD (RLP 3175LP) 22.00
LP version on mint-green vinyl. Includes CD. First pressing of 500. Jono el Grande is a self-taught composer, musician, conductor, painter, and prankster and remains an outsider on the far margins of the Norwegian experimental music scene. He released his debut mini-album Utopian Dances in 1999, a collection of absurdist instrumentals recorded at home using not much more than a workstation synth. 2003 saw the release of Fevergreens (RCD 2031CD), an album that drew upon classic progressive rock, film music, easy listening, and a variety of pop idioms and featured a nine-piece orchestra. The Wire noted that "the vitality of his writing keeps just the right uplifting balance between sweetness and acidity" and called it "a pleasant surprise." His following album, Neo Dada (RCD 2084CD/RLP 3084LP, 2009), was a masterstroke, brimming with creative ideas, odd turns, weird combinations of sounds and instruments, complex time signatures, and a healthy dose of pure musical joy, all mysteriously sugared with melodic hooks. The following albums, Phantom Stimulance (RCD 2106CD/RLP 3106LP, 2010) and The Choko King (RACD 107CD/RALP 307LP, 2011) were mostly made up of re-recordings, "lost" songs, pre-Fevergreens sketches, and various odds and ends, making Melody of a Muddled Mason the natural successor to Neo Dada. Some of Jono el Grande's finest songwriting can be found here, and he has refined his already considerable arranging skills to perfection -- just listen to "Bach's Beach" and the title-track for evidence. Jono el Grande lists movements like Rock in Opposition and the Canterbury scene and artists and composers like Frank Zappa, Stravinsky, Magma, Henry Cow, and Gentle Giant as sources of inspiration. With his releases and stage shows he has now established his own signature, with mature compositions, refined arrangements, improved guitar playing, and the introduction of subtle vocals.

RLP 3176LP

MOTORPSYCHO: Supersonic Scientists: A Young Person's Guide to Motorpsycho 2LP (RLP 3176LP) 26.50
Gatefold double LP version. The first-ever Motorpsycho anthology, released in conjunction with a 2015 retrospective exhibition at Rockheim, Norway's national museum of pop and rock music, in the band's hometown of Trondheim. For the first anthology since the band's formation in 1989, there are as many possible track selections as there are fans, and the band's selection for Supersonic Scientists: A Young Person's Guide to Motorpsycho will likely incite much discussion. Roughly containing one song from every studio album proper since 1993 as well as a couple of outsiders, this serves as an excellent introduction to newcomers and latecomers, but should also be of great interest to fans. Helge "Deathprod" Sten has remastered all the tracks from the original masters, and the non-chronological order makes for a natural flow and an intriguing trip through the Motorpsycho universe. This might even help shed new light on the music and make those who know these recordings well evaluate them anew, and perhaps even love them more. If that isn't enough, the anthology includes an up-to-date family tree, made official for the first time. All the songs were written, played, recorded, and produced by various Motorpsychos in various combinations with various other people in various studios at various times (see family tree and/or the original releases for details). In addition to the 15 studio albums these songs are selected from, Motorpsycho have released multiple EPs, live albums, and collaborative albums, and done projects that are as important to the band as the albums this music is taken from.

RLP 3177LP

KROKOFANT: Krokofant II LP+CD (RLP 3177LP) 22.00
LP version. Includes CD. First pressing of 500.

RLP 3178LP

FIRE!: She Sleeps, She Sleeps LP+CD (RLP 3178LP) 22.00
LP version. Includes CD. First pressing of 500.

RLP 3179LP

MOTORPSYCHO: Here Be Monsters LP+CD (RLP 3179LP) 22.00
180-gram LP version. Includes CD.



JACK RUBY: Hit and Run 2CD (CEC 002CD) 18.00
New lower pricing on this 2014 release featuring tracks performed in the HBO series Vinyl. The collected recordings of legendary lost 1970s New York City band, Jack Ruby. Seen and heard by just a precious few, Jack Ruby made only five studio recordings and played an equal number of gigs between 1973 and 1977. None of their music was ever released and, until now, they have existed solely as a word-of-mouth legend among peers. Yet their legacy and influence can clearly be heard in bands that followed in their wake like Sonic Youth and Teenage Jesus And The Jerks. They have been variously described as "The Velvet Underground in a car crash" and the "art-punk Steely Dan." Formed in 1973 by vocalist Robin Hall, guitarist Chris Gray, multi-instrumentalist Randy Cohen, classically-trained viola player Boris (also known as Boris Policeband), and later joined by bassist George Scott (James Chance And The Contortions/8-Eyed Spy/John Cale) and new vocalist Stephen Barth, the first incarnation of Jack Ruby demoed two tracks in a Times Square recording studio in 1974; their signature tune, the nihilistic proto-punk "Hit and Run" -- sounding like some unholy blend of Raw Power-era Stooges, Velvet Underground and J.G. Ballard's Crash -- and a bizarre number entitled "Mayonnaise," based around Boris' amplified viola and primitive electronic "beats" sequenced on Cohen's Serge synthesizer. These two cuts were used to hustle additional studio time from Epic Records through Sly Stone's A&R, Stephen Paley. Three more maniacal songs of arch art-punk with killer pop hooks -- "Bored Stiff," "Bad Teeth," and "Sleep Cure" -- were all recorded in one five to six hour session at Columbia Studios in May 1974. With Cohen patching musique concrète sounds through the Serge, set against Gray's banshee guitar-playing and Hall's snotty vocals, the Jack Ruby sound was formed. But a record deal evaded them. Cohen left and started a new career as a writer for Late Night With David Letterman and, later, as The Ethicist, a columnist for The New York Times solving readers' ethical problems. In 1976, Hall and Gray reactivated Jack Ruby as a live-performing unit with George Scott on bass. They played harder, faster and louder than any other band in New York at that time. Their rehearsals at Matrix studios, and dusk-to-dawn parties at the Bowery apartment behind CBGB's shared by Gray and Scott, became a cult draw for other NYC punk and no wave musicians. Hall quit the band unexpectedly in 1977, days before their first scheduled gig. Jack Ruby continued on as a power trio with Gray, by now the only original member, taking over vocal duties for a couple of shows alongside Teenage Jesus And The Jerks and the Fleshtones, before disbanding for good after one last riotous show with new vocalist Stephen Barth at Max's Kansas City, formerly stalking ground of the band's idols, The Velvet Underground. Hit and Run is a two-disc set of everything Jack Ruby recorded between 1973 and 1977 (across four incarnations of the band) that should see them acknowledged as one of the most radical and brilliantly original groups to emerge from the 1970s New York City music scene. Remastered from recently-discovered master tapes, the first disc collects all five of the band's studio recordings, which although 40 years-old still sound thrillingly urgent and modern, alongside a 1977 cassette of a band rehearsal, and a 2013 remix by producer Don Fleming. Disc two contains another side to Jack Ruby; a series of largely-electronic, avant-garde pieces from 1972 and 1974 -- nine short tracks that play like a library record, book-ended by two longer ones -- some of the earliest extant recordings made on a Serge synthesizer. What Jack Ruby left is a remarkable legacy of recorded music -- hidden for decades, now-revealed -- constituting a previously-unheard secret history of the New York City music scene of the early 1970s.



BRASSEUR, ANDRE: Lost Gems from the 70's 2CD (SDBAN 004CD) 34.50
You may never have heard of him, but unless you're a complete stranger to the 20th century, you have almost certainly heard at least some of his music. André Brasseur composed countless tunes that received plenty of airplay and were used as radio and TV music all over Europe in the late '60s and the '70s. His biggest hit, "Early Bird Satellite" sold millions internationally. This compilation focuses on a lesser-known aspect of Brasseur's musical output. In addition to his quest for the perfect intro tune, his innumerable live performances, and his management of several successful restaurants and discos, Brasseur recorded a great deal of experimental funky jams in the '70s. The most exciting and timeless of these lost cuts are compiled here -- 13 enchanting cult classics and hidden gems, ready to devour. The second CD contains some of Brasseur's most successful evergreens and hit singles, exclusive to the CD format of the collection. Includes liner notes by Jan Delvaux (Belpop Bonanza). Two-CD version includes 32-page booklet.



KLEIN, MICHAEL: Metals 12" (SNDST 016EP) 12.00
Michael Klein's Metals opens with the "Silver," keeping the pace with a persistent rush of momentum alongside slow yet infectious rises and vast ethereal cries. "Opaque" delivers off-kilter grooves with incredible force and exuberance, creating a contagious, sweat-laden exhilaration nothing short of pure warehouse bliss. "Outer Shell" is by far the most emotional and cosmic tune on the EP, with opulent melodics that construct beams of radiant light found only in the outer reaches of deep space. Slow-burner "Dura 2 (feat. aGhost)," which plays at 33 and 45 RPM, features chants and shimmers of lavish chimes.


SH 003LP

PONZA: Free Kids 12" (SH 003LP) 17.50
180-gram vinyl. Limited edition of 300. Ponza present their debut EP, Free Kids, drawing upon the lovely, peaceful echoes of the '60s and '70s to direct their independent spirit toward an optimistic future. As Güne? Akyürek's psychedelic home recordings met the drumbeats of Salih Topuz's colorful mind, the duo fearlessly experimented with traditional and modern recording techniques, using every analog and digital toy they could find to create a hi-fi record with a lo-fi spirit. Recorded in ?stanbul; mixed and mastered by Ça?an Tunal?. Güne? Akyürek: vocals, electric and bass guitars; Salih Topuz: drums.



ME AND MY DRUMMER: Love Is a Fridge CD (SINNBUS 060CD) 15.50
Force and intimacy: Me and My Drummer (Charlotte Brandi and Matze Pröllochs) present their second album, Love Is a Fridge. Hailing from Berlin, duo Me and My Drummer follow their highly respected 2012 debut album, The Hawk, the Beak, the Prey, which yielded the rebellious hit single "You're a Runner" and saw the duo play more than 150 shows across Europe and the UK. They also collaborated with such outstanding artists as Kat Frankie, Tale of Us, and Breton, before shifting their focus to their second album, recorded with producer Olaf Opal (The Notwist). With Love Is a Fridge, Me and My Drummer achieve new heights of captivating immediacy while maintaining their uncompromising style.


ME AND MY DRUMMER: Love Is a Fridge 2LP (SINNBUS 060LP) 21.00
White double LP version in shrinkwrapped and stickered thick paper gatefold sleeve with postcard. Contains one extra track. Includes download code for 320-kbps MP3s.



MURAL: Tempo 3CD (SOFA 547CD) 20.00
Tempo is a three-CD set recorded live during a four-hour performance by Mural at the Rothko Chapel in Houston, Texas, in 2013. Following the group's 2011 album Live at the Rothko Chapel, this release shows the group expanding into a much longer form. Mural consists of Australian windplayer Jim Denley and Norwegians Kim Myhr (guitar) and Ingar Zach (percussion). They first performed in 2007 in Madrid, and have performed live around the world since. The trio has released two critically acclaimed albums. After two successful concerts at the Rothko Chapel and a CD on the Chapel's own Rothko Chapel Productions, the trio visited the Chapel for the third time in April 2013. Wishing to challenge traditional concert formats, they decided to play a four-hour long performance in the Chapel. The result was so satisfying to them that they decided to release the music as a three-CD set. This is an expansive and patient form of music, far beyond any traditional entertainment formats. In an abyss of time, Mural's music is not only elevated to another level; one could say that in these long durations, it finally comes into its own. Rothko's paintings in the Rothko Chapel can be seen on the front cover of the release. Jim Denley: wind instruments; Kim Myhr: 12-string guitar, zither; Ingar Zach: gran cassa, percussion.


ROWE/JOHN TILBURY, KEITH: Enough Still Not to Know 4CD (SOFA 548CD) 29.00
Enough Still Not to Know is a four-CD set with music by John Tilbury and Keith Rowe, produced by visual artist Kjell Bjørgeengen for a video installation. The music is improvised, but it is quite evident that the two artists have developed a strong understanding throughout their five-decade-long collaboration. Keith Rowe and John Tilbury are especially known from their work in the Scratch Orchestra and AMM with Cornelius Cardew. Tilbury is also known as one of the foremost interpreters of Morton Feldman's piano music. In recent years, both musicians have been working with texts by Samuel Beckett; Tilbury has made music and text-based performances of a number of Beckett's latest works (including Worstward Ho (1983), Stirrings Still (1989), and What Is the Word (1989)), while Rowe's work draws inspiration from Beckett, where his music is totally stripped down so that only the core remains. This influence, as well as Bjørgeengen's instruction to make a kind of music that musically and conceptually works with dissolution and unification, combined with long sections of silence, has produced surprising results. This unique musical manifesto from these two legendary figures in experimental music includes a booklet with liner notes written by Tilbury, Rowe, and Bjørgeengen. Keith Rowe: guitar, electronics; John Tilbury: piano.



WHITE LIGHT: Parable CD (SOMM 027CD) 17.00
First reissue; licensed from the original band members. Remastered sound. Includes liner notes and photos. Formed in Glasgow in the early '70s, White Light were not an ordinary Xian rock band; influenced by the explosive sound of The Who, the hard blues of John Mayall's Bluesbreakers, and even Black Sabbath, their live performances across the country featured heavy rock sounds, howling feedback, phased lighting effects, and commitment to the real enjoyment of rock music. They were formed not to play in churches, but to take the message to the rock generation in loud clubs, halls, and big rock venues. In 1972, they were finalists in a national rock competition organized by Melody Maker magazine. This event encouraged the band to enter the studio for the recording of their first album. The ultra-obscure Parable was originally released as a private pressing in 1974 (it's featured in Hans Pokora's 7001 Record Collector Dreams book with the maximum rarity rating). Housed in a mysterious cover, the music is Xian hard psych straight from the garage with lots of raw fuzz guitar and Vox Continental organ. Combining hard rock with heavy blues and dreamy moments, it features the monster sidelong track "Prodigal," which has to be heard to be believed.



VACANT LOTS, THE: Departure CD (SCR 080CD) 15.50
2014 release. Departure, by the Burlington, VT, duo of Jared Artaud and Brian MacFadyen, follows acclaimed singles on Mexican Summer and The Reverberation Appreciation Society as well as an appearance on the 2013 Psych For Sore Eyes EP, recognized as a landmark in the burgeoning new psychedelic movement. Departure was mixed and mastered by Spacemen 3 legend Sonic Boom at his studio in Rugby, England (his previous credits include Panda Bear, Peaking Lights, MGMT, and Wooden Shjips). The key element of the almost primitive rock 'n' roll songs on Departure is their boundless energy, which tears up the psychedelic rock template with a genuine punk spirit. Combine that with the use of synths and drum machines, and it's not surprising that the band has won over Suicide's Alan Vega, with whom they collaborated in 2015. Another famous friend is former Galaxie 500 and Luna frontman Dean Wareham, who plays guitar on "Tomorrow."


ST 006LP

180-gram vinyl. Replica cover. A 1950s exotica classic that stylistically defines the genre "space age pop." The era of manned space travel began in 1959, but in musical terms, composers had been exploring interplanetary vistas for centuries. Russ Garcia's accomplishment was to merge compositional sophistication and the technology of the modern transistorized recording studio with cleverly created special effects. From the first track of 1958's Fantastica, "Into Space," Garcia sets the controls of interstellar overdrive and never looks back. His pan-galactic portraits shuttle the listener from planet to planet, as moods shift from mysterious to exhilarating. In Garcia's own words, "... it was one of the first science-fiction record albums. We had no computers to make effects, so I recorded a musical saw struck with a soft mallet; blew a straw into gelatin water; vibrated a kitchen off the edge of a table; tapped woods blocks; hit a long while moving a microphone from the center to the edge. I recorded these sounds at different speeds, some of them backwards through feedback echo. Then I wrote them into the orchestral score."


SR 402CD

KARKOWSKI/JEAN-LOUIS HUHTA/LARS AKERLUND, ZBIGNIEW: A Bird in the Hand Is Worth Two in the Bush: The Last Recordings, Sweden, November 2013 2CD (SR 402CD) 18.00
Zbigniew Karkowski's last recordings. This set should be seen not so much as a tribute to Zbigniew Karkowski (1958-2013), but as an ongoing concern to further his work and thinking as they were when he was alive, reacting, and questioning, uncompromisingly. Nevertheless, these are his final recordings, which he made -- in a homecoming of sorts -- in Sweden, at EMS Elektronmusikstudion in Stockholm, with his friends Jean-Louis Huhta and Lars Åkerlund in April and late November 2013. The meeting was something of a reminiscence from the 1980s creation of the Radium 226.05 label by Carl Michael von Hausswolff, with their brotherhood intact. Places where he became what he was. The first recordings and the last ones -- after having taken over the world. And from there, again, he decided to head out to sea, to the Amazon, taking control of the final hours of his destiny. And that will be the topic -- if destiny allows it -- of another adventure. For nothing stops and everything carries on under guises no one could possibly have imagined.

SR 419CD

KUPPER + HOSSEIN MALEK, LEO: Santur: Orient/Occident CD (SR 419CD) 15.50
This disc offers two approaches to an ancient instrument called the santur. The first, by the Iranian master musician Hossein Malek, consists of improvised pieces recorded by his friend Leo Kupper in the '80s, representing a unique and valuable archive. The second is Kupper's Western approach as a student of Malek, filtered through undetectable electronics. Includes 24-page booklet. "The santur is a stringed instrument in the same family as the Appalachian hammered dulcimer, the Chinese yangqin, or the East European cimbalom. These instruments consist of sets of tuned strings laid out in a kind of flat, rectangular resonating box, played with various implements including ornate wooden hammers and even bird feathers. These gorgeous-sounding instruments are capable of great delicacy in terms of touch and offer a wide palette of harmonic possibilities. It is thus perfectly suited to be a lead instrument in the classical music that has been handed down from what was once the Persian empire. The music of Iran is modal in nature, based on complex systems known as dastgah. Hossein Malek is one of the country's virtuoso players on the santur, known for breathtaking improvisations from the dastgah, driving his accompanists on the sheepskin drum called the tombak into knuckle-cracking fits of propulsion." --AllMusic



JEBANASAM, PAUL: Continuum CD (SUB 006CD) 15.50
Continuum emerges as a crystallized vision deploying sound to explore the spectrum of life, power, and energy present in the universe. Creating a speculative soundtrack to a timeline stretching from the primordial emergence of organic life through to the unknowable trajectory of the universe, it explores the magnitude of science's reach and the precarious role of humanity within this vast, evolving system. The compositions adopt the central premise of mirroring celestial events, algorithmic action, and cellular behavior, fusing these with a defiant tonal grandeur and an ever-present sense of chaos. The album sits at a meeting point of fiction, composition, and philosophy, considering how the past, present, and unknown future could be consolidated and perceived on both human and non-human terms. Examining whether the conditions that support life and the digital and atomic mechanisms that surround it can continue to work together as one ecology in the face of dynamic and unpredictable change.


SV 052CD

FLESH EATERS, THE: Forever Came Today CD (SV 052CD) 19.00
"In the wake of the star-filled A Minute To Pray A Second To Die, The Flesh Eaters' frontman Chris D. assembled a leaner, meaner band to deliver his next unbound vision. Forever Came Today, the group's third full-length album, was originally released on Ruby Records in 1982 and features Don Kirk on guitar, Robyn Jameson on bass, Chris Wahl on drums, Steve Berlin on sax and Chris D.'s unmistakable voice. 'My Life To Live' and 'Shallow Water' are masterfully wrought punk tunes, reverberating with heart-wrenching vocals that turn on a dime from desperate whispers to blood-curdling screams. 'Drag My Name In Mud' dives deeper into full-throttle rock demonology, bluesy primeval swagger and obsessive imagery, inspired in equal parts by William S. Burroughs and Edgar Allan Poe. This first-time reissue has been carefully remastered and comes with lyric sheet. Forever Came Today is the perfect introduction to The Flesh Eaters' dark sense of humor and positively bleak form of rock 'n' roll."

SV 086LP

COLEMAN, ORNETTE: To Whom Who Keeps a Record LP (SV 086LP) 24.00
"In the late 1950s, Ornette Coleman set the jazz world on fire. From his own unique playing style to his fundamental deconstruction of harmony and complete rethinking of group performance, Coleman at once confounded critics and inspired a new generation. This revolutionary music eventually became known as free jazz, but Coleman's influence extended well beyond -- into avant-garde rock and art circles -- and today his name is synonymous with artistic freedom. Originally released in Japan only, To Whom Who Keeps A Record collects outtakes from Coleman's legendary Atlantic period, sessions from Change of the Century and This Is Our Music that are as emotionally transfixing as intellectually rigorous. Featuring the classic quartets with Don Cherry, Charlie Haden, Billy Higgins and Ed Blackwell, this collection is striking for its brilliant compositions and scorching solos. The song titles themselves lay out Coleman's central philosophy: 'Music always brings goodness to us all. Unless one has some other motive for its use.' This first-time vinyl reissue includes liner notes by Byron Coley."

SV 100LP

MARKER, CHRIS: La Jetée LP (SV 100LP) 24.00
"'This is the story of a man, marked by an image from his childhood.' Thus begins, with deceptive simplicity, Chris Marker's La Jetée (1962). The film, by far Marker's bestknown work, synthesizes many of the elusive filmmaker's central preoccupations -- time and memory, power and resistance, the ephemerality and resilience of love -- yet it also undermines the very idea of film. Composed almost entirely of still photographs, La Jetée quite literally pieces together the tale of an unnamed, forsaken protagonist, drafted into a series of time travel experiments in post-apocalyptic Paris. While Marker creates some of the most hauntingly beautiful imagery in cinema, what animates La Jetée's frozen pictures is its sparse and unsettling soundscape. Whispers, breaths and heartbeats offer an unnerving reminder of bodily rhythms that, inside the film and out, will inevitably cease. Fragments of symphonic music at once capture a love affair and underscore the tragedy awaiting it. The poetic momentum of the narrator's voice, our only guide: 'On the tenth day, images begin to ooze, like confessions.' Superior Viaduct is honored to present the first-time release of the soundtrack from La Jetée. This vinyl album features both French and English voiceover narrations, along with organic textures and Trevor Duncan's impressionistic score. More than half a century has passed since La Jetée's theatrical release -- now is the time to travel back to the 'sudden roar' of this masterpiece in a completely different light."



NURVE: Cabana EP 12" (TEC 091EP) 14.00
The mysterious Nurve follows his 2014 debut (TEC 079EP) with four crunching darkside cuts, conjuring the spirits of Ed Rush & Optical circa the late '90s. The EP opens with "Pyromaniac," a mesmerizing, bewitching, entrancing, delirious homage to the beauty of fire. "Brain Sugar," a collaboration with Caski, takes the mood deeper with mystical vibes and meticulous tech-heavy programming. The dancefloor-focused "Cabana" hits hard while holding true to the palette of the EP as a whole. Closer "Drugs Don't Work" takes a disintegrating trajectory over a broken rhythm.



THIRD WAVE TRAX: Third Wave Trax 12" (TWT 002EP) 14.00
The feverish Third Wave Trax series continues . . . limited colored vinyl.



VA: Tiptop Audio Records Various Artists 002 2LP (TTAR 002LP) 23.50
The second release from Tiptop Audio Records attests to the label's commitment to developing a nuanced sound set, with a lineup of well-respected artists interested in expanding their compositional techniques through modular synthesizer systems. Ten modular techno tracks that reconsider the concept of sound design as applied to electronic club music, by Matt Lange, Angle, Joao Ceser, Markus Fix, Black Shape, Drumcell & Luis Flores, Hubot, Florian Meindl, John Tejada, and Scanner. Features original artwork (including a poster and a sticker) by Italian artist Matteo Giampaglia, with handmade lettering by Caterina Scardillo.



VA: The International Vicious Society Vol. III LP (UOVR 003LP) 21.00
Limited edition of 500. Reissue of the third volume in the crazy International Vicious Society series, out of print since 2007 and now quite difficult to find. Collates a worldwide mixture of painfully obscure crud-a-phonic dance craze platters from the '50s and '60s for a brilliant and bonkers concoction of exotica, teenbeat, and international nonsense novelties. Lurch-eriffic teen crazes and totally daffy mix-'n'-match foreign-language tracks that'll make your eyes and ears alike pop just like corn. If you need something new to listen to after you've worn out yer Las Vegas Grind and Jungle Exotica records then this is for you! This platter will liven up any ole party. Long live the University of Vice. Includes tracks by Geval Trio, The Ruby's, Los Beatniks, Marfil y Morales, Jimmie Haskell, Kemal Rachid, Dante and the Evergreens, Burt Blanca, Jimmy Walker, Isa Novo, Luis Enriquez, Nick Killer, The Black Shadows, The Weedons, Los Matemáticos, and The Spacemen.


VA: The International Vicious Society Vol. 4 LP (UOVR 005LP) 21.00
Limited edition of 500. Reissue of the fourth volume in the crazy International Vicious Society series, out of print since 2007 and now quite difficult to find. Collates a worldwide mixture of painfully obscure crud-a-phonic dance craze platters from the '50s and '60s for a brilliant and bonkers concoction of exotica, teenbeat, and international nonsense novelties. Lurch-eriffic teen crazes and totally daffy mix-'n'-match foreign-language tracks that'll make your eyes and ears alike pop just like corn. If you need something new to listen to after you've worn out yer Las Vegas Grind and Jungle Exotica records then this is for you! This platter will liven up any ole party. Long live the University of Vice. Includes tracks by The Daniels, Les Diables Noirs, Spede Pasanen, Raoul Guillaume, Conjunto Misterio, Carlos Roman, King Kennytone, Les Fingers, The Crazy Birds, Sincron, Eduardo Araujo, Charlie, Yolanda Dey, and Sasha & Vilda.



MINT JULEP: Broken Devotion CD (UNSEEN 009CD) 15.00
On their second album, Broken Devotion, Portland-based duo Mint Julep instill their lush and gauzy, synth-centric brand of pop music with a raw and powerful emotionalism. The follow-up to their 2011 debut Save Your Season (VG 001CD) (praised as "melodically sophisticated and dreamy " by the NME), Broken Devotion came to life over the course of four years, with Mint Julep reaching an unprecedented level of lyrical precision while easing into more lavishly textured, intricately layered arrangements. Throughout Broken Devotion, multi-instrumentalist and producer Keith Kenniff (also known for his work as ambient indie-electronic act Helios) and his wife Hollie Kenniff (Mint Julep's vocalist and lyricist) explore the many bright and dark dimensions of love, a tension that's masterfully embodied on the album's title-track. Urgent yet ethereal, "Broken Devotion" blends driving rhythms and hazy guitar tones as Hollie's hypnotic vocal work achingly captures the unraveling of a romance. Lead single "White Hot Heart," meanwhile, emerges as an airy and shimmering, synth-laced number that's timeless in melody. Also featuring a gorgeously sprawling cover of When in Rome's late-'80s new wave hit "The Promise," Broken Devotion finds Mint Julep shifting from the frenetic energy of beat-driven tracks like "Incinerate" to the downtempo drama of songs like "Slow Spiral" with an uncommonly delicate grace.



DAVIS, BETTY: This Is It! 2LP (VAMPI 055LP) 25.50
2016 repress; double LP version. 2005 release. The former wife of Miles, Betty Mabry Davis is perhaps the only woman in the world who could rightfully have the following legend tattooed across her rear: THIS ASS INVENTED FUSION. While their marriage only lasted a year (1968-1969), Betty pointed the way to Miles, introducing him to the musical and material gods of revolutionary style: Jimi Hendrix and Sly Stone, which would have an enormous impact on his electrified musical Frankenfusion masterpiece known as Bitches Brew. Betty ruled as the mentor-muse for the original man and his music. She was a woman with the strength of a Black Panther, a "nasty" woman in total control, but unfortunately for Betty, America was not yet ready to embrace a woman with such an explicitly sexual persona. She had a much rougher edge to her music than other female funk and soul artists of the '70s. Betty Davis' is one of the most extreme sounding debut records of the decade, which just like Bitches Brew takes equal parts inspiration from Hendrix and Sly. One critic aptly described their sound as something like a cross between Tina Turner, Funkadelic, and Sly & The Family Stone. Add the futurist fashion sense of David Bowie, and the flair of Miles Davis, and you have quite a cocktail. This is the best of Betty Davis' three much-sought albums.


ELIA Y ELIZABETH: La Onda de Elia y Elizabeth LP (VAMPI 160LP) 16.50
2016 repress; LP version. Includes "Todo en La Vida", the track featured in the Netflix Narcos series, "an ode to patience propelled by a yearning riff that wouldn't have been out of place in a Gainsbourg perv-jam").The recordings that the sisters Elia and Elizabeth Fleta made, hand-in-hand with music arranger Jimmy Salcedo in the early '70s in their native Colombia, remained hidden like lost pearls in the undervalued musical pop history of Latin America until today. Their concise and natural mix of styles sways between soft-pop with a touch of tropical-pastoral funk, singer-songwriter sweetened by the subtle perfume of Caribbean music and the psychedelia of a world in the midst of discovering all the possibilities offered by the recording studio. These elements blend graciously and fortuitously, brimming with freshness, in a perfect partnership of sharp melodies with lyrics inspired by a genuine juvenile curiosity about life's mysteries, love and nature in its simplest forms. Elia and Elizabeth Fleta Mallol were born in Bogotá by chance. Their parents were both from Spain but met and got married in Barranquila, and soon after moved to Bogotá. Their father, Miguel Fleta, was the son of the renowned tenor of the same name. Given the family's musical history, the sisters were fully supported and motivated by their parents, who bought them acoustic guitars and encouraged them to take lessons. Mr. Fleta's work would take them to Cali, back to Barranquilla, Lima, and finally Madrid and Barcelona in 1971. In Spain, Elia y Elizabeth were invited to a televised homage for their famous grandfather and were heard by composer and musical arranger Juan Carlos Calderon, who had previously worked with their aunts, the popular duo of sisters Elia and Paloma Fleta. Immediately, he invited them to record under his direction two songs in the studio of the Zafiro label from Barcelona. The chosen songs were "Cae la lluvia" and "Fue una lagrima," two of Elia's compositions. Both songs were released on a 45rpm single, although it lacked any kind of promotion given that, yet again, the Fleta family was about to move back to Colombia. Back in Barranquilla, after performing at a charity event with their friends from the Bakarett Blues Band, the sisters were heard by Graciela Arango de Tobon, a wealthy lady and composer who recommended them to Alvaro Arango. The latter was the musical director of Codiscos, subsidiary of Zeida, a label with headquarters in Medellín which was looking for a female duo with the characteristics of the Fleta sisters. After hearing them sing over the phone, Mr. Alvaro traveled to Barranquilla the next day, where he formalized his intention to record the duo. Soon after, Elia and Elizabeth were in the studios of Codiscos in Medellín. Humberto Moreno, head producer, entrusted the musical arrangements and direction to the pianist Jimmy Salcedo, a Mompox native. A talented and charismatic musician from the bohemian and jazz scene in Bogotá, Salcedo was a former member of The Be-Bops who had become a TV interviewer and started his own band, La Onda Tres. The support of Jimmy Salcedo and his band contributed to the Fleta duo becoming regulars in the local media. During their meteoric career, the sisters were the winners of the Coco Festival in Barranquilla, the recipients of the Principe de Oro -- an award given by the eponymous radio station -- and were nominated for the Onda Award as the best new band of 1972. A second LP appeared the following year and the TV shows continued weekly, leaving Elia less and less time to devote to her studies, which she was most interested in. She decided to talk to her family and explain to them her desire to stop her television performances and instead completely devote herself to her university education in music pedagogy. Elizabeth, meanwhile, understood and accepted her sister's decision and also quit the world of entertainment. Includes a booklet with liner notes by compiler Carlos Icaza and photos from Elia Fleta's personal archive.


CORTIJO: The Ansonia Years: 1969-1971 CD (VAMPI 166CD) 17.50
On May 7, 1970, Rafael Cortijo met a group of lifelong friends in New York City to embark on a musical journey back to his Afro-Caribbean roots. For the first time ever in a recording venture, the famous Puerto Rican percussionist, leading ambassador of bomba and plena music since the '50s, decided to express the raw essence of his repertoire of island rhythms, stripping them of orchestration with the idea of recreating in the studio the drumming fiestas he'd enjoyed as a boy in the Santurce neighborhood of San Juan, Puerto Rico. He was accompanied by fellow percussionist (and partner on this production) Francisco "Kako" Bastar and singers Rafael "Chivirico" Dávila (lead vocals) and Ismael Rivera (chorus), the outstanding artists of Latin music at that time, who had also grown up with Cortijo in the streets of San Juan. The result of this legendary session was the 1970 album Ritmos y Cantos Callejeros by Cortijo y Kako y Sus Tambores, an essential contribution to the sonorous vitality and sense of identity that preceded the salsa boom in New York and the Caribbean. While a new generation of immigrants of Latin origin, mostly Puerto Ricans, took their drums to Central Park and out onto the streets of the Bronx to make their way in New York, Cortijo and his friends chose to reclaim the immense wealth of their Puerto Rican drumming heritage, as well as the link between this legacy and popular music of the day. Yet Cortijo was hardly a folklorist; he always adopted an approach more pragmatic than orthodox, and on Ritmos y Cantos Callejeros, as on all of their bomba and plena recordings, Cortijo and Kako use mostly Afro-Cuban percussion instruments (congas, timbales, and bongos), which they considered more suitable than their Puerto Rican equivalents such as traditional bomba barrels and plena panderos. Cortijo recorded two more LPs between 1969 and 1971, Noche de Temporal and Volumen 2; all three were released on the Ansonia label. Noche de Temporal and Volumen 2 emphasize the dialogue between Puerto Rican and Cuban styles, with the outstanding participation of the Cuban musician Javier Vázquez, first known as the pianist for La Sonora Matancera, and then as one of the leading arrangers for the salsa produced in New York in the '70s. The Ansonia Years gathers the best recordings from this trio of albums, with most tracks reissued here for the first time.


VA: Czech Up! Vol. 1: Chain of Fools CD (VAMPI 167CD) 17.50
Czech Up! Vol. 1: Chain of Fools is Vampisoul's first collection of gems from the vaults of the Czech Supraphon label, which has been continuously active since the early 1950s. While it has always been highly esteemed by music connoisseurs for its excellent classical music releases, Supraphon's pop, rock, and jazz music catalog is less known internationally, although it's in fact even larger, comprising around 60,000 unique tracks. It also incorporates the complete back-catalog of Panton, another Czechoslovak label launched in 1967 that existed independently until the late 1990s. Czech Up! Vol. 1 highlights a collection of tracks that were originally released in Czechoslovakia between 1966 and 1978 on the Supraphon and Panton labels. Vampisoul's Iñigo Munster chose several psychedelic freakbeat favorites, while Lukás Machata of the Funky Czech-In website, an expert on Czechoslovak music, selected a variety of grooving soul, jazz, and pop nuggets. Many of these tracks have never been reissued before. Machata, a longtime sound engineer and graphic designer, is also responsible for the carefully processed digital remasters, the retro-style cover artwork, and the liner notes. The compilation ranges from the fuzz-soul of Komety, the lush downtempo disco of Bezinky, the Afro-influenced pop of Eva Pilarová, and Jazz Cellula's fierce funk through the Gondolán Brothers' gypsy beat introducing Jitka Zelenková, the frantic garage rock of Blue Effect, Flamengo, and George & Beatovens, to schlager music star Karel Gott's atypical R&B outing, Mahagon's hypnotic fusion jazz-funk, and a rousing "Barbarella" interpretation by incomparable idol Waldemar Matuska. Czech Up! Vol. 1 also includes a well-known classic by the Golden Kids supergroup of Václav Necká?, Marta Kubisová, and Helena Vondrá?ková, as well as accomplished vocal acrobat Karel Cernoch's rendition of Stevie Wonder's "Uptight (Everything's Alright)" and Michal Prokop's confidently soulful Framus Five combo. The collection digs out undeservedly neglected bijoux by the graceful Helena Blehárová with the Gustav Brom Orchestra, the almost avant-gardist Petr and Jan Spálený from Apollobeat, ex-Matadors shouter Viktor Sodoma, Pavel Novák and his Vox group, trumpet virtuoso Václav Týfa with Josef Vobruba's all-star jazz-rock ensemble Konstelace, Discobolos, Josef Laufer & Their Majesties, The Bluesmen, jazzman Karel R?zi?ka with the Ferdinand Havlík Orchestra, the funky Flamingo group featuring Petr N?mec with Marie "Lady Soul" Rottrová, and psychedelic pop band Atlantis, fronted by siblings Hana and Petr Ulrych. Grooves you can dance to, songs you can chill to, breaks you can rap to... 25 tracks you simply must hear.


VA: Czech Up! Vol. 1: Chain of Fools 2LP (VAMPI 167LP) 25.50
Double LP version.



OUR MUTUAL FRIEND: Punta Christo 12" (VDR 009EP) 15.50
London techno duo Our Mutual Friend (Glenn Middleditch and Mark Leigh) present their debut EP. They're primarily known for their label Mutual Friend Recordings (which made a splash in 2015 with a strong EP from STL) and their monthly Friends of Ours night in Peckham, which has allowed them to hone their live set alongside guests like Jane Fitz and Juju & Jordash. Punta Christo consists of three diverse but complementary tracks; "Punta Christo" is an atmospheric club-ready anchor, "Reverse Polarity" is a rolling bass-and-tom workout, and "Smell of Rain" is a psychedelic slow burner.



FINAL CUT: Deep into the Cut 2LP (WCEC 012LP) 33.00
First complete vinyl release of the 1989 debut album by Detroit industrial techno group Final Cut, produced by Jeff Mills and Anthony Srock. Recorded prior to Mills's departure from the project, Deep into the Cut marks a significant moment in the convergence of the classic industrial aesthetic and the emerging sound of Detroit techno. This reissue serves as a window into this unique moment, evoking both the transgressive spirit of European industrial music and the raw militant power of early Underground Resistance. The album declaims a message of sonic urgency across its 11 tracks, and still stands as a landmark statement of the industrial techno sound. Remastered in Berlin by Rashad Becker, this edition presents the full album as a double vinyl release for the first time.



Facta and K-Lone's Wisdom Teeth imprint delivers another split 12" of hybrid sounds, with three individually stepping, swinging, subtly tripping, dubbed-out, twisted, sub-low, UK-rooted technoid mutations.


XI 137CD

Ulrich Krieger's /RAW:ReSpace/ is the first ever experimental noise-metal saxophone solo album, changing and redefining how the saxophone can sound and what saxophone playing means. No saxophone player has ever dared to explore these uncharted outer realms of woodwind expression. RAW brings together noisescapes, electronica, death- and doom-metal approaches, and contemporary instrumental composition techniques, while ReSpace combines soundscapes of dark ambience and controlled feedback with a reductionist approach to create eerie ambient sound-fields. All sounds are saxophone-produced and performed live, with no sampling and no purely electronic sounds. RAW and ReSpace are part of the ongoing Universe series. Krieger is well known as a saxophone player in the worlds of rock, noise, contemporary composition, and free improvised music, and as a composer of chamber music and electronic music. He has been active in pushing the boundaries of saxophone playing in general and the function of the saxophone in rock and noise in particular, collaborating with Lou Reed (Metal Machine Trio, Lou Reed Band), Lee Ranaldo (Text of Light), Faust, and Zbigniew Karkowski, in addition to leading his own death-doom-noise-metal band Blood Oath. His original compositions vacillate between just intonation, silent music, noise, and instrumental electronic, often asking for elaborate amplification, and exist in the abysses of rock culture, refusing to accept stylistic boundaries. In his distinct style of amplified saxophone playing, Krieger processes refined acoustic and quasi-electronic sounds, using his saxophone more as an analog sampler than a traditional finger-virtuoso instrument. By amplifying his instrument in various ways, he gets down to the grains of the sounds, changing their identities and structures from within. Ulrich Krieger: electric tenor saxophone, saxophone-controlled feedback, pedals, delays, ¼-inch jack cable, vocals; Joshua Carro: drums (CD 1 tracks 3 and 5). In his liner notes, Ivar Bjørnson of Enslaved writes, "When Ulrich introduced his 'acoustic electronic' concept, there was another door blown wide open, and another glorious field of pure expression revealed. There is an openness, and a level of abstraction to the music that leaves room for 'me' to exist within the music; I can bring my own associations, patterns and inner visuals -- and let it blend, mutate and morph into the intended delivery from the artist. The acoustic element in Ulrich's music makes the sonic reality deeper, as the organic qualities of acoustic-to-electronic resonate with the mind and flesh in a way electronic-to-electronic cannot."


ZE 001CD

VA: N.Y. No Wave CD (ZE 001CD) 16.00
2016 restock of this 2004 release. The resurrection of the classic No Wave label of the late '70s/early 80s is finally fully in place. This opening volume features historic tracks from: James White & the Blacks, Lizzy Mercier Descloux, Lydia Lunch, Suicide, Mars, Rosa Yemen, Teenage Jesus & The Jerks, The Contortions, Arto/Neo, James Chance & Pill Factory. The absolute best of the Ze catalog. Deluxe fold out digipak with 16 page booklet of liner notes/photos. "In the late seventies the No Wave bands created their own apocalyptic soundtrack of New York, self critical, riddled with arrogant doubts, these «brats» were their own worst enemies as well as their own best friends. Self-destructing and parodic chaos was the name of the game, playing the wrong note at the right time. No Wave music explored the original amateurism and anarchy of punk rock but took it further into a cubist brain game, rejecting the formulaic rhythms of rock and roll and the verse/chorus organization. Loose experiment, freaky amalgam of free-jazzer, Sun Ra, Ayler, Captain Beefheart, Velvet Underground, old root of black music. A perfect Psycho World Music. This compilation is a wild echo chamber of artiness and primitivism pushed to the extremes,deliberately unpretty and atonal with garage bands equipments. Alhough they barely receive credit, Suicide (singer Alan Vega and keyboardist Martin Rev) is the source point for virtually every synth pop duo that glutted the pop market place (especially in England) in the early 80s. Without the trailblazing Rev and Vega, there would have been no Soft Cell, Erasure, Bronski Beat, Yaz, Depeche Mode, you name 'em. Lydia Lunch from Teenage Jesus and the Jerks is a satanic Betty Boop, schyzo-Lolita whining and screaming boredom, sarcasm, romance and perversity, a dark sex kitten, porcelain skin poetess. The band is raw flesh, two string guitar, snare drum crashing and James Chance on sax, scary as a snake charmer dude on mescaline. Teenage Jesus is a pure object of blasphem, sex misery, surgical anger and aural terror. Rosa Yemen was a strange minimalistic combo creating soundtracks for guerilla movies that never existed using samples of Antonin Artaud screaming speeches or the hoarse agony of an African man digging soil. Mars stands as a cosmic marriage of surrealistic poetry and Beckett's void, wonderfully bizarre and disturbing, slow motion, jerhythmsthms, raw jaw power. Arto - Neto is a comet tail project of Arto Lindsay and Seth Tillett. James Siegfried, aka James Chance and the Contortions, aka James White wanted to be the most sensational and controversial act in NY.The group overall concept was simply funk minus pop harmony. The songs followed most dance-music conventions steady bass lines and drumbeats, soul derived syncopation, but totally out of control. The band played on frustration, tension, on making people angry and it worked. Pill Factory was another experimental project combining, James Chance, Arto Lindsay, Bradley Field and Georges Scott around Grutzy Elvis, the film featuring Anya Philips by underground guru Diego Cortes."

ZE 002-ACD

VA: Mutant Disco Volume #1 CD (ZE 002-ACD) 16.00
2016 restock. U>Mutant Disco compilation, originally released in 2003 as a 2CD release, has now been separated at birth into two separate volumes (002A, 002B) of power-packed, explosive post-wave, post-punk, post-disco disco music. From 1978 to 1983 in New York City, a rare breed of label exploded in vibrant neon-color to forever change the perception of and push the limits to the definition of disco. The dancehall that was home to Ze's Mutant Disco revolution was ready to burst over the top with a perverse blend of over-the-top musical spectacular to complement the grainier, more underground pop. Mutant Disco acknowledged that disco was as absurdly adventurous and radical as anything emerging from rock orthodoxy. Disco alchemists like Arthur Russell and Larry Levan, labels like West End and Prelude subtly "discolated" the norm in as spectacular a way as The Pop Group and A Certain Ratio, Rough Trade and Factory. Ze's original Mutant Disco compilation came after the label's first few years of quiet artistic defiance, steadily releasing records from the U.S. and French underground resistance. The artists housed on this compilation became absolute Ze staples: Was (Not Was), Material & Nona Hendryx, Cristina, Kid Creole & the Coconuts, Aural Exciters, James White & the Blacks, Lizzy Mercier Descloux, Garçons, Don Armando's 2nd Av. Rhumba B. and Gichi Dan.

ZE 004CD

DESCLOUX, LIZZY MERCIER: Mambo Nassau CD (ZE 004CD) 16.00
2016 restock. First readily available CD issue of Descloux's 2nd album, originally issued in 1981 by Phillips (France). With 5 bonus tracks (including Arto Lindsay on 1 track). Fold-out digipak packaging, 16 page booklet of liner notes/photos. "After touring to promote Press Color, her debut album, with a funk band, Lizzy Mercier Descloux travelled to Europe with companion-film-maker Seth Tillett. They worked in Italy on a serie of short films where she played Anna Magnani, Suzanna Agnelli, filmed Renzo Rossellini at Cinecitta about the Emerginati movement, met Federico Fellini during the filming of Cita della donna, discovered the label Ocora (traditional music from all around the world) and with all this in mind started writing songs with help of drummer Bill Perry. In Paris they auditionned many African musicians cause after wild child funk the idea was to make a record malaxating african roots music, french buzz vocals, albatross swing and some bizarre soundtracks. The record was made in Nassau, Bahamas at Compass point, Island Records studios under kindness support of Chris Blackwell. Walli Badarou who worked there as a house musician with Sly Dunbar and Robbie Shakespeare, joined Lizzy's band. Steve Stanley a young engineer from Jamaica who was also working on Grace Jones's album, produced the sound, he later also produced Tom Tom Club, Third World and lots of Island records. Mambo Nassau was all instinctive pulsations, improvized energy. Each song is an attempt to mix the urban vibes of city like New York, raw tempo and acrobatic drum beats, african harmonies, hirsute guitars, heavy pulse of bass lines, anachronistic chants, derisive laughter, a blissfull ignorance of the rules of good taste. Music to snatch and glean with a big black sun in the middle of it. World music was not in the cards, it was a step by step adventure, everyday was a surprise, an uncompromizing ride, a motherfucking hot stew and they had the ocean to get lost. Eric Clapton, who was recording next door, showed Lizzy his legendary guitars and she sang him an Edith Piaf song. Nassau is an island for Les millionnaires, drug center, casinos, American ladies looking for sex but Lizzy and the band lived like hermits in the studio, outside Lee Perry was talking to his tree and that was the best omen for a record. Fireflies music."

ZE 005CD

WAS (NOT WAS): Out Come the Freaks CD (ZE 005CD) 16.00
2016 restock. First reissue of this 1981 debut album. "Don Was (Donald Fagenson) & David Was (David Weiss) grew up in the musical and cultural thrall of Detroit, raised on the timeless soul of Motown artists as well as on such anarchic rockers as the MC5 and the Stooges. According to legend David and Don became friends when both were ratted on in an 8th grade gym class incident in suburban Detroit. Their debut album was released in June 1981 in the UK, Was (Not Was), was immediately recognized as a wildly unique confabulation of R & B, funk, rock and theater of the absurd. Referred to by one early published account as 'The Beat That Devoured Detroit, the funk-mutation experiment that wrecked the lab and boogied off into the night,' Was (Not Was) brought more than just a whacked-out-yet- utterly danceable sensibility to pop music. It also introduced the listening public to such striking musical voices as frontman Sweet Pea Atkinson, the former Detroit auto worker whose rich vocal qualities recall Otis Redding or Sam Cooke. Following release of their first self-titled album in the summer of 1981, the daft Out Come the Freaks reached the disco top 20. The smooth dance sound of 'Tell Me That I'm Dreaming' broke them into the dance top 5 in early 1982. The Was (Not Was) sound could often be mistaken for classic R & B with a dance beat if not for topical and sometimes overtly nutty lyrics. Shattering the imaginary divisions between 'black music' and 'white music', Detroiters David (Weiss; sax, flute, keyboards, vocals) and Don (Fagenson; bass, keyboards, guitar) Was use undated soul and funk as a flexible backdrop for their alternately serious and sarcastic commentary. The historical problem with a lot of dance music has been its rabid dissociation from intellect; more than almost any other group, Was (Not Was) obliterates that gap. The first album's material, while drawing on such familiar sources as Grace Jones and Stevie Wonder, blends in enough humor and cleverness to make virtually every song an original gem, including the disco hits 'Out Come the Freaks' and 'Tell Me That I'm Dreaming' (which includes mutilated found vocals by Ronald Reagan). The remarkable cast of players is a disparate mix of rock and funk. In addition to the welcome sounds of Sweet Pea and Sir Harry, the album was stocked with a wickedly confusing assortment of guest stars. It featured Mitch Ryder, Ozzy Osbourne, Doug Fieger of The Knack -- and most remarkably -- rock hating jazz singer Mel Torme. Ozzy was dragged into the studio to record the vocals for 'Shake Your Head' for which the 'brothers' had originally used Madonna as vocalist. But Don was not convinced that anyone outside of New York would ever hear of her... President Nixon was apparently asked to play piano for '(Return To The Valley Of) Out Come The Freaks', but refused. In the USA, for some inexplicable reason the record was issued with side two as side one. Although fans were once again bowled over by the band's irresistible beat and genre-bounding eclecticism, the group proved to be a marketing nightmare -- too rock to be thought of as an urban act, and yet too urban to be thought of as a rock band. To be continued..."

ZE 006CD

WAS (NOT WAS): (The Woodwork) Squeaks CD (ZE 006CD) 16.00
2016 restock. First release of this compilation of original Was (Not Was) extended 12" mixes and remixes. "It's not hard to understand why Michael Zilkha & Michel Esteban's ZE Records and the whole punk-funk, disco-not-disco thang of the early 80s has been rediscovered by a new generation looking for their own answers to music's eternal mind-body problem. ZE offered a seductive vision of the world where style collided with substance, where deconstruction made a reconciliation with melody and hooks, where groove embraced distortion, where punk's outcast geek was transformed by the fairy godmother of disco into a 'Halston, Gucci... Fiorucci' clad suavecito with a social conscience and a brain... Left to their own devices, Was (Not Was) were like The Bonzo Dog Band, the Merry Pranksters and Gang of Four on a New Orleans funeral parade led by Parliafunkadelicment. On their extended remixes, though, their music became more streamlined and honed down to a razor smoothness. The remix process and the dancefloor forced Fagenson and Weiss to focus on one idea rather than the 30 they had running around their heads. Their wild eclecticism was restrained as was their tartness. Where most remixes are created simply to get more bodies on to the dancefloor, the mixes collected on (The Woodwork) Squeaks actually shed light on the messages of the songs rather than merely their grooves. Of course, the goal of the best dance music is to get you to think with your entire body and that's exactly what Was (Not Was) succeeded in doing. After all, it's not merely the détourned words of Ronald Reagan that let you know that 'Tell Me That I'm Dreaming' is not your ordinary hands-in-the-air disco stomper; it's the astringent guitar riff, the dub alienation, the comedic voices, the sibilant hi-hat that would soon become the hallmark of house music." --Peter Shapiro, London December 2003

ZE 007CD

WHITE & THE BLACKS, JAMES: Off White CD (ZE 007CD) 16.00
2016 restock, originally released in 2004. Definite reissue of this No Wave classic, originally issued in 1979. Previous reissues of the Contortions and James White albums on Infinite Zero have been deleted for the better part of a decade. These are all officially sanctioned by the originating label, Ze Records; packaged in fold out digipaks, with deluxe 20 page booklets. The 21st century has produced a new generation of young contenders of all kinds, who have, within months, spread a new string of names across the planet such as The Rapture, Playgroup, LCD Sound system, Liars, Yeah Yeah Yeahs, Radio 4 and the likes, just to name a few. Once again the heat was initiated in NYC, even though its Lower East Side epicenter 'cleaned up' by Giuliani and Bloomberg, has moved a few blocks east and across the river to Brooklyn and Williamsburg. It might be wise to remind the younger ones among us that the origins of this new musical cycle is for the most part rooted in the No Wave movement of which James Siegfried aka James White, aka James Chance is undoubtedly one of its most prominent figures. New York City was hands down the artistic telluric center of the second half of the 20th century, especially from the 70's, on. Rising from the ashes of the Velvet Underground, a slew of local bands redefined the aesthetics of rock'n'roll which the merchants of the temple hastened to rename under various designations, such as punk, new wave, no wave, jazz-funk or even disco and disco-punk without forgetting to mention the original Electro designation pioneered by the band Suicide. One of the indispensable and emblematic figures of the mid-'70s is of course James Chance.

ZE 012CD

CRISTINA: Sleep It Off CD (ZE 012CD) 16.00
2016 restock. First CD reissue of the 2nd and final Cristina album, originally issued in 1984. Deluxe foldout digipak reissue, with 6 bonus tracks. Produced by Don Was, with guest musicians including Marcus Melgrave & James Chance. "The singer fared better with her next collaborator, Don Was. 'It's completely in keeping with the ZE philosophy to put two extremely disparate elements together, and see what happens,' says the producer. Sleep It Off was a masterpiece, from its unsettling Jean Paul Goude cover, to the haunting acoustic ballad 'He Dines Out on Death.' In between, Cristina snarled the Sex Pistols-ish 'Don't Mutilate My Mink' ('We should've given John Lydon a writing credit,' says Was), the electro-funk of 'Ticket to the Tropics,' and a raucous romp through Van Morrison's 'Blue Money.' Her rendition of 'She Can't Say That Anymore' proved so sublime, hardly anyone realized it was a reinterpretation of 1980 country hit; 'I found the song very evocative of screen doors, mosquitoes and sweat, Deep South depravity.' 'The one thing that pop music has lost lately is its sense of irony,' Cristina lamented when Sleep It Off dropped in 1984. 'People either write dumb-funny novelty songs or dead-earnest serious songs. There's nothing around that combines elements of both. There's none of the real wit and self-humor of anyone from a Bertolt Brecht to a Cole Porter or an early Dylan.' 20 years later, Sleep It Off's producer, Don Was, still holds Cristina in the highest esteem. 'I didn't fully realize it at the time, but she achieved a certain artistic ideal. Sleep It Off is an incredibly honest representation of what she was about. Twenty years later, I've learned that that's what you want to do when you produce an album: Take a snapshot of somebody. Certainly, there were exaggerations -- everyone is more complex than they can express in a three-minute song -- but Sleep It Off is as accurate a portrait as Nick of Time."

ZE 014CD

VA: Mutant Disco #3: Garage Sale CD (ZE 014CD) 16.00
2016 restock. In 1981, when ZE Records first published the vinyl LP Mutant Disco there were only 6tracks on it. In 2003, when I decided to relaunch the label that Michael Zilkha and myself founded in New York in 1978, I transformed this mini album into a double CD with 25 tracks. It was as if Mutant Disco had become a style of its own in which musicians from different cultures and nationalities could find common ground. Between 1978 and 1983 in New York City, music from a wide range of styles developed based on a common denominator -- you could dance to it. The title of "garag"' comes from "Paradise Garage, " the now mythical club at 84 King Street, which was one of the focal points for New York gay and disco culture for 10 years (1977-1987). The turntables were under the magic touch of Larry Levan, one of the pioneers of NY Dance Music that some began calling garage, while his childhood friend Frankie Knuckles did pretty much the same in Chicago where certain people began to call his style House music. Larry Levan also promoted open and eclectic musical sources and many DJs today have drawn inspiration from this. The Sound System at Paradise Garage developed by Larry and Richard Long was reputed to be the best in NY. Many producers would test their mixes on the dance floor at the Garage. Many of the remixes at ZE, especially those by August Darnell were first played at the Garage before being produced. Larry remixed for August and Kid Creole & The Coconuts: 'Something Wrong in Paradise,' which certainly has its place in this third volume of Mutant Disco. In addition to this remix, Garage Sale includes several jewels from the ZE Records' back catalogue: the long play version of the sublime 'Dream Baby Dream' by Suicide; a remix of Alan Vega's 'Outlaw' by August Darnell; 'Techno-Freaks' by Junie Morrison, founding member of Funkadelic who brought out an excellent album, 'Evacuate Your Seats,' on ZE in 1983; a mix by Don Was of 'What's a Girl to Do' by Cristina. Don was also involved in the production of 'Dance or Die' by Sweet Pea Atkinson from his solo album Don't Walk Away (ZE Records 1982). Also present are 'Man Vs The Empire Brain Building' from the second album by Was (Not Was) for ZE in 1982, "Born to Laugh at Tornadoes" and "Read My Lips," another production by the Was (not) brothers under the pseudonym of 'A Thousand Points Of Night.' There is also the underground classic 'He's The Groove' by Snuky Tate, released on ZE in 1979 as a single and 12" single, plus the classic 'No Time to Stop Believing in Love', by Daisy Chain, in the international version. There are two excellent tracks from Ron Rogers, a very active member of the ZE dream team in the early 80s. Ron also took part in the sessions with Aural Exciters, Bob Blank's After Hours Party Band, with 'Maladie d'Amour.' As Kevin Pearce wrote in the liner notes to Mutant Disco Volume 1 & 2: "Yes, the urge to let our imagination run riot, and the need to dance to twisted sounds remains. The Mutant Disco, the haunted dancehall will never close down.



ZEITKRATZER/KEIJI HAINO: Stockhausen: Aus den sieben Tagen CD (ZKR 019CD) 15.50
The third collaboration between Keiji Haino, one of the most prolific artists of the Japanese experimental/noise scene, and the critically acclaimed zeitkratzer ensemble, comprising stunning interpretations of Stockhausen compositions. When Keiji Haino heard zeitkratzer rehearsing for their Stockhausen performance at the Ruhrtriennale festival, he spontaneously decided to join the group for that part of the program, in addition to the collaborative performance that was released in 2014 as zeitkratzer + Keiji Haino (ZKR 018CD) and Live at Jahrhunderthalle Bochum (KR 017LP). In the Stockhausen performance, Haino focuses on his voice while zeitkratzer creates the instrumental environment, applying their amplified extended techniques and unique skills as musicians. The ensemble proves its outstanding quality once again, having already earned its reputation with recordings of works by Throbbing Gristle, John Cage (ZKR 009CD, 2010), Alvin Lucier (ZKR 011CD, 2010), and Lou Reed (Metal Machine Music) (ZKR 016CD/KR 016LP, 2014) and collaborations with Carsten Nicolai aka Alva Noto (ZKR 004CD, 2008), Terre Thaemlitz (ZKR 005CD, 2008), and others. Aus den sieben Tagen features five pieces from Stockhausen's collection of 15 text compositions, composed in May 1968 in reaction to a personal crisis. Stockhausen characterized the pieces as "intuitive music" -- music primarily played by intuition rather than by the intellect of the performer(s), without a single defined note. zeitkratzer and Keiji Haino demonstrate beyond any doubt that they know how to use this free interpretive space. zeitkratzer, directed by Reinhold Friedl: Frank Gratkowski, clarinet; Hild Sofie Tafjord, French horn; Hilary Jeffery, trombone; Reinhold Friedl, piano; Maurice de Martin, drums and percussion; Marc Weiser, acoustic noise; Burkhard Schlothauer, violin; Anton Lukoszevieze, violoncello; Ulrich Phillipp, double bass. Keiji Haino, voice.


Reinhold Friedl and his zeitkratzer ensemble perform Friedl's Kore, an homage to Greek-French composer Iannis Xenakis. A natural advancement of Friedl's composition Xenakis [A]Live!, released in 2007 by Asphodel, Kore was conceived for nine amplified instruments, demonstrating zeitkratzer's well-established tradition of instrumental amplification (e.g. its early collaborations with Zbigniew Karkowski and Merzbow and its 2010s collaborations with William Bennett of Whitehouse (including ZKR 017CD/KR 019LP, 2014)) in which amplification not only makes things louder but also offers a microscopic perspective on sound that situates acoustic microsounds in a completely new context. References to seminal Xenakis tape compositions like Persepolis and La Légende d'Eer are audible in the materials, textures, densities, and sound masses performed by zeitkratzer, with a physical quality that creates a huge sonic architecture. Recorded live in January 2013 during the klub katarakt festival in Hamburg, Kore adds a stunning chapter to zeitkratzer's audacious catalog and a new sort of intensity to contemporary chamber music. This zeitkratzer lineup includes Frank Gratkowski, winner of the German SWR Jazz Prize; Norwegian French horn player Hild Sofie Tafjord, also known for her noise duo with Maja Ratkje; British trombonist Hilary Jeffery, who has toured with Jimi Tenor among others; Marc Weiser, cofounder of Berlin's CTM Festival; and bassist Martin Heinze, from the Berlin Philharmonic orchestra. Rashad Becker was responsible for sound and recording. zeitkratzer, directed by Reinhold Friedl: Frank Gratkowski, clarinet; Hild Sofie Tafjord, French horn; Hilary Jeffery, trombone; Reinhold Friedl, piano; Marc Weiser, guitar; Maurice de Martin, drums and percussion; Burkhard Schlothauer, violin; Anton Lukoszevieze, violoncello; Martin Heinze, doublebass. Mixed and mastered by Ralf Meinz.

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