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Forced Exposure New Releases for 3/21/16

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New music is due from Mmoths, Guy Andrews, and Starwalker, while old music is due from Sand, Current 93, and Six Organs of Admittance.


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DIMINISHED MEN: Vision in Crime LP (ABDT 056LP) 16.00
Distorted through a shattered lens, Diminished Men refocus hard-boiled cinema and classic instrumental music into something entirely unique. Vision in Crime, their third LP on Sun City Girls' Abduction label, unfolds like a paranormal detective story full of delinquent exotica, deranged noir, hyperventilating surf, and shortwave radio nightmares. Opening number "Chamber," an apparition of a forensics crime scene investigation, sets the tone but quickly spirals into the cobra-twilight guitar work of Steve Schmitt on the Aegean Sea-inspired espionage-surf track "Oistros Dolorous." From here the band's mutant lounge carnage weaves through sinister cityscapes and plazas, kudzu-infested forests on the avant-spy jazz of "Kudzu Mine," lost island noir, hallucinatory gamelan rock, and phantom radio dispatches. By the time that mickey sets in, the title-track, a hauntingly gorgeous ballad, closes out the album. Diminished Men possess dangerous musical minds pulsing with nervous electricity, shattering Fender reverb, explodo-free jazz, and gorgeous, sometimes romantic melancholy. Featuring Steve Schmitt on guitars, drummer Dave Abramson (Master Musicians of Bukkake), and Simon Henneman on Bass VI. Vision in Crime includes special guest recording appearances by saxophonists Skerik (Critters Buggin, Garage a Trois, Wayne Horvitz) and Neil Welch (Bad Luck, King Tears Bat Trip). Limited edition of 500.


AC 8019CD

On October 18, 1970, John Hartford, Joni Mitchell, and Pete Seeger shared the stage for the TV special Gentle on My Mind, broadcast on KCOP-TV in Los Angeles. The 12 tracks on this CD include five spotlighting Hartford, five featuring Mitchell, and a couple sung by Pete Seeger. Of special interest is a six-minute version of "Both Sides Now" that includes a verse Seeger wrote and sang especially for this performance, as well as a rare Mitchell cover of Bob Dylan's "Mr. Tambourine Man." The complete audio from the broadcast is presented here in professionally remastered sound with background liners and rare archival photos.

AC 8034CD

LINDLEY & EL RAYO-X, DAVID: Live at The Bottom Line, New York City, 1981 CD (AC 8034CD) 17.00
Having made his name with psychedelic fusion pioneers Kaleidoscope in the late '60s, this virtuoso guitarist played with Terry Reid and Jackson Browne the following decade, before embarking on a solo career as the '80s dawned. Broadcast on WNEW-FM, this brilliant live set with his band El Rayo-X at The Bottom Line in New York City on June 30, 1981, includes "Brother John," his tribute to John Lennon, as well as two tracks featuring his longtime collaborator Jackson Browne. The complete broadcast is presented here in digitally remastered sound with background notes and images.



M AX NOI MACH: On The Edge LP (ALT 025LP) 22.00
Philadelphia native and arch noise provocateur M Ax Noi Mach aka Robert Francisco presents On The Edge, his first full-length LP since 2010's In The Shadows. Recorded once again with the help of Arthur Rizk (Prurient, Power Trip, Cold World, et al.) at Salomons Gate in 2014, this record chronicles some of M Ax Noi Mach's heaviest, most intense recordings to date; their minimal, bare immediacy comes from primal desires brought to a boiling point in the US city he calls his home. "M Ax Noi Mach has always been a primal endeavour," Francisco told Noisey in 2015, "and it definitely comes from a private place. I've always had a fire inside of me; I've always had a feeling that I've had to release. Pure intuition. Pure rage, the animal let out of the cage." Musical touchstones on this eight-track album move from Nurse With Wound through Prurient and SPK. It's an unholy, clamorous din spewed up from the bowels of hell. It's the industrial trepanning of your psyche. The crunchy distortion of "Walking At Night," album highlight "Second Glance," and "Indulgence" deal in anguished, hateful vocals, with words spat out like flames of fury. Then there's the relentlessly abrasive drone of "Surrounded," the muted, glossolalia-like mutterings of "American Child," and the warped synth poetics of "White Heat"; all in all, a visceral, brutal record that absolutely refuses to let up. The shadowy Robert Francisco has been a vital artist in the US underground since the late 1990s. He has done time in the power electronics unit Angeldust as well as Veiled (with Arnau Sala of Exoteric Continent and the Anòmia label.) But M Ax Noi Mach is the nexus of his poetic, visual, and sonic pursuits; his discography stretches back to 1999 and his immensely powerful live show has won the project legendary status in electronic music circles across Europe and the US. The defining principle of M Ax Noi Mach's sound is that it has resisted easy genre categorization, remaining a singular rock through waves of American underground culture; in it, the shattered pieces of several strategies of urban, extreme musics cohere in a way that only Francisco can envision.



ALTER EGO: Soulfree/Lycra 12" (AER 027EP) 14.00
Alter Ego (Roman Flügel and Jörn Elling Wuttke) present the first vinyl single on their own Alter Ego Recordings. Drawing on their entire back catalog, their label is dedicated to classic material, previously unreleased material, forgotten gems, and brand-new remixes. This 12" contains two Alter Ego classics remixed by Luke Slater in 1993 and 1994. His remix of "Soulfree" employs a Basic Channel-style sound design with dubbed chords and a full-bodied bassline. His slamming remix of "Lyrcra" has been in the bags of Sven Väth and Andrew Weatherall; its cascades of flanged sounds drift in and out alongside no-nonsense drums and percussion.



DWARVES/SVETLANAS: Dwarves/Svetlanas Split 7" (ALTREC 041EP) 10.00
"Dwarves and Svetlanas combine forces for a 7 inch vinyl limited release of pure punk fury! In your face cover art and content from two of the world's most dangerous bands. Pressed on white vinyl."



VA: Senegal 70: Sonic Gems & Previously Unreleased Recordings from the 70's 2LP (AALP 079LP) 27.50
140-gram double LP version. Includes 12-page LP-sized booklet. Analog Africa, in partnership with Teranga Beat (the current leading label for Senegalese music), proudly offers an insight into the musical adventures that were taking place in the major Senegalese cities during the '60s and '70s. This compilation reflects the unique fusions of funk, mbalax, son cubano, and Mandingue guitar sounds that transformed Dakar into West Africa's most vibrant city. The creation of Senegal 70 began in 2009 when Teranga Beat founder Adamantios Kafetzis travelled from Greece to Senegal to digitize the musical treasures he had discovered in the Senegalese city of Thiès -- reel tapes recorded by sound engineer Moussa Diallo, who had spent the previous four decades immortalizing bands that performed in his legendary Sangomar club. Three-hundred Senegalese songs that nobody had ever heard before were discovered; five of them were selected for this compilation, and appear alongside seven other tracks from the era, all compiled by Analog Africa founder Samy Ben Redjeb in cooperation with Kafetzis. Thanks to its history of outside influences, Senegal -- the westernmost country in Africa -- became a musical melting pot. Urban dance bands swiftly embraced son montuno from Cuba, jazz from New Orleans, and American soul tunes, intuitively merging them with local styles. The seminal Afro-Cuban group Star Band de Dakar formed in 1960, and the 1970s brought a new generation of stellar bands, including Le Sahel, Orchestre Laye Thiam, Number One de Dakar, Orchestra Baobab, Dieuf-Dieul de Thiès, and Xalam 1, who fused traditional Senegalese percussion instruments with organs and keyboards. Dakar soon began attracting international stars. The Jackson 5, James Brown, Tabou Combo (Haiti), Celia Cruz (Cuba), and an array of African stars like Tabu Ley Rochereau (Congo), Manu Dibango (Cameroon), and Bembeya Jazz (Guinea) joined in with the local scene, improvising jam sessions and bringing new flavors to the vibrant community. Featuring biographies of music producers and a legendary record cover designer, as well as the life stories of all the groups represented here, the booklet also includes a fantastic selection of never-before-seen photos. Includes tracks by Fangool, Orchestre G.M.I - Groupement Mobil D'Intervention, Orchestre Bawobab, Le Sourouba de Louga, King N'gom et Les Perles Noires, Orchestre Laye Thiam, Amara Touré et le Star Band de Dakar, Le Tropical Jazz, and Gestü de Dakar.



APOLLONIA: Tour a Tour Remixes 1 12" (APO 022EP) 15.50
French DJ and producer trio Apollonia (Dan Ghenacia, Dyed Soundorom, Shonky) follow their 2014 debut album, Tour à Tour, with the first of three EPs featuring remixes of the album's tracks. Charles Webster brings a totally invigorating energy to the heartfelt "June," transforming the track into a light, leftfield-leaning soundscape with smooth washes of synth and tinkling percussion. Thomas Melchior delivers an abstract rework of "Mouche Tsé Tsé," full of odd sounds and clattering drums.


APOLLONIA: Tour a Tour Remixes 2 12" (APO 023EP) 15.50
French DJ and producer trio Apollonia (Dan Ghenacia, Dyed Soundorom, Shonky) follow their 2014 debut album, Tour à Tour, with the second of three EPs featuring remixes of the album's tracks. Fellow Parisian Terence :Terry: aims straight for the dancefloor with his mesmerizing mix of "Sona"; a groove-led production, it relies on a hefty bassline, crisp percussion, and a heady set of pads. New York siblings The Martinez Brothers remix of "El Senor Vador" into a siren-heavy, bubbling, dancefloor-primed cut. Edward flips "Haight Street" into a smooth, rolling piece of a groovy, dreamy house music.



MANNERFELT, PEDER: The Swedish Congo Record CD (AICD 004CD) 17.50
This adventurous album finds its roots in a very obscure 78 rpm record put together by Belgian filmmaker Armand Denis, who was one of the first Europeans to capture the incredible sounds of Central Congo. These recordings were published in 1950 as The Belgian Congo Records. When Peder Mannerfelt came across this record he was immediately intrigued by its sonic complexity. His initial idea was to use the original album as a sample source, but this concept was quickly abandoned and Mannerfelt decided to recreate the album using only synthesizers. By re-sculpting the album, and reshaping its original musicality into a wild electronic universe of his own, Mannerfelt pays tribute to the traditional folkloric meanings of the dances. The nature of this tribal music pushed Mannerfelt to further explore the unique sense of rhythm he's known for as a member of Roll the Dice and as a solo artist.



DANILOV, ALEX: Noises EP 12" (ARMA 012EP) 14.00
Alex Danilov, notable DJ and producer from Yekaterinburg, presents the Noises EP. Three originals and a reshape by Fred P (Black Jazz Consortium). Having been welcomed at diverse clubs throughout Russia and Europe, Alex Danilov has all the experience needed to know how dance music works. His own productions are about sustaining deep, mystic atmosphere within signature low-pass rhythms. Artwork by P. Kuznetsov.


AU 3010CD

SIGNORILE, MIRKO: Waiting for You CD (AU 3010CD) 20.00
Italian jazz pianist Mirko Signorile's listeners are used to his elegant, somehow minimalist expressiveness, to his recognizable pianism, and to his dancelike tunes, both winding or frenzied. His trio album Waiting for You is a mirror that reflects Signorile's current image, with classic jazz in the background, ranging from "Moon River" to "I'm Getting Sentimental Over You." "After years of works based on original compositions, I just wanted to dive in the pure pleasure of playing," says Signorile. "Standards are this to me: a land I can feel at ease when wandering in." This feeling of enjoyable loosening appears in the first track, a lively rendition of "I'm Getting Sentimental Over You" that immediately presents a musical conversation with Marco Bardoscia (double bass) and Fabio Accardi (drums) while walking in the past. A brilliant, passionate, swing-driven approach leads the trio's interpretations, as well as the original compositions (the persistent "In the Secret", the mellow "Waiting for You," and the amber-shaded "Wind of Sand") inspired by the golden years of jazz. The essential arrangements guarantee a more effective result, allowing the band members all the freedom they need to follow their own musical paths without restrictions. Starting from the laid-back title-track -- a tribute to the happiest sense of expectation, making it a dreamy moment of hope -- which also holds the melodic strength of the album. This is where the musicians' ability to tell their stories arises. They are both key element in Signorile's intentions, as he explains: "Marco Bardoscia and Fabio Accardi are two musicians I love for their open-minded approach while playing their instrument. I think they both have heart, emotion and cleverness. I knew I could achieve something fresh and surprising by having them in a mainstream project."


AU 1002LP

RUSSELL, ARTHUR: World of Echo 2LP (AU 1002LP) 30.00
2016 restock. "Arthur Russell's most extraordinary work, World of Echo is reissued in this remastered vinyl edition by Audika Records. 18 tracks are featured including drumless versions of his disco classics 'Let's Go Swimming,' 'Tree House,' and 'Wax The Van' along with four previously unreleased tracks. Originally released in 1986, World Of Echo is a deeply intimate and meditative work of awe-inspiring grace and remains a timeless work of sublime beauty. Arthur's aim was to achieve what he calls 'the most vivid rhythmic reality,' with just cello, voice, and echoes. Arthur achieved all of this and more on one of the most incredible albums you will ever hear."



Limited hand-numbered edition of 300. NTSC region-free DVD with 60-page paperback book (290mm x 220mm). Ground is an audiovisual performance in which Dewi de Vree and Jeroen Uyttendaele use graphite drawings as a control interface for several electronic instruments, thus rendering the acoustic tactile. Fascinated by ways of rematerializing an increasingly dematerialized and idealized world, they produce work that can be seen as an attempt to approach electronic music in a more intuitive, engaging manner. Using graphite, a material that conducts electricity and is used in everyday variable resistors, they compose drawings that figure as the interface that controls the volume, pitch, and amplitude of the piece. As the drawn lines stretch, intersect, or encounter foreign conductive elements -- such as the hand -- the sound is either modulated or becomes warped. The result is a performance that blends senses together or juxtaposes them, as it creates tension between the unpredictable, aleatory qualities of the graphite and the order of lines that the performers impose upon it, forming the rudimentary score of the piece. The Ground book collects 51 of these graphite drawings, presented with text by Hicham Khalidi, and is accompanied by DVD containing a video recording of Ground performed live by the artists at Studio Loos in The Hague, Netherlands, in July 2014. Jeroen Uyttendaele (born 1981) is an artist interested in sound as a sculptural element and in its relation to light, space, time, and the audience. This manifests as the development of audiovisual instruments, installations, and sound compositions. His works often exploit basic properties of technology, such as conductivity, as tools for expression. Dewi de Vree (born 1983) is a multimedia artist based in The Hague who deals with the sensual experience of physical experiments. Building upon her background in the visual arts and her fascination with the interaction between man and machine, she makes translation machines, sound interfaces, performances, and installations. Examples of her work include works based on the physicality of electricity, electrochemistry, thermodynamics, and electromagnetism. She is involved in the Villa K experimental music venue in The Hague, the Instrument Inventors Initiative (iii), and Proefjeslab, an interactive science show for children created with Arno Verweij. Ground is a co-production of iii and audioMER. made possible by the support of the Creative Industries Fund NL. Camera operated by Takeuchi Toshi. Sound by Matteo Marangoni. Edited by Matteo Marangoni and Jeroen Uyttendaele.


BEC 5156267

MMOTHS: Luneworks CD (BEC 5156267) 17.00
Irish electronic musician Jack Colleran aka Mmoths created his debut album, Luneworks, during a period of personal upheaval. He headed out to a friend's tiny spare room in LA with only a laptop and a few changes of clothes for an intense month of nocturnal 12-hour writing and recording sessions. Colleran isolated himself in order to keep the songs as pure as possible; the quiet of the city at night was a real inspiration, and the constraints of an alien environment proved something of a liberation. The ancestral, ethereal spirit of Ireland is also present throughout Luneworks. Kevin Shields (of My Bloody Valentine), one of Dublin's most famous sonic outliers, is a noted influence -- another musician who has wrung sweet emotion out of chaotic noise. Luneworks is a fully immersive head-trip; an album that is at times brutal and at others unbearably beautiful, sometimes within a single track. Luneworks is a mirror for the soul -- a gorgeous, wordless expression of unedited, unfiltered emotion, heralding the arrival of one of the most important electronic artists of his generation. CD in embossed three-panel digipak with sticker.


BC 004-7

BACAO RHYTHM & STEEL BAND: Love Like This/Dog Was A Doughnut 7" (BC 004-7) 8.50
"With their highly anticipated debut full length 55 hitting in early May, Bacao Rhythm & Steel Band hits us with another killer two sider 7" sure to be in every DJ's box. The A side is an incredibly catchy cover of Faith Evan's smash hit 'Love Like This'. Instantly recognizable from the first note they work their way through the tune in proper BRSB fashion. Advance 'Test Press' copies were sent to tastemaker DJs across the globe, the results have all been the same. This one is a dance floor killer and has crowds captivated and curious. The B side is a gritty punchy interpretation of the classic Cat Stevens tune 'Dog Was A Doughnut'. BRSB really pushing the genre envelope with this one, using steel pans on an otherwise dark electro backdrop sprinkled with killer open drum breaks."



ABSTRAXION: Resonance (Matrixxman/Fort Romeau/Massimiliano Pagliara Remixes) 12" (BIO 022EP) 14.00
After a series of releases on HAKT Recordings and Nicolas Jaar's Other People and a collab with Kasper Bjørke, Abstraxion returns to his and DC Salas's Biologic Records, celebrating the label's 2015 ten-year anniversary. From a peak-time techno remix by Matrixxman to a house rework by Fort Romeau and a disco-infused version by Massimiliano Pagliara, the three remixes that follow Abstraxion's "Resonance" here EP not only represent the label's diverse sound but also Abstraxion's own productions and ever-evolving style.



MEMOTONE: Chime Hours LP (ACRE 008LP) 29.00
Bristol-based multi-instrumentalist and producer William Yates aka Memotone returns with the bleak, beautiful Chime Hours, following his stunning debut album, I Sleep. At Waking (ACRE 004CD). A master of 11 instruments, Memotone comes from a family of artists and grew up on a diet of grunge, minimal classical, and electronic music. Yates is also an illustrator and film music composer (his work includes a soundtrack for a horror series produced by Eli Roth), occupations that run deep within his avant-garde productions. Creating an otherworldly state of mind with sonic soundscapes, the album's roots twist around rural horror, techno, and classical sounds mixed with field recordings of archaic seasonal ceremonies. From the spiraling darkness and crackled techno pulse of "Poison Arrow" to the ghostly melodies and brutal electronics intersecting on "All Collapsed," the album buzzes with a variety of moods and ideas from an artist not afraid to run the full gamut of emotions. Emphasizing texture over tone, Chime Hours is heavily centered around the sounds of an analog synthesizer, while also featuring live cello, piano, clarinet, violin, church organ, guitars, bass, and trumpet, in various degrees of distortion. The album also sees Memotone bring his voice further forward, creating brief flourishes of glimmering effects. On "All Collapsed" and "You Saw the Future," Memotone toys with ideas surrounding a post-apocalyptic world that's stripped bare by humans, whereas the rest of the album takes influence from the Middle Ages -- rituals, civil war, gritty hand-to-hand combat, and a fear of ghosts and the religion that surrounds them. Memotone recorded the rituals practiced at a folk celebration in a village near where he grew up, explaining, "I thought, perhaps there is a reflection of our distant future in our past. Not only the middle ages but spanning human history. We have already lived, and more importantly survived; through times as hard as the ones we are self imposing now." The album's title comes from the belief in English folklore that those born at certain hours could see ghosts. With its layers of abstract noises, analog electronica, and snatches of fragile melody, Chime Hours evokes darkened alleyways and ethereal worlds, making for a deeply immersive album that's a testament to a distinctively inventive artist.


BB 220CD

SOLYST: The Steam Age CD (BB 220CD) 17.00
Sølyst heralds a new era of digital steam power with The Steam Age, turning his attentions to mechanical aesthetics beyond the ubiquitous binary code. For his third album, Düsseldorf-based Kreidler drummer Thomas Klein, turned to an abandoned piano as a sound source. Tapping, scratching, scraping, plucking; working with the wooden body and steel strings led to the building blocks of a broad sonic spectrum, which Klein then brushed against the grain with his sampler. He then invited these alienated patterns and sequences to dance to the typical Sølyst percussion groove, forming a hypnotically driving machine-funk. Klein also expanded his drum set; a homemade, electronically manipulated table percussion setup, consisting of utilitarian objects such as a tin can or a wooden board, opened the sonic palette to previously unheard, weightless grooves. This percussive spectrum has been tested and proven live, and spreads a rhythmic gravity that remains accessible despite its experimental basis. Sølyst is ultimately a project that revolves around a hypnotic rhythmic element, and The Steam Age creates this hypnosis with an intoxicatingly atmospheric quality. The music is interspersed with the marks of time -- dust, patina, rust -- from the world of machines and the mechanical interplay of gears and pistons. Noise, heat, and vapor add to this associative field of inspiration. The Steam Age is an attempt to lend a voice to friction-generating mechanics, motors, and movements that audibly assert themselves against opposing forces and sometimes grind to a stutter. The titles of the tracks -- "Steamfield" and "Atomium," for example -- refer to the overarching concept. With titles like "Nostalghia," they even go so far as to reference cinema, alluding in this case to Andrei Tarkovsky's 1983 work of the same name and taking the chain of associations beyond the music. The mysterious rumbling within, beneath, and above the 11 pieces creates an additional mysterious motoric aura. Yet it also feels familiar, revealing emotional depths that invite the listener to surrender to trust. This music is devoted to a pre-digital machine aesthetic that does not refrain from occasionally toying ironically with the evocation of the analog and handmade. The dark space between the sounds leaves room for anyone to add their own imagination and give in to the endless breath of the machines.



MORWELLS: Crab Race CD (BSR 990CD) 16.00
"First time on CD for this 1977 reggae album! Soulful vocals and deep grooves. Band includes Sly and Robbie."


MORWELLS: Crab Race LP (BSR 990LP) 21.00
LP version.


RILEY, JIMMY: Showcase LP (BSR 991LP) 21.00
"Repress of the long out of print roots reggae album from 1978. Jimmy Riley's debut album pressed on 180 gram vinyl."


PAGE ONE & THE OBSERVERS: Observation Of Life Dub CD (BSR 995CD) 16.00
"1976 reggae/dub rarity now on CD! Written arranged and produced by Niney the Observer. The dub companion to the Heptones 'Better Days' album."


PAGE ONE & THE OBSERVERS: Observation Of Life Dub LP (BSR 995LP) 21.00
LP version on 180 gram vinyl.


CH 132LP

GOON SAX, THE: Up To Anything LP (CH 132LP) 17.00
LP version. Brisbane trio The Goon Sax present their debut album, Up To Anything. Louis Forster, James Harrison, and Riley Jones are all 17-18 years old at the time of this release. They make pop music. They have refined tastes -- they love The Pastels, Talking Heads, Galaxie 500, Bob Dylan, and Arthur Russell. On Up To Anything they pull off the almost impossible, capturing the awkwardness, self-doubt, and visceral excitement of teenage life while still in the thick of actually living it. The band formed around high school friends Harrison and Forster in 2013, and some scrappy duo home recordings still linger on the internet. Jones joined in early 2014, after a month of drum lessons, and the band played their first show a few months later. Chapter signed The Goon Sax in 2015 on the strength of an unsolicited demo, the first time that has ever happened in the label's history. Chapter introduced the band to the world via the 2015 BIGSOUND music conference, and 2015 singles "Sometimes Accidentally" and "Boyfriend" have since been featured on the likes of Stereogum, NME, BBC 6, and Brooklyn Vegan. They've gone on to play with the likes of U.S. Girls, Twerps, Blank Realm, and The Crayon Fields. The Goon Sax's songs are both immediately charming and deceptively deep; "Sweaty Hands" examines a point in a relationship where one is seen at one's worst, while "Telephone" addresses the heartbreaking realization that nothing one can offer is enough. The Goon Sax are already masters at pairing teen microdrama with pop sophistication -- but clearly, Up To Anything is just the beginning.



SICILIANO, DANI: I'm the Question 12" (CCS 101EP) 12.50
Dani Siciliano presents "I'm the Question," the lead single from her 2016 self-titled album. "I'm the Question" revels in her playful and unconventional approach to pop, her voice soaring in a swirl of crafty production. Parisian producer Ben Vedren's dancefloor variations nod to Siciliano's house music roots, building on his releases for Minibar and Concrete Music. His first remix uses driving drums to carry Siciliano's vocals through a club-ready confection. His "Acapella Remix" uses simple rhythmic guidance to leave ample space for the vocals; it's a track that cries out for the kind of creative mixing that suits Siciliano's unique music.



LIQUID PHONK: Was It Love EP 12" (COMP 477EP) 12.00
Since the turn of the millennium, German duo Liquid Phonk (Mirko Koenig and Patrick Lesser) have stood for proper house productions. They debuted on Compost Black Label in 2013 after Rainer Trueby took notice of their releases on Nick Humphrey's Lifted Digital label and set up a split with Cologne producer Sello (COMP 417EP). Following releases on Ingo Sänger's Farside, Lost My Dog, and Something Different, Liquid Phonk return to Compost Black Label with their first solo EP on the label, supported by two stunning remixes by Henry L & Ingo Sänger and John Gazoo.



HANGING STARS, THE: Over the Silvery Lake CD (CRO 003CD) 14.50
London-based psych folk outfit The Hanging Stars present their debut album, Over the Silvery Lake. Blending folk pastorals with swampy '60s Americana, they sound like the missing link between the California desert sun and the gray skies of London. Fronted by London-based songwriter, singer, and guitarist Richard Olson (The See See, The Eighteenth Day of May), The Hanging Stars are essentially a loose collective of people who weave together a blissed-out psychedelic tapestry. In 2015, the band released two critically acclaimed 7"s via The Great Pop Supplement; three tracks from these releases appear on Over the Silvery Lake. The Line of Best Fit premiered "Golden Vanity" and declared, "you'd be forgiven for thinking you'd just unearthed a rare deep cut from the late sixties / early seventies boom of psychedelia infused Americana," while The Guardian called "The House on The Hill" "a hazy, desert-dream of a song, nicely sharpened with steely-eyed guitars, Mersey-laced harmonies and just a whiff of the Gun Club." The Hanging Stars picked up a good amount of support at BBC Radio 6 Music, and "The House on the Hill" scored a much-coveted 10/10 from John Robb on Steve Lamacq's Roundtable. There are a number of allusions to nature and the weather on the album, inspired in part by the contrasting surroundings in which it was produced. The band's fascination with Americana led them to record some of the material in the US, laying down some of the parts at Battle Tapes in Nashville (Lambchop, Paperhead) and at VisionQuest Studios in Los Angeles with Rob Campanella. Based on Campanella's work with The Quarter After, The Brian Jonestown Massacre, Beachwood Sparks, and The Tyde, the band knew he was a perfect match to capture their sound. They even had San Franciscan legend Christof Certik step in on lead guitar for a couple of tracks. Following the LA recordings, a trip to the Californian desert provided the core notion of what they wanted to produce; a shard of light onto which they clung while recording the rest of the album in the significantly more rain-soaked atmosphere of Walthamstow, London, under the watchful eye of Brian O'Shaughnessy at Bark Studio (The Clientele, Comet Gain, My Bloody Valentine). As the band explain, "Ultimately we hope you can hear both the sand and the rain in this record."


MVD 8235CD

RESIDENTS, THE: Demons Dance Alone CD (MVD 8235CD) 13.00
"The Residents were in Europe touring their ICKY FLIX show when the bombing of the World Trade center took place September 11, 2001. Stunned, The Residents had no choice but to continue the tour as planes all over the world were grounded. Their only release came in the form of writing a new album on those long hours on the bus and in hotel rooms between shows. The album was one of loss and of helplessness. Sad weariness with the follies of human nature. This melancholy has always been present in The Residents work but never before this tangible. Instead of being lost to anger, they have created some of the most bittersweet and melodic music of their career."


CR 12006EP

B-NO: Sad Feeling 12" (CR 12006EP) 14.00
French producer B-No follows his 2014 collaboration with Trevor Junior with his second release on Cubiculo, featuring one of his classic riddims mixing early digital and rub-a-dub. French singer Peter Youthman features on "Sad Feeling," with the riddim also included on the A-side. Up-and-coming American singer Tuli Ranks bring his strong rub-a-dub and deejay influences to the extended dub "Over Me."



"Jagger Botchway is most famous for his work with the Hedzoleh Soundz and Hugh Masekela. Jagger was also the driving force behind the highly sought-after Ghanaian afro-funk masterpiece Moving World by the Kelenkye Band. Deano Sounds, along with Voodoo Funk's Frank Gossner, teamed up to release the Kelenkye Band's later material, Jungle Funk, back in 2012. Jagger went back into the studio with a group of musicians he had played with from various points in his career to record an album of unique soca and highlife sounds. What was put down on tape was a heavy mix of percussion, striking highlife guitar lines and futuristic synth stabs with soaring African voices. Deano Sounds and Jagger rescued the original multi-track DAT tapes that were hiding in obscurity in Ghana. Cultures of Soul invited a host of today's best remixers to give them the freedom to create their own interpretations of the material. These producers include Berlin's Africaine 808, Manchester's Ruf Dug, Switzerland's Alma Negra and New York's Names You Can Trust."


Double LP version.



JOHNNY MOPED: It's A Real Cool Baby LP (DAMGOOD 450LP) 22.00
LP version. Gatefold sleeve. The three remaining original members of UK punk band Johnny Moped, who debuted in 1978 with their Cycledelic LP (BEAT 058LP), are back with It's A Real Cool Baby. Johnny Moped, Slimy Toad, and Dave Berk, together again for the first time since 1990's The Search For Xerxes, showcase some new songs and revisit a few live favorites that never got recorded back in their heyday, including "I Wanna Die" and "I Believed Her Lies." The original three Mopeds are joined by longtime live members Jacko Pistorious and Rock N Roll Robot (also known as Rob from legendary ska punk band Case). This album follows the 2015 release of the band's first 7" since 1978, Ain't No Rock 'N' Roll Rookie/Super Woofa, which hit the number-three position in the UK vinyl chart and was warmly received by Moped fans as "sounding just like a Johnny Moped single" -- no higher praise is possible.



LANGENBERG: Shadows feat. Blakkat 12" (DES 131EP) 14.00
Long an unsung hero of the underground, Langenberg (aka Max Heesen) has a string of quality releases to his name, both on his own and as a part of his Ribn duo with Manuel Tur. Liquid-deep and balanced perfectly between euphoric and melancholic, "Shadow" sees Mark Bell (Blakkat) deliver an emotional invocation over a beautifully crafted track, with echoes of the master Larry Heard clearly present. Also included are two extraordinary remixes: UK legend Atjazz provides a sumptuously realized fusion of melody and driving dancefloor urgency, while Brooklyn's house veterans Frank and Tony (Scissor & Thread) drop a huge remix of their own.



IN THE MOUTH OF THE WOLF: In The Mouth Of The Wolf 12" (DIAG 028EP) 16.50
Two of industrial music's most insatiable operators, Ancient Methods and Cindytalk, pay homage to anti-Nazi nonviolent political activist Sophie Scholl. For those aware of Cindytalk's illustrious industrial heritage -- she has collaborated with everyone from Cocteau Twins and This Mortal Coil to Revolting Cocks' Chris Connelly and DJ Scud -- this is nothing short of a momentous meeting of epochs. "Need Of Angels" combines riveting percussion and thee harshest noise, "Sleight Of Hand" allows some prime late-'80s EBM swing into the mix, and "A Search For New Realities" harks back to AM's finest Ugandan Methods and Cindy's work for Praxis, but with a thoroughly modern aesthetic.



2016 repress. Kollektiv Turmstrasse returns following the 2009 Like the First Day EP and the acclaimed 2010 album Rebellion der Träumer (CNS 006CD) with the Sry I'm Late EP. Since the Diynamic Showcase at Amsterdam Dance Event 2014 and its live stream, these tracks have been hyped all over the internet. "Hour After Hour" is a dark, moody house cut with deep drums and bass and a spine-tingling melodic riff; "Last Call" is a more lighthearted and soulful bit of house music; and "Sorry I Am Late" is a fierce peak-time track with a dramatic sense of narrative and a killer bassline.



JACK PATTERN: Pontelocco EP 12" (DPC 059EP) 12.00
Jack Pattern is a trio from Zurich dedicated to producing intergalactic sounds and grooves with analog machines, in addition to DJing here and there. They also run their very own Lustpoderosa label, which is worth checking out. These cats love oscillating waves. It's not about purism, it's about playing what they feel -- love, rush, euphoria. Deep, acidic, raw, cosmic disco and house as well as dark, trippy techno.


EB 114CD

LENGUALERTA: Aurora CD (EB 114CD) 15.50
Mexican vocalist Lengualerta, the voice of protest cumbia dub, presents Aurora. Lengualerta has been on the scene and traveling the world since the mid-2000s. In addition to numerous concerts in his native country, he has performed live in South America, Canada, and Europe, and left a lasting impression wherever he appeared. Following the 2014 mass kidnapping of 43 students in Iguala, Guerrero, Mexico, and the subsequent political and public security scandal, "For Those (feat. Wally Warning & Ana Sol)" became something of a hymn for the nationwide protests that ensued. The song's impact was further enhanced by the touching and atmospheric video, directed by the artist's friend and colleague, Gran OM, who also designed the excellent cover art for Aurora. Lengualerta's music unites reggae with the culture of Latin American protest songs. Latin American influences, including cumbia, repeatedly surface in his music. This broad spectrum underscores Lengualerta's position as a cosmopolitan and a visionary. His choice of riddims also spans the world; in addition to his main producer, Dukas (Bungalo Dub), the album also features production by Ganjaman, Ingo Rheinbay aka Pow Pow, Twilight Circus, and Seeed. The situation in Mexico is desperate. For many years, drug cartels have battled each other and government forces for supremacy. Murders, rapes, kidnappings, and assassinations take place on a daily basis, the visible signs of this all-encompassing brutality. Against this background, it is encouraging that many people are prepared to risk their lives by taking a stance against violence, and particularly against the corruption that has infiltrated every level of the public services, as many officials are in collusion with the cartels. A strong counter movement has also emerged in the art scene. Alongside other artists, Lengualerta frequently appears in the front line of these protests. He pinpoints what is wrong in society, and is not afraid to tackle the painful issue of what is rotten in the state. Eloquent, outspoken, and effective, he voices his protest and passion in tight, clean, and moving sounds. Featured performers include TianoBless & Natty Bwoy, Fermin Muguruza, Wally Warning & Ana Sol, Monk.E, Andrea Echeverri, Sista Eyeire & Van-T, Di, Sista Freedom, Olinka, Cuyo, Issa Elle, and Rebeleon Sound Crew. This edition includes four bonus tracks from the critically acclaimed predecessor to Aurora, Resonante (2010).



LICHT-AKIYAMA TRIOS: Tomorrow Outside Tomorrow CD (EMEGO 217CD) 15.50
Alan Licht (USA) and Tetuzi Akiyama (Japan) have each explored the lines that divide improvisation, composition, folk, blues, and experimental music. It was inevitable that their careers and styles would cross paths. Tomorrow Outside Tomorrow captures a meeting of minds and techniques in the form of two extended works that blur genre, with Licht on guitar and electronics and Akiyama on guitar. "Blues Deceiver" presents itself as dank blues; it's a dirty, crawling mass of feedback, fluctuating vibrations, garage frequencies, and distant interference, featuring Oren Ambarchi on guitar. The various musical and nonmusical elements weave into a music that showcases individual contributions coalescing as a holistic whole. "Tomorrow Outside Tomorrow" features Rob Mazurek on cornet. Here the trio expands on the workshop blues drone, with Mazurek placing a somber jazz card on the table. What begins as a loose sound study evolves into an introverted and melancholic exploration of mood, atmosphere, interwoven notes, texture, sound, guitar, and electronics. Tomorrow Outside Tomorrow unveils a nebulous new music. Recorded by Makoto Oshiro in Tokyo on November 4, 2014. Mixed by Ted Young and Alan Licht at Outer Space in Brooklyn on July 15, 2015.


EF 071EP

RENAULT, JACQUES: Don't Need to Know 12" (EF 071EP) 12.50
The mighty Jacques Renault presents his debut 12" for Endless Flight. The A-side features two versions of the groovy Philly disco house track "Don't Need to Know (feat. Morgan Wiley); B-side "Nutte 'n Honey" is killer funky disco house.



MY NU LENG: FabricLive 86 CD (FABRIC 172CD) 16.00
With high-profile releases on Black Butter and MTA to their name, plus huge remixes of tracks by Rudimental and Clean Bandit and a UK Singles Chart number-one by Naughty Boy, My Nu Leng are on the ride of their life. Deeply rooted in UK bass culture, the Bristol-based duo reimagine grime, dubstep, house, and garage. On FABRICLIVE 86, they deliver an eclectic continuous mix of underground anthems meshed with previously unreleased material, covering a multitude of shades and color. Packaged in bespoke slipcase containing die-embossed tin. Includes tracks by My Nu Leng (including collaborations with Kahn, Flava D, Caan, Detour City, and FineArt), Klient, RL Grime, Holy Goof, Andrew Diggs, Skapes,Negativ, Harry Judda, Myd, Clientele, Nu-Birth remixed by Tuff & Jam, Tru Fonix, Champion remixed by Dismantle, Faze Miyake feat. Inga Copeland, Mella Dee, WxT, Randomer, Courage, Deadbeat UK feat. Forca, B Squared, Jus Now x T. Williams feat. Dread MC, Moony remixed by Dr Cryptic, Notion, SNØW x Dismantle, L-Wiz, and Synth Sense remixed by Indigo.



WILSON, GARY: You Think You Really Know Me LP (FTR 236LP) 18.50
Gary Wilson's monumental 1977 LP reissued with a glamorously shiny foil cover bearing the original cover art (care of Owen Maercks's well-loved copy), delicately laid out by Scott Allison. Which makes it, perhaps, the last copy you'll ever need. You Think You Really Know Me (also the title of Michael Wolk's 2005 documentary about Wilson) was Wilson's second LP, but the first he recorded as a vocalist, hewing to his own bizarre vision -- a syncretic collision of romance, new wave cocktail jazz, heartbreak, disco porn-soundtrack music, and experimental tape manipulation. Home-recorded in Endicott, NY, the album found a few fans when released, but subsequently became the exclusive purview of record collectors and the women who tolerate them. Beck namechecked Wilson in 1996, which made a few new people scratch their heads. And the album was reissued in 2002. Rediscovery followed, and records, the documentary, and some odd live shows. Most of Wilson's moves are stamped with his unique aesthetic, and are also documented on other three recommended Feeding Tube LPs -- Lisa Wants to Talk to You (FTR 081LP), Forgotten Lovers (FTR 065LP), and Music for Piano (FTR 192LP). But as bodacious as these three albums are, the real root of Wilson's muse is most obvious on You Think You Really Know Me. It is the sound of a 23-year old oddball from upstate New York wrestling with his demons and actually winning. There's nothing quite like it. And it offers a story of hope to every weirdo who hears it. Hallelujah! Edition of 500.



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


4TH 018EP

READ & KEVIN MCPHEE, GERRY: Frummppp 12" (4TH 018EP) 12.50
Repressed. Gerry Read & Kevin McPhee reunite with "Frummppp," following their 2011 classic "Demolition Man." "Frummppp" heads in the opposite direction of "Demo Man," swapping the madcap samples for jarring synths. The remix on the flip keeps the jacking and strutting vibe of the original, and ups the deranged sample use.



KENTON SLASH DEMON: TT/Dok 12" (FCL 157EP) 14.00
TT/Dok is Kenton Slash Demon's third EP on Future Classic, and it has drawn the same amount of anticipation and support as the Danish duo's previous offerings. This release reaffirms the strength of Kenton Slash Demon's organic, futuristic sound, and their obvious skills take their productions further than the typical frame and dramaturgy of a club track. They want to create soundtracks for clubs as well as music that one can listen to on a home stereo, thus blurring the space between the public and private experience.


GET 52723LP

ROCK & C.L. SMOOTH, PETE: All Souled Out LP (GET 52723LP) 21.00
"1991 was the year that it all broke loose for producer Pete Rock and his rhyme partner, CL Smooth. But the duo was far from an overnight sensation. The two friends had been on the grind since high school in Mt. Vernon, NY in the mid-'80s, and Pete had been building up to his big moment since he first manned the decks on WBLS's hugely influential In Control With Marley Marl radio show, starting in 1987. In '91, Pete's talent finally forced him from the studio shadows into the spotlight, and after remixes and co-productions for Heavy D (1989's Big Tyme album); Johnny Gill (Rub You The Right Way, 1990); and Elektra label-mates Brand Nubian (Slow Down, 1990); it was time for top billing. As Pete's rep skyrocketed with a revolutionary remix to Public Enemy's Shut 'Em Down in 1991, the stage was set. The duo's debut EP, All Souled Out, was the perfect set-up -- and bridge to -- their flawless LP, Mecca & The Soul Brother, which appeared only one year later. Fans new (thanks to a recent revival, resulting from the song's use in a Google / Android commercial) and old are sure to know the EP's only single, 'The Creator.' The cut is a perfect slice of early '90s hip-hop -- jumpy, funky and rolling along at a sprinter's pace, with killer horns that sew up the chorus. Interestingly, it's the only song on the EP where Pete Rock rhymes (and solo at that, with lines written by Brand Nubian's Grand Puba). The remaining five of the EP's songs, with CL Smooth in full charge of the mic, are no less impressive. The sleeper is perhaps 'Go With The Flow,' a kinetic groover with an egregiously thick, muted bassline, surgical cuts and never-endingly captivating lines by the liquid-tongued CL. All Souled Outboasts all of the Pete Rock trademarks -- a jumpy, filtered bassline; beautifully stitched horn samples on the hook; and this time with a faster tempo. CL has no issues with Pete's BPM challenge, proving he can drop knowledge at any speed. And of two different versions of 'Good Life' on the platter, the EP's final cut, the 'Group Home Mix,' is perhaps the winner, with an abundance of musical action to back up CL's lyrical musings on ways to achieve success and comfort in life. 25 years after its initial impact, All Souled Out sounds as heavy and essential as ever, and will remind fans how important this duo was to the artform."

GET 52724LP

ROCK & C.L. SMOOTH, PETE: The Main Ingredient 2LP (GET 52724LP) 26.00
"'We are the planters of the weeds or roses in our garden. Take the plunge within yourself to find The Main Ingredient.' So reads CL Smooth's album dedication in the liners to Pete Rock & CL's underrated, soulful and deeply grooving sophomore album. For fans, it was bittersweet, as it would be their last as a duo. By 1994, Pete and CL were darlings of both fans and critics, still on a high after 1992's Mecca & The Soul Brother and the album's emotional smash single 'They Reminisce Over You (T.R.O.Y.).' Two years later, they had grown even more as men and artists. Gone was some of the righteous striving of their earlier work, replaced by mature -- yet still righteous -- wisdom. And a lot more love as well, bringing a larger female constituency into their fanbase. They were adults now, reveling in the plateau they had reached. The duo's '90s swan song is a powerful double album that still resonates with Golden Era hip-hop fans: 16 cuts deep and full of intelligence, fire and warmth. Beats-per-minute-wise, the album mostly clocks at a comfortable strutting pace, bolstered by Pete Rock's pioneering use of filtered basslines and a recently-hatched obsession with Rhodes piano. The new tracks filled speakers and headphones with soul, as CL continued to assert his lyrical prowess all throughout."



Three 180-gram LPs in triple-gatefold sleeve. Limited edition of 300. Gods is the first major release of new material since, arguably, her 1989 LP with Wolfgang Puschnig on ECM, by one of free jazz's most important icons, whose transition via a debilitating stroke into deep, guttural wordlessness has seen her enter a new realm of primal vocal raging. This is Linda Sharrock, best known for her show-stealin' voice work on ex-husband Sonny's two albums Black Woman (1969) and Monkey-Pockie-Boo (1970), recorded in 2014 for over two hours at her wailing, heart-stopping best, flanked by the stellar (In) the Abyssity of the Grounds (Theresa Eipeldauer (voice), Mario Rechtern (soprano, alto, baritone, saxoline, voice), Max Bogner (guitar, electronics, voice), and Didi Kern (drums)). A truly stunning, demented, and absolutely essential bombardment of relentless energy by one of the giants of avant-garde music, with amazing whacked liner notes by saxophonist Mario Rechtern.



BAKER, GINGER: In Africa DVD (TP 186DVD) 23.00
"In November 1971, Ginger Baker wanted to set up a recording studio in Lagos, then the capital of Nigeria. He was among the first great musicians to realise the potential of African music. He decided also that it might be an invaluable musical experience if he travelled to Nigeria overland. Unfortunately, this involved crossing the Sahara Desert. Mad? Well, crazy - but that was what was so endearing both about the man and the musician. He bought a Range Rover - one of the first ever models - and it fell to me (because of my relationship with Cream) to film this odyssey. And the music of Nigeria, when we finally gotthere, was a revelation. This was before the time of the oil boom and a succession of corrupt governments; the music pulsated with reckless freedom, from the African talking-drummers of Oshogbo, to a visit to the eastern city of Calabar where Ginger's friend (the then unknown) Fela Ransome-Kuti performed for us with devastating power. I remember filming Kuti in a stadium filled with several hundred jiving Africans. Ginger & I, his driver and my cameraman were the only white faces. Scary. But not so scary as our nights in a Calabar hotel (well, 'hotel' is a bit of an exaggeration). The walls of our room, not to mention the seedy mattress on the floor, were covered black with mosquitoes. I remember Ginger saying that if we survived this, we could survive anything. I'm glad he did, and the film pays tribute to his indomitable spirit and to his extraordinary musicianship." 57 minutes; NTSC all region; 16:9.



HOOKWORMS: Hookworms CD (WAAT 059CD) 14.50
Expanded reissue of Hookworms' 2011 debut, first released as a limited cassette, reissued on vinyl (FAUX 015LP), and now available on CD for the first time. This edition follows the band's acclaimed albums Pearl Mystic (Gringo Records, 2013) and The Hum (Domino sublabel Weird World Record Co., 2014). Hookworms documents the Leeds five-piece's starting point while proving that they've never wavered in their undeniable character, even as everything around them has changed. "It was a very exciting time for us," bassist MB recalls. "MJ having his first studio meant we'd gone from practicing in a tiny basement and receiving noise complaints to having a place where we could do what we wanted. We played with Sun Araw just as we were finishing the EP and Cameron Stallones enjoyed our set and asked to hear any recordings -- then subsequently released it on cassette." Hookworms have since evolved into a mighty beast, able to fill cavernous warehouses with a vitriolic form of kosmische (as they did when they headlined the Liverpool International Festival of Psychedelia, and when they supported fuzzy legends Slowdive during their 2014 comeback). Hookworms showcases many of the traits for which the band has become known -- the strutting bass and four-note repetition of "Teen Dreams" is pure Modern Lovers, mining the group's '60s garage and proto-punk influences and mixing them with a caustic modernity. Another highlight is the rolling bass thunder of "I Have Some Business Out West," which crackles with the energy of an approaching storm. "Our gear wasn't as good back then so we did quite a bit of re-amping and post-production," MB comments. "The EP was basically a playground for experimentation with a bunch of new guitar pedals we'd recently acquired." This edition also presents rare early recordings, including the initial drone-heavy version of "Form and Function," which would appear on a split 7" alongside Nottingham-based peers Kogumaza, plus the swaggering rumbles of "The Correspondent," which appeared on Sonic Cathedral's 2013 Psych For Sore Eyes compilation. The former is a premonition of phase two of the band, foreshadowing the heavier, dense sound of Pearl Mystic, while the latter is a wonderful outlier -- which says something for a band whose boundaries have forever stretched toward the horizon.



DETROIT SWINDLE: Break Up to Make Up EP 12" (HEIST 001EP) 12.50
2016 repress. This is the very first release from Heist Recordings from 2013. "The Break Up" features an infectious set of airy chords, a bumpy bass-line and a lush female vocal. "The Make Up" is a deeper track, but still a genuine house tune, with some repetitive, almost hypnotic vocals and stabs, and of course, a pumping groove. You'll lose track of everything halfway through the break, but as soon as the beat kicks in, you know its business time.


DETROIT SWINDLE: The Punch Drunk EP 12" (HEIST 008EP) 14.00
2016 repress. Detroit Swindle follow up their 2014 album Boxed Out (DIRT 006CD/LP). "Allright (We'll Be)" is an up-tempo affair at 128 BPM, with an irresistibly sexy hook. "Pursuit" has that classic Detroit Swindle vibe with an almost acidy synth rolling on in the background, giving the track the core of its energy. "Heads Down" is the deepest of the three, with a particularly shuffling set of offbeat toms creating the groove alongside a set of warm synths. Minimalistic design by Amsterdam-based artist Baster. Pressed on 180-gram vinyl.


FOUK: Kill Frenzy EP 12" (HEIST 010EP) 14.00
2016 repress. 180-gram vinyl. "Kill Frenzy"'s wobbling bassline might easily be a playful Dave Holland getting into his zone, and all the tiny elements and variations give the track that perfect vibe to really get a party going. "Lefty's Bar" features the same loose percussion and vintage keys, a lazy horn section, and a lovely twisted and turned female vocal sample. "Ken Sent Me" is perhaps the most straightforward track on the EP, with Rhodesy pads and a great use of tremolo to give swing to the 4x4 rhythm. Get it while you can -- this one is gonna hit hard.


HH 3029CD

DAVIS OCTET, MILES: Live in San Juan '89 CD (HH 3029CD) 17.00
By the late '80s Miles Davis had radically overhauled his style yet again, incorporating prominent synthesizers and using an ever-changing cast of young backing musicians. This remarkable set took place in the intimate setting of the Coach House Concert Hall in San Juan Capistrano, California, on June 15, 1989, and was broadcast on American Public Radio. It features just two tracks, a tribute to Jaco Pastorius from Davis's 1989 Amandla album and the title-track from 1986's Tutu. It's presented here in digitally remastered sound with background notes and images.

HH 3032CD

DAVIS, MILES: Paul's Mall. Boston, September 1972 CD (HH 3032CD) 17.00
By 1972 Miles Davis was firmly established as the most innovative and influential jazz artist on the planet. Taped between the recording and release of his controversial 1972 On the Corner album, this dense, polyrhythmic set from September 14, 1972, captures the first of four consecutive performances he gave at Paul's Mall in Boston, showcasing a new Indian-influenced sound, and was originally broadcast on the local WBCN-FM station. The complete broadcast is presented here in digitally remastered sound together with background notes and images.

HH 3032LP

DAVIS, MILES: Paul's Mall, Boston, September 1972 LP (HH 3032LP) 23.00
180-gram LP. By 1972 Miles Davis was firmly established as the most innovative and influential jazz artist on the planet. Taped between the recording and release of his controversial 1972 On the Corner album, this dense, polyrhythmic set from September 14, 1972, captures the first of four consecutive performances he gave at Paul's Mall in Boston, showcasing a new Indian-influenced sound, and was originally broadcast on the local WBCN-FM station. The complete broadcast is presented here in digitally remastered sound together with background notes and images.



SIX ORGANS OF ADMITTANCE: Dust and Chimes LP (HOLY 1165LP) 19.00
Repressed. "Ben Chasny was on a holy roll when he laid down the eleven tracks on Dust and Chimes. It was 1998 and y'all were floating on that Bill Clinton peace-and-prosperity bubble. Meanwhile, Chasny had dropped his self-titled debut LP earlier that year, and the cognoscenti and illuminati were pricking up their ears. Dust and Chimes announced the arrival of a brow-furrowed troubadour whose complex, morosely beautiful guitar playing didn't Basho you over the head with Fahey-isms. The three solo guitar tracks here contain quicksilver skeins of glinting acoustic work, recorded over a decade before the American Primitive style of playing would be of any interest to the indie world. Brilliant darkness and somber ecstasy abound, as Chasny ragas against the machine with a bold inventiveness. Elsewhere one may hear hints of Tyrannosaurus Rex's impish arboreal-folk charm and feathery Donovan-esque incantations -- reverent but not lightweight in the least. Now newly remastered, Dust and Chimes sounds like the work of a young sage wise beyond his tears."



ILORI AND HIS AFRO-DRUM ENSEMBLE, SOLOMON: Igbesi Aiye/Gbogbo Omo Ibile 12" (HJP 035EP) 11.00
...Gbogbo Omo Ibile (Going Home). 2016 repress! "The first time ever on vinyl for these 1964 Rudy Van Gelder recordings for Blue Note; and astral strides beyond the flat highlife cuts originally issued. With Donald Byrd, Hubert Laws and Elvin Jones stretching out breathtakingly amongst resplendent Nigerian drumming, and anticipating the vibes of classic Pharoah and Alice Coltrane. Around thirteen minutes each side."


ACTRESS: Splazsh 2LP (HJR 049LP) 20.00
2016 repress; 2LP version with embossed printing on cover. This is the eagerly?awaited second album by Werk Discs founder and controller Darren Cunningham. Splazsh is an adventurous, ultra-modern, thoroughly British affair, rummaging about in the inner lives of house and techno, and brilliantly elaborating the accomplishments of his debut, Hazyville (WERK 005CD). Determinedly off?the?map and resistant to pigeonholing, Cunningham is an enigmatic and playful figure, citing Francis Bacon and Monet as inspirations alongside Theo Parrish, Anthony "Shake" Shakir, Daft Punk, "binary codes and numeral systems," and The Avengers. He's a hard man to pin down -- somehow a key player in the post?dubstep diaspora and yet not there at all -- but everything comes across in his shape?shifting, richly-textured music. The South Londoner's acclaimed debut lived up to its name: a series of dream-like sketches and ideas. For Splazsh, the fog has lifted, the sounds are less submerged than before, but still sticky and close -- a signature combination of exuberance and introversion, luminescence and puzzlement. Unconstrained by the formal clichés of the dance music he loves, Actress' melodies and arrangements are enthralled by their own genies. Worlds of disturbance and melancholy revolve giddyingly inside the insidious funk of tracks like "Get Ohn" and "Lost." A range of musical influences is redrawn, from speed-garage to grime, with none crowned king. There is a reflectiveness -- the ambient drift of "Futureproofing," the radiophonic judder of "Supreme Cunnilingus" -- in amongst the industrial, synth?wave flavors of "Casanova," and the stirring, stately "Maze." Actress has quickly and justly become one of the most respected names in the UK's new dance music underground. His own label, Werk Discs, has proven itself one of the most formidable and taste?making UK independents of recent times, bringing the world extraordinary albums from Zomby, Lukid, Lone and Actress himself. In love with the mysteries of groove and repetition, Splazsh is both a culmination and a new beginning for Actress -- a substantial and eccentric work from a brave and coolly individual artist.



VA: Tessellations CD (HTH 050CD) 15.50
In February 2016 the Houndstooth label celebrated its third anniversary, an occasion marked by the label's 50th release, Tessellations. A compilation of brand-new, exclusive tracks from each of the 14 artists to have released on the label, the album serves to simultaneously trace common threads and highlight tensions within such a stylistically extensive roster. Tessellations charts a path from Guy Andrews and Aïsha Devi's widescreen soundscapes and the offbeat electronic pop of 18+ and Snow Ghosts through the analog 4/4 pulse of Marquis Hawkes and Shift Work to Akkord and Special Request's visceral reimagining of hardcore. Tracks from Call Super, Throwing Snow, and Second Storey occupy those hard-to-define -- yet often most exciting -- spaces in between, gluing together the selection along with contributions from House of Black Lanterns, Soft as Snow, and _Unsubscribe_. Mastered by Matt Colton, MPG Mastering Engineer of the Year 2013.


ANDREWS, GUY: Our Spaces CD (HTH 055CD) 15.50
Our Spaces is the debut album of a very exciting talent: Guy Andrews. In search of some form of musical escapism prior to his DJ sets, one day he returned home, deleted all of his old synth patches, and embarked on a musical reinvention of himself. Ignoring previously used DJ-friendly structures, tempos, and mixdowns, Our Spaces breathes a new power and directness. Breaking free from genre constraints, Andrews found he could finally express what was in his head. This paradigm shift is evident throughout the album, with its emphatic percussion and reeling distortions a perennial feature. This sonic aggression, however, is paralleled with a sensitivity and zeal that really adds a level of depth that is often hard to communicate consistently in album format. Mastered by Matt Colton, MPG Mastering Engineer of the Year 2013. Limited edition of 500.



TOM AND HIS COMPUTER: Small Disasters EP 12" (IMR 019EP) 14.00
Copenhagen producer and DJ Thomas Bertelsen presents the debut EP of his TOM And His Computer alias on Trentemøller's In My Room label, following Bertelsen's 2015 tour with Trentemøller. "Organ" rides along on a crunchy rhythm with psychedelic organs, howling electronics, and fizzing guitars. The raw driving beat and bass hits of "Girl A Go Go" precede an aggressive, surf guitar riff and a climax of distortion. "Tectonic (feat. Fraser McGuinness)" keeps the dark energy flowing, drenched in reverb and noisy layers. "La Fountaine" perfectly fuses diverse elements from across the musical spectrum -- choral sounds, new wave edginess, and plenty of effects.



BROWN, DENNIS: Dubbing at King Tubby's CD (JRCD 060CD) 14.00
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. CD includes four bonus tracks.


JL 3786602CD

2014 release. When Bugge Wesseltoft and Henrik Schwarz produced their collaboration Duo in 2011, it was clear that their synergy was both unique within, and revitalizing to, the whole genre of electroacoustic beat-based improvisation. Now the duo becomes a trio, and the dialogue becomes a Trialogue. Bassist Dan Berglund (e.s.t., Tonbruket) brings additional dimensions and a whole new range of improvisational possibilities, musical conversational topics, and layers of sound, giving this project a different drive yet retaining the spirit of the Duo project. The musicians' will to surprise -- not just the audience, but also themselves -- dominates proceedings. Moments of quasi-ambient atmosphere sit alongside driving, energetic swathes of blues-inflected jamming from the future while near-metallic, semi-sinister meteor storms of sound rest easily beside moments of classic jazz noire, in addition to a marked assimilation of classical chamber sensibilities. Pokerfaced humor laces intricately woven improvisations, and the harmonic interplay guides the listener into passages of sumptuous soloing from Wesseltoft and Berglund. Minimalist structures are recrafted, working in hints of folk, spaciousness, and baroque inflections. A certain smoky jazz ambience pervades the whole, punctuated by moments when it feels like aliens have attempted to reconstruct jazz with just a few strands of musical DNA. Passages of the music are saturated with a fragile tension, bowed bass, lingering piano phrases, and endless static chatter. Sparse introductions melt effortlessly into tangible chord structures underpinned by gentle but insistent beats. Where other musicians have engaged in similar stylistic juxtapositions, Wesseltoft, Schwarz, and Berglund set themselves apart by managing the near-impossible feat of crafting a perfectly coherent aesthetic -- a complete musical language of their own. Bugge Wesseltoft: grand piano, Rhodes, synthesizers, percussion; Henrik Schwarz: computer, small percussion; Dan Berglund: double bass.

JL 4715330CD

BEADY BELLE: Songs from a Decade: The Best of Beady Belle 3CD (JL 4715330CD) 23.50
2015 release. Fronted by Beate Slettevoll Lech, a stunning singer, songwriter, and composer, with the unparalleled backbone of Marius Reksjø (bass) and Erik Holm (drums) and such regular top-notch collaborators as David Wallumrød (keyboards), Beady Belle has progressed, digressed, and evolved to become one of Norway's most consistently excellent bands, both live and in the studio. This fabulous three-disc collection offers a superb selection of tracks that effortlessly demonstrate the power of Beady Belle's work. The first two discs present the group in the studio, featuring a selection of tracks that fans helped choose, while the third disc contains a live recording of a performance in Oslo, Norway, on August 15, 2013. Instead of chronological order, the tracks are sequenced to complement each other and create a smooth flow. There are tracks from each of the band's albums, showcasing an array of collaborators including Jamie Cullum, India Arie, Torun Eriksen, Bugge Wesseltoft, Jørgen Munkeby, Geir Sundstøl, Anders Engen, and countless others. Despite line-up adjustments, the sound remains unmistakably Beady Belle throughout. From the minimalist funk opening of "Saved" and the hint of reggae funk on "So Far, So Good" (both from the breathtaking 2013 concept album Cricklewood Broadway) through the unlikely fusion of jazz and bluegrass stylings that is "Diamond in The Rough" (from 2010's At Welding Bridge), the Latin-influenced beats and Middle Eastern structures of "My Name on the World" (a return to Cricklewood Broadway),the soul-funk-jazz gumbo of "Lose & Win" (Home (2001)), "Irony" (Closer (2005)), and "Self-fulfilling" (Belvedere (2008)) to the swamp-blues-meets-smooth-jazz of "Runaway Mind" (At Welding Bridge), the slightly off-kilter club jazz of "Skin Deep" (Closer), and the jubilant disco-inflected grooves of "Moderation" and driving rhythms of "Ghosts" (both from Home), the first disc displays an eclecticism that would suggest inconsistency in any other band. But here, each track is imbued with the immediately identifiable essence of Beady Belle.

JL 4719918CD

ATOMIC: Lucidity CD (JL 4719918CD) 17.00
2015 release. Since their inception in 2000, the Scandinavian ensemble Atomic has garnered widespread acclaim for creating a completely unique and identifiable sound that seamlessly merges the American and European free jazz traditions. They are equally indebted to the music of Archie Shepp and Derek Bailey, and use these traditions as sources of inspiration -- not restrictions on their creativity. No strangers to the touring circuit, Atomic were on the road almost as soon as they formed, and since 2000 they have extensively toured throughout Europe, Japan, and the US. Lucidity follows the 2010 two-volume Theater Tilters release (commemorating the band's ten-year anniversary) and 2013's There's a Hole in the Mountain. Håvard Wiik, piano; Ingebrigt Håker Flaten, bass; Fredrik Ljungkvist, trumpet; Magnus Broo, trumpet; Hans Hulbækmo, drums.



One of the most important African records of all time released worldwide for the first time. Chris McGregor's Jazz/The African Sound (originally released in 1963) is a lost global jazz classic, and a true holy grail for collectors of afro-jazz. A cornerstone of South Africa's illustrious jazz history, it has been out of print since before the end of apartheid. This painstakingly restored reissue is the long-delayed first chance to hear Chris McGregor's debut recording as leader. In addition to fully restored audio, the package features previously unpublished photographs by Basil Breakey and new sleeve notes by author Francis Gooding. Ten years before the Brotherhood of Breath blew the cobwebs out of British jazz, Chris McGregor had already recorded as a leader with a big band composed of South Africa's leading jazz lights. Put together in 1963, The Castle Lager Big Band was a multi-racial group, a risky endeavor in apartheid South Africa. Modernist in outlook and dedicated to showcasing South African composers, the 17-piece band featured a galaxy of South African jazz stars, including Dudu Pukwana, Mongezi Feza, and Kippie Moeketsi. Though the band lasted only a few weeks and played a just a handful of shows, they made it into the studio to record, and the result was Jazz/The African Sound, a unique masterpiece of afro-Ellingtonia that the band hoped would put South African jazz on the international map. But history intervened, and their jazz message to the world never arrived -- until now.



CUTTLEFISH & ASPARAGUS: Rough Times 12" (KKS 005EP) 14.00
After a strong release by Soul In The Hole's disco godfather Sadar Bahar (KKS 004EP, 2015), Kalakuta Soul Records returns with a strong three-tracker from the hands of West Atlantis's best kept secret, Cuttlefish & Asparagus, celebrating their third release on the label. This time, the duo dedicates the A-side to never-ending dances with a touching vocal that goes through body and soul. The B-side is a sure shaker and a massive dancefloor-oriented set of tracks that brings out the boogie in every single person in the club.


KR 011LP

ZEITKRATZER/KEIJI HAINO: Stockhausen: Aus den sieben Tagen LP (KR 011LP) 20.00
180-gram LP version in gatefold sleeve. Includes download code. Edition of 500. 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.



ZUKIE PRODUCTIONS, TAPPER: Stars ah Shine: Hits from the Stars Label 1978-1982 CD (KSCD 061CD) 14.00
Tapper Zukie is not only a successful recording artist in his own right, but a well-respected producer as well. In the mid-1970s he set up his own record label, Stars, to help nurture the many artists who were rising in Kingston, Jamaica. In doing so he created a great catalog of reggae music that few artists have bettered. For this release -- with the help of Tapper Zukie himself -- Kingston Sounds has selected the highlights of the Stars label. Includes tracks by Junior Ross & The Spears, Prince Alla, Linford Nugent, Cornell Campbell, Dennis Brown, Horace Andy, The Mighty Diamonds, Rockey Dread, Ronnie Davis, Freddy McKay, Alton Ellis, and Frankie Jones, with three bonus tracks on the CD, by Tapper Zukie, Vibes Tone, and Frankie Jones.


GG 210CD

ROLAND, PAUL: House Of Dark Shadows CD (GG 210CD) 19.00
"Paul Roland is a singer-songwriter, author, journalist and paranormal researcher. Since the release of his first single Oscar Automobile in 1979 Roland has been spinning his tales against a backdrop of gothic rock, psych-pop, folk and, occasionally, baroque strings. His character creations include a Regency magistrate, various 19th Century murderers, a retired executioner, an opium addict, and an entire court of medieval grotesques. Paul has been called 'the male Kate Bush' by one-time label mate Robyn Hitchcock, and 'The Lord Byron of Rock' by influential French music magazine Les Inrockuptibles. House of Dark Shadows came out in Germany (only) in 1985. Originally a compilation album of the first album and some singles, it is seen by many as one of Paul's strongest records ever. It features classic songs like 'Blades of Battenburg' 'Captian Blood' or 'Death or Glory'. For this first proper re-issue on CD, we have re-installed the original artwork. The album has been remastered for this edition, and as if this weren't enough, we have added five previously unreleased songs from Paul's archive. A milestone in dark-themed rock music coming back to life."


KL 5040CD

Commander Cody's Ann Arbor hippie-billies always combine and convey a sense of maturity, finesse, and creativity in their performances. On a cold night in November 1975, New York's famous Bottom Line bore witness to the legendary Commander Cody with his Lost Planet Airmen as the bare-faced facts of professionalism met intense artistry. Commander Cody's industrialized powerhouse unit provide more than enough flare to match any E Street or Asbury Juke, as George Frayne IV (alias Commander Cody) revels in madcap monologues and rockabilly country-swing throughout, with stinging piano and an acute sense of frivolity intact. So throw some Cody on the player and pop open a beer. Make that two. Klondike proudly presents the entire original WNEW-FM broadcast of Commander Cody and His Lost Planet Airmen in performance at New York City's legendary Bottom Line on November 3, 1975. Professionally remastered original broadcast with background liners and rare archival photos.



CARIBOU: Up in Flames LP+CD (BAY 026LP) 20.00
"Up In Flames, originally released in 2001 and still the biggest selling album in label's history, is the breakthrough debut from Dan Snaith. Subject to a well-documented lawsuit, Snaith originally went by the Manitoba moniker before changing his project's name to Caribou."


COLLEEN: Everyone Alive Wants Answers LP+CD (BAY 031LP) 20.00
"The debut full-length from Parisian songstress Cecile Schott, Everyone Alive Wants Answers offers thirteen mesmerizing, naive and delicate instrumentals filled with warmth, melody, and soul, played on broken music box, glockenspiel, and guitar. These songs are equally playful and melancholy, and always entrancing."


EFTERKLANG: Parades 2LP+CD (BAY 058LP) 24.00
"The second album by Denmark's Efterklang, Parades is comprised of eleven majestic, otherworldly pop songs. The album is both magnificently ambitious and engagingly intimate; a breathtaking panorama of sound with few clear antecedents. Music with no boundaries. In a parallel universe, songs like 'Mirador' and 'Caravan' would be number one forever..."



NICHOLSON, GIMMER: Christopher Idylls LP (LITA 128LP) 30.00
"First ever vinyl reissue. Remastered from original master tapes. LP housed in a deluxe gatefold Stoughton 'tip-on' jacket. Upon first glance, one could be forgiven for wondering which is the artist and which is the title of this album. Memphis' Larry 'Gimmer' Nicholson still remains a great unknown today, despite his having orbited the periphery of the city's music scene since the early '60s, playing with artists ranging from Furry Lewis to William Eggleston and influencing a young Chris Bell (Big Star). Fusing classical and folk music, the sound Gimmer created for Christopher Idylls was evocative and unusual, its chiming guitars recalling the music of centuries past while also -- when recorded in 1968 -- being quite desperately ahead of its time. The album was recorded with Terry Manning (Big Star, Led Zeppelin), who describes its creator as 'one of the world's most enigmatic people. I don't know how many people really knew him because he was such a private person, a "full of love" person, who had a dark side as well.' The six compositions that comprise Christopher Idylls were composed out west, Manning believes, while overlooking the Pacific Ocean. They were laid down in 1968 in four weeks of intimate sessions at Ardent Studios that saw Gimmer experiment by feeding acoustic guitars through delay pedals, layering and layering the sound live -- one of the first examples of electronic repeat being used as part of the music. The album was supposed to be the first full-length LP release on Ardent Records, but there were understandable concerns about the size of audience that might be waiting for a curious instrumental album such as this. Meanwhile, Gimmer put blocks in the road himself: he didn't like the original mixes or the sleeve and eventually decided he didn't want the album released at all. He got his way but, Manning argues, the influence of those chiming guitars can be heard in the sounds floating out of Memphis in the decades that followed -- especially in Big Star. Having personally played it to luminaries including Jimmy Page, Manning was frustrated he couldn't get the album to a wider audience. 'It was one of the best things I've been associated with -- and it still is,' he says. It was Manning who finally convinced Nicholson to release the album on CD in 1994 and who was talking about recording more with him when Gimmer passed away at just 54 years old in 2000. Now available on vinyl, it's Gimmer's time to chime -- and shine -- again."


LIFETONES: For A Reason CD (LITA 141CD) 15.00
"Political post-punk trio This Heat dissolved at a turbulent time in the UK. Margaret 'The Iron Lady' Thatcher was in power, and her budget-cutting, ultra-conservative influence was felt strongly in -- among many other places -- the cultural melting pot of Brixton, South London, where This Heat had their origins. Dusting himself off after the collapse of the band in 1982, guitarist/vocalist Charles Bullen united with Julius Samuel to form Lifetones and embraced the sounds of the local West Indian community to fuse reggae flavor to the kind of propulsive, rhythmic, and experimental music made by This Heat. Deceit, This Heat's 1981 album, had seen them work with David Cunningham, who had already helped mesh dub reggae with new wave pop on The Flying Lizards' 1979 single, 'Money (That's What I Want Want).' Even so, For A Reason was a great leap, one that created a strange, unsettling mood as Bullen's multi-tracked, chant-like vocals met dub beats and Krautrock-informed repetition. Where Deceit dealt with the nuclear threat, For A Reason was less reactionary, even quoting Bob Marley in its lyrics: 'you love the life you live, you live the life you love.' Just six tracks and half an hour long, the album was recorded at Cold Storage studio and released on Bullen's own Tone Of Life Records. It has become a sought-after collector's item that changes hands for hundreds of dollars a time. As a solo artist, Bullen was not prolific -- it was 15 years until, in 1998, he released Internal Clock under the name Circadian Rhythms -- but like the rest of his band, he has enjoyed a long, enriching career in unending pursuit of new sounds. Even though This Heat had no commercial success to follow up on, For A Reason was an album created with no intention of hitting the charts. Reissued on Light In The Attic, Lifetones' single album retains a timeless quality and perhaps -- on tracks such as 'Good Side' -- a futuristic sound that nobody else ever caught up to."


MG 112CD

DE LA CALLE, EDUARDO: Analog Grooves (Collected) CD (MG 112CD) 17.00
DJ and producer Eduardo de la Calle presents a complete collection of tracks from his four Analog Grooves 12"s released from 2012 to 2015. "Among De La Calle's expansive output of 60 records over the past half decade -- and aside from releases on his own label Analog Solutions, and the likes of Nonplus, Cadenza and Semantica -- is a series of four for Mental Groove, collected under the Analog Grooves banner. Started in 2012, the project focuses on a more experimental, and more meditative, approach to techno, one suffused with jazz sensibilities and a cosmic mindset" --Brian Kolada, Resident Advisor. Rather than a collection of disparate dance tunes, the 12"s were initially intended to form a complete journey, which is fully realized in this collection. The cover artwork reproduces the cover of the Voyager Golden Record, which was included aboard both Voyager spacecraft launched in 1997, intended for any intelligent extraterrestrial life form or future humans.



SEQUOYAH TIGER: Ta-Ta-Ta-Time 12" (MORR 144EP) 16.50
Italian producer Leila Gharib aka Sequoyah Tiger presents her debut EP. Gharib's songs, which take their cues from traditional genres like doo-wop as much as from contemporary experimental pop acts like Panda Bear, revolve around her processed and at times layered vocals, complemented by gripping rhythms and rich harmonies. Breakages, repetition, and delays are not flaws, but rather integral elements in Gharib's songwriting process, in which the musical quality of language develops a life of its own. Sequoyah Tiger's opaque lyrics aim less at creating narratives than at generating new meanings that tie in perfectly with her highly allusive music. Includes download code.



KAWASAKI, TOSHIYA: I'm Starting to Feel Okay Vol. 7 2CD (MUSIQ 053CD) 18.00
Rapturous, lovely, and brilliantly handpicked -- the seventh installment of the I'm Starting to Feel Okay compilation series is once again tremendous. Over two CDs, it features diverse, grooving music covering house, techno, jazz, soul, cosmic, disco, and beyond, without strictly falling under any pure definition of a genre. Mule Musiq and Endless Flight founder Toshiya Kawasaki made sure that the quality is high-flying, selecting crown jewels from known artists like Frank and Tony, Oskar Offermann, and Fred P as well as promising newcomers like Nicolai Toma, Snacks, and Johannes Klingebiel. The first disc lifts off with an exclusive get-down-deep boogie house gem by gifted Japanese producer Sauce81. It's followed by Prins Thomas's "Rainbow Disco," originally released to much applause on Endless Flight in early 2015 (EF 066EP). Strategy's "Mother Nature" precedes Eddie C's flute-driven "Flying Blue," taken from his 2015 Solaris EP on Endless Flight. More funk-infected sounds follow, as Brooklyn's finest DJ and producer Jacques Renault delivers with "Don't Need to Know," a deep, fine-crafted tune with pulsating bass and blissful key melodies. After a great rolling arrangement by Lord of the Isles, full of wonky bass power and dry drum beats that DJs like Rebolledo love to play, some newcomers get room to spread their talent. Italy's Rubini shows off his gift as a producer of dark atmospheres with a warm analog swing. Nicolai Toma and Musk follow with tracks that originally saw the light of the day via 2015 EPs on Endless Flight (EF 064EP) and Mule Musiq (MUSIQ 190EP) respectively, bewitching with hauntingly soulful music full of sexuality and killer low-slung house class. Disc one closes with an electrified knockout punch by Japanese producer Kuniyuki and the driving house lullaby "Leguan" by German producer Konstantin Sibold and his buddy Leif Müller. The second disc features just one previously released track, "Amedeo," by New York City's slow-mo house connoisseurs Frank and Tony. The other ten arrangements are exclusives by renowned musicians like Fred P, Oskar Offermann, Frankey & Sandrino, Aril Brikha & Sebastian Mullaert, Fort Romeau, DJ Jenifa aka Gold Panda, and Australia's Bell-Towers (featuring Miss Midday), as well as some lesser-known artists like the promising Cologne-based producer Johannes Klingebiel, Berlin-based deep house duo Kim Brown, and Snacks. Each track challenges the common definition of a genre blueprint with cosmic excursions, hypnotic rhythms, quaking basslines, spiritual synths, moody chords, and freewheeling jazz instrumentation.


VA: I'm Starting to Feel Okay Volume 7 Part One 12" (MUSIQ 198EP) 12.50
The first part of the vinyl release of I'm Starting to Feel Okay Vol. 7 (MUSIQ 053CD, 2016), compiled by Toshiya Kawasaki. Exclusive new tracks by Oskar Offermann, Rubini, Lord of the Isles, and Strategy. Mastered by Kuniyuki Takahashi. Artwork by Stefan Marx.


NP 015CD

EEK: Kahraba CD (NP 015CD) 15.50
Kahraba is the debut studio album of Islam Chipsy's EEK. Recorded in late 2014 in downtown Cairo, it contains four tracks perfectly representing Chipsy's wild and inimitable artistic spectrum, ranging from the frenzied sound signature technique that brought him his fame ("Trinity" and "Kahraba") to the band's individual maneuverings of typical Egyptian standards such as the Northeastern Nile delta "Simsimiyya" in "El-Bawaba" or Upper Egypt's traditional "Mouled Saidi" in "Mouled El-Ghoul." Made in Egypt.



POIRIER: Migration LP (NUP 004LP) 25.00
Montréal-based DJ and producer Poirier has covered a lot of ground since emerging in the early 2000s, from frenetic soca and hyped-up dancehall to rootsy reggae and cinematic sounds. Previous releases on Ninja Tune and Mixpak have seen a wide array of fans come flocking to his sound. Constantly evolving and shifting, Migration is an album that draws all of it together, moving through inspirations and genres, pulling them apart, and putting them together again to fluidly build Pourier's truly distinct sound. Electronics meld with acoustic instrumentation while warm tropical sounds rub up against stark digital soundscapes, disparate sounds and styles flowing easily into each other. The album's title refers to the increasingly pertinent global issue of migration. As with any Poirier album, the guests make up as much of the sonic tapestry as anything else. Legendary NYC dancehall chatter Red Fox makes an appearance on the lively single "Jump" (NUP 024EP, 2015) (supported hugely by David Rodigan and Toddla T). Versatile producer Machinedrum teams up with Poirier and Aleisha Lee for the deep post-dancehall of "Kypoli" while long-time collaborator Face-T turns up on the futuristic dubby dancehall of "Positive Up," "Why," and "Likkle Money." MC Zulu steps up once again to bring his unmistakable energy to "Keep It Rolling" and "Universal Peace," while Haitian vocalist Fwonte supplying the summer vibes on the konpa-meets-rocksteady of "Pale Mal." Dubmatix and Riddim Wise also bring their flavors to the table, completing a truly international lineup.


NA 5131CD

LEMAIRE, CHRISTOPHE: Can't You Hear Me? CD (NA 5131CD) 18.00
"Globetrotter of parallel subcontinents and digger of rare, forgotten records, Eothen 'Egon' Alapatt tracks sounds from the dawn of time to the four corners of the world. On the other side of the globe, French designer Christophe Lemaire stays forward thinking and audacious in his choices: far from our deified present, he cultivates a love of timeless designs and mixed influences; a passion for iconoclastic music hidden in the dark corners of a global cultural industry. This extraordinary openness has been at the heart of their friendship since 2007. Their exceedingly eclectic, fierce rock discoveries gave birth to a first anthology, Where Are You From? (Now-Again, 2010), the fruit of Lemaire's excavating Alapatt's archives. That was a postgeographic exploration in psych, rock and funk territories from 1968 to now; this second anthology celebrates their impressionist vision and explores garage rock from the 1970s, voicing the struggles of independence in Zambia, Nigeria and Zimbabwe. Can't You Hear Me comes from a track by charismatic Zamrock icon Paul Ngozi, a Lemaire favorite. Ngozi's title track sets the tone for a drastic selection of seventeen songs with rebellious undertones, riddled by an infectious groove, the forsaken writing about a forgotten chapter in the history of music. Ngozi, WITCH, Chrissy Zebby Tembo, Amanaz, Wells Fargo, Eye Q and the Funkees represent a generation fighting for their freedom, armed with fuzz guitars, symbolic objects of a new movement. They played in Fela's kingly shadow, were influenced by Hendrix's psychedelic solos, Jefferson Airplane's penetrating chords and Cream's repetitive melodies. The music of their colonial oppressors they reassembled and reinterpreted with pure energy, without nod to hymn or flag. A halo of cosmic design and pure lines, the cover for the anthology by Sanghon Kim transports us in this whirling odyssey in space and time while composer/producer Pilooski concludes the album with an edit of Witch's 'No Time,' an expression of the critical need to open up to new perspectives, new imaginations and to keep unearthing riches of our universal heritage. 'Through these tracks we can feel the communicative energy, this pure vitality, not only of Africa , but of youth and hope,' Lemaire states. 'And I find it quite universal and timeless. It is not about music as an industry, or as product, but music as a craft. And one can immediately recognized when music is created with heart and soul.'"

NA 5131LP

LEMAIRE, CHRISTOPHE: Can't You Hear Me? 2LP (NA 5131LP) 25.00
Double LP version. "70s African Nuggets and Garage Rock. From Nigeria, Zambia and Zimbabwe. Download card included."


OA 7070CD

MAIA, TIM: 1970 CD (OA 7070CD) 13.00
"The first studio album by legendary singer and composer Tim Maia, picked by Rolling Stone Brazil as one of the top 25 greatest Brazilian albums of all time, changed the game by seamlessly combining popular Brazilian music, MPB, with the brassy soul sound associated with Memphis. In addition to Maia classics 'Azul Da Cor Du Mar,' 'Coroné Antonio Bento' and 'Primavera,' highlights include the funk-meets-baião 'Padre Cicero' and the soulful 'Cristina.'"

OA 7071CD

MAIA, TIM: 1971 CD (OA 7071CD) 13.00
"The second studio album from legendary singer and composer Tim Maia continues the groundbreaking blend of soul and Música Popular Brasileira started with his first release a year earlier. Although 'Não Quero Dinheiro (Só Quero Amar)' was a massive hit (and covered many times over), the album is full of gems, from the tough fuzz funk of 'Não Vou Ficar' to the sweet soul perfection of 'I Don't Know What To Do With Myself.' For the first time, this reissue also includes the single-only hit 'Chocolate,' recorded at the same session. Listed by Rolling Stone Brazil as one of the 100 greatest Brazilian albums of all time!"



CHYMERA: The Divided Self 12" (OVM 264EP) 14.00
Chymera's beautifully melancholic "The Divided Self" (named after psychiatrist R. D. Laing's The Divided Self: An Existential Study in Sanity and Madness (1960)) is pensive, poignant, restrained, and ruled by minor chords. The bassline of "Canavan Calling" (named after Joseph Payne Brennan's short horror story) is so broad, rich, and textured it's almost overwhelming. It was created on an original Minimoog, an instrument with which Chymera fell in love while attending a Studio Stekker week alongside Mathew Jonson, Sebastian Mullaert, The Mole, and others. Starlit synths soon enter the mix, soaring further upward to create a natural, rolling organic build and payoff.


WINK, JOSH: Denial (Luke Slater Remixes) 12" (OVM 265EP) 14.00
Luke Slater presents two remixes of Josh Wink's 2015 shocker "Denial" (OVM 254EP). Splitting his complex multi-personality across two sides, the UK techno lifer explores his innermost dual psyche to create two wholly different tracks, both of which reflect the original's strengths. As Planetary Assault Systems (one of Slater's oldest and boldest alter-egos), he provides a nuclear-powered bulldozer of a version. On the B-side, Slater delivers the first L.B. Dub Corp production since his 2013 Unknown Origin album (OSTGUT 029CD/015LP). Two distinctive, forward-thinking, visceral, floor-focused remixes from one of techno's most respected, longstanding, and prolific minds.



CLARKE, MARY: Take Me I'm Yours 12" (ZUD 310EP) 15.00
"While being a rare Patrick Adams and Billy Nichols production, Mary Clark's 'Take Me I'm Yours' has in recent years become one of the most celebrated Disco tracks by contemporary Deejays. This borderline Gospel-Disco Gem has all the elements of a timeless Disco Cut; a driving bass line, powerfully arranged strings and horns, but most importantly, a very soulful performance by Mary Clark. Like many of Peter Brown's 'affliate' labels, little is known about them or the artists recorded. Originaly released in 1980 on 'La Shawn', it is rumored to have been no more than 200 records originally pressed, making this one of the most sought 12 inches among collectors. However Leave it to someone like Dimitri from Paris who edited and included 'Take me I'm Yours' on his The Kings Of Disco compilation from 2004 to give this virtually unknown song a new life and a whole new audience. Even as recently as last year, Mary Clark's song of 'devotion' made it's way into a BBC Radio 1's Essential Mix, courtesy of Floating Points, and frankly, there's probably not a bigger audience than that."



LAKE PEOPLE: Every Place You Go 12" (PERMVAC 146EP) 12.00
Martin Enke aka Lake People returns to Permanent Vacation with his first original material since his 2015 debut album, Purposely Uncertain Field (PERMVAC 136CD/LP). The three tracks on Every Place You Go stay true to the unmistakable signature sound of Lake People from the first beat to the last breath. The EP is also testament to how far Enke has built and refined his own sound universe. Cinematic soundscapes and hypnotic ambience meet razor-sharp beats that will keep you on the right track. Your soundtrack for a romantic road trip through post-apocalyptic wastelands and abandoned cities.



NOUMENO: Exosomatic Artifacts 12" (PRTLS 005EP) 18.00
Exosomatic Artifacts inhabits the world of ideas while enacting the decay of the body. In "Sensorial Surrogate," the human sensorial experience is stripped of its physicality and mediated through plastic and glass, pixels and vibrating cones. "Envenomation" is an orgy of geometrical luminescent constructions of abstract realities, conceived and perceived by swarms of connected brains. "Computer Worm," a virus infecting a vast biosphere of code; occupying, multiplying, and corroding from within. When are we no longer the computer and in fact the worm? Features remixes from Fis (Tri Angle, Exit, Samurai Horo) and Shapednoise (Type, Hospital Productions, Opal Tapes).



STARWALKER: Starwalker CD (PROTOTYP 002CD) 17.00
Starwalker is a collaboration between electropop innovators Jean-Benoît Dunckel (AIR, Tomorrow's World, Darkel) and Barði Jóhannsson (Bang Gang, Lady & Bird). The 2014 EP Losers Can Win properly introduced their singular sound to the masses with great aplomb. Noisey, Stereogum, Spin, The Huffington Post, and others offered glowing praise. After finding a break in their respective schedules, they recorded this full-length debut, blasting off to a new universe where cinematic soundscapes seamlessly intermingle with unshakable melodies. It's a trip you'll want to take again and again.


STARWALKER: Starwalker LP (PROTOTYP 002LP) 25.50
LP version. Starwalker is a collaboration between electropop innovators Jean-Benoît Dunckel (AIR, Tomorrow's World, Darkel) and Barði Jóhannsson (Bang Gang, Lady & Bird). The 2014 EP Losers Can Win properly introduced their singular sound to the masses with great aplomb. Noisey, Stereogum, Spin, The Huffington Post, and others offered glowing praise. After finding a break in their respective schedules, they recorded this full-length debut, blasting off to a new universe where cinematic soundscapes seamlessly intermingle with unshakable melodies. It's a trip you'll want to take again and again.



HILDENBEUTEL, RALF: Moods (Retouched Themes) 12" (RAN 012EP) 14.00
Following the 2015 release of his Moods album (RAN 011CD/LP), Ralf Hildenbeutel presents an EP of his own remixes of tracks from the album. One can hear the neo-trance influences of artists such as Kink as well as the fine feel for peaks and arrangements. With the driving groove of "Lost Retouched," the shaman in the desert peeps out from behind the cactus and offers psychedlic gifts.



BIRKIN, RICHARD J.: Vigils CD (REVEAL 060CD) 16.00
"For lovers of hushed, intricate, gently spacious music such as Mark Hollis, Steve Reich, Nils Frahm and Eno. Vigils features Iskra Strings who have played on recordings by influential artists including The XX, Radiohead and Johann Johannsson. A record about the wonder of the human body, the way we break down communication to electrical impulses so that we can (seemingly) truly connect, scary physics, beautiful physics, sensations beyond physical sensations, ascension, looking for the singularity in the past, lying in a burned out basement with the full moon in your eyes, lost worlds and small miracles."



SAND: Golem LP (ROTOR 006LP) 22.00
LP version in deluxe heavy-duty sleeve with vintage artwork. Limited numbered edition of 500. Originally released in 1974. German trio Sand's first album, Golem, is a legendary work of cosmic psychedelic genius. This is its first reissue. There is something magical and inexplicable in creation, and Sand absolutely manifest these mysterious phenomena. Storytellers, musicians, shamans, geniuses -- Sand were known, at the end of the '60s, as P.O.T. (Part of Time). Then Sand -- Ludwig Papenberg, his brother Ulrich Papenberg, and Johannes Vester -- developed a more avant-gardist, proto-industrial, visionary, experimental approach, becoming a truly unique entity in the history of music. Not dependent on a classic krautrock style, Sand is nevertheless part of this movement of German cosmic/psychedelic bands, in addition to being the originators of proto-industrial musics.


SAND: Desert Navigation LP (ROTOR 007LP) 22.00
200-gram LP version in deluxe heavy-duty sleeve. Previously unreleased album by German trio Sand, recorded 1973-1982. Live events in the quarry and an archaic sound formed the background music of the young atomic age. In the meantime, after endless trance garage sessions, Sand drifted from the mythical landscapes to Berlin and mingled with various oriental influences. Vultures were scudding along the urban canyons while burning houses illuminated the skyline. Sand navigated in obscure spheres and discovered Tendrara. There is something magical and inexplicable in creation, and Sand absolutely manifest these mysterious phenomena. Storytellers, musicians, shamans, geniuses -- Sand were known, at the end of the '60s, as P.O.T. (Part of Time). Then Sand -- Ludwig Papenberg, his brother Ulrich Papenberg, and Johannes Vester -- developed a more avant-gardist, proto-industrial, visionary, experimental approach, becoming a truly unique entity in the history of music. Not dependent on a classic krautrock style, Sand is nevertheless part of this movement of German cosmic/psychedelic bands, in addition to being the originators of proto-industrial musics. Johannes Vester: lyrics, vocals , synthesizers, guitar, organ, harmonium. Ludwig Papenberg: synthesizers, organ, generator, guitar, bongos. Ulrich Papenberg: bass. Guests: Christa Schunke, chorus; Claudia Utke, synthesizer; Dietmar Burmeister, drums; Jörg Hahnfeld, acoustic guitar; Klaus Pankau, electric and acoustic guitars; Martine Rossi-Merue, vocals; Michael (Micky) Westphal, bass. Remastered by Hervé de Keroullas, 2008. Graphic Design by Frédéric Tacer, 2011. Cover painting by Babs Santini, 2009.


SAND: Sylph Ballet LP (ROTOR 008LP) 21.00
200-gram LP version in deluxe heavy-duty sleeve. Limited numbered edition of 333. Previously unreleased album from the '70s by German trio Sand. Still living in the mythical landscapes, Sand not not only created Golem (ROTOR 006CD/LP/BLU-LP/PIC-LP, 1974), who was a being of the earth. Something else pulsated with a different energy of oscillation. The invisible beings of the air performed their dances. The Golem was large, mighty and of compact matter. He needed an external spirit to be navigated. Sylph creatures moved with the clouds and the wind -- from gentle breezes to violent storms, always sensitive to the chimes of the motions. The sylphs are the children of the moonlight as well as the elves with broken wings. The Sylph Ballet is riding upon ethereal horses and its airy spirit comes true in dawn levitation. There is something magical and inexplicable in creation, and Sand absolutely manifest these mysterious phenomena. Storytellers, musicians, shamans, geniuses -- Sand were known, at the end of the '60s, as P.O.T. (Part of Time). Then Sand -- Ludwig Papenberg, his brother Ulrich Papenberg, and Johannes Vester -- developed a more avant-gardist, proto-industrial, visionary, experimental approach, becoming a truly unique entity in the history of music. Not dependent on a classic krautrock style, Sand is nevertheless part of this movement of German cosmic/psychedelic bands, in addition to being the originators of proto-industrial musics. Johannes Vester: lyrics, vocals, guitar, VCS3, harmonium, collateral piano, natural brooklet. Ludwig Papenberg: guitar, drums, collateral piano, VCS3, bubbling brook. Ulrich Papenberg: bass, generator. Guest: Jörg Welz: grand piano. Mastered by Hervé de Keroullas. Layout by Frédéric Tacer. Cover painting by Babs Santini, 2009.


SAND: North Atlantic Raven LP (ROTOR 009LP) 22.00
LP version in deluxe heavy-duty sleeve. Limited numbered edition of 500. Previously unreleased album by German trio Sand, composed and recorded in 1973, '75, and '76. The once-croaking raven now flies silently over the ocean, higher and higher. Where are you rolling, sun-ball, and why don't you fall? The sandy Golem crumbled into dust. His brave struggle against the mighty forces of darkness soon dissolved in voiceless space. There is something magical and inexplicable in creation, and Sand absolutely manifest these mysterious phenomena. Storytellers, musicians, shamans, geniuses -- Sand were known, at the end of the '60s, as P.O.T. (Part of Time). Then Sand -- Ludwig Papenberg, his brother Ulrich Papenberg, and Johannes Vester -- developed a more avant-gardist, proto-industrial, visionary, experimental approach, becoming a truly unique entity in the history of music. Not dependent on a classic krautrock style, Sand is nevertheless part of this movement of German cosmic/psychedelic bands, in addition to being the originators of proto-industrial musics. Johannes Vester: vocals, guitar, VCS3. Ludwig Papenberg: congas, VCS3, drum box, guitar, organ. Ulrich Papenberg: bass. Guests on "High Tension": Klaus Pankau, electric guitar; Micky Westphal, bass; Dietmar Burmeister, drums. Cover painting by Babs Santini.


CURRENT 93: When The May Rain Comes 12" (ROTOR 010LP) 17.50
200-gram 12" version in deluxe heavy-duty sleeve. "When the May Rain Comes" is a cover of a track by German trio Sand, whose work has had a profound effect on David Tibet's work. The track first appeared on Current 93's influential 1992 album Thunder Perfect Mind. It appears here with an alternate version of the same track, originally released as a CD single accompanying the first 1000 copies of Ultrasonic Seraphim (1996), David Tibet and Steven Stapleton's collection of material by Sand. Current 93 is David Tibet's eclectic, idiosyncratic, hallucinatory, apocalyptic artistic project, begun in 1982. David Tibet is the only person permanently present in the group, although Steven Stapleton of Nurse With Wound, whom David met in 1983 at London's Equinox Event, has appeared on virtually all of Current 93's releases. David Tibet has worked with many individuals since he formed Current 93, including Michael Cashmore, Steve Ignorant (Crass), John Balance (Coil), Nick Cave, Marc Almond, Antony Hegarty, Sebastian Horsley, Andrew W.K., Rickie Lee Jones, Shirley Collins, and Bonnie "Prince" Billy. Current 93 has many faces, but has always primarily reflected David Tibet's beliefs and obsessions. His vision continues to grow increasingly personal and intense, inspired by his translations of non-canonical Coptic and Gnostic texts. Other important influences upon his work have been the New Testament, the works of Count Stenbock, cats, the Kabbalah, seahorses, and Birdsong in the Empire. Cover painting by Babs Santini.


NURSE WITH WOUND: Chromanatron LP (ROTOR 011LP) 23.00
LP version in deluxe heavy-duty sleeve with silver metal embossing. Limited numbered edition of 500. Chromanatron consists of Nurse With Wound's collages of no less than five albums by the mythical German band Sand from the late '60s and '70s. These five experimental psychedelic krautrock albums include their first oddity, Golem (ROTOR 006CD/LP/BLU-LP/PIC-LP, 1974), which has long been a great source of inspiration for Nurse With Wound. A hallucination on the music of Sand by Andrew Liles and Steven Stapleton, with Ian Hinton-Smith, guitar; Rick Tomlinson, French horn; and Matt Waldron, atmospheric grooves. Recorded at The Bear Den, West Yorkshire. Engineered by Andrew Liles. Cover art and insert art by Babs Santini.


ETHER: Music for Air Raids V2.0 LP (ROTOR 012LP) 19.50
A different version of Ether's Music for Air Raids (2000), recomposed for the vinyl format and entirely remastered. The distant roar that opens Music for Air Raids V2.0 is a prelude to the waves of polyrhythmic drums and unremitting guitars, of powerful and constructive poundings that shake the listener to the core throughout the album. A tour de force end-to-end, with raids of drums, percussion, and guitars -- sometimes as howls, sometimes as dull roars and atmospheric drones -- but always structured and substantial. To this thoughtful, structured, and energetic chaos is added a great originality in the choice of elements, textures, and machines. Epic, atmospheric, primal, and vibrating, Music for Air Raids V2.0 represents Ether rare mastery of their craft. Ether formed in 1994. Their music is unequivocal rock and roll, but the sound draws heavily from the experimental lineage. Ether has a huge instrumental dynamism, and is able to function bereft of sung lyrics, a conscious decision by the group that lends elasticity and classicism to its recordings. With no traditional demarcations and no imposed conceptions, Ether's music is abnormal and intense, and makes you wonder just how far rock music can go.


VIVENZA: Réalités Servomécaniques (Red Vinyl) LP (ROTOR 014RED-LP) 21.00
Red LP version. Originally released in 1985. irst reissued by Rotorelief in 2009. Features reworked visuals. Vivenza presents sounds -- noises -- in their rawest and most genuine aspect; sounds are machines and machines are sounds. Thus Vivenza captures the essence of factories with a strong sense of austerity and radicalism, evoking the thick smoke and intense darkness of industrial landscapes. Réalités servomécaniques directly refers to the triumph but also decline of heavy industries in the '80s. The cogwheels, forges, and machines smash us in the face in a radically powerfully vivid way, plunging us into the midst of the machines -- and into the machines themselves -- with a surprising and striking strength. Since his first works in the mid-'70s, Jean-Marc Vivenza has theoretically and politically linked himself with the Italian Futurists and Russian Constructivists, and qualifies his music as "bruitist futurist" rather than "industrial." He enacts the re-appropriation of noise as a formal plastic aid. He explores the field of perspectives that the plastic-acoustic material offers and works on a concept that he calls "the objective materiality of noise," basing his work on the Futurist thesis of Luigi Russolo proclaimed in his 1913 manifesto The Art of Noises. He is then the first, between 1976 (with the band Glace) and 1979, to build a bridge between the thesis of Luigi Russolo and our time. The originality of Vivenza lies in his use of sonorous industrial material in the literal sense of the word (machines, workers in action, factories). Noises and machines recorded and mixed by Vivenza in Grenoble, France, 1984. Mastered by Hervé de Keroullas, 2009. Graphic Design by Peter Mendelsund, 2009. Photography from Vivenza's personal archives.


LE SYNDICAT: Festin D'Acier LP (ROTOR 020LP) 19.50
Festin D'Acier is perhaps the most "industrial" of Le Syndicat's albums, even though Le Syndicat has always distanced itself from industrial music, striving instead to go further than music. Festin D'Acier is designed for those who know and appreciate Le Syndicat's rhythm albums. The title, which translates to "Steel Feast," is a deviation from Burroughs's bestseller Naked Lunch (1959). To Le Syndicat, Burroughs was a visionary, describing a world that never ceased to transform itself, led by basic human characteristics: power, domination, submission, cupidity. For Le Syndicat, we bathe in this world. Everywhere, artists from all horizons tell of the world's destruction. The steel feast is all that remains to eat during this apocalypse that we are living, the twilight of the fascist liberal world domination. Our old rusty tools, the dismantled leftovers of our glorious industries . . . Festin D'Acier, an end to the world's deeds, a dance of death -- but also a work in praise of strength, promoting rebellion. There's blood, sweat, survival instincts, muscles in motion, truth down there. . . . Le Syndicat was founded by art students J.M. Onni aka Ruelgo and Van Minh L aka Zyklon in Paris in 1982. The first goal of this association was to make noise performances. A year later, the tape label Le Syndicat was created with help from Zorïn, painter, graphic designer, and visual scientist. Their fascination with chaos, strength, and violence was not motivated by provocation but by the sheer pleasure of manipulating noise material. This was the main difference between industrial music and Le Syndicat's empiric bruitism. After releasing some intense noise albums in the mid-'80s, Ruelgo, with new member Veïdt Mjölnïr, turned to more musical styles, experimenting with ambient loops, heavy rhythms, etc. Limited edition of 333.


PHARMAKUSTIK: Neurochemie LP (ROTOR 022LP) 19.50
Pharmakustik's Neurochemie consists of eight pieces that involve complex arrangements of clinical ambiences and experiments in granular modulations. Some works also contain modified robotic sounds, vocoded electronic voices, and dismembered rhythmic particles. Neurochemie sums up all the experiences of previous Pharmakustik releases by concentrating on total modulation of sound and its effect on the nervous system using a wide range of plug-in effects and many external sources. The album represents Siegmar Fricke's perspective on Pharmakustik sound in 2010. Extramitochondrial synthesis and neurochemical maturation electronically generated by Siegmar Fricke at Pharmakustik-Studio, Germany, December 2009 - January 2010. Siegmar Fricke: synaptosomal transformations, granulom programmings, neurodynamics, endocrine modulators, excitatory inputs. Siegmar Fricke started making musique concrète experiments with magnetophones and shortwave radio signals in 1981, and became intensely active in the European tape scene between 1985 and 1993. He has collaborated with Miguel A. Ruiz, Maurizio Bianchi, Giancarlo Toniutti, and others. Since 2001 Siegmar Fricke has characterized his musical universe as "Pharmakustik": audioclinical investigation; sound research; implantation and re-implanation of acoustic fragments; exclusion of harmonies/melodies/traditional song structures; generation of completely electronic and highly abstract tissues; intermodulating soundpools related to medical subjects; neurochemical ambiences; formant-modulation of selected voice-particles; bitcrushed fractures of rhythm; complex combinations of plugins/modulators/effect-periphery. The current techniques of the Pharmakustik sound research are characterized by intermodulating, morphing particles and their mutual interaction in the stereophonic panorama. Automated inspection of otoneurosurgical, motorcortical fragments for the atraumatic listener. Pharmaconstructive audiofluxus 2010. Design by Frédéric Tacer.


DALL, BRYIN: Deconstructing Hank LP (ROTOR 024LP) 21.00
"I wanted to share Hank with a world that was unfamiliar with him and unable to grasp the despair, hurt and loneliness that he lived, unable to absorb the words or the sentiment, unable to hear the words, 'Like a piece of driftwood on the sea, may you never be alone like me'. I asked Derek Rush if he would be interested in doing Hank Williams songs with me, he put them in a minor key and arranged them while I re-interpreted the melody and sang the words of Hank Williams, adding my guitar sculpture. I was contacted on my personal MySpace page by a biographer of Hank Williams. I was afraid he would be mortified by my versions, but I was pleasantly surprised when he wrote that I was the first person, since Hank originally recorded the songs, that captured the pain. Rotorelief contacted me and asked to release these songs on vinyl. You are holding the results. . . . When I was very little, my parents force-fed me country music, but as I got older, I listened to Black Sabbath, Alice Cooper, Sparks, Bowie, Roxy Music, XTC, Bauhaus, Joy Division, Jesus & Mary Chain, etc. Then I discovered Throbbing Gristle. My entire musical world changed. My first band was The End, and I moved to NYC. Another project was Loretta's Doll, then I explored unconventional music further under the name 4th Sign of the Apocalypse. Darkness was always prevalent in my music from the start. Derek Rush joined me and we became A Murder of Angels, a dark ambient project. . . . Then I met Genesis P-Orridge at my local post office in NYC and within a month I was half of his musickal project, Thee Majesty, still playing shows all over the world. I am listening to country (this time on my own accord): Johnny Cash, Waylon Jennings, Buck Owens, or Hank Williams (Sr. or III, never Jr.), etc." Bryin Dall: vocals, noise, prepared guitar. Derek Rush: acoustic guitar, bass guitar, bass-o-lin, synth strings, percussion. All songs written by Hank Williams. Selected by Bryin Dall. Produced and arranged by Derek Rush. Recorded and mixed by Derek Rush with Bryin Dall at Waxy Yellow Buildup Studios and Elsewhere Studios, NYC. Mastered by Bryin Dall at Waxy Yellow Buildup Studios, NYC. Photos by John Colin. Book deconstruction and graphic design by Éric Collet.


LES BELLES NOISEUSES: Whiter Than White LP (ROTOR 025LP) 19.50
The title Whiter Than White sounds like a soap advertisement; advertisements and soap are precisely what Les Belles Noïseuses ?blame. Or, more precisely, they blame what they represent -- consumption, conformity, economic liberalism. However, don't expect to get a speech from Les Belles Noïseuses. Only feelings, emotions, dreams, and nightmares are conveyed through their refined musical structure. The doom-jazz double-bass recalls the best of Mick Karn. The minimalist guitar scrapes atonal melody to the bone. The sepulchral, velvety voice envelopes you to take you to hell. Whiter Than White: an impulsive dance of death. Lust for life, joy of dying! Les Belles Noïseuses were created in 1992 as an outlet. When they let themselves go in a chaotic and abrasive way, only the sky was the limit . Little by little, the trio set up a dark acoustic and melancholic music, charming and modest, a languorous dark folk livened up with various influences, from psychedelic pop to cold wave. But under this dark veneer hides a tender irony. Despair gets mocking. Bela Goosy, voice; Bill Ottomo, guitar; Spotzy Blackcycle, double bass. Guests: Jay Mooken, drums; François Ammeter, percussion on "A presage of evil"; Olivier Adjedj, keyboards. Lyrics, music, and recording by Les Belles Noïseuses, 2010, except "Burning house" by Sand, 1975. Mix and premaster by Olivier Gangloff, Romain Ferrey and Les Belles Noïseuses, 2010. Mastered by Hervé de Keroullas. Graphic design by Éric Collet from engravings by Albrecht Dürer (1471-1528). Includes insert.


TAKAAAKI: Netsu LP (ROTOR 027LP) 19.50
As Takaaaki says, this is not typical dubstep. His work evolves to a new form of dubstep, with a heavy, dark, aggressive side; it retains the bass and various BPMs, but some harmonies and even hints of melodies take all these sounds to a new level, creating a mutant dubstep that hypnotizes the listener, evoking lunar seas and snowy landscapes. But be aware that with Takaaaki decadence and craziness are never far. As a high school student, Takaaaki (Ueda Takaaki) was influenced by hardcore music. At 20, he went to New York where he discovered electronic music; he began making music in 2005, while wandering through the UK, Germany, and the Czech Republic, where he experienced club music. In 2006 he started performing live, particularly at Noon in Osaka, as a member of Depth. His heavy, hypnotic, eccentric sounds have had a massive impact on the Japanese dubstep scene. All tracks composed, recorded, mixed, and mastered by Takaaaki, 2006-2010. Graphic design by Frédéric Tacer, 2011.


BRUME: Xerxès LP (ROTOR 028LP) 21.00
Brume (Christian Renou) is a prolific French musique concrète composer/sound sculptor who has won himself a place of his own with his crossover between sound collages, electroacoustics, and noise. His compositions rely on dense, rapid-fire montage and wed cacophony and dynamics, emphasizing both the elements of discontinuity and continuity. "Xerxeswas the King of Persia in 500 B.C. and could be considered today as a symbol of 'blitzkrieg'. His aggressive instincts allowed him to defeat the Greek army in a quite short period of time thanks to his great armada. Xerxes can be considered as a symbol of aggression, of invasion and let's say of penetration by all meanings of the word. . . . This sonorous material bearing the same name tries through sonorous metaphors but also through direct resonances to concretise this notion of ultra-violent aggression inherent to all periods of Humanity. . . . Today in 2011 all systems, and this thanks to new techniques of 'information', keep on bombarding and formatting the masses with high-flying high-tech systems suitable to their ideals. . . . The end of tyrannosaurus isn't coming any time soon!" --Christian Renou, May 2011. Composed, recorded, and mixed at Colleville Studio, April and May 2011. Christian Renou: all instruments, voice, taped voice, effects. Mixed and mastered by Christian Renou.


PARAZITE: Le Bunker de la Dernière Rafale LP (ROTOR 030LP) 21.00
Le Bunker de la Dernière Rafale (The Bunker of the Last Gunshots), made in 1981 by Marc Caro and Jean-Pierre Jeunet, is a 26-minute retro-futuristic silent film bursting with punk and industrial culture, in the tradition of expressionist cinema. Caro's soundtrack, a work of his Parazite project, was initially presented in monaural sound for the 35mm film. A stereo version was made through the Arkamys process when the film was released on DVD in 2001. Marc Caro presented a 5.1 surround sound version at the 30th-anniversary screening of the film at L'Étrange Festival in 2011. This edition contains the stereo mix of this live cinema performance version. Personnel: Marc Caro, Joëlle Coulombeau, Antenna Meadows, Spot Phelizon.


FUJAKO: Landform Erosion LP (ROTOR 031LP) 19.50
Producer duo Fujako (Jonathan Uliel Saldanha aka HHY and Nicolas Esterle aka Ripit) work with echo, bass, and space to summoning unlooped hip hop and telluric dub from the geological strata. Here they present an eroded version of their 2009 debut album, Landform, venturing into the cosmic wilderness of haunted grounds and landscapes. Tracks eroded by HHY, Ripit, and the following remixers: Spectre, explorer into the realm of low-frequency manipulation; Brussels-based musician and video artist Tzii, half of Solar Skeletons with Ripit; A034, an electronic wizard from Milan, Italy; Le Syndicat, French industrial breakbeat avant-gardists since 1982; and Brussels-based producer and engineer Rob(u)Rang (Silk Saw). Featuring the following MCs: Native, a polyglot freestyler based in Paris; Scalper, ex-frontman of Fun-Da-Mental and 2nd Gen; Sensational, longtime collaborator of Spectre, with other collaborators including Ghostigital; Paris-based MC Cheravif; and Seraphim, longtime collaborator of Raz Mesinai. Also features French lo-fi turntablist DJ Urine, whose previous work includes collaborations with The Locust, Otto von Schirach, Mike Patton, Q-Bert, and others. All tracks composed by Jonathan Uliel Saldanha (HHY) and Nicolas Esterle (Ripit). HHY is a Porto-based multi-instrumentalist and producer; he is active in many projects including United Scum Soundclash, Besta Bode, Sikhara, and more, ranging from conceptual sound installation, improvised big band music, and electronic metal to modular choir music, traditional Indian music, and tribal dub. He has collaborated with Mark Stewart (The Pop Group), Steve Mackay (The Stooges), Adrian Sherwood (On-U Sound), and others. Brussels-based producer Ripit has collaborated with Marshall Allen, Mike Watt (Minutemen), Otto von Schirach, and others; he's also a live sound engineer for numerous bands and a mastering wizard. Mastered by Frédéric Alstadt and Nicolas Esterle at Angstrom Mastering. Cover painting by Erik Audoubert. Layout by Alexandra Sebbag.


FROG: Frog 2 LP (ROTOR 032LP) 21.00
Frog 2 is a work of percussion of all sorts -- electronic, metallic, and beyond -- bathed in atmospheres of humid tessituras. The music is simple, and unlike Christian Renou's work as Brume, accessible! Beyond its rhythmic arrangements, the work focuses on textures -- mainly electronic (analog and digital). Most of the sounds are filtered by vintage analog synths using the whole range: VCO, VCF, VCA, envelope modulators, etc. Frog 2 rewards active listening, but also works as background music -- you can listen to it while making dinner, or with an active ear from your favorite armchair (in the dark if possible, with a glass of wine). Simple, multi-use music. Electronics, metal, field recordings, electroacoustic sounds composed, recorded, mixed, and mastered by Christian Renou at Colleville Studio, 2011-2012.


CROMAGNON: Orgasm LP (ROTOR 039LP) 28.50
Originally released in 1969. Certainly one of the weirdest experimental psychedelic albums out there, with noise and industrial moments, first released by legendary free jazz label ESP-Disk' in 1969 (ESPDISK 2001CD/LP). An absolute psychedelic UFO of proto-industrial noise, with a pioneering touch of Throbbing Gristle, SPK, Whitehouse, and Test Dept mixed with something fully stoned . . . way ahead of its time in the '60s. Remastered with the same real rough sound and the same feeling sought at the time, but with more volume added. 180-gram LP in deluxe heavy-duty silver chromium gatefold sleeve. Limited numbered edition of 333.


RUM 2011113LP

CASH, JOHNNY: The Fabulous Johnny Cash LP (RUM 2011113LP) 20.00
The Fabulous Johnny Cash is Johnny Cash's third full-length LP, originally released in 1958. Considered by many to be his most cohesive and fully fleshed-out album, it packs a lot of punch into a half an hour. With numerous Cash originals, the album was recorded in the summer of '58, with the Cash classic "I Still Miss Someone" as its centerpiece. Another one from the immortal Johnny Cash reissued on Rumble.

RUM 2011115LP

SUN RA & HIS ARKESTRA: Jazz in Silhouette LP (RUM 2011115LP) 20.00
Recorded and released in 1959, Jazz in Silhouette is considered by many to be one of interplanetary traveler and jazz legend Sun Ra's best records from his Chicago period. Featuring long-time collaborators Marshall Allen, James Spaulding, and John Gilmore, Jazz in Silhouette has an exotic soundtrack vibe; it's dark, smoky, and absolutely stunning. An essential piece of American jazz history from one of the most unique artists of the 20th century.

RUM 2011116LP

KING, B.B.: Mr. Blues LP (RUM 2011116LP) 20.00
A stylistically diverse LP from B.B. King, drawn from three different sessions dating from 1962 to 1963, the year of its original release. The blues legend is backed by a variety of groups, the most thrilling of which is The Maxwell Davis Orchestra, which cut countless sessions for LA-based labels Aladdin and Modern Records (two of the premier West Coast rhythm and blues labels of the '50s and '60s). The blues legend is in fine form here, on another classic brought back to life by Rumble.

RUM 2011117LP

BROWN, JAMES: Live at the Apollo LP (RUM 2011117LP) 20.00
This is one of the most famous live recordings of all time; nearly all teenagers from the post-war boom, from California to Maine and beyond, had this 1963 LP on the stereo at parties. From the classic MC introduction ("Are you ready for star time?") to The Famous Flames' final note, this is a soul and R&B album without equal. The Hardest Working Man in Show Business, Mr. Dynamite himself, the legendary James Brown is at the top of his game in this powerful, beloved, timeless performance.



VA: Sheer Rocks: Music On The Rocks Volume One CD (SLM 003CD) 15.50
Sheer Rocks is an idyllic open-air restaurant on the west coast of Antigua. It boasts incredible sunsets, daybeds, and a plunge pool as well as soul-soothing atmospheres, and since the early 2010s has built a deserved international reputation thanks to its great Mediterranean menu. The restaurant has hosted sets from the likes of Danny and Ilona Rampling, Darren Emerson, Nigel Gore (Back 2 Life), Alan Russell (Black Market Records), and many more; now owners Kate and Alex Rocks have reunited with old friend and Cafe Mambo resident Pete Gooding, who has put together a perfectly breezy feel-good compilation to go with the world-renowned restaurant. Hand-selected by Gooding and Phil Dockerty, cofounders of Secret Life Music, Sheer Rocks: Music On The Rocks Volume One includes some key musical highlights and some of the hottest names in balearic music, and is a great sonic window into the Sheer Rocks world. Things kick off with a perfectly horizontal cover of "On The Beach" by Nick & Samantha, setting an expertly beachy vibe right away, before sun-kissed reggae from renowned chill-out producer Afterlife, long-legged disco from Midnight Mystery Club, and serene sunset sounds from Paqua. Norwegian producer Telephones contributes his excellent "Hot Destinations For A Cooler You," originally released on his The Ocean Called EP on Gerd Jansen's taste-making Running Back label in 2014 (RB 047EP), and fellow Norwegian Rune Lindbaek teams up with Øyvind Blikstad on the truly wonderful "North." Sunset master José Padilla contributes his Brazil-influenced "Mojame," a collaboration with Mark Barrott originally released on Padilla's So Many Colours on International Feel in 2015 (IFEEL 042CD/LP). Other highlights include Italian DJ-and-production duo Balearic Gabba Sound System's remix of "So Good" by Danish band The Ball And The Wall feat. Clara Sofie, "Taza De Oro" by Waldemar Schwartz (Golf Channel Recordings), and "Moogie Wonderland" by Simon Mills aka Napoleon from legendary production duo Bent. Also includes tracks by Jacob Gurevitsch, Luminodisco, No Logo feat. Ashibah, and Private Agenda.



DON'T DJ: Authentic Exoticism 12" (SEXES 002EP) 16.00
"Authentic Exoticism cover sports single-sheet gatefold packing featuring an extensively written contemplation of phenomena of hybridization. The illustrative design which highlights themes of the text and music includes a hologram." "Stunning EP w/ universal rhythm textures & blinding packaging - Highly recommended EP!" --Hard Wax



BOMANS, ULLI: Sort By Dragging CD (STRIKE 157CD) 15.50
Bremen, Germany-based artist Ulli Bomans presents Sort By Dragging, his second album under his given name. His first, Riven (STRIKE 149LP, 2014), followed a long series of music productions under his Schieres alias and numerous 12"s, albums, remixes, and tours together with Marco Haas aka T.Raumschmiere and their band of electronic thunder experiments, Shrubbn!! This time, the listener is lost completely in the gloomy, captivating worlds of sound. Sinister at times, Sort By Dragging recalls Fritz Lang's 1927 film Metropolis, while also bearing parallels to Bomans's sculptural and visual art in its passage from Bremen to Detroit and back. Bomans clears the way with opener "Detroit Tape Noize," as the gloomy intro of noises and clicks gives way to a distant beat that functions more as a moving wall than a drum pattern. Sounds are created from noise; rhythm from the recovery of movement -- and somehow are condensed into a track, a song not without melody, resonating like an alarm in an ocean of noise. On "Cheap Seats" the listener even encounters a real drumbeat, which somehow drags and pushes a Vermona home organ sound into the echo loop. "One Piece Missing" then brings a clear piano voice into this world of sound. "Screensaver" concludes the work with ringing and roaring under a strangely amazing piano. CD in digipak with booklet.



ALMA NEGRA: Tabanka EP 12" (SOFRSS 013EP) 13.00
"A fresh installment in the Sofrito Super Singles Series: a limited 3 track EP of raw percussion sounds from the Alma Negra crew, at the crossroads between organic percussion and electronics, and inspired by the Carnival celebrations on the Cape Verdean island of Santiago."



YTAMO: MI WO CD (RMSG 014CD) 16.50
the many lives that livewithin the organic planetby listening, I touch themfluttering light of the day--Takako Minekawa"Sometime in the early to mid '00s, I was on tour in Japan. I was playing at the now closed venue Bridge in Tennoji. It was one of my favourite venues in Japan, mostly as Tennoji still holds those secrets of Japan's 20th century history; the nocturnal, dreamlike sensibilities that reach out to us from beyond, much like say Chris Marker's San Soleil does. The concert was most memorable though for one reason -- Ytamo. Before I performed, Ytamo (who at the time I had not heard of) commandeered a piano and created one of the most unusual and soothing pieces of music I had ever heard. These were songs that felt as if they were on the edge of consciousness, they flowed with grooves that seemed to suggest a deep hypnosis. It was quite honestly audio magic. Now the better part of a decade on, I have the pleasure to have a hand in making her latest recording available. MI WO orbits in a more aquatic space than her earlier works. Shimmering electronics abound, melodies like the tides and rhythms that vibrate with oceanic gravity. Originally created to accompany an exhibition by Argentine artist Natalí Katz, MI WO sees Ytamo expand her palette considerably. She melts together the core of her song explorations with a rich sonic texturing that is both compelling and evocative. It's my great privilege to share this with you." --Lawrence English


TUTTLE, ANDREW: Fantasy League CD (RMSG 015CD) 16.50
What is Fantasy League? Taking his unique blend of acoustic and electronic elements as a starting point, Brisbane artist Andrew Tuttle has devised an approach to the notion of Fantasy League loosely based upon the idea of the creation of an album as a utopian fantasy environment. This environment sets social interaction against total isolation. It sets self-reflexivity against self-confidence; it promises to complete you, as you complete it. But at what point is the fantasy to be broken? At what point must the music fall away from the promise of becoming and into the concrete nature of being? In Fantasy League, your position is only ever as certain as your desires. Music and self are in unison, but never settled or steady. Written, recorded, edited, and mixed May-October 2015, James Street. Mastered by Lawrence English, November 2015. Andrew Tuttle: computer, banjo, synthesizer, acoustic guitar. Tuttle has released recordings on Room40's A Guide To Saints label and Heligator, in addition to several private mixtapes. Tuttle has collaborated live or on record with artists including Matmos, Lawrence English, Blank Realm, Mike Cooper, and Heinz Riegler, and shared concert lineups with Matmos, Julia Holter, Hauschka, The Soft Pink Truth, Forest Swords, Omar Souleyman, Om, Marihiko Hara, and countless others. Prior to 2013, Tuttle created music under the nom de musique of Anonymeye, releasing three albums and performing over 100 concerts in Australia, Europe, and New Zealand.



YETI LANE: L'Aurore CD (SCR 105CD) 16.50
Parisian psych duo Yeti Lane present their third album, L'Aurore. It's the follow-up to 2012's The Echo Show, and perfectly balances the duo's love of analog electronics with huge waves of guitar. This time they discarded their suitcase of gear and improvised, building their sound up from scratch, and the result is an album that is rougher, dirtier, and darker than its predecessor. It also finds them singing in their native French for the first time. Yeti Lane formed from the ashes of psych-folk-prog outfit Cyann & Ben in 2009; their self-titled debut album followed the next year to great acclaim. Their second -- The Echo Show -- combined Kraftwerk with LCD Soundsystem and My Bloody Valentine to incredible effect, resulting in more glowing reviews, BBC 6 Music sessions, and memorable live shows. One of the main inspirations for L'Aurore was the band's legendary show at The Shacklewell Arms in June 2012, where they improvised as Damo Suzuki's backing band. "We've always considered each album in response to the previous one, we try to never repeat the same things, the same gimmicks," explains Charlie Boyer (drums and electronics). "We needed to forget our habits, to clean our minds in order to find new directions. We had a lot of fun improvising, which opened us to new playgrounds." "We wanted to keep the excitement of the moment, with no routine," says Cédric Benyoucef (vocals and guitar). "Everything was recorded as we were playing, just the two of us in the same room. We chose takes in which we felt something was happening, rather than the ones in which we were playing perfectly; we kept the mistakes." The duo's core influences remain the same -- The 13th Floor Elevators, Neil Young, The Flaming Lips, Spacemen 3 -- but it was their rediscovery of the French scene of the late '60s and early '70s that inspired Benyoucef to try writing the lyrics in French. (He cites a number of artists from the Saravah label, such as Brigitte Fontaine, Jacques Higelin, and Areski, as well as Obsolete (1974), Dashiell Hedayat's largely improvised record made with Gong.) Cover art by Heretic Studio.



SPACEMEN 3: Live at the New Morning, Geneva, Switzerland, 18.05.1989 CD (ORBIT 054CD) 19.50
First CD edition of Live at the New Morning, Geneva, Switzerland, 18.05.1989 by Spacemen 3, originally released in 2014 as a limited-edition vinyl-only release on Swiss label Mental Groove Records. Fold-out card wallet featuring liner notes by Sonic Boom and previously unseen photographs. Digitally remastered by John A. Rivers at Woodbine Street studio in 2015. Recorded in Geneva, Switzerland, during Spacemen 3's 1989 European tour, while the band was in sublime form, this release further cements their reputation as one of the most influential and seminal bands of the space rock and drone rock worlds. As Sonic Boom recalls, "I seem to remember this show more distinctly than most, and always did. Spacemen 3 was a band not overly loved in their day. It was tough, or at least uneasy. Musically people thought we were some sort of twisted joke. Which in some ways we were. You needed to be bloody-minded to make this music at that time. The set presented here, is as it was . . . except the show was twice this length. We tuned and smoked for almost as long as we played. And then our disenfranchise moment, installed to filter the wheat from the chaff in our audiences -- the sprawling 'Suicide' wheeled out here in a long mischievous version. We slipped away mid-song amongst much fog and dry ice. With taped down keys and feeding back guitars propped against our speaker cabs keeping the song pulsating and screaming. Disappearing back down to the already too familiar dressing room. We rolled large smokes and cracked fresh drinks. And finally after an extended 'break' re-appeared on stage. Not to wind down as normal at that juncture, but to re-fire up the piece for a further onslaught. Extending the maelstrom as bloody mindedly as we could. We always 'sensed' when we were unwanted . . . which was most of the time we left the cosy confines of our white 'sprinter' van. Never get out of the van . . . fucking tigers! But then again . . . maybe . . . just maybe . . . and it's only a maybe . . . maybe l don't remember a thing."



BACIAMIBARTALI AND WINTER LIGHT: Baciamibartali and Winter Light LP+CD (SPITTLE 062LP) 23.00
First reissue of Baciamibartali and Winter Light (1982), an essential document of Italian post-punk split between Tarcisio Lancioni's twin projects Baciamibartali and Winter Light. Includes CD containing the album plus Baciamibartali's 1984 three-song EP The Mournful Gloom. "The magic touch of this unforgettable icon of romantic and decadent post-punk music is back to pluck strings in the depths of our souls, a jubilation of the most powerful vibrational dynamics, melodic/chromatic inventions and perspective layers . . . whether they are the dreamlike fugues of Baciamibartali or the neon-lighted electronics of Winter Light. . . . Although the 'twilight of hope' and the fragility of the human condition are clearly inspirations to the author, on the other hand the stings of disenchantment look for shelter by embracing an impossible dream, one that dies away among the lights and shades of these atemporal melodies. Glimpses of the Pre-Raphaelite aesthetics that torture shrouds of sublime harmonies and chisel electric marbles of an epic memory, burning in a never-ending chant of passion. This reissue is nothing short of a must." --Aldo Chimenti



VA: The Beat from Badsville Vol. 3: Trash Classics from Lux & Ivy's Vinyl Mountain CD (STAGO 075CD) 15.50
Brought up on the radio shows of such legendary rock 'n' roll DJs as the moondogging Alan Freed, Mad Daddy, and, later, the ghostly Ghoulardi, it was hardly surprising that The Cramps' Lux Interior and Poison Ivy began trawling thrift stores for juvenile delinquent tunes, lip-curling bad boy rock 'n' roll, strange exotica, bizarre novelty 45s, dysfunctional doo-wop, psychedelic weirdness, and instrumentals made by madmen. In America in the 1950s and 1960s there seemed to be small-town versions of such vinyl madness everywhere that, by 1970s, were remaindered and -- to the majority of people -- unwanted. To the fledgling Cramps this was nothing short of heaven. The duo filled their house with novelty memorabilia, schlock horror furniture, and a record collection to die for. Lux eventually gravitated to his own Purple Knif radio show and The Cramps delivered their versions of some of the stuff they'd found. The duo name-checked many a 45 along the way and seeking them out and sampling their eccentricities is nothing short of mind-blowing. This 24-track collection positively effervesces with eccentricity. As with every installment in the series, these tracks are divided into four themes: Life's a Scream, Crazy Guys, Food, Prison and a Guide to the Female Persuasion, Welcome to the Jungle, and Wild and Wilder Boppin' Girls. Every track pirouettes dangerously and at times haphazardly around the expected. These are songs for strange times by artists who can definitely be considered strange people. Gems and nuggets that sparkle even more bright in the manufactured music maelstrom of the 21st century. The population of Badsville welcomes you aboard. Includes tracks by Bunker Hill, Ralph Nielsen, Ron Thompson & His Rowdy Guitar and The Brougham's, Vince Taylor & Ses Play-Boys, Screamin' Jay Hawkins, Lord Luther and The King's Men, Teddy Rich and the Rockets, Fabian, The Moroccos, Richard Berry and Group, Jimmy Witter and the Shadows, Charlie Baker, Buddy Bow, Glenn Reeves, The Playboys, Jape Richards and the Echoes, The Loafers, The Charts, The Bobbettes, Wanda Jackson, Annette, Sparkle Moore, Stormy Gayle, and The Storey Sisters.



DE LA CALLE, EDUARDO: Kashma 12" (STEP 008EP) 14.00
Spell "PETS" backward to get "STEP." Spell "STEP" forward to find PETS going back to basics. STEP is the vinyl-only label from the founders of PETS, Catz 'n Dogz, that highlights the rawest forms and root functions of quality club music. STEP finds the fundamental groove with under-the-radar house and techno that is isn't afraid to be rough around the edges. STEP is limited promo and all about the music.


SR 415CD

POUSSEUR, HENRI: Early Experimental Electronic Music 1954-61 CD (SR 415CD) 15.50
Henri Pousseur was 25 when he composed his first piece of electronic music in 1954, in the Cologne radio studios where Karlheinz Stockhausen (with whom Pousseur had a close relationship) had created most of his famous pieces. Early Experimental Electronic Music 1954-61, the seventh and penultimate installment in Sub Rosa's Early Electronic Series, features Pousseur's earliest works -- his first steps. Pousseur studied at the Academies of Music in Liège, Belgium, and in Brussels, from 1947 to 1953. He was closely associated with Pierre Froidebise and André Souris. He encountered Pierre Boulez, Stockhausen, and Luciano Berio and thereafter devoted himself to avant-garde research. Pousseur taught in Cologne, Germany, and Basel, Switzerland, and the United States at SUNY Buffalo, as well as in his native Belgium. From 1970 until his retirement in 1988 he taught at the University and Conservatory of Liège, where he also founded the Centre de recherches et de formation musicales de Wallonie. Sub Rosa has released Pousseur's work before, but it has never released any of the pieces included here. CD in six-panel digipak with 12-page booklet; includes CD-only track "Séismogrammes II" (1958).



SKOGSBERG, JOAKIM: Jola Rota LP (SUBL 090LP) 29.00
2016 repress. The first official vinyl reissue of one of Sweden's greatest unknown psychedelic treasures from the 1970s. From the original master tapes and with the original artwork, including previously-unpublished archival pictures and liner notes. The album contains a mysterious, shamanistic and highly psychedelic "folk music" infused with incredible soundscapes of derailed, fuzzed-out violins, soaring guitars, rattling hand percussion, droning vocals and pulsating bass rhythms. Originally released in 1972, the album sold 300-400 copies and was then withdrawn and the remaining copies discarded, making Jola Rota a much-rumored and sought-after Swedish droned-out and mesmerizing psychedelic artifact.


2016 repress. Subliminal Sounds presents the band Kvartetten Som Sprängde (trans. "The Quartet That Blasted") and their album Kattvals (trans. "Cat Waltz"). First-ever vinyl reissue of one of the most sought-after and beautiful psych rock/progressive/pre-jazz rock instrumental albums ever recorded in Sweden. Originally released during the summer 1973 on the obscure Gump label. Powered by a C-3 organ, Ludwig kit and 50-watt Marshall head with a home-built cabinet, the skilled three-piece band (not a quartet, as the band name would have you believe) absolutely soars on this record, blasting away fantastically. The delicate use of the studio echo-chamber lends a magical, gossamer reverb to the whole album's sound. Includes a 4-page insert with lots of never-before-published photos and extensive liner notes by Reine Fiske (Dungen, The Amazing, etc.).



TANAKA & RADIQ, FUMIYA: Sundance 05 12" (SND 005EP) 14.00
Fumiya Tanaka and Radiq follow collaborative EPs on Sundance (SND 004EP, 2012) and op.disc (2015) with the third release in the trilogy. "Flying One Hand (Dub)" is the previously unreleased dub version of the title-track from the duo's 2015 Flying One Hand double 12" on op.disc. The B-side features the fine interweave of Radiq's percussion and Fumiya's bass/beat groove with soul vocals. The sound is different from the style of the duo's Dartriix works, with its distinctive groove.



IPMAN: Depatterning CD (TEC 020CD) 12.50
2015 release. Jack Gibbons aka Ipman follows releases on Osiris, Tempa, and Cold Recordings with Depatterning, his debut album. Gibbons hails from the rural Herefordshire county in England, a world away from the city-born influences that form his sound. Embracing the luxury of isolation, Depatterning is compiled from two years of recording, realizing a vision of Gibbon's passion for soundsystem music, rave culture, and technology. A self-confessed tech nerd, Gibbons built the album by experimenting with granular and modular synths, rewiring drum machines, and mangling sounds with hardware. "I like to create music by experimenting with new ideas and mechanics and letting tracks evolve, and this was no different. I had a pretty free reign and just tried new things and looked at the results." Lead track "Regicide" repackages the mid-1990s jungle experience into 140bpm breakbeat science, "IPA" gives a sly nod to the Hereford pub staple with jamming techno synths, and the trinity of "¥," "Ø" (CD only), and "Ü" sandwiches atmospheric ambience between Gibbons's takes on dark 2-step and crushing rave. The restless "Last One In The In The" pays tribute to the all-night dancer -- "It's like that bloke who is there from start to finish, eyeballs popping out of his head, just dancing like a maniac all through the dance (we've all been there). I had an idea for a video for it about him but never got round to it. It'd be like the 'Inspector Norse' video. But in England so gritty and depressing." Depatterning demonstrates Gibbons's individual ability to seamlessly fuse sounds, textures, and moods, from jungle to techno and everything in between.



APPLEBLIM & OCTOBER: Other Side Of The Sky 12" (TEMPA 105EP) 12.50
Appleblim and October -- two key figures in the Bristol electronic music scene -- reunite to deliver "Other Side of the Sky." A melodic, cyclical kick drum and sub-bass pattern propels the track's spectral, white-noise hiss forward. Appleblim breaks apart and refixes the track for his remix on the flip, in a style reminiscent of labelmates Horsepower Productions -- all dubbed-out tape echo and amped-up paranoia.



PHARCYDE, THE: Ya Mama (UK Version) 7" (BIC 111EP) 11.00
"Originally released in November of '92, Bizarre Ride II The Pharcyde emerged at a time when gangsta rap dominated what people were hearing, seeing and buying, especially on the west coast. The Pharcyde's refreshing sound -- lively, humorous and inventive lyrics over lush jazzy productions -- changed hip hop's trajectory and influenced generations of artists. Now, two of the landmark singles from Bizarre Ride II The Pharcyde are available in a limited 7" colored vinyl pressing housed in ultra-deluxe full color sleeves."


PHARCYDE, THE: Passin' Me By 7" (BIC 113EP) 11.00
"Originally released in November of '92, Bizarre Ride II The Pharcyde emerged at a time when gangsta rap dominated what people were hearing, seeing and buying, especially on the west coast. The Pharcyde's refreshing sound -- lively, humorous and inventive lyrics over lush jazzy productions -- changed hip hop's trajectory and influenced generations of artists. Now, two of the landmark singles from Bizarre Ride II The Pharcyde are available in a limited 7" colored vinyl pressing housed in ultra-deluxe full color sleeves."


PHARCYDE, THE: Passin' Me By (Summa Madness Edition) 7" (BIC 114EP) 11.00
"Originally released in November of '92, Bizarre Ride II The Pharcyde emerged at a time when gangsta rap dominated what people were hearing, seeing and buying, especially on the west coast. The Pharcyde's refreshing sound -- lively, humorous and inventive lyrics over lush jazzy productions -- changed hip hop's trajectory and influenced generations of artists. Now, landmark singles from Bizarre Ride II The Pharcyde are available in a limited 7" colored vinyl pressing housed in ultra-deluxe full color sleeves."


PHARCYDE, THE: Otha Fish 7" (BIC 115EP) 11.00
"Originally released in November of '92, Bizarre Ride II The Pharcyde emerged at a time when gangsta rap dominated what people were hearing, seeing and buying, especially on the west coast. The Pharcyde's refreshing sound -- lively, humorous and inventive lyrics over lush jazzy productions -- changed hip hop's trajectory and influenced generations of artists. Now, landmark singles from Bizarre Ride II The Pharcyde are available in a limited 7" colored vinyl pressing housed in ultra-deluxe full color sleeves."


PHARCYDE, THE: 4 Better Or 4 Worse 7" (BIC 116EP) 11.00
"Originally released in November of '92, Bizarre Ride II The Pharcyde emerged at a time when gangsta rap dominated what people were hearing, seeing and buying, especially on the west coast. The Pharcyde's refreshing sound -- lively, humorous and inventive lyrics over lush jazzy productions -- changed hip hop's trajectory and influenced generations of artists. Now, landmark singles from Bizarre Ride II The Pharcyde are available in a limited 7" colored vinyl pressing housed in ultra-deluxe full color sleeves."


BK 015EP

DOZZY, DONATO: Squadra Quadra EP 12" (BK 015EP) 11.50
It's difficult to imagine The Bunker New York without Donato Dozzy. As Dozzy recalls, "When I went to Brooklyn for the first time and spent an endless amount of time in Bryan and Seze's loft listening to an incredible Emeralds record, I can easily say that moment was a turning point in my life." Squadra Quadra marks Donato Dozzy's first solo appearance on The Bunker's record label. "Quadra Sette" features an undulating synthesizer buoyed by rollicking drums and a perfectly placed handclap. "Quadre Nove" shows off Dozzy's darker side with a head-cleaning synth line straight out of a science fiction movie.



FOUR LEGS: Clarky Cat 12" (TRILOGY 041EP) 17.00
"Four track EP produced by Samo DJ & Elias Landberg."


WIRE 386

WIRE, THE: #386 April 2016 MAG (WIRE 386) 9.50
"On the cover: Cecil Taylor (As he prepares to take up residency in New York's Whitney Museum, free music's most uncompromising piano great shares words of wisdom with Phil Freeman). Inside this issue: Mike Cooper (The colourfully shirted and widely travelled UK guitarist, whose work spans exotica, blues and ambient, explains his wanderlust to Clive Bell); The Primer: J Dilla (The reputation of beatmaker/rapper James Dewitt Yancey has shown no sign of diminishing in the ten years since his death. Jordan Ferguson presents a user's guide to his ever-expanding catalogue); Invisible Jukebox: Golden Teacher (Glasgow's brightest sparks learn a lesson or two from The Wire's mystery record selection); Eartheater (The cyborgian ecstasies of Guardian Alien member Alexandra Drewchin unite the animal with the mechanical); Global Ear: Pigna (The women of Corsica are repossessing their culture with their makeovers of traditional song); PJ Harvey (Postcards from the edge); Signor Benedick The Moor (Epically inclined DIY maverick exceeds to succeed); Lindafornia (Battle-winning Los Angeles beat scientist gets old spool)."



DJ QBERT: Dirtstyle 7" Set 4x7" BOX (DIRTSET 001-7) 73.00
"DJ Qbert sat down with the most infamous titles from the Dirtstyle collection and hand-picked his favorite breaks and samples to create special 7" versions of each record. The set includes four records and reflects the best of the best from the following: Bionic Booger Breaks, Battle Breaks, Toasted Marthmellow Feet Brayx and Backsliding Turkey Kutz. A definite must have for any true DJ."


TA 119LP

G*PARK: Gour LP (TA 119LP) 20.00
2015 release. Swiss musique concrète composer and visual artist Marc Zeier/G*Park presents Gour. Active since the early '80s, Zeier was a founding member of the Schimpfluch-Gruppe. He lives and works in Zürich as a composer, installation- and video-artist, and plankton fisherman. Gour presents one long composition of Zeier's highly fascinating and unique crypto-electroacoustics based solely on micro field-recordings and natural phenomena. "Musique concrete seems eternally old-fashioned and eternally modern. Marc Zeier makes you fall in love with the form all over again." "Thanks are due to: The Etang of Gour and its Creatures, A Singing and Cracking Chimney, Wild Bees and Wasps from Piemonte, Limnodromus griseus, Unidentified Voices from the Gemauge House, The Uwaga Squad, The Flies (Sarcophagidae), The Crows and Pigs of Chants, The People of Tiananmen, The Frozen Lakes, The Wolves." Edition of 350.

TA 133LP

JULIUS, ROLF: Lullaby For The Fishes LP (TA 133LP) 20.00
2015 reissue of Rolf Julius's first and only LP, originally published by Künstlerhaus Bethanien, Berlin, in 1985. From Brooke Wentz's liner notes: "Rolf Julius (1939-2011) was the archetypal 'sound artist.' He painted with sound, he colored with pitch, and his work demands the attention and open-mindedness of those who embrace modern art. He collected found sounds, and mixed them with prerecorded single tone notes which were then, electronically modified and filtered through tiny loudspeakers, transformed into music. Depending on the surface texture where the loudspeaker has been placed -- wall, floor or outdoors -- these objects resonate and 'breathe' sound. His music is a mixture of all these sounds; a carefully calculated and conceived creation. He sculpted sound to define space, creating a musical environment where subtle changes occur."



Peter Brötzmann: tenor saxophone, alto saxophone, tárogató; Fred Hopkins: double bass; Rashied Ali: drums. Recorded by Holger Scheuermann and Jost Gebers, October 30 and 31, 1991, in Berlin. First released on FMP as FMP CD 53 in 1994. "In perhaps the most understated performance of his entire career, German saxophone giant Peter Brötzmann played in a trio with American free jazz legends Fred Hopkins and Rashied Ali back in 1991 at the now mythical Total Music Meeting. . . . Brötzmann appears to have been in awe on this date so great is his restraint. There are literally no passages in the entire concert where he attempts to push his way through the rhythm section to get to the other side. No mean feat when you consider the man's powerful personality both on and off the stage. But Hopkins was a founding member of Air with Henry Threadgill, and Ali, of course, played with John Coltrane. Given these proceedings with their haunted, hunted, beauty, it would be fair to say that -- even on his own compositions -- the mighty Brötzmann was humbled in the presence of these great musicians. Does that mean he was humbled by them? Hardly. Brötzmann's playing here is so fiery and lyrical, so completely focused on his rhythm section that he turns harmonies on their heads and finds intervals in places where the only thing that should be happening is free blowing. He is the band's leader by the force of that lyricism and restraint. He makes room for the other players to move through and around him rather than behind him. His sheer 'musicality' is wondrous. Hopkins and Ali are no strangers to each other -- there is telepathic communication; the shift from one modality to the next is seamless and grounded, each player by the other. There are six compositions on this record; it comes off as a very intense, extremely quiet kind of blowing gig, where this trio were looking to discover things about each other and the music they were making. As a result, it is one of the finest performances issued from that festival, and a landmark in Brötzmann's career in particular." --Thom Jurek, AllMusic


ST. FRANCIS DUO: Peacemaker Assembly CD (TROST 142CD) 17.00
Steve Noble: drums and percussion. Stephen O'Malley: guitars and amplifiers. Stephen O'Malley (cult-guitarist of SUNN O))), KTL) teams up with one of the leading UK drummers of the avant-garde scene, Steve Noble, to build hypnotic sound-sculptures and drones.



VA: Electric Ave. Pt. I 12" (UMAG 001EP) 15.50
Michel Baumann, cofounder of the Philpot label, inaugurates his Ultramagnetique Recordings label with an EP collecting tracks by three of the label's artists. Baumann's soul-drenched house track "Make It Burn," credited to his SoulPhiction moniker, has received a lot of love worldwide and now finally appears on wax. SPO hits the streets on his jazzy "Street Lady" interlude, growing in tension and for a disco release, before Ike's blinding percussion-slammer "Love Envy."



XYZ: 1 12" (WAA 002EP) 14.00
Hot stuff from Copenhagen. Includes vinyl-only remix by Kenton Slash Demon.


WG 020CD

MEYER, MATTHIAS: Watergate 20 CD (WG 020CD) 17.00
For the 20th installment of its mix series, Watergate turns to its own Matthias Meyer, a man well known for his poignant and impassioned productions and DJ sets. Over the course of 80 minutes, Meyer skillfully navigates through boundless sonic spaces of lush melodics, organic grooves, and sentimental sensations with an effortless approach. From the very beginning, emotions run deep as the sound of rain and strings on Kettenkarussell's "Ten Friends" sets the stage for YokoO & Retza's exclusive track "Satori" and Leafar Legov's "Tribal Girls" to establish the percussive tone of the mix. The journey really begins to unfold when back-to-back exclusive tracks from Gorje Hewek & Izhevski ("Turgoyakk") and Meyer himself ("Uluwatu") take over. As the mix picks up steam, tracks from Palms Trax, Langenberg, and Hyenah (feat. Nonku) and another exclusive from Meyer provide the perfect momentum to drive things into the deeper side as the mix takes a turn toward the final stretch. The alluring sounds of Marco Resmann's "Fluid of Life" and Innervisions Orchestra's mix of Underworld's "Crocodile" set the stage for a stunning farewell as Patlac's remix of Meyer's "Ostinato" and Traumprinz's twist on Efdemin's "Parallaxis" bid us adieu in a manner reminiscent of a Northern Exposure mix from masters like Sasha & John Digweed. From start to finish, Meyer displays his sound and range with a master's touch, fully demonstrating the reason for his highly in-demand status. Also includes tracks by Johannes Beck remixed by Tristen, GHIZ, Herzel remixed by Palms Trax, Raucherecke, Alejandro Mosso, and Vessels remixed by Barker & Baumecker.



NEGRO, JOEY: Remixed with Love by Joey Negro Vol. Two Part A 2LP (ZEDD 038LP) 31.00
Part one of two double LP versions. Includes remixes of tracks by Patti LaBelle, The O'Jays, Loose Change, Kleeer, Christopher Cross, Willie Hutch, Cheryl Lynn, and Norman Connors.


NEGRO, JOEY: Remixed with Love by Joey Negro Vol. Two Part B 2LP (ZEDD 038X-LP) 31.00
Part two of two double LP versions. Includes remixes of tracks by Gwen McCrae, People's Choice, Thelma Houston, Pockets, George Benson, Gladys Knight & The Pips, Grace Jones, and Robert Palmer.

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Last Updated on Sunday, 20 March 2016 10:37  


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