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Forced Exposure New Releases for 3/28/2016

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New music is due from Juan Atkins and Moritz von Oswald, Visuals, and Chris Abrahams, while old music is due from Captain Beefheart & His Magic Band, The Wedding Present, and William S. Burroughs.


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1432 R

1432R 008EP

ETHIOPIAN RECORDS: In My Sleep EP 12" (1432R 008EP) 13.00
The Guardian on 1432 R label founder Mikael Seifu: "Electronic musicians have long mined old-world sounds to contrast with their crisp beats, but Mikael Seifu's music transports the listener all the way back to 1,000 BC. On the one hand, he's Ethiopia's answer to Flying Lotus, LA's maker of futuristic, cosmic jazz-laced bass. On the other, he draws on his homeland's ancient folk traditions. If a free-thinking techno DJ made tunes for the courts of Old Testament kings, the result would sound a fair bit like Seifu. . . . The result isn't another version of African music put through a western electronic mangle; it's in awe of age-old traditions, not beholden to them. Bring on the next 3,000 years."


8MM 022LP

BLUE ANGEL LOUNGE, THE: In Times 2006-2010 2LP (8MM 022LP) 29.00
180 gram double LP version. Audiences didn't hear much from The Blue Angel Lounge after the band from Hagen, Germany, abruptly split up in July 2014 -- until a cryptic message appeared online in early 2016, reading "The Blue Angle Lounge. Double LP. In Times." As quickly as it appeared, the message disappeared again, but its claim is now confirmed. In Times 2006-2010 contains both carefully selected demos of The Blue Angel Lounge's three studio albums -- The Blue Angel Lounge (2008), Narcotica (8MM 011CD, 2010), and A Sea Of Trees (AUK 112CD/LP, 2014) -- and previously unreleased recordings, reflecting the band's coherent progression between 2006 and 2012 and capturing them at their peak. The collection takes its title from the song "In Times," which was originally composed during the Narcotica sessions in 2010 and previously appeared exclusively on the 10 Years 8MM Musik compilation in 2013 (8MM 016LP). It is unclear at the time of this release whether In Times marks the rebirth of one of Germany's best bands of the 2010s, but the collection does coincide with a string of acoustic shows in Europe by founding members Nils Ottensmeyer and Dennis Melster.



FLESH EATERS, THE: No Questions Asked CD (ALP 143CD) 15.00
"A deluxe reissue of the seminal, long out-of-print debut release by '70s L.A. punk icons, The Flesh Eaters- featuring 10 bonus tracks & deluxe artwork! From Byron Coley's liner notes: 'Of all the great bands that the L.A. underground produced in the 70s, none were more corrosively poetic, more explosively visionary than the Germs and The Flesh Eaters. The major early recordings of the Flesh Eaters have been unavailable for many years; a cultural wrong finally being righted by this excellent package. The lyrics are bleeding collages of B-movie dementia, Mexican Catholicism & Dionysian punk-spurt poetics. The vocals are powerful cat-scratched patterns of night-ripping fear, huge bursts of raunch-vomit, and cascades of pure and toxic love. Just as The Birthday Party took basic punk dynamics into new corridors of rhythmic/dynamic gloom, so do the Flesh Eaters. This is the meat that lies at the beginning of the Flesh Eaters' trail. Lap at its essence. Revel in its power. And rejoice!'"


SD 1538LP

AYERS, ROY: Daddy Bug LP (SD 1538LP) 18.00
2016 repress; exact repro reissue of virtuoso vibraphonist Roy Ayers' 1967 pre-Ubiquity solo album. More in a straight ahead jazz style than his earlier work, this record features Herbie Hancock, Sonny Sharrock and Ron Carter. A perfect introduction to the early work of one of the "prophets of acid jazz."


AUS 1695EP

FOLD: Lenny's Jam EP 12" (AUS 1695EP) 14.00
Rob Glassett aka Fold follows 12"s on ManMakeMusic and Electric Minds, as well as his outstanding Aus debut, 2015's Netflix & Chill EP (AUS 1587EP), with the Lenny's Jam EP, lacing together dusty house grooves sampling funk, disco, and soul records. "Lenny's Jam" starts up with a dub techno groove built with delayed and panned stabs and sharp, pacy drums. "Rosie Lea" lays out a rich and sunny groove as a playful sample filters into focus over deftly treated drum kit samples and a buoyant bassline. "Tracksuits & Tennis Shoes" follows with a no-nonsene party jam, setting a short funk link over a booming kick.



PURE HELL: Noise Addiction LP (BEAT 059LP) 21.00
Beat Generation presents a reissue of Pure Hell sole full-length album, recorded in 1978 but not released until 2006. In 1974, on the streets of Philadelphia, a band unlike any other was formed. They called themselves Pretty Poison. They had a sound so ahead of its time that the music industry was not yet ready for it. They coupled the punk sound of the New York bands of the time with a harder, faster heavy metal edge unheard before. Their unique sound was a result of Kenny Gordon's berserk choreography and Preston Morris's needling guitar riffs, while Steel and Spider added synchronized barrage with no nonsense execution to the arsenal. Inspired by the famous fuel-altered dragster, they changed their name to Pure Hell in 1975. Soon after, they moved to New York City where they played with bands like the New York Dolls, Sid Vicious, Wayne County and the Electric Chairs, The Dead Boys, The Stimulators, Richard Hell, The Germs, The Nuns, The Cramps and more. In 1978 Pure Hell headlined a tour of the UK, with bands like the UK Subs, Wilko Johnson, Vermilion & the Aces and more opening for them. While in the UK, their only original record was released. It was a single released by their manager Curtis Knight on his label, Golden Sphinx Records. The songs on the single were "These Boots Were Made for Walking" and "No Rules." The single charted in the top 40 charts in the UK. During the same year, a full length album was recorded but was never released. It did not surface again for 28 years. Limited edition of 500 copies.



DEEP'A & BIRI: Lightsdown 12" (BLACKCROW 005EP) 12.50
Deep'a & Biri return to their Black Crow label following their 2016 Echoic Memories EP on the legendary Transmat label with Lightsdown. Deep techno work with two versions, reflecting both the emotional and the darker side of their production scale.


BC 002CD

VA: Bombshell Baby of Bombay: Bouncin' Nightclub Grooves from Bollywood Films 1959-1972, Vol. 2 CD (BC 002CD) 16.50
2016 repress! This is the second volume in Bombay Connection's 6CD series compiling the best, most rare and most exciting songs from the colorful history of Bollywood music. Bombshell Baby of Bombay: Bouncin' Nightclub Grooves from Bollywood Films 1959-1972, Vol. 2 features the exciting, sexy sound of the Bollywood nightclubs of the late '50s, '60s and early '70s. The nightclub scene was a welcome excuse to show some sexy dancing and inject some exciting jazz and rock'n'roll sounds into the otherwise very prudish Bollywood films. Whiskey, cigarette smoke and stockings... accompanied by wild jazzy dance sounds, Indian style! The Indian orchestras effortlessly blended the classic Indian film sound with popular Western dance music into an extremely energetic, bouncy and infectious Bollywood mix. This volume features both classic nightclub tunes like "Jan Pahechan Ho," the famous surf rocker from Gumnaam and "1,2,3 Baby" from Kismat as well as extremely rare songs like the Beatlesesque "Pretty Pretty Priya" as well as the scorching title music to Bluff Master and the bongo killer madness of the track from Kala Bazar. Lavishly packaged and lovingly compiled from the best available masters of this rare material.



DJ SHUFFLEMASTER & CHESTER BEATTY: Our House Music feat. DJ Funk 12" (BPC 322EP) 12.00
Japanese techno legend DJ Shufflemaster and his partner in crime Chester Beatty debut on BPitch. Since the 1997 release of their first joint EP on Robert Armani's Cloned Vinyl label, the duo have held a special connection to Chicago and the origins of house music. Here, "Our House Music" bows to the still timeless Chi-town style with its distinctive, analog-driven synth bassline, rattling hi-hats, and warm chords. It's an impressively simple arrangement that spreads a nostalgic drive with its glockenspiel intermezzo and the iconic vocals by DJ Funk. The remix by DJ Tasaka delivers 808 drums and 303 basslines reminiscent of classic Chicago acid.



LUMERIANS: Transmissions From The Telos Vol. III LP (CFUL 027LP) 21.00
"Since forming in 2006, Oakland's Lumerians have gained notoriety for their intense performances, stunning live visuals and thematic otherworldly releases. Recorded during explorative sessions in their own studio, Lumerians acknowledge the role sound and rhythm have always played in transcendent and ecstatic rituals the world over, from the repetitious drums of tribal animists to the penetrating electronic pulses of neon dance clubs. Cardinal Fuzz are proud to present Transmission From Telos Vol.III by Lumerians. These seasoned voyagers of the multiverse bring us back some new aural gems from their return journey to the mysterious Telos. As with the last time they visited there, they bring back infectious materials known to mess with the mind. Imagine the electronic pioneers Raymond Scott and Jean Jacques Perrey reinterpreted by the Isaac Hayes Movement, shot through with the other-worldliness of Ege Bamyasi. Intergalactic departure music of the first water.' - Cardinal Fuzz"



PARKER, WILLIAM: Stan's Hat Flapping in the Wind CD (CENT 1012CD) 13.00
"Stan's Hat Flapping In The Wind features work from one of the jazz avant-garde's most heralded figures, presented in one of the most traditional of forms. 19 new songs composed by William Parker, and performed by singer Lisa Sokolov & pianist Cooper-Moore. Parker is -- among his many great talents -- a master of evocative song-craft, as readily evidenced on Corn Meal Dance (AUM043, 2007), and the very recently released Great Spirit (AUM098, 2015), by his Raining On The Moon ensemble. The compositions and performances here are, as ever, illuminated with Parker's devotion to compassion for all life. They touch on the possibility of peace and truth prevailing in the present. Stan's Hat Flapping In The Wind is also the name of a musical that William Parker has been writing since 1994. To date he has composed over sixty songs for the production. In this musical, the principal characters -- through tribulations and exposure to the magic of all life around them -- begin to learn the art of living and the systems of sacred music. On this new studio recording, 19 of these songs are presented. All of them are connected in that they all reflect on the mysteries of death and life. Many of Parker's touchstone subject matters abound: compassion for all living things, the magic of sound, the revolutionary nature of flowers, and deeply affecting dedications and invocations to enlightened spirits who have departed."



CB-R: DRSL 12" (CMM 110EP) 14.00
Bret Winans (aka CB-R aka CB Radio) produces music out of a studio in Brooklyn. Using a variety of gear amassed since the mid-2000s, he's experimented with house, Italo, techno, and more. 2014 saw the release of CB-R's Inside Existence, an EP of dub techno and ambient textures that launched the S//P//A imprint. He also appeared on 100% Silk's 2015 label comp, Sunset Silk, as CB Radio with the more Italo-leaning "Pacific Ocean Blues." With each release the producer opens up another side of his world. Full-color sleeve art by New York-based visual artist and musician Jay Goitia.


BEC 5156319

FULGEANCE: The Phoenix 12" (BEC 5156319) 14.00
Fulgeance drops his own vision of club funk and future beats. Four original tracks that prove Fulgeance has no limit in sound. From dreamy vocoder poetry to broken dance moves, this EP is complete -- not to mention the two remixes from Claude (one is for the 4/4 DJs) and Amsterdam analog sound wizard Dollkraut.



A SAGITTARIUN: Contortion/Concrete Walls 12" (EDREAMS 013EP) 14.00
Ambient techno exponent A Sagittariun returns with Contortion/Concrete Walls, pairing up two 140BPM techno cuts delivered with the signature A Sagittariun sound. Driving and energetic, and with huge swashes of psychedelic atmospherics, these tracks will please fans of the original Detroit techno sound with their depth and warmth. Disc comes hand-stamped with the A Sagittariun "Bambi" logo.



VA: Loma: A Soul Music Love Affair, Volume One: Something's Burning 1964-68 LP (FDR 624LP) 24.00
"Compilation and liner notes by Alec Palao. Fully remastered audio featuring rare and unissued cuts. In-depth notes on artist and label history with rare ephemera items. From late 1964 until late 1968, Loma stood as the subsidiary of Warner Brothers Records aimed directly at the singles market. During its four year lifespan, the label released over 100 singles and a handful of albums, the vast majority of which reflected the collective taste of the men that guided Loma and thereby the evolution of a distinctive artform: soul music. Viewed objectively, it would be incorrect to compare Loma to the other great R&B repositories of the mid-1960s. It was strictly an adjunct of a bigger label, a commercially-minded operation that threw product at the wall hoping for a hit to stick. But the choices made by those three main participants in charge of the Loma roster-- Bob Krasnow, Russ Regan, and Jerry Ragovoy -- have gone on to become cherished totems to legions of music aficionados around the globe, for whom chart statistics say little, while a simple 45 with a burnt yellow label can shake them to the very core. What was once regarded as failure has, in the years since, paradoxically become a story of soulful success. The four volumes of Loma: A Soul Music Love Affair are the result of several years of in-depth research into the Loma vault. This first installment concerns itself with the category that has made Loma such a celebrated imprint to fans: Northern soul aimed strictly at the dancefloor. Acknowledged floor-fillers like Ben Aiken's 'Satisfied' and Ike & Tina Turner's 'Somebody (Somewhere) Needs You' nestle with sought-after rarities by The Soul Shakers, Marvellos, and Voice Box. There are classics from The Olympics and Apollas, overlooked gems by The Jammers and Paul Days, an unissued stomper from Bobby Freeman, and the legendarily withdrawn single by Bob & Earl. With full historical notes on artist and label history and rare pieces of ephemera, Loma: A Soul Music Love Affair is a fresh and invigorating celebration of one of 60s soul's most storied imprints."


VA: Loma: A Soul Music Love Affair, Volume Two: Get In The Groove 1965-68 LP (FDR 625LP) 24.00
"Volume two of Loma: A Soul Music Love Affairfocuses on the funkier, earthier side of the Loma catalog and is once again the result of several years of in-depth research into the vault. JJ Jackson and The Mighty Hannibal bring the boogaloo, Baby Lloyd and Lukas Lollipop offer up some deep soul, and the stratospheric pipes of Carl Hall make us wanna holler. There's the grooving original of 'Try (Just A Little Bit Harder)' by diva Lorraine Ellison, little-heard rarities from Larry Laster and Roy Redmond, obscure productions by James Brown and Solomon Burke, and a heartbreaking unissued cut by one-time Hendrix sideman Lonnie Youngblood. With full historical notes on artist and label history and rare pieces of ephemera, Loma: A Soul Music Love Affair is a fresh and invigorating celebration of one of 60s soul's most storied imprints."


GET 56040CD

PABLO, AUGUSTUS: This Is Augustus Pablo CD (GET 56040CD) 15.00
"Augustus Pablo (given name Horace Swaby) was born just outside of Kingston. 'I am a Kingstonian,' he told the NME in 1986, 'but my heart is for the hills.' This mystical connection to 'the hills' is at the heart of Pablo's unique and immediately identifiable sound. By the late '60s, Swaby and his brother Dougie had founded a small sound system they called Rockers. The brothers spent a lot of time in record shops, including Aquarius, where owner Herman Chin-Loy heard Swaby experimenting on his melodica and was struck by the inspiration to record. The resulting tune was credited to Augustus Pablo, a name that Chin-Loy invented, as the story goes, to give an air of mystery to the release. Pablo recorded two more singles soon after with 'Java' becoming a major hit and being voted Instrumental Song Of The Year by Jamaica's Swing Magazine. This success led to the Randy's label moving to create a full-length album from Pablo. Recording in the Randy's studio upstairs from the record shop 'we weren't watching the clock...we had the studio,' Clive Chin recalled. The band included a cast of the greatest reggae musicians of all time: future Wailer Tyrone Downie on keyboards, Aston 'Family Man' Barrett, 'Fully' Fullwood and Lloyd Parks on the bass, Carlton Barrett, 'Santa' Davis and Lloyd 'Tin Leg' Adams were on drums and Earl 'Chinna' Smith played guitar. In addition to these future Hall of Famers, the mixing board was helmed by Errol Thompson. Thompson and Chin would together pioneer a tough, new reggae sound that, Chin referred to as 'Rockers' after the Swaby brothers' Rockers Hi-Fi sound system. For this issue three songs contemporary to the first release of This Is... have been added: the original single version of Pablo's hit, 'Java,' and two cuts issued as B-sides to successful Clive Chin-produced records. 'Guiding Red' and 'Marabi.' Augustus Pablo sadly passed away in 1999. 'He was 46,' his obituary stated, 'and lived in the hills outside Kingston,' where his heart belonged. His music has endured and continues to inspire. This Is Augustus Pablo is considered among the greatest collections of Jamaican instrumental music and is an essential part of reggae history."

GET 56040LP

PABLO, AUGUSTUS: This Is Augustus Pablo LP (GET 56040LP) 21.00
LP version.

GET 56041CD

IMPACT ALL-STARS: Java Java Java Java CD (GET 56041CD) 15.00
"'Dub as we know it begins here. Prior to 1973, there existed in Jamaica instrumental takes of songs -- B-sides that were labeled 'versions' -- and vocal-less acetates produced as one-offs for sound systems to give their mic men something to toast over. But there was nothing that fit the radical mixing board athleticism and psychedelic soundscapes that are the trademarks of dub music. By the end of that year, however, the story had radically changed. Lee Perry's Rhythm Shower and Upsetters 14 Dub, aka Blackboard Jungle, Herman Chin-Loy's Aquarius Dub and Prince Buster's The Message Dubwise had all appeared on the scene, each to varying degrees exemplifying dub's radical take-off on the instrumental concept. However, it may have been Java Java Java Java, that broke the first ground. 'To my knowledge,' producer Clive Chin confirms, 'and I'm telling this from a true fact, at the time it came out there was no other album like it.' Although the debate will probably continue for as long as scholars of Jamaican music exist, there is no doubt that Java Java Java Java is one of the foundations of dub music.' --Andrew Mason from the extensive liner notes. Java Java Java Java features key members of the Randy's house band aka The Impact All-Stars. Featured here are Earl 'Chinna' Smith, Fully Fullwood, Augustus Pablo, Winston Wright, Tommy McCook, and more with the production helmed by Clive Chin with Errol Thompson behind the board."

GET 56041LP

IMPACT ALL-STARS: Java Java Java Java LP (GET 56041LP) 21.00
LP version.


JR 222EP

JACKIN' GEORGE FEAT. RICHARD "FULL HOUSE" PATTERSON: House Will Save the Night 12" (JR 222EP) 14.00
For his second release Jackin' George teams up with three of Chicago's earliest house music legends; this record was recorded by Danny Wilson, features Richie Patterson (Full House) on vocals, and includes a remix by Farley "Jackmaster" Funk. The result is a musical cocktail with the ingredients from an old house recipe -- passionate vocals, a fierce bassline, analog percussion, and rhythmic piano chords, turning "House Will Save the Night" into a classic underground anthem.



VA: Lost Train Blues: John & Alan Lomax and the Early Folk Music Collections at the Library of Congress LP (JMR 001LP) 18.00
"Lost Train Blues features 22 selections from the vast holdings of the American Folklife Center at the Library of Congress, 13 of them have never been issued before. The record includes work songs, ballads, blues, political and union songs, guitar, banjo and fiddle music and Native American vocal music. These recordings were made between 1933 and 1950 and represent the birth of the folk music collections at the Library of Congress, now the largest repository of folk and enthographic holdings in the world. The record demonstrates the groundbreaking work of Alan Lomax and his father John Lomax, but also places them with the context of other important early field workers. The deluxe record includes liner notes by Alan Lomax archive curator Nathan Salsburg, as well as a 14 page booklet with photographs and original research about each song, artist and folklorist. The cover features an original lithograph by artist Jeff Tocci. Each selection has been retransferred from original discs and tapes at the Library of Congress and has been carefully remastered by sound engineer Don Fierro making for the best possible audio fidelity."



MININNI, MICHELE: Hyper Martino EP 12" (HHMM 000EP) 14.00
Italian DJ and producer Michele Mininni's Hyper Martino EP is a strange adventure in sound, mixing noir and science fiction. Mininni counts post-punk, krautrock, new wave, house, and disco among his influences. He debuted in 2014 with Tupolev Love on Optimo Trax (OT 007EP), which he followed with the acclaimed Endless Ceremony on Curle (CURLE 049EP). Here, Tel Aviv's Red Axes remix "Hyper Martino" while reckless new age traveler and industrial yoga dance guru Dreems remixes "Aspera."



LIFETONES: For A Reason LP (LITA 141LP) 24.00
LP version in Stoughton tip-on gatefold sleeve. "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."



VA: Pale Visions in Wrong Seasons 12" (LFR 004EP) 14.00
Five artists from Lofile records and its closer friends have contributed to this EP. They take you on a trip from deep warehouse to cheesy harbor disco, climbing scruffy rumple techno until they revel in artifactual experimental spheres. Individual sounds from Thome Thomp, Marbod, Tim Schumacher & Max Grothus, Johannes Albert and Tilman Tausendfreund.



DRESSEL, HEINRICH: Mons Testaceum LP (MNQ 075LP) 20.00
First vinyl edition of Mons Testaceum by MinimalRome cofounder Valerio Lombardozzi aka Heinrich Dressel, originally released by Legowelt's Strange Life Records on CD-R in 2007. The trilogy of Mons Testaceum, Escape From The Hill (2008), and Completion Of The Amphoras Table (2009) is dedicated to the Monte Testaccio, an artificial mound in Rome composed almost entirely of testae, fragments of broken amphorae dating from the time of the Roman Empire. This edition of Mons Testaceum is the second appearance of Valerio Lombardozzi on Mannequin Records, following the atmospheric noir of the Sighing Melodies Thru The Graves mini-LP (2012). The sound of the album moves in a hidden place somewhere between Fabio Frizzi's Paura Nella Città Dei Morti Viventi (1982) and Goblin's Buio Omega (1979), thanks the extensive use of the legendary Italian -- or Roman -- Elka Synthex synthesizer on every single track, with touches of the Berlin electronic school "mixed with irresistable futuristic soulfunk synth solos (Kool and the Gang goes cosmic!)." Impressive stuff, which was deeply influential on the sound of Mannequin Records itself when it was originally released. Mastered by Andrea Merlini. Graphic design by Dave Grave and Alessandro Adriani. Limited edition of 400.



CRISTI CONS & DEWALTA: Infinity 12" (MEANDER 017EP) 14.00
180-gram 12". Romanian DJ and producer Cristi Cons, known for his quality Amphia label and his SIT project with Vlad Caia, teams up with Berlin-based DJ and producer DeWalta for an EP of elegant, warm, subtle yet energetic music. Lisa Milloy joined the creative process, adding beautifully flowing words recorded in one take as stream of consciousness. Breath in and dance to this spaced-out, captivating music, with melodies and a clever groove that just flows ever onward.


MG 115EP

Reissue of the Water Vein EP by Japanese producer Asian Psilocybe Foundation (APF), a sought-after work of ambient house/minimal techno originally released in a limited run of 25 handcrafted white labels and available only at Disk Union Tokyo, where it sold out immediately. Layers of unprocessed field recordings, traditional instruments, and minimal beats create meditative soundscapes at the convergence of ambient and trance. Water Vein starts with ritual sequences, continues with two carefully crafted club tracks for both the feet and the brain, and closes with remixes by Tobi and DJ Yogurt & Moja.


MW 061LP

DAS DING: Missing Tapes LP (MW 061LP) 22.00
"An album of long lost tracks by Dutch electronic music pioneer Das Ding, entitled Missing Tapes. Danny Bosten formed Das Ding as a solo project in the early 1980s and released his music and friends' music via his own cassette label called Tear Apart Tapes. At the time, he was studying graphic design at art school, and in turn he ended up designing the artwork, cassette-sleeves and illustrations for the label himself. Meanwhile, he recorded his own music as Das Ding. Powerful dark electro, he made several addictive and danceable tracks which later become Minimal Wave hits. Danny made all his music in his bedroom which essentially turned into a small recording studio. He went on to release many of his own tapes and also played some live gigs. Old tapes were uncovered around 2010, and Minimal Wave released a remastered version of H.S.T.A. and select other tracks. A wave of renewed interest followed the record's release and soon people were in touch to propose live shows. Twenty years later, and after some deliberation, Das Ding was reincarnated under its old moniker but now with a revised line-up and a working set-up that reflected inevitable technological change. Recently, Danny came across further tape archives from those early days. And from the batch, we selected our favorites to present to you in vinyl release form. Missing Tapes is a limited edition LP pressed on 180 gram creamy yellow vinyl, and housed in a heavy weight printed glossy black and white sleeve featuring one of Danny's original illustrations from 1982."



LOW JACK: Lighthouse Stories LP (LOVE 102LP) 20.00
Modern Love very rarely reaches out to artists outside of its immediate surroundings; it's happened just a couple of times since the label's inception in 2002. But there's something about Philippe Hallais that compelled the label to ask him if he wanted to do something together. Hallais has released music on a bunch of cool labels (L.I.E.S., The Trilogy Tapes, Delsin, In Paradisum), but upon hearing the first tracks recorded for Lighthouse Stories, it was obvious that he was hitting on something new -- a kinda weird slow/fast dance music that sounded like a footwork variant sewn up with an exotic production style impossible to pin down. These tracks eventually splintered off into different directions, held together by a strong sense of narrative and motion harking back to a teenage obsession with turntablism, Detroit electro, and ghetto house, and eventually juke and grime. Although Hallais had previously been focusing on more industrial dancefloor variants, for Lighthouse Stories he turned to these foundational influences, as well as his love of mixtapes and sound collages full of unfinished ideas, skits, and experiments -- all things that inform the flow of this album. Lighthouse Stories captures a sense of nostalgia well, but is also a futuristic vision full of that exploratory, vibrant spirit that's so hard to find in electronic music these days. Frames of reference are hard, but in places it reminds one of the dusted swagger of Anthony Shake Shakir, the aquatic Drexciyan movements of Ultradyne, a loose-limbed take on shangaan, and Actress at his most submerged. But ultimately, it's an album made by a producer looking to his personal history while breaking new ground, pushing ahead with little regard to convention and ultimately ending up with something completely unique: a kind of intimate journal rendered in bright colors and odd shapes. Mastered and cut by Matt Colton. Pressed at Pallas. Cover artwork and insert designed by Will Bankhead.


MR 359LP

VA: Algo Salvaje: Untamed 60s Beat and Garage Nuggets from Spain Vol 2 2LP (MR 359LP) 25.50
Gatefold double LP version. "The second volume of Algo Salvaje ('Something Wild'), carrying the torch lit by the first volume (MR 314CD/LP, 2014). A festival of raw beats, direct and aggressive, mixed with understandable stylistic digressions, given the psychedelic transformation at the time. All are identifying marks of this second volume, a collection that should legitimize the Spanish garage-beat scene as one of the great musical (and social) offerings from a country that was stretching its limbs as much as it possibly could despite the restricting bonds of dictatorship. We return to those days to celebrate a wild, purely hedonistic, juvenile adventure. Whether they were city dwellers or country folk, university students or illiterates with only the most basic education, their musical cry had little to do with the studied social outbursts of the singer-songwriter, nor did it pertain to any specific alternative music scene. The most restless adolescents understood that the volatile social chemistry of those years demanded of them both flexibility and resource management. In other words, wide open ears with no restrictive earplugs of any kind: beat, rhythm & blues, rock & roll, Bo Diddley beats, folk-rock, the early scent of psychedelia. . . . A quarter of the material here shows the genre's continued presence beyond 1968, sensitive and permeable to the new musical trends. And of course once again we find the omnipresent influence of the Liverpool sound and English beat in general. All of that shaken (and well stirred) with our own sense of identity to create an authentic mish-mash of a cocktail that today, fortunately, is recognized internationally, and which reveals to us the real starting point for a fair assessment of this scene: those uncertain times in the 60s in which a simple small-town boy decided, at least for a few energetic moments, not to bow down to anyone or anything" --Vicente Fabuel. Includes extensive notes by Fabuel featuring artist photos and all of the original record sleeves. Includes tracks (many reissued for the first time) by Cefe y los Gigantes, Los Salvajes, Los Tonks, Los Flechas, The Vampires, Los Pops, Los Águilas Reales, Grupo 15, The Brisks, Los Ángeles Negros, Ramón-5, Los Gatos Negros, Los Crich, Los Indonesios, Los Diablos Negros, Los Relámpagos, Los Archiduques, Los Soñadores, Los Íberos, Los Simuns, Los Zinkos, Smash, Don y Su Banda Club, Bruno Lomas, Los Z-66, Los Gritos, Cirros, and Juan & Junior.

SXM 01-2016LP

SEX MUSEUM: Fuzz Face LP+CD (SXM 01-2016LP) 21.00
180-gram LP in audiophile sleeve with CD. Limited edition of 500. Reissue of the hard-to-find 1987 debut album by Sex Museum, commemorating the band's 30th anniversary in 2015. Features faithfully reproduced original cover art and an insert with texts in English and Spanish. Remastered from the original sources. Supervised and produced by the band members. "Sex Museum formed in Madrid in 1985, with the desire to be the musical version of The Warriors, in the style of a street gang out of the mod scene. We were heavily musically influenced by '60s American garage, English music from the '60s and early '80s garage revival. . . . we shared everything, experiences, tastes, friends, drugs and the desire to grow with the music and open up a new hole in the world as commandos of garage rock. . . . We disconnected completely from what was happening in Spain and began to form relationships, befriend and connect with other bands from the rest of Europe and the United States, which made us to feel that we were heading down the correct path. We managed to get some songs on international compilations which also put us on the map. Our first tours of Europe prepared us to be what we were in 1987, the year in which we recorded the Fuzz Face LP. One part garage music and the other part sixties music, a musical concept and genre that almost did not exist then and that was beginning to take shape. Our musical references were bands like The Prisoners, The Tell Tale Hearts, The Sonics, The Music Machine, The Yardbirds and The Pretty Things. But our energy and spirit also made nods to The Jam, Buzzcocks, The Boys, The Bishops, The Inmates, The Vibrators, and many other bands from the end of the '70s and the beginning of the '80s. We had been in contact with some record companies, but after reviewing the possibilities we had with a few, we decided to produce the disc ourselves. It was a pretty complicated adventure, and after asking, we decided to rent the license of a label that no longer existed, Fidias, in order to release the album on our own. We got to the studio and we recorded this album in two sessions, one at night, with a drummer and a bass player, and another night a few weeks later with a different rhythm section."

SXM 02-2016LP

SEX MUSEUM: Independence LP+CD (SXM 02-2016LP) 23.00
180-gram LP in audiophile sleeve with CD. Limited edition of 500. Reissue of the 1989 second album by Sex Museum, commemorating the band's 30th anniversary in 2015. Features faithfully reproduced original cover art and an insert with texts in English and Spanish. Remastered from the original sources. Supervised and produced by the band members. "1988 and 1989 were exciting years of touring in Europe and constantly playing concerts. . . . During this time we met our travel companion Juan Hermida, and his label Romilar D, who seemed to understand and share our direction. Juan would become a fundamental supporter to our cause. . . . . Our influences were expanding to the '70s, from BÖC, Alice Cooper, Blue Cheer, MC5, the Stooges to Deep Purple or Pretty Things, or even a step further to the Small Faces, Humble Pie and the Who. On top of that, there were the Miracle Workers, the Nomads, the Celibate Rifles, The Fluid, Mudhoney and the return of Neil Young to the primordial ROAR. . . . The recording of the album was simple and quick, but the final product and mix brought problems, just as had happened with our previous recordings. Our sound in the studio recordings was always very clean and neat, and as much as we worked and played hard in the studio, the recordings were nowhere close to replicating our live sound in concert, which was more representative of our true sound. Sound technicians and studio engineers were always the owners of the studio, and would never push the levels so high . . . they didn't want to force anything because they were afraid to break the equipment or their reputation. Our recording and mix sessions used to be full of tension that soon led to bad feelings. At the time we were very young and not respected by engineers, and we didn't want to annoy or cause problems but we felt that we couldn't get the sound we wanted. It always amazed us how it was impossible to make the guitars louder. Independence would be the last album that we recorded with a sound engineer older than us. The decision was made and it was a good time to take a first steps towards something more visceral, which would take shape in the next decade, the '90s."


OP 032EP

JAAR, NICOLAS: Nymphs III 12" (OP 032EP) 14.00
2016 repress; Recorded in New York City between 2011 and 2015.


PENN 45024EP

RISING STORM, THE: I'm Coming Home/She Loved Me 7" (PENN 45024EP) 14.00
The Rising Storm were six students at Phillips Academy in Andover, Massachusetts, who formed a garage band that performed from 1965 to 1967 and, within this brief time, recorded an amazing album called Calm Before . . . This 45 honors the 2015 50th anniversary of the band's 1965 inception. It is the only authorized vinyl pressing of two of the most powerful original numbers on Calm Before . . . ("I'm Coming Home" and "She Loved Me") since the album's original 1967 release (when only 500 LPs were pressed) and it is also the only 45 of The Rising Storm's music. Remastered sound. Hard cardboard sleeve with never-before-seen pictures and liner notes by Greg Prevost. Limited edition of 400.



TANAKA, FUMIYA: You Find the Key 3x12" (PERL 107LP) 29.00
Triple-12" version. The long awaited full-length Perlon debut of Fumiya Tanaka. "Easily Japan's most talented and knowledgeable techno DJ, Fumiya Tanaka brought the sound of minimal, intense techno to Japan during the early '90s, and introduced thousands of club-goers to the best Detroit and German producers via his club nights around Osaka and Tokyo. Born in Kyoto, Tanaka listened to and played in punk bands as a teen, then entered the dance scene in 1990 via house, techno, and hip-hop. He began DJing soon after, and formed Japan's first electronic dance label, Torema Records, in 1993 for his own stripped-down productions. By 1995, Fumiya Tanaka released his first mix album, I Am Not a DJ, on Torema, which by then had gained major distribution through Sony. Later that year, he set up Untitled Records, who paved the way for more experimental techno via the compilation Abstract Set 1. Soon he was spinning around the world -- often in the company of DJ heroes Jeff Mills, Derrick May, and Dave Clarke -- and not long after, the European techno cognoscenti realized that Tanaka wasn't just one of the best DJs in Japan, but around the world." --AllMusic



CATZ 'N DOGZ: Basic Colour Theory Remixed 12" (PETS 064X-EP) 14.00
Greece-born Berlin resident Thanasis Voulgaris aka Kindimmer continues to tread the line between raw house and quality techno with the Occhiolism EP. "The Subject" is an atmospheric, loopy house affair with snappy snares and bubbling bass wobbles. "Anxiety Society" is more of a raw and aggressive floor-slayer, primed for peak-time damage with its firing percussion and unrelenting kick, bass, and snare axis. "Your Name of Choice" adds layers of cut-up vocals, synths, and effects to its rhythmic blueprint. "Stanza 103" builds from a sick techno pulse into something altogether more groove-orientated via intricate drum programming and evolving pads that evoke Detroit's legends.



MANCO & KURTALAN EKSPRES, BARIS: Sozum Meclisten Disari LP (PHS 031LP) 25.50
LP version. Gatefold sleeve. Originally released in 1981, this is another killer album by the Turkish legend, recorded with the same line-up as 1979's Yeni Bir Gün album (GUESS 050CD/119LP). Psych/funk/progressive sounds full of heavy drums and basslines, Moog/analog keyboards, and psychedelic guitar. Featuring the killer duet with Deniz Tüney ("Alla Beni Pulla Beni"), the superb boogie-funk-styled "Adem O?lu K?zg?n F?r?n Havva K?z? Mercimek," the cosmic prog sounds of "2025 (Üçüncü Ve Son Yolculuk)," and more. Remastered sound. Original artwork.



KINDIMMER: Occhiolism EP 12" (PFRWAX 003EP) 14.00
Greece-born Berlin resident Thanasis Voulgaris aka Kindimmer continues to tread the line between raw house and quality techno with the Occhiolism EP. "The Subject" is an atmospheric, loopy house affair with snappy snares and bubbling bass wobbles. "Anxiety Society" is more of a raw and aggressive floor-slayer, primed for peak-time damage with its firing percussion and unrelenting kick, bass, and snare axis. "Your Name of Choice" adds layers of cut-up vocals, synths, and effects to its rhythmic blueprint. "Stanza 103" builds from a sick techno pulse into something altogether more groove-orientated via intricate drum programming and evolving pads that evoke Detroit's legends.



PODKIN/LILYANN CAROL, LESLIE: You Won't Need No Money/Ooo-Poppa-Doo 7" (POPC 143EP) 8.00
Leslie Podkin's fantastic "You Won't Need No Money" is a real oddball tune that shows the extent to which the original popcorn DJs dug deep to find records from every angle. Defying strict genre conventions, this is neither rhythm and blues, jazz, pop, nor Latin, but instead has a strong flavor of all of them. Best just to call it popcorn then, and really superior popcorn it is. On the other side, as ever, another winner for your money: a female vocal-led mid-'50s big band R&B showstopper in the form of "Ooo-Poppa-Doo" by Lilyann Carol.


ADAMS/ROY BROWN, FAYE: Johnny Lee/Slow Down Little Eva 7" (POPC 144EP) 8.00
Two over-generous servings of irresistibly sleazy R&B back-to-back. With both sides boasting the writing and arrangement skills of New Orleans legend Dave Bartholomew and featuring superior vocal turns from Faye Adams and Roy Brown respectively, you should know already that this is an essential pick up. Adams's "Johnny Lee" is based on a unique mid-tempo groove driven by a taut guitar riff and filthy sax break, while Roy Brown's piano-and-percussion-led "Slow Down Little Eva" is just a magnificent piece of blues exotica.



VA: Love, Peace & Poetry - British Psychedelic Music LP (QDK 041LP) 16.50
2015 repress. LP version in deluxe full color gatefold sleeve. Fifth volume in this phenomenal series of compilations focusing on the weirdest and most uncommon records from the late 60s/early 70s, this time focusing on underground UK releases. "Not just another collection of rare singles tracks, this series is designed to introduce you to a large box of albums you may have heard of but have never heard; designed to show you that there was a bit more Love, Peace and Poetry around than you might have thought." --Stan Denski. Artists include: Red Dirt, Gary Walker & The Rain, Andwellas Dream, Dark, Dogfeet, Tony, Caro & John, Candida Pax, Pussy, Mark Fry, Motherlight, Light Years Away (Astral Navigations, aka Bill Nelson), Bodkin, Forever Amber, Oliver, Parameter.


VA: Love, Peace & Poetry -- Brazilian Psychedelic Music LP (QDK 043LP) 16.50
2016 repress; LP version in deluxe full color gatefold sleeve. "Music, and the arts in general, in the 1960s provided first hand experience with freedom and creativity of thought and ideas that stretched far beyond the confines and borders set by oppressive regimes and repressive political leadership in general. In Brazil the musical artists of the 1960s and 1970s blended rock, tropicalia, classical, jazz, eastern music and regional music with everything available to create an amazing music universe that we have just skimmed the surface of in this collection." Artists include: O Brando, Os Brazões, A Bolha, Liverpool, Bango, The Buttons, Assim Assado, O Têrço, Spectrum, Módulo 1000, Os Lobos, Rubinho E Mauro Assumpção, Sound Factory, Terço, Paulo Bagunça, Lula Côrtes E Zé Ramalho, Marcos Valle, Hugo Filho, Marconi Notaro.


VA: Love, Peace & Poetry - African Psychedelic Music LP (QDK 046LP) 16.50
2016 repress; LP version, full color gatefold sleeve. "This is volume eight of the Love, Peace & Poetry series. Many records on this compilation are from South Africa, but it also covers countries such as Nigeria, Ghana, Kenya and Zambia. As in the other six volumes of this series the tracks are only taken from rare LP's and some fetches prices over $1500 for an original. The biggest problem with original records from African countries are finding them in good condition. The turntables where very very poor and the hot and humid climate does not preserve records very good. Sometimes termites eaten away complete record covers. In addition earthquakes, sandstorms, floods, wars, revolutions and other heavy influences made it hard to release albums and keep them in good shape since the late 60's. All this makes this compilation very special beside the amazing good music. The Bands: Abstract Truth / A-Cads / Flames / Freedoms Children / McCully Workshop / Third Eye / Those Five / Suck / Otis Waygood Ten Light Claps / Wildebeest / Mack Sigis Porter / Blo / Ofege / Quentin E Klopjaeger / Rikki Ililonga / Chrissy Zebby Tembo & Ngozi Family.


VA: Love, Peace & Poetry - Chilean Psychedelic Music LP (QDK 049LP) 17.00
2016 repress; LP glossy gatefold heavy sleeve; 180 gram pressing. The Love, Peace & Poetry series from QDK continues in Chile, with 17 tracks culled from some of the lost treasures of the psychedelic music scene of the 7-year period between 1967-1973. In 1973, the Chilean dictatorship banned most rock bands and most musicians had to stop or leave the country, or take it underground. The ban extended to the retroactive destruction of many master tapes for many of the albums included here, which only just stopped as recently as the 1980s. Kissing Spell represents with "Yellow Moon" taken from their 1970 album Los Pajaros, as well as Embrujo who released their self-titled LP in 1971. Los Jaivas' debut LP was pressed privately in 1971 in a small edition of 500 copies, making this track extra-rare. Los Vidrios Quebrados were one of the real South American psychedelic classics -- their Byrds-like jangle-pop coming through clearly on their track. Aguaturbia were pioneers of psychedelic rock in Latin America, who also generated considerable controversy over their album covers. Los Blops released three now very rare and very sought-after LPs between 1970 and 1973, and their sound was focused on their guitarist's electric 12-string guitar (an unusual instrument in Chile at the time). Sacros were among the first electric folk-rock bands to perform during Catholic mass -- their recording was almost destroyed by the military and only a handful of copies survived. Los Macs' 1967 masterwork, Kaleidoscope Men, is rightfully considered by many collectors to be one of the finest examples of '60s psychedelia from South America and original copies are impossibly rare. Los Beat 4 was one of the most successful groups of the national scene in the mid-'60s and both of their rare LPs are represented here. Tumulto was respected for being non-commercial, and their track is taken from their rare debut album. Escombros released their sole LP in 1970 and are a gem in the psychedelic progressive folk style. Congregación released their sole LP on the IRT label in 1972, and El Congresso's sound is the result of a unique blend of contemporary elements and Andean roots. Chilean psychedelic music was produced during a time of great cultural change and social turmoil and is exceedingly rare and very special.


RM 464LP

ABRAHAMS, CHRIS: Fluid To The Influence LP (RM 464LP) 23.00
LP version. Chris Abrahams returns with Fluid To The Influence. Building upon the foundation of his previous three editions for Room40, Abrahams charts out a divergent course through lilting piano flows, distended organ passages, thunderous electronic eruptions, and focused concrète explorations. Fluid To The Influence spans a huge spectrum of sound, each movement calling forward to the next in a flowing motion that demonstrates Abrahams's commitment to and interest in the album as an artistic form. Known widely for his piano work with post-everything trio The Necks, Abrahams's output as a composer orbits an otherworldly sonic sphere. Piano is just one element he draws upon to create a deliberately expansive sound field within which the listener is invited to become lost. He is one of the most significant voices in Australian music, and arguably one of the most restless and original artists creating work today. From Lawrence English: "In 2015, whilst celebrating our 15th anniversary, I revisited all of Chris's records. I still have such strong memories of listening to Thrown in his living room in 2004. It was late, after a concert for NowNow Festival, and the living room in which we were seating was dim. Some light crept in from the kitchen, scarcely that of a flickering candle. The music started and forever my world was changed. On Fluid To The Influence Chris continues his tradition of creating deeply personal and evocative sonic worlds. He has a compositional sensitivity and gravity few other artists share. This album draws together the divergent trends in his music creating a powerful and at times hallucinatory audio-vision."



SAND: His First Steps LP (ROTOR 005LP) 23.00
180-gram LP in deluxe heavy-duty sleeve. Numbered edition of 300 copies. Previously unreleased album by German trio Sand, recorded in 1972. His First Steps is a forerunner of Golem (ROTOR 006CD/LP/BLU-LP/PIC-LP), the legendary 1974 album from the cosmic and psychedelic genius that is Sand. After the split of P.O.T., the early Sand submerged as a threesome in the basement of Claudiusstrasse and built up an alchemical assembling shop, where they resurrected the archetypical Golem. Sand considered themselves as an exile community in a fascinating area -- full of distinctly bizarre energy. Cover painting by Babs Santini, 2009.


SAND: Golem (Blue and White Vinyl) LP (ROTOR 006BLU-LP) 23.50
Blue and white 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: Golem (Picture Disc) PIC. DISC (ROTOR 006PIC-LP) 22.00
Deluxe 200-gram picture disc version with special sleeve design. 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: Sylph Ballet (Rubine and Black Vinyl) LP (ROTOR 008BLA-LP) 23.00
200-gram rubine and black 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: Sylph Ballet (Rubine and Blue Vinyl) LP (ROTOR 008BLU-LP) 23.00
200-gram rubine and blue 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.


CURRENT 93: When The May Rain Comes (Purple Vinyl) 12" (ROTOR 010PUR-LP) 19.50
180-gram purple 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 (Red and Gray Vinyl) LP (ROTOR 011RED-LP) 25.00
Wine-red and gray 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.


M.B.: Persecutionem (Purple Vinyl) LP (ROTOR 013PUR-LP) 21.00
"I've taken inspiration for this medicative work from the sordid persecution of the early Christians, but in other ways we receive objectivistic persecution every day from this standardized system, from our wretched condition and from the modern persecutors which are hidden behind their threatening countenances. The appropriate soundtrack of such perturbed sufferings is this justifiable work, Persecutionem, in which the semblances of our gaolers are inherents on these obstructed sounds, and the hopeful liberation of our existences are culminating on the eschatologic modulations. The deliberate epilogue is contained in the derogatory elevation of our reinstated spirituality for a repulsive capital sentence in order to transform the alienated persecutor into an inalienable victim of persecution" --Maurizio Bianchi, February 2009. Maurizio Bianchi/M .B.: scourged martyrized pre-recorded sounds and tortured waves, with the persecutory interferations by Siegmar Fricke. Maurizio Bianchi is a non-musician active since August 1979. Coming from the punk movement in the mid-'70s, M.B. became soon a pioneer in noise and industrial music. His music was characterized by uncompromising, noisy musique concrète abstractions, produced by turntable, loops, and tape-recorder. The sound he created at that time was the result of permanent frustration in life, love, religion, and politics, reflecting his inner soul and expressed his condition of being lost in a web of sounds and nightmares. After 14 years of mental purification the second M.B. phase began, characterized by a very spiritual approach. Siegmar Fricke, qualifying Bianchi's second-phase works as "Pharmakustik," shares the same fascination for clinical sound abstractions and electronic modulations as M.B., and has done several collaborations with him. Bianchi has worked with various other artists including Aube, Telepherique, Nimh, and Stefano Gentile. Maurizio Bianchi's main inspiration remains human alienation, and his goal is to awaken sleeping consciences.


M.B.: Weltanschauung LP (ROTOR 037LP) 21.00
Originally released in 1982. At the beginning of 1981, Maurizio Bianchi sent some demo tapes to William Bennett's Come Organisation in England; extracts from these tapes were then blended together to form Weltanschauung. The track "Under The Victory Banner," an anachronistic and detrimental track for the rest of the album, has been replaced here "Plutoniumetrio," a track from the same set, originally released on Come Organisation's 1982 compilation Für Ilse Koch. Come Organisation was a record label founded in London in 1979 by William Bennett, initially as a vehicle for his group Come, and later specializing in extreme electronic or controversial music -- in particular the work of Bennet's subsequent group Whitehouse, but also the work of other artists including Maurizio Bianchi, Nurse With Wound, and Charles Manson. When Whitehouse went on hiatus at the end of 1985, Come Organisation was dissolved. Limited numbered edition of 444.


CROMAGNON: Orgasm (Picture Disc) PIC. DISC (ROTOR 039PIC-LP) 27.50
Picture disc version in deluxe window sleeve with PVC inner sleeve. Limited numbered edition 500. 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.


CROMAGNON: Orgasm (Silver and Black Vinyl) LP (ROTOR 039SLV-LP) 29.00
180-gram silver and black LP version in deluxe heavy-duty silver chromium gatefold sleeve. Limited numbered edition of 777. 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.


M.B.: Neuro Habitat LP (ROTOR 041LP) 21.00
Originally released in 1982. "In order to create this sound system, I used the conduction of psychomotor pulses merging it with neurosis signals circulating within the hypertrophic experimentation to get a plant immune-sensitive, so that the metabolism of rumoristic environment emerges with the syndrome dissonant electronics, and the result was Neuro Habitat" --Maurizio Bianchi, 2013. Limited numbered edition of 300.


M.B.: Symphony for a Genocide (Green and Black Vinyl) LP (ROTOR 044GRN-LP) 25.00
Originally released in 1981. "The moral of this work is: The past punishment is the inevitable blindness of the present. Death camps were established through the process of dehumanized engineering, to destroy the will of the individual, and to create industrialisation of death. The modern parallel is to override the individual human choice through mass-media that established the city of death, in which marketing has become synonymous with mass destruction. A pathetic symphony for both is inevitable. To prevent physical destruction of the inner sound, I accomplished the noisy dignity of an electronic apparatus with the aim of prosecuting the masses minds that massacre and organize new dehumanization. Symphony for a Genocide is a pseudo-symphonic legislation that make no compromises with the modern musical de-evolution" --Maurizio Bianchi. "Battle green and black" vinyl. Limited numbered edition of 500.


RUM 2011114LP

CASH, JOHNNY: Sings the Songs That Made Him Famous LP (RUM 2011114LP) 20.00
The second album by Johnny Cash, originally released in 1958. These are indeed the songs that made him famous. Twelve classic cuts from the Sun Records, Memphis-era of his career, just before he moved over to Columbia, where he'd stay until his death in 2003.

RUM 2011118LP

JOHNNY HALLYDAY: Johnny a l'Olympia LP (RUM 2011118LP) 20.00
1962's Johnny à l'Olympia is Johnny Hallyday's first live album and features "The French Elvis" near the peak of his early popularity. Though he's still largely unknown outside of the Francophone world, his pure rock and roll voice and charismatic personality win over new fans worldwide every day. The Jimi Hendrix Experience opened for him, he's hung with Dylan and played with Page and Frampton, and he was married for years to famous chanteuse Sylvie Vartan. This live album is the perfect introduction to Hallyday or an essential piece if you're already a fan. Killer post-Elvis rock and roll from a true legend.

RUM 2011119LP

VINCENT AND THE BLUE CAPS, GENE: Gene Vincent and the Blue Caps LP (RUM 2011119LP) 20.00
The second LP from Gene Vincent and the Blue Caps, a self-titled affair, was recorded in October 1956, a mere four months after their debut, and released in 1957. Again featuring the searing guitar work of Cliff Gallup, this album captures Gene Vincent at his most mature and confident. The band was capable of running circles around basically all white rock and roll groups around at the time and this LP showcases their depth and breadth fantastically. Featuring amazing originals, one of the more brilliant covers of The Righteous Brothers' "Unchained Melody," and a haunting version of The Delmore Brothers' "Blues Stay Away from Me", Gene Vincent and the Blue Caps is necessary for all fans of early rock and roll.

RUM 2011120LP

EVERLY BROTHERS, THE: The Everly Brothers LP (RUM 2011120LP) 20.00
Possibly the most iconic LP of their entire career, The Everly Brothers' 1958 self-titled album feature all-time quintessential jams like "Wake Up Little Susie," "Bye Bye Love," and "I Wonder If I Care as Much." Shockingly, as the legend goes, "Bye Bye Love" was rejected by more than 30 singers and groups before the Everlys agreed to record it, and the rest is history. Yet another required piece of early rock and roll from Rumble.

RUM 2011121LP

HOLLY, BUDDY: Buddy Holly LP (RUM 2011121LP) 20.00
This 1958 LP is Buddy Holly's debut solo album and his second LP overall. Though billed as a solo record, it features the same backing group as his first LP, The Crickets, one of the most legendary rock and roll combos of all time. It was only one year after the LP's February 1958 release that Buddy Holly died in that infamous plane crash near Clear Lake, Iowa. That info still takes a while to set in -- one of the most famous and enduring icons of rock spent only a few years on the public's radar before passing. This self-titled LP may be his finest recorded moment on wax.

RUM 2011123LP

WILLIAMS, HANK: Ramblin' Man LP (RUM 2011123LP) 20.00
Originally released posthumously in 1955 (two years after Hank Williams's death in 1953), Ramblin' Man is a wicked collection of some of the finest recordings by Hank Williams with His Drifting Cowboys, full of powerful, overwhelming weepers. It's hard to imagine a more recognizable voice in all of country music. Another absolute classic of mid-century American country music on Rumble.


RB 061LP

VYNEHALL, LEON: Rojus (Designed To Dance) 2x12" (RB 061LP) 23.50
Double 12" version. Leon Vynehall has established himself as a genuine artist, creating proper songs that are as layered with musicality and craftsmanship as they are in tune with the dancefloor. Drawing influence from house, techno, disco, funk, hip hop, and soul, Vynehall's music incorporates many elements from his musical past as well; his journey, like most, began with playing drums and piano in bands as a teenager, which manifests itself in the raw, live sound he strives for in his productions. His work has seen him dabble in various tempos, palettes, and styles while always remaining unmistakably his own, reflecting his wide-ranging listening habits, which span everything from classical and orchestral compositions to post-punk. Vynehall describes the inspiration for Rojus (Designed To Dance): "Two years ago I played at Studio 9 in Vilnius, Lithuania. The following day I missed my flight home and ended up spending an extra day, which gave me a chance to explore the city with my friend Linus, who took me to the Contemporary Art Centre. It was there I spotted a book named Rojus, that Linus told me translated as 'Paradise'. The word and striking cover of the book stuck in my mind. A few days after returning home, I turned on a National Geographic documentary named Designed To Dance, explaining the courtship rituals of Birds Of Paradise." Rojus (Designed To Dance), Vynehall goes on to explain, is a "record of functional club music, sequenced as if it were a club night, from doors to closing, using samples of these Birds Of Paradise and their habitat."

RB 098-1EP

WOOLFORD, PAUL: Forevermore 12" (RB 098-1EP) 14.00
Paul Woolford follows a series of successful releases on Hotflush, Planet E, and Phonica with his Running Back debut, featuring a remix from his highly regarded Special Request alter ego.



SIMULAKRUM LAB: Simulakrum Lab LP (RBL 055LP) 26.00
"Simulakrum Lab is an electronic music project created by Paolo Prevosto, composer and sound designer, in collaboration with Eugene, voice and sound engineering. The concept deals with advanced research technology matters, by means of 70s sound paradigms, inspired by electronic music pioneers such as Kraftwerk, Goblin, Moroder and Roroyksopp. What makes this project outstanding is the realization of tracks based almost exclusively on original analog synthesizers from the 70s, Moog, Korg and Doepfer, avoiding as much as possible the use of emulated computer synthesizers. The core of Simulakrum Lab is the balance between old school electronic music and groundbreaking future sound engineering. Here some renowned guests who collaborated to the project: Claudio Simonetti (famous author, together with Goblin, of many of Dario Argento's movies soundtracks) keyboard player in track 'Aggregat 4.' Fabio Pignatelli (legendary bass player, former Goblin member, renown for Profondo Rosso and Suspiria soundtracks) bass guitar player in track 'Backlit.' Kenneth Johnson (maker, producer and director of many famous tv series, among which Visitors, Bionic Woman, The Incredible Hulk and Alien Nation) voice in track 'The Day The Vocoder Stood Still' Liz Enthusiam (singer for the U.S.A. synth-pop band Freezepop) vocals in 'Quiet Girl' and 'Far Worlds'."



CINERAMA: Valentina CD (SCOPITONE 052CD) 16.50
2015 release. David Gedge's Cinerama presents its glorious version of the 2012 album Valentina by Gedge's band The Wedding Present (SCOPITONE 037CD). In 1997 David Gedge decided to take a break from The Wedding Present. But he didn't take a break from music. Instead, he elected to take a different musical path and write songs inspired by his love of film scores and classic pop music. Thus, Cinerama was born. Together with his then-girlfriend Sally Murrell and Wedding Present co-writer Simon Cleave, he went on to record three amazing Cinerama albums and celebrate them with multiple live tours until The Wedding Present ultimately returned in 2004. In 2012, The Wedding Present released their ninth studio album, Valentina. But the critical acclaim that followed wasn't quite enough for Gedge. He had long been harboring a dream to record one version of an album as The Wedding Present and another, with reimagined songs, as Cinerama. He chose Valentina for this project. The initial plan was release the two versions simultaneously, but it was soon realized that this was a project that would take years to accomplish. So the releases were staggered to allow time to complete the complex Cinerama arrangements. From the first blast of horns to the last twinkle of piano keys, Cinerama's version of Valentina sparkles. It is a total departure from The Wedding Present's version, of course, which is how it was always meant it to be. Gedge recruited Spanish indie legend Pedro Vigil to assist with arrangements and add some Las Vegas-style swagger. So, yes, David Gedge -- the alt-rock guitar-hero -- absolutely shines in his alternate guise as a chanteur. His carefully crafted lyrics and perfect vocal melodies find a natural home in this part-orchestral, part-big band setting, enabling his pure talent to show through, unfettered by the traditional wall of raging Wedding Present guitars.


CINERAMA: Valentina LP (SCOPITONE 052LP) 23.50
2015 release. 180-gram LP version. Include download code.


MFO 43901CD

WEDDING PRESENT, THE: Take Fountain CD (MFO 43901CD) 14.50
2005 release. Featuring 11 songs written by David Gedge and Simon Cleave, Take Fountain marked the end of The Wedding Present's nine-year gap between studio albums following 1996's Saturnalia. Recorded in Seattle by Steve Fisk, who also produced The Wedding Present's 1994 Watusi album. Take Fountain is a body of songs so heartfelt that it's impossible not to be moved by them, matching, if not surpassing, the quality of anything Gedge had previously recorded and released.

MFO 43902CD

WEDDING PRESENT, THE: Search for Paradise: Singles 2004-5 CD/DVD (MFO 43902CD) 14.50
2006 release. Double-disc compilation of singles, rare tracks, and videos. The CD features the A-sides of the three singles from 2005's critically acclaimed Take Fountain album together with all the B-sides plus previously unreleased acoustic versions of the A-sides (includes a remix by Klee). The DVD contains the videos made for the singles plus one for the outstanding album track "Don't Touch That Dial" together with a film made for an acoustic live version of "Perfect Blue" and bonus behind-the-scenes footage.

MFO 43903CD

WEDDING PRESENT, THE: Live 1987 2CD (MFO 43903CD) 10.00
2007 release. Recordings of two live concerts from 1987 (in Leicester, England, and München, Germany) with sleeve notes by the band's original drummer, Shaun Charman. These recordings formed the first two releases in the band's own Live Tape series (cassettes that the band sold at concerts and through their fanzine in the '80s and '90s); the series was unavailable elsewhere, so the cassettes have since become rare collectors' items. This is the first in the Scopitones label's series of beautifully mastered double-CD re-releases, all of which have been graciously received by the band's loyal fans.

MFO 43904CD

2008 release. The band's eighth studio album. "David Gedge here reunites with Steve Albini, who engineed the Weddoes' 1991 album Seamonster, and the resulting record echoes that album's terse, quick sound" --Pitchfork. "Gedge's songcraft, which started out excellent . . . has only improved with age. . . . Between this and Take Fountain (MFO 43901CD/SCOPITONE 020LP), it's great to have Gedge back. " --PopMatters



ANDRE WINTER PRESENTS D-SAW: Track 10:30 Remixes 12" (SENSO 014EP) 14.00
André Winter aka D-Saw presents four remixes of his classic "Track 10:30," originally released on Hamburg's highly influential Superstition label in 1996. Hamburg's own H.O.S.H. (Holger Behn) delivers an epic twist to the cut, widening out the spaces and adding his own techy signature. Re.You offers up another flavor altogether, maintaining the iconic synth pulse of the source but introducing an infectious, driving groove. dubspeeka throws a bit more grit in into proceedings with a tough, machine funk mix, while Winter himself reworks his classic into a slow-burning groover that effortlessly showcases the elements that make this track so timeless.



WHITE LIGHT: White Light CD (SHAD 174CD) 17.00
White Light was a progressive rock group originally from New Orleans, then later from Austin, Texas, USA, where the group once recorded with Sonobeat Records (Mariani, Wildfire). White Light (not to be confused with the Glaswegian Christian rock band of the same name) was composed of Mike Hobren (electric and acoustic guitars, vocals, lyrics), Rob Haeuser (bass, synthesizers, audio engineering), and Rusty Haeuser (drums, percussion, flute). On White Light's self-titled album, recorded in 1976 and reissued here with three bonus demos from 1975, fans of progressive rock will be treated to a real romp of experimental music that utilizes a host of instrumentation and special effects. Mike Hobren employs a diverse range of styles and techniques on the guitar, including the use of a cello bow on the introduction to the track "Stargazer." Rob Haeuser's bass grounds the music perfectly, and his synthesizer work is, at times, haunting. Rusty Haeuser provides well-rounded percussion to inject a powerful rhythm line into the music. White Light was heavily influenced by progressive groups like Yes, Pink Floyd, and Weather Report, to name a few, but brought their own unique twist. Highly recommended for lovers of progressive rock with roots in the mid-'70s. Produced, recorded, and engineered by Sonobeat Recording Company cofounder Bill Josey Sr. (1921-1976) at Blue Hole Sounds studio, Liberty Hill, Texas, USA, February 1976.



French artist Félicia Atkinson teams up with New York-based experimentalist Jefre Cantu-Ledesma for Comme Un Seul Narcisse, their first collaborative effort. Recorded between NYC and the Alps, Comme Un Seul Narcisse is an epistolary conversation of postmodern times between Cantu-Ledesma and Atkinson, who -- strangely enough -- met just once in person, in San Francisco in 2009. But the record is also a detour. Though it follows Cantu-Ledesma's haunting A Year With 13 Moons (Mexican Summer, 2015) and Atkinson's most intimate effort to date, A Readymade Ceremony (SHELTER 055CD/LP, 2015), their combined music sounds like everything but these works, filling in the gaps between their solo outputs. What is it to wander? What is it to be -- as Baudelaire would put it -- a flâneur from one continent to another? From the subways of NYC to the crooked trails of the Alps, the two musicians exchanged fragments of sounds and melodies, composing and building a new landscape neither bucolic nor urban, just outside nomenclatures or the postcard images of site-specific recordings. Here there's no specific site but a construction built from heterogeneous elements brought together in a virtual ecosystem. What is it to wander . . . in a non-specific site? Is it a fragmentation? A sedimentation? The title of the album and its tracks are inherited from Susan Sontag's application of Baudelaire's flâneur to photography in On Photography (1977): a flâneur sees himself in the documents and media he uses and integrates them into his own perception, and the act of recording becomes again an act of feeling. Somewhere between some Fluxus collages and more contemporary musicality, this "neither/nor" music confronts abstraction with the impermanence of concrete materials, building something on its own, like a standing still ceramic or a pond. Comme Un Seul Narcisse is a record to live with -- or, as Jacques Rancière would put it, a partage du sensible ("distribution of the sensible") -- standing as it is, unresolved, but not as a simulacra. There's no image to watch here but the possibility of a shared a moment, inviting the listener to complete the experience. Mastered by Helmut Erler at Dubplates & Mastering. Photography by John Wiese after a piece by Félicia Atkinson. Design by Bartolomé Sanson. First edition of 550 copies.



LA BOUM FATALE: Holygram LP (SINNBUS 056LP) 21.00
LP version. Includes download code. The long-awaited full-length debut by Berlin-based artist La Boum Fatale, following collaborations with Glenn Astro and Sieren and remixes for Me and My Drummer, Hundreds, and Sizarr. In 2012, musician and producer Antonio de Spirt burst out of nowhere with the surprise hit "AAA" and the beautiful electronica of his debut EP, Damwild. Here, de Spirt gives himself room to experiment. La Boum Fatale has always been a project of cooperation, of creative exchange and friction. Most of these tracks are joint works with artists whose output de Spirt deeply appreciates. He offers the music as a field for experimentation and is calm enough to impose no conditions on the heated "No Tongue In Cheek," sung by Danish artist Asbjørn; the wild "Ghosts" with Pantasz; the floating "Lovers Dough" (with Fee Kürten aka Tellavision); "He Just Might" (with Brookln Dekker (Rue Royale)); and the overflowing "When We Fall/Razor Wires" with vocals by Petula.



POKK!: 172/203/207/228r 12" (SMLL 000EP) 14.00
London-based label SM-LL presents its first main label 12" release from owner Martin J Thompson aka Pokk! with a remix by Yves De Mey (Sandwell District, Line, Spectrum Spools). Furthering his deep interests in rhythm, repetition and reduction, Pokk! crafts white noise with clinical tone bass percussive elements to form shifting patterns like that of Steve Reich. This four track release spans from intense rhythmical drive, calm and broken structures, and a classic Yves De Mey heavy bass pulsating remix created using a Nord Modular patch.



HOFFMAN, KAY: Floret Silva LP (SOMM 029LP) 25.50
Sounding at times like Vashti Bunyan fronting Sunforest, Floret Silva is a haunting mix of medieval music and progressive psych folk with Latin lyrics straight from the 13th-century Carmina Burana manuscript. The Floret Silva project was born when minimalist composer Kay Hoffman went to Italy in the mid-'70s. Once there, she met Welsh soprano Jacqueline Darby, who had recently been working with the Italian avant-prog band Pierrot Lunaire. Darby was working on new compositions with RCA producer Vincenzo Micocci in Rome and she asked Hoffman if she was interested in getting involved in a new project. Hoffman agreed and Gaio Chiocchio and Arturo Stalteri of Pierrot Lunaire also joined them on this new venture. Chiocchio travelled from Rome to play the guitar and other friends of Darby's also offered their collaboration. In a short time, Hoffman wrote all the material, inspired by the Carmina Burana and her love of Medieval and Renaissance music. Hoffman also contributed vocals, clavinet, and piano and, with Darby's haunting vocals and an impressive cast of jazz/rock/prog musicians, recorded Floret Silva during 1977 and 1978, under Micocci's guidance. Sadly, RCA backed off and the album went unreleased until a copy of the masters found their way to Japan, where the great Belle Antique label put out the first vinyl edition of Floret Silva in 1985. In 2006, US label Robot Records resurrected it again for its first CD release (ROBOT 034CD). After many years out of print on vinyl, Sommor presents a 2016 edition of this lost piece from the '70s Italian underground scene. A visionary album that anticipated the sound practiced by many neo-folk bands some decades later. RIYL: Jan Dukes de Grey, Vashti Bunyan, Sunforest, The Wicker Man, Pierrot Lunaire, Opus Avantra, Current 93, Nico, Gal Costa, The Wooden O, Giles Farnaby's Dream Band. . . . Master tape sound. Includes four-page insert with detailed liner notes by Richard Allen and photos.



GOOD GUY MIKESH: Cookies EP 12" (SPIEL 004EP) 12.50
Dirt Crew sublabel Spiel returns for the first time since 2014 with the Cookies EP by Good Guy Mikesh. "Whim" is the steady builder; spacious and very much alive with sliding leads and layers of analog synths that sparkle. On "Why Not," the bass slips and slides, dancing with the top line over a palette of plucked strings and tuned percussion. On the joyful "Cookie," bouncing arpeggios lead the charge in the break, rising before giving way to euphoric synthetic strings that lead back into the elated refrain. "Corone" hints toward Mikesh's disco history, boasting a burly bass and funk all its own.



BRAME & HAMO: Kebab Dreams EP 12" (SPSQ 003EP) 14.00
Brame & Hamo return to their Splendor & Squalour imprint following their 2015 Lamaj's Secret EP (DIRT 089EP) and a string of remixes for Kolour LTD, Heist, and Dirt Crew (their very successful remix of Harry Wolfman & Loz Goddard's "Uncle Buck" (DIRT 094EP. 2016)). This EP opens with "Kebab Dreams," taking the listener on a trip to the moon with greasy drums and a saucy groove. MPC workout "Cert City" pays homage to the duo's hometown of Sligo, Ireland. Peak-time closer "Retch Wretchedness" takes a darker turn to the spookier side of Brame & Hamo while still keeping the jazzy touch.



FLUXION: Vibrant Forms II 2CD (SUBWAXFX 001CD) 21.00
Widely considered one of the landmark releases of dub-infused electronic music, as well as an endless resource of inspiration and awe for generations of electronic music artists and enthusiasts, Vibrant Forms II by Fluxion was originally released on Mark Ernestus and Moritz von Oswald's revered Chain Reaction label in 2000; this cavernous masterpiece now receives its long-awaited first-ever reissue from Barcelona imprint Subwax Bcn, with newly remastered sound and new artwork. Collecting the Prospect 12" (SUBWAXFX 001EP, 1999) and Bipolar Defect double-12" (SUBWAXFX 002LP, 2000), as well as previously unreleased tracks, Vibrant Forms II was Fluxion's second compilation on Chain Reaction, and it successfully managed to broaden the space and the environment of the compositions, as well as develop further his technique of textural sonic blend. Keep that in mind when entering "Prospect 1," the gateway into Fluxion's deep universe, as waves crash languidly on a foggy beach early in the morning. These visions of fog, rising steam, or thick mist are archetypical for Chain Reaction and Fluxion, and they haunt the listener throughout the Vibrant Forms II experience. Sometimes these visions take the form of dream-inducing haze filling the air in dark opium dens. At other times there are heaps of white summer clouds behind the listener's eyelids, slowly being pulled apart by cool gusts of wind. But there's more to Fluxion's music than these soothing elements. The pulse of the city is omnipresent; the sounds of organic lifeforms surging through the streets like a thick, humanoid liquid, flowing, mixing, dissolving. . . . But also the steady thumps, beats, and clicks of the city itself; the machines, the vehicles, the mechanical hearts. On the one hand, moisture and warmth. On the other, structure, logic, and aging concrete. This rare combination of hot and heavily sedated soundscapes with elements of chilling clarity and clinical precision makes Vibrant Forms II an immortal compilation. And that makes Subwax Bcn's decision to reissue it a significant act of cultural preservation.


SV 094LP

BURROUGHS, WILLIAM S.: Call Me Burroughs LP (SV 094LP) 24.00
"Originally released in 1965 by The English Bookshop in Paris and later by ESP-Disk' in New York, Call Me Burroughs marks not only the recorded debut of William Burroughs, but also for many the first encounter with his inimitable voice. While Burroughs has had pervasive influence on counterculture in the past 50 years -- from the Beats to punk rock and even hip hop -- no other figure today is so widely considered the epitome of cool. Call Me Burroughs features the author reading from Naked Lunch and Nova Express, two of his best-known works that utilize the cut-up method developed by Burroughs and artist Brion Gysin. An eerie, deadpan drawl guides the listener through sci-fi innerscapes, narcotic nightmares, reports from the edge of the apocalypse. Phantasmagoric passages echo real experiences roaming the streets of Mexico, the West Village, Tangiers. Bradley the Buyer and other shadowy agents haunt our ears as Burroughs turns the page and pauses purposefully. 'Anything put out up till now is like pulling a figure out of the air -- Enemy installations shattered -- Personnel decimated -- Board Books taken -- Electric waves of resistance sweeping through mind screens of the earth -- The message of Total Resistance on short wave of the world.' This first-time vinyl reissue is recommended for fans of Hunter S. Thompson, Patti Smith and Throbbing Gristle."



PHON.O: Afterglow EP 12" (TEC 092EP) 12.50
Established Berlin-based producer Carsten Aermes aka Phon.o kick-starts the Afterglow EP at 137bpm with "Mercurial," melting the boundaries between techno, dubstep, and footwork with effortless grace. A strange, cosmic journey with polyrhythmic layers of percussive interplay; kick drums bounce, snares crack, and the melody builds with mysterious intent. Recalling echoes of jungle music alongside techno sensibilities, "U8 Phunk" follows on again at 137bpm with a series of hyperactive drum hits and twisting percussive man oeuvres. The spacious "Bell Blender" further develops themes of broken breakbeats and grimy sci-fi atmospherics, this time at a tempo more accessible to techno dancefloors.



LECKEY, MARK: Dream English Kid 1964-1999AD LP (RAVE 016LP) 18.00
Turner Prize-winning artist Mark Leckey (b. 1964 in Birkenhead, England) presents the soundtrack to his 2015 autobiographical film installation Dream English Kid 1964-1999AD on The Death of Rave, the label he inaugurated in 2012 with the first vinyl edition of the soundtrack to his 1999 video installation Fiorucci Made Me Hardcore (which has since been extensively sampled by a range of contemporary musicians including Jamie xx). Presented in its entirety but cleft to fit two sides of wax, the 30-minute soundtrack draws from an extensive archive to form a personalized mixtape of memories that speak to Leckey's formative experiences in his 35 years before becoming a mainstream-recognized artist. As he explains, "Dream English Kid began when I found on YouTube an audio recording of Joy Division playing at a small club in Liverpool. A gig I'd been present at but could barely remember. As I listened I wondered if, through enhancing the audio, I could actually find my fifteen-year-old self in the recording. That led me to think would it be possible; at this point, with so much imagery available in the digital archives, to reconstruct my memoirs through all the DVD re-releases, eBay ephemera, YouTube uploads and above all the resource of the internet itself; the way it can actualize half-forgotten memories and produce a niche for seemingly every remembrance." The work segues chronologically from Leckey's birth during the epoch of the moon landings and The Beatles through the awakening of a libido, the experience of witnessing Joy Division as a teenager in Liverpool, the dread/ecstasy/surreality of 'ardcore rave with warped samples of Bay B Kane's "Hello Darkness" and an MC chatting license plate numbers, and the pre-millenial, pre-digital tension of '99 with news stories and a lick from Azzido Da Bass's "Dooms Night" -- before it all comes flooding back in reverse before the dead wax. When separated from the visual content and considered in its own right, the soundtrack takes on an oneiric and deeply topographical quality of its own, highlighting the psychedelic, sensual, and hauntological in/tangibility of memory through an evocative web of plasmic references with a mercurial detachment that seems ever more relevant to modernity's sense of flattened time and up-cycled culture. Artwork designed by Mark Leckey from film stills. Mastered and cut by Matt Colton at Alchemy. Vinyl-only edition of 500.



VISUALS: The State Of Things 12" (SONG 008EP) 12.00
Brooklyn-based singer, songwriter and multi-instrumentalist Visuals debuts on thesongsays with the beautifully well-rounded EP The State Of Things, following his 2013 debut EP on Nicolas Jaar's Other People imprint (OP 005EP), and continues to excel with his distinctive vocal style, melodic richness, and the acute subtlety of his lyrical content. The title-track is pure tropical melancholia, with quirky textures and post-production courtesy of DARKSIDE member Dave Harrington. On the flip, the buoyant bassline and infectious chorus of "Days Of Our Youth" precede closer "No Handle" -- pensive, deep, and hypnotic for the noir corners of early-morning dancefloors.


TPR 5502LP

VA: Beating on the Bars: Twisted Tales from the Vinyl Wastelands Volume 2 LP (TPR 5502LP) 23.00
LP version. Deluxe gatefold sleeve. "The Twisted Tales From The Vinyl Wastelands series takes the listener on a dark adventure, a wrong turn into a bizarre, alternate world of American country music performed by small town, unknown hicks. The second volume, Beating On The Bars, collects eighteen ultrarare hillbilly 45s recorded for long-lost independent record labels. The theme this time is incarceration -- the county lock-ups, state pens and prisons. When Johnny Cash released his live at Fulsom Prison and San Quentin LPs to critical acclaim and commercial success, small-town hopefuls rushed into backwoods recording studio across the South to tell their own tales of crime and punishment. Until now, most of these records lay forgotten in the solitary confinement of the bargin bins. The 16-page CD booklet features, liner notes from Country Music legend Bill Carter, track-bytrack comments from Texas rockabilly singer (and serial killer researcher) Mack Stevens, plus an original short story from underground writer Avery Powell, all pulled together with amazing graphic artwork from acclaimed illustrator Olaf Jens."



Juan Atkins and Moritz von Oswald -- the two indispensable protagonists of the "Electric Garden" -- plug back into the wilderness. "Riod" is the first single from the duo's 2016 Transport album (TRESOR 285CD/LP). The Detroit-Berlin axis triangulates to a third point that, like the atomic particle that lives in two places at once, flickers between a form of techno-charged ambience and a futuristic club-jazz that cannot be broken down into constitutive parts. The result: a font from which springs serene and exhilarating musical ideas that vibrate with refined energy for 60 seconds in every minute.



VA: Britxotica! London's Rarest Primitive Pop and Savage Jazz LP (JBH 057LP) 23.50
2016 repress. So you thought exotic recordings only came from Hawaii or the USA? Well, you're wrong. Here's a collection of amazing, far-flung sounds from the UK. Rare, wild, and just itching to turn your turntable into a strange pagan place of sonic worship. Just try to keep those cocktails from flowing and your clothes on. "Britxotica" (pronounced "Britzotica") is a word you may never have come across before. Trunk hadn't either until DJ and tastemaker Martin Green made it up in 2014. This term neatly describes an odd and yet undocumented pre-Beatles musical scene in which famed UK composers, singers, and bandleaders threw convention to the wind and went wild wild wild! Drawing influences from Hollywood, Hawaii, and holiday (any hot and frantic destination would do) they conjured up sounds to suit a modern but fledgling escape from the gray trudge of postwar London. The result is a bunch of rare, mod, wild, and naïvely experimental trips into the tribal, but keeping the white suit, shirt, and tie firmly in place no matter what the temperature. Fascinating, sometimes fierce, and often absolutely bananas, this new album of old toss is an absolute trip! All cues mastered and sequenced by Jon Brooks aka The Advisory Circle. Single LP. Standard black wax. None of this dicking around with 180-gram tip-ons, multi-colored wax, obis, useless inserts, or unwanted novelty extras. Just rare and interesting music. Performers include Lyn Cornell, Ted Heath, Allan Bruce, Rawicz and Landauer, Lucille Mapp, Sounds Incorporated, Nadia Cattouse, Brian Fahey, Tony Mansell and Johnny Dankworth, Reg Owen, Harry H Corbett, Laurie Johnson Orchestra, Edmundo Ros, Maxine Daniels, Cherry Wainer, and Jerry Allen.



Two irresistibly fun, knockabout riffs on The Champs' "Tequila" template. The kind of record that manages to be silly, novel, and throwaway, yet easily the coolest thing you'll hear all week -- all at the same time. Whether you prefer the bizarre dragging sound effects and sleazy come-ons of "Caliente" or the more simple interjections of "Oh Leola," either side is sure to put a smile on your dancefloor.



POLONIO: Acaricia la Manana LP + 7" (MRSSS 037LP) 25.00
180-gram LP with bonus 7". Eduardo Polonio has been one of the key figures of Spanish music since the late 1960s, especially as a pioneer in the field of electroacoustic music. He was a member, with Luis de Pablo and Horacio Vaggione, of Grupo Alea Electrónica Libre (1970-1972), the first Spanish group to play electronic music live, and he has been one of the main figures of Barcelona's Laboratorio Phonos studio since 1976. He was also a founding member and president, between 1988 and 1994, of Spain's Electroacoustic Music Association. In 1994 he received the Magisterium award at the Grand Prix International de Musique Électroacoustique in Bourges, France. His deeply personal body of work has often gone beyond recorded sound to establish a dialogue with physical space and other artistic creations, as exemplified by his numerous collaborations with sculptors, video artists, painters, experimental filmmakers, and stage designers, and his own work in the field of installation art. In 1976 Polonio moved to Barcelona and became involved with the city's Phonos Electroacoustic Laboratory, meeting composers Andrés Lewin-Richter and Josep María Mestres-Quadreny. This was the beginning of the creative period reflected on Acaricia la Mañana (1984), which contains 11 pieces recorded between 1976 and 1984 at Phonos and remastered at Cuenca's Gabinete de Música Electroacústica. On these pieces, Polonio employs various synthesizers, including Polymoog, Minimoog, EMS, and a Farfisa organ, for a sort of suite constructed as a collection of short pieces from imaginary countries. The cyclical repetition of these short melodic sequences, which bear a clearly modal and even tonal quality, are built from three or four electronic tracks, but the texture is more heterophonic than polyphonic, as the composer plays with imbalance in the superposition of the repetitions. Each synth track is also underlined by noticeable differences in timbre, resulting in a suggestive heterophonic texture that captivates with its fragile and pleasant appearance and reveals a great refinement in the rhythmic and melodic treatment. It's not an exaggeration to say that Acaricia la Mañana is a classic, and an essential record in the history of Spanish electronic music. This facsimile reissue of the 1984 LP released by Unió Músics includes a bonus 7" featuring four previously unreleased tracks recorded by Polonio during the same period of 1976-1984.


MS 2027CLP

CAPTAIN BEEFHEART & HIS MAGIC BAND: Trout Mask Replica 2LP (MS 2027CLP) 46.00
2016 repress, much higher price. Red colored vinyl version, manufactured by Rhino.

MS 2027HLP

CAPTAIN BEEFHEART & HIS MAGIC BAND: Trout Mask Replica (180 Gram) 2LP (MS 2027HLP) 46.00
2016 repress, much higher price; 180 gram vinyl, manufactured by Rhino. The third Beefheart album (following Safe as Milk and Strictly Personal) to be released, first issued in 1969. Gatefold sleeve, classic Cal Schenkel artwork. "Trout Mask Replica is Captain Beefheart's masterpiece, a fascinating, stunningly imaginative work that still sounds like little else in the rock & roll canon. Given total creative control by producer and friend Frank Zappa, Beefheart and his Magic Band rehearsed the material for this 28-song double album for over a year, wedding minimalistic R&B, blues, and garage rock to free jazz and avant-garde experimentalism. Atonal, sometimes singsong melodies; jagged, intricately constructed dual-guitar parts; stuttering, complicated rhythmic interaction -- all of these elements float out seemingly at random, often without completely interlocking, while Beefheart groans his surrealist poetry in a throaty Howlin' Wolf growl." -- All Music Guide.


WP 064

WAX POETICS: #64 MAG (WP 064) 11.99
"On the covers: front: Yo! MTV Raps, back: The Internet. Contents: Yo! MTV Raps, Mary Wilson, Kashif, Miguel, Bobby Caldwell, Jack Splash, Cool Uncle, Mia Doi Todd, Brian Ellis, Twin Shadow, Young Gun Silver Fox, Sigma Sound Studios."


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