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Forced Exposure New Releases for 8/5/2013

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New music and old music.


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AA 217LP

FAITH, GEORGE: Reggaes ''Love & Affection'' LP (AA 217LP) 11.00
2002 release, produced by Neville Lee, Bobby Crisas and H. Seaton. George Faith was most famous for his early sessions at Black Ark with Lee Perry.

PI 117LP

ORLANDO, JOHNNY: The Reggae Love Album LP (PI 117LP) 11.00
Lovers rock produced by Steve Crooks. Tracks: "I Can't Change Overnight," "She Wears My Ring," Your Cold Heart," "Your Always On My Mind," "You Are My Sunshine," etc.



ROBOT NEEDS OIL: Iven 12" (ACKER 040EP) 12.00
Acker Records reaches the ultimate height of summer with music by Robot Needs Oil. The mellow groove of "Little Leo" sends dreamy chanting and weightless instrument sounds up into a perfectly cloudless sky. "Cherry" keeps up the warm and sunny vibe, featuring charismatic singing by Sambor. A lot of dancefloor energy is created by Mollono.Bass, who completes this EP with two remixes.



PHAELEH: Tides CD (AFTR 1004CD) 15.50
Since his debut release in 2008, Phaeleh aka Matt Preston has developed an inimitable style of cinematic electronic music, which floats between the shifting tempos and timbres of dubstep, garage, electronica, and house music. Phaeleh's last two full-length releases on Afterglo records -- Fallen Light and The Cold In You -- have cemented his position as one of the most exciting new producers to emerge from his current hometown, Bristol. Phaeleh's downbeat and heartfelt sound honors the tradition of Bristolian forefathers Massive Attack, Smith & Mighty, and Portishead, with a fresh outlook and penchant for sub-sonics. This time, he's skirted round the easy option and stepped away from any formulas that seemed too comfortable. Tides is very much an album that Phaeleh wanted to listen to, rather than one that he thought people wanted to hear. Aiming to achieve a more cinematic, musical experience while still retaining the same emotional content of the early releases, he's filtered in influences ranging from Philip Glass to Massive Attack and Boards Of Canada but maintaining a sound that is distinctively Phaeleh. His back catalog has already seen him establish a strong fanbase. Fallen Light and The Cold In You have sold over 200k downloads and contributed to a staggering tally of more than 2 million monthly views on YouTube. This is supplemented by 65k+ Facebook fans and a Soundcloud following that turns over 75k plays per month, while he has also been readily embraced on the airwaves as well, picking up support across Radio 1, 6 Music, 1Xtra, Kiss, and Rinse FM. He's also risen to prominence as an in-demand remixer, reworking artists as diverse as chart-topping dance outfit Rudimental to classical composer Ludovico Einaudi, via much-hyped pop acts such as Charli XCX and Niki & The Dove. His second album proper, Tides, is an evolutionary step with taut songcraft and melancholic tones. It features vocals by Jess Mills, Soundmouse (who collaborated on his most popular songs), and Augustus Ghost (one-half of Snow Ghosts with Throwing Snow), who will also be performing alongside Phaeleh on his live dates in the U.S.


A&L 012EP

STEINBERG, DANIEL: Salamander EP 12" (A&L 012EP) 12.50
Daniel Steinberg returns, showcasing four brand-new cuts. "Salamander" boasts majestic strings and grandiose piano sections waltzing across a clipped tech-house drum groove. "Moon Ride" is a joyous latticework of quirky percussion, horn stabs and snatched soul a cappellas. "Beautiful" features dense slabs of warm analog bass and mournful, scattered vocal snippets. On "Lazy Bones" the vibe switches down a notch, and the track rolls along with a languid euphoria to end the EP on a blissfully high note.



PURMAN, NICO: AOM001 12" (AOM 001EP) 12.50
Lying somewhere between New Order, Arthur Baker, and Giorgio Moroder with the benefit of modern ears, Nico Purman continues to shape his ever-evolving vision of sound with his new label Art of Memory and its debut release. Nico drops perhaps his most expansive and melodic work yet, drawing on influences from decades past to produce something both new and honest to former eras. With nods to new wave, techno, and a dusting of Space Odyssey, this 12" express pensive, moving, deep ideas of an electronic yesterday.



AUTOCHTONES: Everlasting Roots 12" (AUTOCH 001EP) 12.50
In Greek mythology an Autochthon was a child born directly from the Earth without the intervention of any parents. Today the term is used in the fields of ethnology and biology to define "local," "indigenous," or "original form." Autochthon offers us an excursion into untouched dream areas where music and dance recall sudden flashes of primal recollection. Unchained, he teaches us to explore forms, rhythms and balance, developing a playground of audio promenades around the tones of repeated electronic dance gatherings.



GUY J: Balance Presents Guy J CD (BAL 009CD) 17.00
How do DJs imbue compilations with the sense of worth, majesty and mystery that they once had in the pre-internet age? The smart ones pour enough time, originality and exclusivity into their mixes to justify a purchase and to ensure that their effort stands the test of time. On his Balance mix, Guy J achieves both in magnificent fashion. One of John Digweed's brightest discoveries of the last decade, the Israeli producer grew up listening to the Bedrock boss' groundbreaking Northern Exposure mixes and Transitions radio show. A focus on progression and evolution makes Guy J's music and sets so captivating, straddling the divide between deep progressive house and dubby techno with stunning flourishes of euphoric melody. On this incredible Balance mix, he has taken the essences of some of his best-loved tracks by other producers and filtered them through the prism of his own stunning sound, re-editing and reconstructing them to create a truly original listening experience. A truly epic reverb embalms the yearning, ethereal strains of Flowers & Sea Creatures' collaboration with DJ Yellow, "No One Gets Left Behind," as the mix gently, beatlessly begins (think Radiohead dosed up on Valium in a vast church). We effortlessly segue into the lush textures and exotic instrumentation of Roger Martinez & Secret Cinema's "Menthol Raga," deep bass and a warm beat brought gradually into play. From these monotone depths emerge the sorrowful bass line and heady atmospherics of Henry Saiz's "Sante Fe," and a bubbling interpretation of a Radio Slave a cappella that heightens the energy considerably. Juan Deminicis' "Once Upon a Time" tempers the mood back down, setting up the seductive melancholia of Navar's "Phases of Grief" for maximum impact, all brooding bass and emotive riffs. Pezzner's mix of Pavel Petrov's "Fever" gets amped up into a hypnotic, head-nodding slice of deep tech house, moving perfectly into the rich strings and shimmering keys of Charles Webster's Lanoiraude remix. Just as the energy is swelling, we're pulled back down once again into the sumptuous sea of melody and warmth of his Dactilar "Day One" edit, the beat simmering down to near-nothingness. Again, it's an expertly implemented lesson in contrast, the soaring motifs and heady vocals of Echomen's "Perpetual" blossoming out of this pause for breath. Guy Matnzur's "I'm Your Country" ramps up the momentum once again with hard-hitting bass interspersing heavenly breakdowns, and WOW's "Killa" providing a glistening penultimate slice of big room splendor. Robert Babicz's "Duba" provides the dreamy swansong that rounds the mix off; another beatless beauty laden with spine-tingling emotion. It's all over too soon, demanding rapid repeat listening. This magical mix is sure to be a strong contender for one of 2013's finest, and has everything going for it to live on well beyond those end-of-year lists.


BAM 7008CD

CURTIS, MIKI: The First Ear CD (BAM 7008CD) 17.00
Originally released on Vertigo in April 1972, this is the first album by Miki Curtis (Samurai front man) following the break-up of the band. It's a fantastically otherworldly psychedelic release and a totally different sound than Samurai. The First Ear finds Eastern-tinged psych of the highest echelon. Strange harmony vocals, a spacey guitar solo, queerly sawing synths, everything's efficient and even compelling. "Forty days on a stoned-out camel," moans Miki (yes, he knows some English, too) and that is just how this sounds. The track ends with half a minute of noisy slurping on what we presume to be a waterpipe. Mind-blowing. Digitally remastered. Comes with an English translation of the original Japanese LP insert.

BAM 7011LP

TAJ MAHAL TRAVELLERS: July 15, 1972 LP (BAM 7011LP) 22.00
LP version. Takehisa Kosugi was a hippie who become an avant-garde composer. Born in Tokyo in 1938, he graduated in 1962 at the Tokyo University of Arts, and then founded the Japanese equivalent of the Fluxus movement, called Group Ongaku, a group devoted to improvisation and multi-media performances. In 1969 he formed the Taj Mahal Travellers, a psychedelic rock group that played lengthy improvised jams that can be summarized in three principles: a far Eastern approach to music as a living organism, an intense electronic processing of instruments and voices, and a semi-mathematical overlapping of frequencies. Basically: La Monte Young on acid. Kosugi mainly played violin. He was on the road with this group between 1971 and 1972, traveling in a Volkswagen minibus from Holland to the Taj Mahal itself. Two albums were made out of that experience: one of them this release, July 15, 1972. This is the first 180 gram vinyl release. Includes an English translation of the original Japanese LP insert. Digitally remastered.



KON: On My Way CD (BBE 241CD) 15.50
"Renowned crate digger and one half of influential duo Kon & Amir, prepares his official solo debut album. Stepping out of the shadow of curating compilations and sharing with the world his rich original productions, showcasing a deep understanding of dance floor dynamics."


KON: On My Way 2LP (BBE 241LP) 23.50
Double LP version, with download coupon.


BEC 5161371

MIND ENTERPRISES: My Girl 12" (BEC 5161371) 14.00
Italian songwriter and producer Andrea Tirone, the Italian songwriter and producer behind Mind Enterprises, is a perennial outsider. His eccentric and intricate tracks are recorded in darkness; curtains closed and laptop on, "I can't work in light. You focus more on the sound in the dark." As a result of the dream-like state his mind inhabits, his lyrics are more like a mantra, looping and weaving in and out of heavy beats and samples. Includes mp3 download.


BB 138CD

DINGER, THOMAS: Fur mich CD (BB 138CD) 17.00
Tired of quarreling endlessly with his imperious brother Klaus, Thomas Dinger quit the production of Viva, the second La Düsseldorf album, and promptly set off for the south of France. Frustrated and far away from home, his mind turned to the possibility of a solo album. An album devoted to his own musical ideas, free from domineering voices telling him what to do. Presenting his own vision in the context of a La Düsseldorf LP would have been difficult at the best of times. "I wanted to create something by myself, to make something just for me and nobody else," the third member of the band Hans Lampe recalls him saying -- hence the album title Für mich. He recorded the album in La Düsseldorf's studio in 1981, with Hans Lampe on board as co-producer and engineer. The six instrumental pieces, melancholic and elegiac in character, featured layers of synthesizer sounds, closer to the music of Wolfgang Riechmann or Michael Rother than that of La Düsseldorf. (The pulsating 4/4 beat associated with Klaus Dinger can be heard just the once. Two tracks are actually written in a 3/4 signature). The nearest points of reference in the La Düsseldorf canon might be the more measured "Rheinita" and "Silver Cloud." In the studio, Dinger and Lampe allowed themselves plenty of time to experiment. As Thomas wished, his brother Klaus stayed away from the recording and mixing sessions. Hans Lampe described the creative process thus: "There was a large balcony to the rear of Thomas' apartment, looking onto a vast, overgrown courtyard. A little park, a verdant oasis in the big city. We sat here often, listening to music, working on the LP and musing on life. Thomas and I complemented each other marvelously, bouncing ideas off each other. Our understanding was so great, the mood was so deep and heartfelt, we thoroughly enjoyed working together." Which is how the album sounds: simultaneously conveying a sense of somber depth and unfettered lightness, even playfulness.

BB 141CD

TIETCHENS, ASMUS: Biotop CD (BB 141CD) 17.00
In retrospect, we might suspect that Asmus Tietchens was deliberately leading us up the garden path with the discordant pseudo-pop of his early musical productions. Four albums between 1981-1983 and a handful of individual pieces comprise the "Zeitzeichen" (time signal) phase which, in the words of their creator, was characterized by the implementation of "rhythmic-harmonic set pieces and gaudy record sleeves." These albums do indeed feature elements of the noisy-abstract structures which Tietchens would be in a position to release from 1984 onwards in a more industrial setting, figuring prominently in his main body of work. Yet to understand "Zeitzeichen" as a period of transition, a mere curiosity, would be wide of the mark. Günter Körber released the Biotop, Spät-Europa, In die Nacht, and Litia albums on Sky Records. His label specialized in contemporary electronic music, often cosmic or Kraut-like, but also offered a platform to un-agitated cryptic experiments. Tietchens was well-acquainted with the Sky program, both as a listener and through personal friendships -- with Dieter Moebius, Hans-Joachim Roedelius, and Michael Rother; hence, establishing contact presented little difficulty. Sixteen tracks had been produced for Biotop but, in 1980, saw no genuine prospect of a release, so signing to Sky was a logical move. The Sky series is markedly different, surprisingly so, from the debut album Nachtstücke, rife with "soft rhythms and harmonic bliss," as Tietchens acknowledges today. Not something which can be said of Biotop. In keeping with the sleeve's garish color scheme, derision, idle pathos and dissonance in abundance are flung sardonically at the expectations of pop. But there was more than ironic intent in the disjointed rhythms and sliding melodies. These blaring, crashing tracks glare with artifice, mirroring the ideas of an artist lacking the inclination and capacity to compose straightforward easy listening music. Biotop is inhabited by insectoid squeaks, banging percussion and echoes of displaced nursery rhymes. The hectic piece "Moderne Arroganz" is notable for a voice listing types of insurance; from behind this "unbeatable idiocy," a critical reflex emerges which can be taken as social commentary -- it is no coincidence that "Sauberland" resounds with squeaky absurdity, taking itself none too seriously. One would not be wrong, therefore, to divine the artist finding himself in the banefully-piercing title-track, which rejects the alleged harmlessness of the album, a contrary "I'm here too," attenuated only by the remark "let's see how things go." But Tietchens' half hoping, half skeptical stance -- underlined as an endless groove on the initial pressing -- proved unfounded.

BB 142CD

TIETCHENS, ASMUS: Spat-Europa CD (BB 142CD) 17.00
While Asmus Tietchens planned to head off "into the future" ("In die Zukunft") with Biotop (1981), Spät-Europa witnesses his arrival. Released on Sky Records in 1982, the second album in the "Zeitzeichen" phase not only continued in the style of its predecessor, it managed to refine it a little more precisely. Spät-Europa also conveys a banefully distorted pseudo-pop soundscape of disjointed rhythms and oblique melodies, defined by nervous pulses, cool alacrity and croaking toots; tongue-in-cheek it most certainly is, but the musical arrangement again affirms its own identity. Here, shadowy, rumbling industrial elements cut into the neon-colored pieces, indicative of the artist's parallel lines of development. What is new on Spät-Europa is a greater concentration of form, concise and pointed in the sense of musical economy. Tietchens sought to accentuate this aspect even more acutely, but lacked the technical means to ensure that each of the "miniatures" lasted exactly two minutes. Nevertheless, he only missed his ideal target by a few seconds here and there. The concept of Biotop as an album of 20 tracks two minutes long recalls the Residents' Commercial Album (1980) which contains 40 tracks, each a minute in length -- although these were designed to be played in groups of three in order to create a regular "pop song." Tietchens does not go that far, but he shares the musical, metatextual and humorous sensibilities of the American band, having "organized crusades" for their albums at this time. Traces of their influence may be discernible, but Tietchens has placed them in an entirely new context. Like Biotop, Spät-Europa finishes with an emphatically unwieldy piece, the artist passing comment on himself perhaps. "Epitaph" introduces a shrill warning tone, joined by nerve-shattering, serrating sounds and ominous screams; piano tones subsequently soften the impact as quiet approaches. But the headstone etched in readiness to mark his musical career proved unnecessary -- before the year was out, Günter Körber had requested a further album for his Sky label. This would be the opus entitled In die Nacht.



POP, IGGY: The Document CD+DVD (CHROME 042CD) 15.00
Interview CD and documentary DVD. "Two disc celebration of 'The Godfather of Punk' Iggy Pop, featuring documentary film and interviews with the man himself. This two disc set serves to celebrate Iggy Pop. Featuring a DVD documentary about Iggy in the '70s; an era when he hung out with David Bowie and made some of the finest music of the decade, as well as a disc of interviews with the man himself recorded at different points throughout his career, which tell his incredible story straight from the horse's mouth." NTSC format; running time: 179 minutes.



ARK & PIT SPECTOR: L'Empire d'Essence 12" (CCS 078EP) 12.00
Ark since day one has been a guiding force in maintaining an uncompromising attitude towards house and techno in all its most flamboyant forms. "Hall of Confusion" is a brutal call to arms that channels rolling breakbeat badness into a nerve-jangling alarm. "Tirés par les chevaux" employs a horse to drag you by the hair back into some refined beat-head shit. "Troll of Detroit" comes to life with some romantic Motor City strings, and "Megasalad" is the perfect pudding to a hearty four-course dinner.



BASIC HOUSE: Caim in Bird Form LP (DIGI 054LP) 20.00
Opal Tapes figurehead Stephen Bishop has pushed a lot of boundaries with his label and his own music under the Basic House moniker since bursting onto the scene a few years back. The label in particular carved out a deep niche early on and its momentum seemingly can't be stopped. Caim in Bird Form originally appeared as a very limited cassette on Digitalis earlier in 2013 and now finds its proper home on wax. Basic House is never static, always burrowing toward the center of the earth but missing by a few degrees. "Caim in Bird Form" is gritty, while stilted beats crawl on "I Found You," leaving tonal wreckage in its wake. Bishop ups the ante with the bleak futurism of "64 Bummer" -- synths float skyward blacking out the sun underneath a veil of heavy bass making for one of the album's best moments, along with the caustic sonics of the title-track. And then, just when the darkness gets out of hand, the circus comes to town in the form of "Ultra-Misted" to massage your ears. Features gorgeous artwork by Savwo, cut to vinyl at Dubplates & Mastering, Berlin.


DT 040CD

VA: Discotexas Picnic II CD (DT 040CD) 15.50
Since 2007, Discotexas has flown the flag for quality disco and leftfield house music releases from a wide array of artists out of its sunny base in Portugal. Now, for the second time, the label is compiling some of its most popular cuts alongside a selection of unreleased exclusives that will soon see the light of day as singles packages. The title is Discotexas Picnic II, a nod to the fact that this release shines a light on known and unknown artists in one big family gathering. Importantly, this is music richly centered on disco and house -- it is emotional and fueled by organic and memorable tunes. There are many highlights and previously-unreleased tracks including the opener by Moullinex, a prickly, slo-mo, vocal-led jam bursting with colorful synths and real instruments. Others include the strident boom-bap and real-sounding percussion of Jay Lamar & Jesse Oliver's "Cul De Sac," Da Chick's radiant and pop-leaning "Lotta Love," the Xinobi remix of Justin Faust's "Space Rhumba" and Xinobi's "Puma (Moullinex Remix)." Elsewhere, the cosmic funk of Jesse Oliver's "Oceans (Mirror People Remix)" soars into the twinkly night sky with glistening, arpeggiated melodies, '80s-leaning chords and a healthy dose of disco dazzle, while edit-kings Psychemagik do their inimitable thing on a remix of Mirror People's "Kaleidoscope" and turn it into a prowling, nagging, dark disco number that really works its way under your skin with its celestial keys and slightly haunted late-night vibe. Wherever you look here, there is pure and modern disco gold from some of the genre's finest producers, as expertly A&Red by the close-knit Discotexas family. Individually, the tracks on Discotexas Picnic II have been supported by some of today's leading DJs and producers such as Mylo, Aeroplane, Dimitri From Paris, The Magician, In Flagranti, DJ T, The Glimmers, Bottin, Munk, and many more. Other artists on the compilation include: RAC, Kamp!, Rebeka, Zimmer, and Mercury.


BEC 5161409

BREAKBOT: You Should Know 12" (BEC 5161409) 14.00
Thibaut Berlan aka Breakbot carries on his funky quest with "You Should Know" from his album By Your Side (BEC 5161259), a reservoir of hit songs of perfect sunny sweetness. "You Should Know" is a funky love song in the Breakbot tradition, supported by remixes by Busy P & Boston Bun, Homework & Le Bain, The Swiss and Le Family Club. These remixes go from modern house to retro-futuristic disco and will keep you smiling and grooving in these sometimes troubled times. Includes mp3 download.

BEC 5161459

VA: Ed Rec Vol. X (Standard Edition) 2LP+CD (BEC 5161459) 26.50
2LP+CD "standard" edition including a CD and poster, housed in a gatefold sleeve. Led by Busy P aka Pedro Winter, Ed Banger Records have risen from low-key Parisian rock n' roll cool to become one of global club land's most colorful and recognizable music outlets. It could be said they've ascended to maturity, yet, in many ways, Ed Banger remains gleefully youthful, holding to the spirit of the party -- a stable of DJ/producers with a huge sense of fun and old-fashioned loyalty to each other and their fans criss-crossing the world. The imprint's illustrious history and adventures have been documented in a new photographic book by label designer So Me called Travaile. Famille. Party. -- Work. Family. Party. As Pedro explains "After managing Daft Punk between 1996 and 2008 I wanted to create my own history. By creating Ed Banger Records I launched my own musical adventure in a way. I learnt so much with Daft Punk, I owe them a lot. Celebrating this 10th anniversary is very emotional, I'm proud I managed to write a pretty nice musical chapter in my life. Daft Punk as chapter number one and Ed Banger Records as chapter number two is pretty cool." Ed Banger hasn't put a full compilation out since Vol. III in 2008 and the time is ripe. All their artists contribute exclusive tracks, from long-standing label figureheads Justice, to new disco-house kid on the block, Boston Bun. Over the years, Ed Banger has released music by everyone from Rick Rubin to LFO to, recently, Laurent Garnier, and the new collection represents such diverse thinking. The Balearic android cocktail-disco slowie "The Beach" by Breakbot sits easily with DSL's sleaze-funk electro throbber "In Your House," and there's plenty more, from Mr. Oizo, Feadz, Cassius, SebastiAn, Krazy Baldhead, Mr. Flash, and Mickey Moonlight. A decade in, Ed Banger shows no sign of slowing down.

BEC 5161463

MR. OIZO: Amicalement 12" (BEC 5161463) 14.00
"Marilyn Manson is starring in my new feature film Wrong Cops. We decided to record this retarded track together to celebrate our friendship." --Mr. Oizo; This new record shows another side of his talent, going from classic banger with "Solid" to modern hip-hop with "Waltz-e-More." Includes free mp3 download.


EM 1116CD

NAFFI SANDWICH: Hoochie Pooch/Space Alligator: Freddie Viaduct at Naffi H.Q., 1979-83 CD (EM 1116CD) 18.00
Delving further into the Brenda Ray/Naffi multiverse, following EM's releases of Brenda Ray's Walatta (EM 1071CD) and her work with Naffi in D'Ya Hear Me!: Naffi Years, 1979-83 (EM 1108CD/LP), here is Hoochie Pooch/Space Alligator. This release focuses on the contributions of Freddie Viaduct to the delightfully strange world of the variously-named Naffi Sandwich/Naffi, the former being the earlier incarnation of the group as a trio, the latter a duo. Less vocal-driven than the poppier D'Ya Hear Me! tracks, these mainly instrumental pieces emphasize the group's "instant or not at all" ethos, an emphasis on spontaneity and in-the-moment freedom, allied with the creative freedoms offered by the band's ever-growing mastery of their Naffi H.Q. recording studio. The strong influence of American funk and Jamaican roots music is clearly felt in Viaduct's forceful and spacious bass playing; Jamaica is also present in the dub-influenced use of reverb, echo, and other effects. Captain Catchpole's drums and Ray's multi-instrumental work fill out the trio sound, resulting in a pleasingly vast aural territory, with the aforementioned reggae/dub elements blending with Euro-improv, free jazz and post-punk viruses to create a subtly mind-bending, rhythmically compelling, and texturally-varied DIY dandy, described as "weird instrumental psychedelic dub-up reggae funk" by one learned aficionado. Originally released on cassette and vinyl and extremely rare, released under the Naffi Sandwich and Naffi monikers, the tracks have been compiled here, along with two previously-unissued pieces and three previously-unissued full-length versions, as Hoochie Pooch/Space Alligator and are presented for your listening pleasure, with the CD featuring two bonus tracks. This release is a vital companion piece to D'Ya Hear Me!, the two releases together providing the yin-yang dichotomy essential to full comprehension of the Naffi Sandwich circle. Liner notes written by Freddie Viaduct and Captain Catchpole in English and Japanese text, including rare photos.



HOOKWORMS: Hookworms LP (FAUX 015LP) 18.00
The debut vinyl release of Leeds' Hookworms. The Hookworms 12" features four songs, clocks in at around 27 minutes, and is limited to 500 copies on 180 gram black vinyl. The release was previously only available on tape via Sun Araw's Sun Ark label and that sold out in a matter of weeks. Hookworms formed in late 2009 at a time when most of the group's members were also playing together in a snappy punk group. The punk and garage background is important, because it has a lot to do with the energy that makes Hookworms so noticeable. Many groups think they can make good on psych-rock by just wigging out to their own ends, during interminable jam sessions that only come to a halt when someone decides "That's long enough." Most of Hookworms' songs are around the six-minute mark, which isn't long at all, and each one is constantly doing something. The singer and keyboard player delivers his vocals like The Gun Club's Jeffery Lee Pierce on Fire of Love -- frantic and impassioned. The guitars color in and around the lines, informed just as much by Flipper's Ted Falconi as "Sister Ray." Bass grooves lead the way, sage in their wisdom over which path to take. This is tidy stuff, a purposeful and fully conscious journey into the realms of Zoss. It's also a journey taking place on increasingly large stages, where they're just as confident at filling the sonic space as at the small venues where they started out. On heavyweight 180 gram vinyl with an insert; includes a free digital download code with added bonus tracks.



HAPPY JAWBONE FAMILY BAND: The Complete Hotel Double Tragedy 2LP (FTR 084LP) 22.00
Released in foreshortened single LP format back in 2010, the new edition of this masterpiece of Brattleboro form manipulation is allowed to breathe across two full long-players, and we're all a lot better off for it. Allowed to sprawl across a couple of albums, a booklet of text and a download card of yet another album, Happy Jawbone Family Band achieve a rare freedom here, assembling a complete imaginary universe that combines surrealist wordplay with woozy Dunedin-style form-grabs. Composed of seven (or so) people (it changes with the weather), the band seems capable of almost anything. At one moment they can be doing what sounds to be a flamenco version of the Germs' "Lexicon Devil" then turn on a dime and resemble the Terminals doing one of their death-chug-sea chanteys. It's weird, this Brattleboro thing. All the bands there sound pretty different from one another, but they all sound like they smoke cheeb as though it were legal. There is a stoner logic to Complete Hotel that's so damn wonderful it'll just about suck yr clothes off. As was demonstrated to the world on their Mexican Summer comp (which was in print for what? three hours?) HJFB put songs together in a way that pleases them, and damn the torpedoes. You can hear traces of absolutely anything inside their sound -- Four Seasons, Van Dyke Parks, Dave Davies, Plagal Grind -- but their mutational heat is so heavy, after you've dug a few notes you realize it could never be anyone but them. Complete Hotel Double Tragedy is the first time HJFB have gotten a chance to expand in all directions at the same time. And it is so cool, you'll grow a new tit. We promise! Edition of 600. Housed in a gatefold sleeve with a 32-page booklet.


CUNNINGHAM, MARK: Blood River Dusk LP (FTR 098LP) 16.50
The debut solo album by Mark Cunningham (Mars, Don King, Raeo, Convolution, Bestia Ferida, etc.) was originally released on CD in 1997. The label went out of business almost immediately, however, so the project has been more or less unheard since it was recorded. Feeding Tube only learned about its existence in the course of working with Mark on their recent Mars LPs, and when he gave us a copy it pretty much blew them away. Mark's trumpet tone on much of it reminds us all what a goddamn central record Miles Davis' On the Corner was for the whole no wave scene. The same weird muted tone is smeared all over this record, whether it's spread across detourned tango rhythms or heisted motorik pulsing, there's a constant presence of Miles' compact menace lurking in most notes. The album itself is bizarrely Barcelonan in structure. That Spanish city (to which Mark expatriated himself after the end of Don King) has been a place where dance music, noise rock, and electronic improv have all thrived inside a single tent. Each of these threads presents itself on parts of Blood Red Dusk (the title of which is a tribute to the writing of Cormac McCarthy), but the blend is always held together by Mark's trumpet and/or bass work. Blood River Dusk is a masterpiece of both the Barcelona underground and the post-no wave scene. Includes a small booklet with an interview where Mark lays out the entire saga. Choice. Edition of 300. Download included.


BIG BLOOD: Radio Valkyrie +1905 + 1917+ 2LP (FTR 103LP) 22.00
This is only the second proper full-length LP by this Portland Maine-based duo, although there are vast arrays of CD-Rs and split releases littering their wake. After spending time with both the cosmically-shifting Cerberus Shoals and the folkily psychedelic Fire On Fire, Caleb Mukerin and Colleen Kinsella decided to opt for something more personal and hermetic. Thus, we have Big Blood. The band's multi-phasic discography has thus far reminded people of everything from the Pärson Sound to Opal to Portishead at different moments, yet none of these thumbnails comes close to capturing the elegant mystery of their essence. Sometimes electric guitar lines weevil hauntingly in the aether while acoustics strum quietly up front. At other points, muted chimes of freedom push against vocals and cloppety rhythms that recall White Noise's "Making Love Without Sound." Still others vibe early Comus or The Third Ear Band. In all, the scent of smoke hangs as heavy over this record as any we've heard. And friend, we've heard a few. Edition of 500; includes download code.


TELLAVISION: Music on Canvas 12" (FTR 111EP) 16.50
Gorgeous first LP by German visual/sound artist, Fee Kürten, whose previous work has been available only via the German Bloody Hands label. Singing in English, accompanying herself on electronics, harmonica and strings, Fee creates oddball vistas of minimal pop aktion reminiscent of early Young Marble Giants, mixed with overtones lifted straight from the women of the Neue Deutsch Welle, and the slangy delivery of Omnivore. The results are a beautiful, throbbing Euro-American art-pop hybrid that functions in truly Internationalist terms. Some of it is akin to the nudest American avant-garage inventions around, other parts bleed like the waffle-filled air of the deepest Belgian underground. Just when you think you have Tellavision's modus operandi decoded, something different happens and you have to start re-evaluating your conclusions. Surreal, abstract, imagist, literal and utterly lovely, this is music for sitting around an internal campfire, crackling like crazy. Edition of 300.


Back when Dennis Tyfuss was still a goddamn baby, Alain Neffe and Naine Bal were already staining the Belgian soul with recordings released under the Bene Gesserit moniker. But here we are in 2013, and now, finally, the first U.S. vinyl issue of this material has become available for human consumption. The performing name may have been copped from one of those priestess/nun types in Frank Herbert's novel, Dune, but Bene hews to none of the known priestess/nun-ic forms of sound. There are admittedly, some space-whispers, but they quickly resolve themselves into something more annoying/interesting, so they manage to feel a piece with the weird lashing-out of this LP. Because, really, the basic thrust of the album is combative, maybe overly aggressive, even. Working on the assumption that normal sucks, Bene seems determined to take this motherfucker apart at the seams. Language, electronics, standard-type music -- these are all mere tropes to be dismembered and re-sorted into some new type of standard. A standard that is oriented towards a discordant attack on standards, even when -- at moments, anyway -- it can sound as sonorous as a ride in a chapel-bound calliope. But wherever safety seems to lurk, there is a groaning troll somewhere underneath, a despot keen on wrecking easy pleasure and easy surcease. Bene create superbly disturbing music. That we have come to it so late in this country, is a typical oversight. But we beat Tyfuss. Edition of 300.


FAT CREEPS/ZEBU!: Fat Creeps/ZEBU! 12" (FTR 121EP) 16.50
First vinyl outing by Fat Creeps, a Boston-area trio (Lynn, Mass, actually), who have been brilliantly assaulting local audiences for the last year and a half. Like Montreal's No Joy, Fat Creeps combine guitar tones developed specifically for shoegazing, with a garage-pop sensibility that will not be stilled. Vocally, I am also reminded of Barbara Manning's classic early solo work (about the highest compliment I can offer), and there's a great friction between alternating layers of lassitude and energy. This makes for a coarse and classic blend, sure to be gobbled like ear-candy by anyone who wanders anywhere near the disk. As Bryan Ferry might say, "Marvelous." On the flip is new spamso-outsider-rock-aktion by Zebu! -- a duo (with guests) (with privileges) who seem utterly dedicated to dissolving genre walls in a gush of pearly abandon. This outing has the same roots-ripped sax that blasted through the center of chill wave, and even adds some female vocals (c/o Meredith Thomason) that provide an unusual shine. The rest is the howling, rhythm-whacked splooge we have come to expect of the Zebu! experience. Piles of guitars, drums and creepy vocals, teetering on the edge of your doorway, threatening to destroy your equilibrium forever. Nice. Edition of 600. Includes download card and insert.


GUERILLA TOSS/SEDIMENT CLUB: Kicked Back into the Crypt LP (FTR 131LP) 16.50
Although the cover makes this look like there's a goddamn Voivod reunion afoot, the sounds are a mighty pleasure to behear. This release pairs Boston's amazing quintet, Guerilla Toss, in their most explosively whacked set yet, and NYC's Sediment Club, a trio with literal blood roots in the late '70s Lower East Side grunt scene. The Guerilla Toss side is a bit less high-pitched than previous efforts, and manages to create a bizarrely shifting clot of sideways-moving aural mung that is obliteratively perfect. They craft and destroy riffs, rhythms, and melodies faster than most bands can turn on their amps. Hard to figure out what, exactly, it is they're doing at times -- whether it's part of a thought-out process or just a random jumble of found parts. But the more you listen to it, the more their music achieves a strange holism. The patterns and parts actually fit together really well. They're just moved around in much the same the way the early Boredoms jiggered popular logic -- with personal calculus and great power. These guys will make yr tongue bubble like a whale. Sediment Club's side is the best evidence they've yet produced of their wild syncretic power. Combining the rough stubbing of classic no wave aktion with the warm mud of Lower Manhattan garage-blues, they've done everything Lydia Lunch attempted to do with the Devil Dogs. Somewhere between Mars, Rat at Rat R, and the Chrome Cranks, Sediment Club make a beautiful noise that manages to function as both anti-rock and rock-qua-rock at equally high levels. Evil-sounding beauty at its finest. Let's hope for a long tour by both of 'em. Edition of 600.



GEORGIA'S HORSE: Weather Codes LP+CD (FIRE 165LP) 25.50
"From Texan songstress Teresa Maldonado.... Weather Codes is a record about heartbreak and loneliness."


SCOTT & CHARLENE'S WEDDING: Any Port in a Storm 2CD (FIRE 331CD) 16.50
"Any Port in a Storm is the first new recordings for over two years capturing Dermody at a pivotal time in his life. He has further developed his gloriously ragged anthems to reach new heights of nonchalant perfection." Includes a bonus Two Weeks EP on an additional CD.


SCOTT & CHARLENE'S WEDDING: Any Port in a Storm LP (FIRE 331LP) 25.50
LP version.



KIRKPATRICK BAND, JOHN: The Complete John Kirkpatrick Band 2CD (FLED 3091CD) 15.50
2CDs for the price of one. Fledg'ling Records are very proud to re-present two fabulous folk-rock albums from the John Kirkpatrick Band. Fronted by England's finest accordion maestro the band included Graeme Taylor (guitars), Michael Gregory (percussion), Dave Berry (bass), and Paul Burgess (fiddle and recorders). Together they recorded some of the most powerful folk-rock of the late 20th century. Force of Habit was originally released in 1996 and Welcome to Hell a year later. The Complete John Kirkpatrick Band brings together both albums and a rare live recording from the Cambridge Folk Festival in one discrete slim-line 2CD digipack with new sleevenotes and all elements of the original artwork.



HEMMANN, MAREK: Bittersweet 2LP (FREUDE 009LP) 25.00
180 gram double LP version with download code. Marek Hemmann presents his second solo album on Freude am Tanzen. Ten tracks, un- complicated and progressive with a sophisticated mix-down and laconic, scant titles. The fine electronic sound is broken over and over through the inclusion of angry-pop synths, played with a seemingly strong, increasing train of machines. These warm, bass-filled sounds are the accompaniment to album, and bring the analog past into the digital future. While they are not the core, they are but the floor on which all of the songs stand. The album leads the listener from deep house over crispy dancefloor burners and ambient songs up to spring-lusting romances with guitar samples. On his recent releases, Hemmann has revealed his strong affinity for electronic music with a fine hand for multi-faceted arrangements and that bit of swinging, into-eternity-pointing sound. He is certainly among the foremost romantics amongst electronic artists and he has a firm grasp of how to demonstrate his musical talents accordingly. Bittersweet is a wonderful, mysterious union of the body between the dancefloor and the balcony, between the sweet sunrise and the energy- loaded club night.



EGBERT: Get the Funk 12" (GEM 027EP) 12.50
For the past years, Egbert has been remixing, touring and working on his album Warm. After residing at the top of the techno charts for months with his remix of "Watch Me Now" by D-Nox & Beckers, Egbert is finally back with his own EP. This is a very highly-anticipated release and Egbert doesn't disappoint. All three tracks are serious crowd-pleasers, but in their own way. From in-your-face big-room techno through melodic, anthemic tech-house to watermelon ball minimal, this EP has it all.


GB 005CD

DIRTMUSIC: Troubles CD (GB 005CD) 17.00
Troubles is the new album from Dirtmusic -- Chris Eckman (The Walkabouts) and Hugo Race (Fatalists/True Spirit/Bad Seeds) -- recorded in Bamako, Mali, in September 2012 during the high-tension and tragic recent crisis -- hence the name. Originally a trio with Chris Brokaw (Come/Codeine), Dirtmusic released their eponymous debut in 2007, a gritty collection of acoustic ballads drawn from their American and Australian frontier roots. The band's explorations of raw, psych-folk-rock then took a radical detour out to the Saharan desert, to Timbuktu, performing at the legendary Festival-au-Desert. Dirtmusic's encounter at the Festival-au-Desert with the Tuareg band Tamikrest was the catalyst for the second album, BKO (2010), a classic, one-of-a-kind trip through the interzone between western and Tamasheq desert rock. The two bands toured Europe extensively and the album received major shout-outs from both the rock/pop and "world" music press. With the departure of Chris Brokaw, Race and Eckman decided to head further upriver, composing and recording an album from scratch in full collaboration with a select crew of Malian artists. Dirtmusic arrived in the Malian capital of Bamako with notebooks of lyrics, but without written songs or preconceived strategies. Drawing on musicians from the Ben Zabo and Samba Touré bands as a core rhythm section, Race and Eckman produced the sessions on the dancefloor of Salif Keita's Moffou Club, inviting in guest vocalists including not only Ben Zabo and Samba Touré, but also Virginie Dembele (from the Rokia Traoré ensemble), rising star Aminata Wassidje Traoré and soku-master Zoumana Tereta. There are many voices telling stories on Troubles, singing in Songhai, Bambara, Tamasheq, and English, stories of war and peace and love and doubt in the shadow of an oncoming storm, and like a musical version of cinema verité, everything is real, in-the-moment and utterly direct. Inspired by the collision between West African rhythms, digital sorcery and rock'n'roll, Troubles is a singular and border-slicing musical journey. And Troubles is only the first release from the sessions, with a second volume in the pipeline for a release on Glitterbeat in early 2014.



BOULTER, M.G.: The Water or the Wave CD (HSR 001CD) 15.50
This is the first solo release by lap/pedal steel session player M.G. Boulter under his own name. He has previously released records under the name The Whispering Pines (2012), and self-released a selection of songs as Blue Vinyl Island in 2008. The album documents the life of his coastal home in Essex, which he came to re-appreciate after touring with both The Lucky Strikes and the Simone Felice Group in 2012. The album features members of the Lucky Strikes and London folk trio Troubadour Rose, as well as legendary session drummer Pick Withers who has played for Bob Dylan, Joan Baez, Bert Jansch, and Dire Straits, among others. Boulter is the singer and guitarist of British rock band The Lucky Strikes and he plays lap steel and mandolin in the U.S.-based Simone Felice Group. He has played for many other artists including Conor Oberst, Neil McSweeney, Dead Flowers, and Deer Park. Boulter has garnered previously good reviews for his work including four star reviews in Uncut and R2 for The Whispering Pines in 2012 and was a featured artist on Marc Riley's show on BBC6 Music.



VLADIMIR: M for Mike EP 12" (HORSE 001EP) 12.50
Copenhagen-based Horse On Horse will release its first EP with the Copenhagen native, Vladimir. Vladimir sucks us right back into those Parisian house parties we've all been dying to reenact. Strong sample-based melodies, raw production and nostalgic vocals! No questions asked!


HC 025CD

SETENTA: Latin Piece of Soul CD (HC 025CD) 15.50
Created in 2006, Setenta consists of seven musicians from Paris. Using their musical tastes and backgrounds, Setenta produce a unique mix of Latin, soul and boogaloo, with a touch of Caribbean influences. After a sparkling debut on the Latin scene with their first album Funky Tumbao (2010), they performed live for two years on an impressive and exhilarating world tour, and now Setenta is proud to present this hot album of Latin soul. Sung in Spanish, English and also in Creole and Yoruba, Setenta writes songs with lyrics about various universal themes, including "love, peace and unity." All 14 tracks on this new album were recorded at Mato studio in Paris, on analog equipment with rare vintage instruments. Influenced by Nuyorican maestros of the '70s, the band was also keen to create their own futuristic Latin-soul sound. The album also contains two covers that reflect the eclecticism of the band. First they decided to take on the hip-hop classic Busta Rhymes' "Woo Hah!! Got You All In Check "with a funky mambo version. Then Nirvana's "Smells Like Teen Spirit" is revisited with a massive boogaloo touch, ready to hit radios and dancefloors all over the world. With this pulsating and rhythmic album, Setenta gives us a modern definition somewhere between salsa and funk -- a future Latin-soul masterpiece, already.

HC 025LP

SETENTA: Latin Piece of Soul 2LP (HC 025LP) 23.50
Double LP version.



HUMANS: Traps LP (HYB 001EP) 21.00
Humans are an electronic music duo based in East Vancouver, BC. In 2011 they played Glasslands Gallery in NYC and festivals such as, SXSW NXNW, WEMF, the New Forms Festival and Big Time Out. Humans' latest EP emerges with obvious maturation, each track carrying a depth of sound, evolved production, and focused vision, while never straying from their early commitment to make music for the dancefloor. Includes remixes from Max Ulis and Nautiluss.



WEATHER REPORT: Birdland: A Musical Documentary DVD (LM 019DVD) 17.00
"Live in Japan, 1984. It goes without saying that Weather Report were one of the most influential jazz rock bands of the '70s and '80s. Formed by keyboard player Joe Zawinul and saxophonist Wayne Shorter, both participants in Miles Davis' groundbreaking Bitches Brew, this DVD comprises an exciting previously unreleased live performance, recorded 1984. Line up: Joe Zawinul: keyboards, Wayne Shorter: saxophones, Victor Bailey: bass, Mino Cinelu: percussion, and Omar Hakim: drums." Region 0; run time: 55 minutes.



CRIMEA X: Prins Thomas Diskomiks Selection 12" (INT 026HYR-EP) 14.00
Another exclusive cooperation between Internasjonal/Full Pupp and Friends. This time they took three tracks from the second album by Italy's fine cosmic/Kraut duo Crimea X and Bjørn Torske, which was originally released on Hell Yeah and gave them an extra special Prins Thomas Diskomiks twist. "Dream Is Gone" almost sounds like a warm late '80s club version of a New Order track -- which hopefully says something about its future fanboy/fangirl potential. So simple and so nice.



DR. BEAT FROM SAN SEBASTIAN: Acid Water 12" (JOLLY 012EP) 12.00
After the success of cult classic Mediterraneo, Dr. Beat From San Sebastian is back with another installment of beautiful sunset house music for 2013. DJ Kaos' Jolly Jams imprint delivers again.


KK 072LP

TG MAUSS: Dear Stranger LP (KK 072LP) 15.50
LP version with download code. Dear Stranger is the fourth full-length album by TG Mauss following his previous two albums Mechanical Eye (QS 165CD) and Gravity Will Keep Us All Together (QS 165CD) on the Belgian label Quatermass. The man from Düsseldorf also known as Torsten Mauss has been releasing records as TG Mauss since 2005, before which he put out several EPs under his early Twig moniker. This truly incomparable album opens with the unexpected combination of vocoder and what sounds like bag pipes on "OMG." "Tuesday" is a song which fuses atmospheric pop, noise drones and arpeggiated synths. "Welcome" conveys elements of post-rock, not least of all in the distinctive drumming sound. Besides his TG Mauss solo endeavors, Mauss also plays keyboards in the Sølyst project together with Thomas Klein, the drummer from Kreidler. This live drumming sound is also the driving force on "Ghosts," a downbeat ballad slightly reminiscent of Tarwater in its delicate vocal style and percussive element. The instrumental interlude "I'm a Child" is a pleasant foray into experimentalism and despite the title, proves with the use of ambient drones TG Mauss has a very high level of musical maturity. "Don't Argue" picks up the tempo again and its clear from the meticulous electronic production and driving rhythm why Mauss was selected to remix the likes of Roman and Hauschka, among others. The title-track of the album exchanges the electric guitar for an acoustic six-string, giving the song "Dear Stranger" a distinctly folk feel; this gently meandering drift even features the delightful sound of a recorder. "Sun King" is of course not a cover of the Lennon-McCartney composition from Abbey Road; rather, it bears that TG Mauss signature sound that by now everyone is familiar with. The penultimate tune "Dark" is actually light in timbre and mood -- the meditative loop purveys an anthemic majesty. Dear Stranger draws to a modest close with "Circle Lane," a delightful song rounded off with pizzicato plucked chords and some lovely lazy slide guitar. Dear Stranger is musically diverse enough to appeal to fans of electronica and post-rock as well as to singer-songwriting and folk-rock. The album revokes the old saying about not speaking to strangers; one listen to TG Mauss and you will want to get to know him better.


KB 007BK

ELLIS, ROYSTON: Gone Man Squared Book (KB 007BK) 15.00
"First appearance of the British beat king's early works in over 50 years. Royston, who vanished from Britain in 1963, was THE paperback writer - as referenced by those Beatles guys. In fact, the Silver Beetles (with Stu Sutcliffe) backed Ellis and his 'rocketry' in Liverpool, as did Jimmy Page, who wrote the foreword. These writings 1958-1962 fill in an unwritten chapter in British beat history." 128 pages; paperback. Cover price: $14.95.



FOLKLORDS, THE: Release The Sunshine LP + 7" (LION 104LP) 20.00
2013 repress. "Band leader Tom Waschkowski. He very graciously offered for this LP package a band history, lyrics, some terrific photos, and best of all, a rare pre-album single that the band had self-released. This allows us to offer up as perfect a reissue of this album as humanly possible. The Folklords Release The Sunshine is a captivating album, a notion shared by the many collectors worldwide who fight for original copies, which are few and far between. Glorious sound, as the reissue taken directly from the master-tapes. Bonus single is an exact replica of the rare, privately issued non-LP single, which features haunting, drum-less versions of 'Forty Second River' and 'Unspoken Love,' both of which were re-recorded for the original Allied release. Now, on to the presentation -- the highest quality mastering and pressing; the resulting LP is housed in a poly-lined sleeve, inside an ultra-heavy 1960s style gatefold jacket, which is housed in a loose-fitting plastic sleeve."



METHOD OF DEFIANCE: Nahariama 4th Column CD (MOD 010CD) 15.50
"The second instrumental offering from Method of Defiance, Bill Laswell's international music collective of interchangeable columns. Nahariama continues the thrust forward. This time with guests - cornetist, Graham Haynes (son of jazz icon, drummer, Roy Haynes), keyboardist, Robert Burger (John Zorn, Lou Reed, and Laurie Anderson), Senegalese master percussionist, Aiyb Dieng with DJ Krush returning. Hard drum 'n' bass, space-dub, mutant-funk - courtesy of Bernie Worrell (Funkadelic), flashes of electric Miles Davis drift across ambient soundscapes over a massive low-end assault below. Disorder with a meaningful coherence of detail and urgent resonance."



COPACABANNARK: Minidisc EP 10" (MINI 030EP) 15.50
Cabanne and Ark's Siamese duo turns into a schizophrenic solo as they combine their five inches each into Minidisc EP. A limited special 10" Minibar, made of 100% pure subtle madness that will make you enjoy the ride, from the basement to the attic. More than 10 years after their first release, the legendary and unobtainable Perlon 25, the Copacabannark train is back on track to bring you to the heaven-ish hell you deserve.



TRIPMASTAZ: Tales From Meteorite City 12" (MINUSMIN 008EP) 11.00
Tripmastaz explores beyond the definitions of min and MAX and loops our mind's attention back onto throbbing bass and shuffled percussion that reminds us how close house and techno really are. First pressing of 500 copies in a limited embossed sleeve and pressed on 180 gram vinyl.



VA: Which Way Does the Blood Red River Flow? LP (MRP 046LP) 15.00
"Compilation of some of the best songs recorded for the Testament label between 1961 and 1967. Here we have the deep spirituals of Fred and Annie McDowell, the haunting music of Peg Leg Howell, the long form lonesome blues of Skip James contemporary Jack Owens, the pretty drifting tunes of Elijah Brown, and the plaintive ballads of Jimmie Tarlton. A really intense and strong record. No filler allowed - just the heaviest stuff we could find. Old school 'tip on' cover. A co-release with our friends at Sutro Park, the king of all contemporary blues reissue labels."



VLYS, DARLYN: The Morning After 12" (MFP 065EP) 12.00
Darlyn's second appearance on Mo's Ferry meanders between techno, house and a little bit of funk. "The Morning After" is a minimalistic techno weapon, straight-forward with no frills. With "Stag Party," the Frenchman switches to a bouncing house groove that feels powerful and self-confident. And finally, "My Command" creates a warm and deep mood, just perfect for the morning hours... and you can never go wrong with a funky guitar lick.



JAMES, MICHAEL: Channel Zoo Compilation 001 CD (MHR 017CD) 17.00
Already the most forward-thinking music project ever to hit the island of Ibiza, Channel Zoo was initially an event offering a variety of cutting-edge new sounds, provided by the unrivalled underground house and techno record labels of the future. With rapid development from Ibiza into hosting Channel Zoo events at the most prominent clubs around Europe featuring only the best artists, it was only a matter of time before a serious imprint was established and a compilation was compiled to reflect both the sound of the label and events taking place. Channel Zoo Recordings showcases and pushes future artists that are keeping music real and fresh without any hype or marketing gimmicks. This compilation by Michael James (recorded live at Channel Zoo Closing 2012) is indicative of the sound and vibe all those that have been regularly attending have come to know and love from Channel Zoo. Featuring tracks from artists such as Traumprinz, Kerri Chandler, Axel Boman, Fresh And Low in tandem with exclusive new music from Youandewan, Dana Ruh, and Michael James, it's been well worth the wait but Moon Harbour is proud to finally present their first Compilation 001. Other artists include: Herb LP w/Matt Flores, Undercover Agency, Leif, Azuni, Stratosphere, Demarkus Lewis, Eddie S, Brawther, and MLIU.


MR 335LP

VA: What Have We Wrought? A Mike Atta Benefit Compilation 2LP (MR 335LP) 25.50
"When the good guys at Burger Records asked me to curate this compilation, a benefit for Middle Class guitarist Mike Atta's cancer treatments, I said yes in a heartbeat. Middle Class changed my life, and the sound of every other punk and hardcore band living in the shadow of their brilliant 1978 debut 7" EP Out of Vogue; I owed this to Mike Atta. We ALL did. Middle Class, consisting of the three Atta brothers: Jeff on vocals, Bruce on drums, Mike on guitar, and their school friend Mike Patton on bass (and later Matt Simon on drums), were already turning heads in the nascent 1977 L.A. punk scene, as the first band from 'behind the orange curtain' (the staunchly conservative, inland realm of Orange County, California) to be accepted as genuine in the clique-laden Hollywood punk rock scene of 1977. They played at what was then an unheard of breakneck speed, with incredibly tight musicianship, and locked-in timing from Bruce and Mike Patton on bass, accented with the innovative licks and progressions from both Mikes, carving musical landscapes from the smog and concrete of their native Santa Ana, CA. Jeff held them together with machine gun vocals, which, upon closer examination, were incredibly deep and intellectual insider and outsider observations of the tense teenage landscape that was the early punk scene, and the late 1970s youth culture in Orange County in general. Oblivious of other Orange Country bands that developed concurrently in nearby Fullerton and Anaheim, with some possibly having preceded them or even followed in their wake, Middle Class's music was a hundred beats per minute ahead of local bands like Agent Orange, Social Distortion, The Detours, and The Adolescents, who signified even younger, but just as viable punk bands. Establishing the nascent 'O.C. Scene,' even if it had been somewhat pre-emptively started by less prolific but still vital bands like The Mechanics, The Naughty Women, and featuring a few denizens of the notorious 'Black Hole' apartment: The Omlits. Middle Class were the 'real' deal. Respected and revered by the well-earned egos of the Hollywood scene punks, pale imitation groups surfaced around their original 'sound,' and generic 'hardcore' bands appeared, while they matured and changed, leaving inspired people like Keith Morris in their happy wake encouraged to start bands themselves. With several tracks on the milestone Tooth and Nail compilation album (alongside their pals The Germs), and their second 7" EP Scavenged Luxury, bringing in more intricate funk bass and guitar work, they released their sole full-length LP Homeland, and toured the East Coast, unleashing a slew of imitator hardcore bands on the other side of the country in their wake. Then, in 1982, the band dissolved into other projects. When I started making calls about this benefit record, EVERY band I contacted said 'yes,' including bands that normally do not give songs to compilations. Cover artist Raymond Pettibon was another guy who said 'yes, of course' without any questions. Bands picked classic tracks from their back catalogs, some even chose unreleased tracks or rarities (such as Rikk Agnew presenting me with the never-heard first recording of the legendary Detours!), and some were so enthused they recorded new songs in no time flat. Mike Atta even came up with an unreleased outtake from the Homeland sessions, 'Body and Soul,' which opens this compilation. Mike's cancer had been in remission, but came back shortly after their reunion gig for Frontier Record's 30th Anniversary. The band has kept playing, before, after and in between some very intense cancer treatments, and hopefully will continue to do so.'' --Pat Fear, White Flag; All profits go to help Mike's battle against cancer.

MR 7249BOX

VA: Dangerhouse: Complete Singles Collected 1977-1979 14x7" BOX (MR 7249BOX) 155.00
Fourteen 7" singles, each in a reproduction of the original sleeves. Limited to a one-time pressing of 1,000 copies. Includes a full-color, 36-page booklet. The size is approx. 19 x 19 x 6 inches. Dangerhouse was one of the first independent labels to document the burgeoning West Coast punk rock scene of the late '70s. Although short-lived, its work provided a vital outlet for the bands and other participants and set a template for many to follow. This collection compiles the 14 7"s released on Dangerhouse between 1977 and 1979, including classic tracks by Weirdos, Avengers, Alley Cats, X, Black Randy, Dils, Bags, Randoms, Howard Werth, The Deadbeats, Eyes, and Rhino 39. Includes an extensive 36-page booklet featuring an interview with Dangerhouse founder David Brown, many unseen photos of all the bands and memorabilia. "Dangerhouse, created by the triumvirate of yours truly, Pat "Rand" Garrett, and Black Randy, was a highly naive attempt to create a politically and artistically correct playground for the unique, nihilistic talents of the LA punk scene. It was clear something needed to be done. In the beginning there was a lot of musical talent that was going to unrecorded waste. Whereas the English musicians had been set upon by some of the top producers in the business, the very lack of commercialism implicit in L.A. punk seemed to drive away potential resources. Those were culturally weird times, Saturday Night Fever and burned-out super group remnants filled the airwaves. The early groups (like the Screamers, Germs, Weirdos, Black Randy) were very good at manipulating the local venue owners and press, and were able to almost immediately fill clubs and halls with folks who were just plain bored and curious. Suffice it to say that the scene had everything: every kind of self-abuse imaginable, negative social patterns, infighting, gender-fucking, etc. What needs to be talked about here are the musicians and other creative forces at work behind the scenes on the Dangerhouse product. Starting out, the studio was anywhere we could plug in; later, our home was the Kitchen Synch with the extremely copasetic Mike Hamilton as engineer. Over the years, Mike patiently sat while irate punks insulted his intelligence, and offered great 8 and 16-track advice to Pat and me, refugees from a 4-track world. To Dangerhouse, and the fans, the sound quality was paramount. The do-it-yourself aspect of the production and packaging spoke for itself. We created ideas for affordable products which set the pace for imitators, like the clear plastic-bag 45 sleeves (because traditional sleeves cost more than the records to be pressed) and the multi-color silkscreened picture disc used for 'YES LA.' Sad to say, the downturn of the record business in 1979 due to the so-distant "oil embargo" hurt everyone in the record industry and made it too rough a row to hoe for Dangerhouse. Tough titty. These recordings still sound as powerful and relevant as the day they were cut. If you, Mr. or Ms. Consumer, care about creativity as opposed to the number of units shipped, it was a victory. And if there was ever a label that released cool shit, over which I'd rather have been A&R man/Prexy, it sure as hell doesn't come to mind." --David Brown



MR BENN: Shake a Leg CD (NUP 001CD) 16.50
Mr. Benn (aka Ben Menter) is a name that has been bubbling away on the Bristol scene for many years, having released a number of records on the local Leisure imprint and running nights around the Stokes Croft area for many moons. Reared on a diet of Aswad, The Specials, and King Tubby, with '90s hip-hop as a backdrop as well as an emergent jungle scene, the musical influences behind his sound are wide. However, his more recent involvement with the Bristol Hifi Soundsystem (alongside Massive Attack's Daddy G) has seen him digging deeper into his reggae roots for this, his debut album. Shake a Leg is truly a labor of love, taking almost four years to complete and has seen Ben collaborate with some of his musical heroes such as The Ragga Twins, Tenor Fly and Top Cat -- all certified veterans of the UK reggae scene. There are also a number of lesser-known talents such as up-and-coming star Eva Lazarus, Canada's MC Zulu, Jamaica's Peppery, and Nanci Corriea from the Congo Natty crew, not forgetting Toddla T's main hypeman Serocee, who featured on the lead single from the album Rising Star. Taking in dub, roots, dancehall, bashment, hip-hop, house, soca and dubstep, it is sure to be the soundtrack to many a summer festival.


MR BENN: Shake a Leg 2LP (NUP 001LP) 34.50
Double LP version. Mr. Benn (aka Ben Menter) is a name that has been bubbling away on the Bristol scene for many years, having released a number of records on the local Leisure imprint and running nights around the Stokes Croft area for many moons. Reared on a diet of Aswad, The Specials, and King Tubby, with '90s hip-hop as a backdrop as well as an emergent jungle scene, the musical influences behind his sound are wide. However, his more recent involvement with the Bristol Hifi Soundsystem (alongside Massive Attack's Daddy G) has seen him digging deeper into his reggae roots for this, his debut album. Shake a Leg is truly a labor of love, taking almost four years to complete and has seen Ben collaborate with some of his musical heroes such as The Ragga Twins, Tenor Fly and Top Cat -- all certified veterans of the UK reggae scene. There are also a number of lesser-known talents such as up-and-coming star Eva Lazarus, Canada's MC Zulu, Jamaica's Peppery, and Nanci Corriea from the Congo Natty crew, not forgetting Toddla T's main hypeman Serocee, who featured on the lead single from the album Rising Star. Taking in dub, roots, dancehall, bashment, hip-hop, house, soca and dubstep, it is sure to be the soundtrack to many a summer festival.


45 174EP

SUR ROYAL DA COUNT AND THE PARLIAMENTS: Scream Baby Scream/Scream Mother Scream 7" (45 174EP) 7.00
"Dig the utterly insane 1967 classic single 'Scream Mother Scream' and then warp your mind even more with the earlier and even more deranged demo 'Scream Baby Scream' -- totally nuts!"

45 175EP

SONICS, THE: Do You Love Me/Money 7" (45 175EP) 7.00
"Two pulverizing pounders from the deadly Here Are The Sonics debut album now on 45!"

45 176EP

GEE AND THE STANDELS, SONNY: Tidal Wave/Ingrid 7" (45 176EP) 7.00
"Demented 1963 surf vocal issued here in reprint of mega-rare sleeve and on green wax like the original."

45 9665EP

BROOKS/THE PIGGIES, LA LA: Play with Fire/Parachute Woman 7" (45 9665EP) 7.00
"The fabulous lead singer of the Crystals returns with a fiery take on an early Stones ballad produced by Mick Collins. The Piggies (featuring Andy from the Little Killers) work it out on 'Parachute Woman.'"


VA: El Paso Rock Vol. 8: El Vampiro CD (CED 375CD) 13.00
Border Town Rock N' Roll 1963-64. "El Paso sits on the state line between Texas and New Mexico, home of the hallowed Yucca Records, which is now a star in the Norton constellation of able labels. Yucca's output in the 1950's and 1960's was equaled by the number of recordings that sat in the can for fifty years. Available now for the first time ever, from the master tapes, comes the motherlode, selectively scattered throughout the Norton Southwest series called El Paso Rock." Artists: Monarcs, Torquetts, Los Vampiranos, Chuck Sledge, Fortunes, Key Men, Counts, and Embers.

ED 375LP

VA: El Paso Rock Vol. 8: El Vampiro LP (ED 375LP) 15.00
LP version.

ED 386LP

BLOODSHOT BILL: The Lonesome Road LP (ED 386LP) 15.00
"Here it is, at long last the world's greatest living one man band's second album featuring sixteen high geared winners. Catch him on tour at your local fracas palace."


COLLINS & DANNY KROHA, MICK: Winter Blues And Greens 2X7" (NORTON 1701EP) 14.00
Epitaphs & Elegies by Kim Vincent Fowley. "Gories members deliver an amazing double EP of seven Kim Fowley poems from his second Kicks Books tome Planet Pain, set to music. Poignant interpretations reminiscent of Arthur Lee."


NA 5054LP

HEWITT JAZZ ENSEMBLE, P.E.: Winter Winds LP (NA 5054LP) 21.00
"The three lost albums by the Bay Area vibraphonist/composer/arranger P.E. Hewitt will now be available as stand alone releases for the first time since Richard Nixon was in the White House. Masterpieces in deep/modal/spiritual jazz from a teenaged wunderkind, recorded and released from 1968-1970, P.E. Hewitt was but 16 years old when he recorded and released -- in a pressing of 50 copies -- his debut album Jawbones. By the time he sold through the 100 copies of this third, Winter Winds, he was approaching the ripe-age of 20. The three albums he and his young compatriots wrote, recorded, pressed, and -- if you can call it that -- distributed are three of the rarest damn-good '70s jazz albums you could ever hope to come across. That's a subtle, but important distinction. There are many rare jazz albums in every imaginable subgenre -- funk, free, fusion, but Hewitt's three albums were so damn-good that neither micro presses nor forty years of silence could suppress their reemergence. We at Now-Again decided against compiling a best of anthology out of respect for Hewitt's monstrous achievements and because, well, these albums are so damn good. Thus, we offer you this series of reissues designed to be as close to the original pressings as possible down to their hand-painted covers. First in the series, Hewitt's legendary 1970 release Winter Winds, a mix of modal, latin-tinged, and ethereal vocal jazz."



ARGENTO, ASIA: Total Entropy CD (NUUN 014CD) 15.50
Total Entropy brings together previously-unreleased or limited edition collaborations by Asia Argento with a number of artists, such as Tim Burgess, Toog, Antipop, Brian Molko (Placebo), The Legendary Tigerman, and many others. Poetically direct, vital and glowing, between dream and madness, Total Entropy evokes Argento's impossible love and thirst for life. Alternating orchestral ballads, blues-rock, new wave experimental and minimal techno, including guitars and layered sounds with Asia's deep and intense voice, Total Entropy is difficult to categorize and reveals a talented, charming perspective, between dark and light. Asia Argento is the most polyhedric Italian artist, renowned worldwide. Actress, director, screen-writer, writer, singer, DJ, photographer, etc., Asia Aria Maria Vittoria Rossa Argento was born in Rome on September 20th, 1975 to famous horror director Dario Argento and actress Daria Nicolodi. Music has always been a fundamental part of Asia's career. Her great-grandfather was the futurist composer Alfredo Casella. At age 17, she had her first punk-rock band called Kids Sparkle Fun. She has a huge collection of music that assembles impossibly obscure genres, and she's been collaborating with musicians worldwide for the past 11 years. She also had a radio show in Italy, which can still be heard on In 2008, she put out a 3CD compilation for Antibemusic, Disco Sux/U Just Can't Stop the Rock/Sad Core. She directed a video for Marilyn Manson from the The Golden Age of Grotesque (2003) album, and as a singer-songwriter she has worked with French composer Hector Zazou, in Double Jeu; she covered "Je t'aime, moi non plus" by Serge Gainsbourg with Placebo's Brian Molko in Trash Palace, she worked with Swiss musician Kid Chocolat and his side project Fortuna for whom she wrote five songs; she wrote two tracks with Munk, and also directed their video, and also worked with Paulo Furtado aka The Legendary Tigerman. She's collaborated with Morgan, RYLZ, Toog, Adamski, Hanin Elias, and Mirwais Ahmazdai. Some of these songs have yet to be released. Recently, she collaborated with Tim Burgess on "Ours," and a video was released, directed by her husband Michele Civetta. She also had a very intense artistic exchange with the leader of The Brian Jonestown Massacre's Anton Newcombe, with whom she just completed recording four new tracks.


OM 020EP

GOLDEN TEACHER: Do Not Go Gentle Into That Good Night 12" (OM 020EP) 12.00
Golden Teacher started life as a studio collaboration between Glasgow's experimental hardcore trio, Ultimate Thrush and Glasgow's all-analog house duo, Silk Cut. This is the second EP from Golden Teacher's sessions at The Green Door studio. Recorded straight to tape in one take, this recording explores darker, hypnotic song structures with a heavy emphasis on polyrhythmic grooves and 6/8 time signatures. Imagine Arthur Russell's Dinosaur L, Liaisions Dangereuses, mixed with a Shackleton edit of West African drumming.


OP 001LP

VA: Trust 2LP (OP 001LP) 25.50
Double LP version. Comes in a gatefold sleeve. The Clown & Sunset label ended with the Angst EP from Valentin Stip. Nicolas Jaar's new label Other People releases its first piece called Trust: a compilation featuring 12 artists, including eight exclusive debut releases. Artists include: Will Epstein, Nikita Quasim, My Girl & Me, Quentin Pistol, David Terranova, High Water, Benjha, Acid Pauli, Triangleline, Valentin Stip, and Dave Harrington.



A PASSING FANCY: A Passing Fancy CD (PACE 034LN-CD) 15.00
2013 repress, originally released in 2008. "Revised and expanded version of the much beloved Canadian pop-psych album by A Passing Fancy! This edition has been a long time in the works, with most of the delay resulting from our efforts to make something out of the fragments of mangled stereo master tape that still exist (the previous edition was in mono). All the delays left us with plenty of time to consider the excellence of the album, which has surprising variety: tough garage rock (lead track 'I'm Losing Tonight'); beat music influence (singles tracks 'A Passing Fancy,' 'You're Going Out Of Your Mind,' and 'She Phoned'); sunshine pop ('I Believe in Sunshine'); songs with a social conscience (the discursive 'Spread Out'); and a great acid rock meltdown ('Your Trip'). These same delays also left us ample opportunity to uncover what had become of the various band members. A bit of searching led us to A Passing Fancy lead singer, rhythm guitarist, and primary song-writer Jay Telfer. He supplied a band history and lyrics for all the songs to round out this revamped edition."


PLASTIC CLOUD, THE: The Plastic Cloud CD (PACE 046CD) 15.00
2013 repress, originally released in 2005. "Bay Ridge, Ontario's contribution to the psychedelic pantheon, their self-titled LP (Allied/1968) is a swirl of gossamer vocals and Tolkien references, swathed in the some of the most relentless fuzz guitar you will ever hear. We feel it's about time this fine record got the compact disc treatment it deserves, so we've gone all out for this reissue -- newly remastered from the tapes and the accompanying twenty-page booklet has all the lyrics, thanks to Don Brewer, the man who wrote them, as well as rare photos and a replica of the original press release that must be seen to be believed. Essential psychedelia."


FOLKLORDS, THE: Release The Sunshine CD (PACE 047LN-CD) 15.00
2013 repress, originally released in 2008. "Fourteen perfect examples of dreamy, sunshine-infused pop psychedelia with a folk bent, originally released by independent Canadian label Allied Records in 1968. When we first issued this terrific album on CD many years ago, our booklet featured the few scraps of information on the band we could find. We challenged 'anyone out there' to find some information on this elusive and intriguing band. Well, we're pleased to say that someone took us up on that offer, and that someone was band leader Tom Waschkowski (credited on the album as Tom Martin). He graciously offered us a band history, lyrics, some terrific photos and best of all, a rare pre-album single that the trio had self-released. This allows us to offer up as perfect a reissue of this album as humanly possible. The Folklords Release the Sunshine is a captivating album, a notion shared by the many collectors world-wide who fight for original copies, which are few and far between. Strange thing is, if someone were to say to us that the Folklords album was released by Creation Records in 1987, it would be difficult to argue. Why?, you well may ask. Our answer: the chiming guitars, the rattle of tambourine, the dreaminess, and the meandering harmony vocals of Martha Johnson place the Folklords closer to Biff Bang Pow, the Jesus and Mary Chain, the Revolving Paint Dream or even My Bloody Valentine's debut, Ecstasy and Wine (granted, at a much slower speed, and without the rampant fuzz guitar). Glorious remastered sound, as the twelve LP tracks were taken directly from the master-tapes; the two bonus tracks come from the rare, privately issued non-LP single, which features haunting, drum-less versions of 'Forty Second River' and 'Unspoken Love,' both of which were re-recorded for the original Allied album. A 16-page booklet includes a band history lyrics, and comments on the songs by Tom Martin."


49TH PARALLEL: 49th Parallel CD (PACE 048CD) 15.00
2013 repress, originally released in 2005. "First proper version of this legendary Canadian psych album, supplemented by eleven bonus tracks, two of which have never seen reissue before now. The group's first two singles, 'Laborer'/'You Do Things' (1967), as well as 'She Says' and 'Citizen Freak' (1968), are prime pieces of pouting Prairie punk. In the spring of 1969, the 49th Parallel had a hit in Canada and the USA with 'Twilight Woman,' a lovely song that sounded like a poppier, slightly folkier version of what bands like Tomorrow were doing in England. The success of the singles resulted in the release of the 49th Parallel's only album, on MGM affiliate Maverick Records. All hyperbole aside, this is easily one of the top Canadian rock albums ever released. The album contains excellent material, including the pulsating psychedelia of 'Lazerander Filchy' and the ultra-strange '(The) Magician,' as well as the quintessential punk edginess of 'Now That I'm a Man' and '(Come On Little Child &) Talk To Me.' Dan Lowe's blazing fuzz guitar work stands out, particularly on 'Missouri,' and when challenged by organist Jack Velker's brilliant stuttering work on 'Eye To Eye,' 'Talk To Me' and 'The People'. Strong melodies, great playing and sympathetic production make for a must- own collection of songs."



JK SOUL: Take Me Higher CD (PASOR 002CD) 17.00
JK Soul discovered a new vision for his album Take Me Higher with vocalist Lala Pumpkin. He wanted to show the world his wide range of production skills and his capability of moving through different styles of electronic music with class. Electronic music has always been his playground so now house, dubstep, drum & bass, together with touches of reggae and soul are equal parts in his new creations, all of which are there to enrich his unique and famous hip-hop-based beats and soul-influenced trip-hop trademarks. Lala Pumpkin's voice moves the listener far away, across the European borders to the west side of the Atlantic, sounding fresh and full of emotion, but at the same time strong and certain of her capabilities as a funk diva. From the surf-inspired bass on the opening track "Blow Rider" which blends masterfully with his heavy beats and Lala's funk-oriented vocals, to the dubstep monster that provides the album with its title and "La Kitara" and "Trumpet Anthem," he composes tunes that will put a smile on everybody's face. Cayetano supplies the base on which JK builds his wonderful remix of the track "Be My Queen," combining massive hip-hop beats with a dubstep touch while Rebel Elementz offer their voices in the reggae "Rebel Anthem." "Summer Goodbye" will definitely be a hit on every beach, and at the end of the trip JK Soul gives us "Cat Fish," a downtempo composition flirting with early '40s blues, and the slow-moving "Hurts."



HORROR INC.: Briefly Eternal CD (PERL 095CD) 17.00
Perlon presents the first full-length from Horror Inc.. Montreal's Marc Leclair, a long-time buddy of Perlon and also known to some as Akufen delivers 10 tracks, taking us on a very personal trip through the depths of "Boo."



AFFLICTED MAN: I'm Off Me 'Ead LP (PERM 036LP) 19.00
"I'm Off Me 'Ead is DIY psych punk (or 'Hippy Punk' as Steve Hall calls it) at it's finest, but don't just take my word for it. Heavyweight record aficionados such as Henry Rollins, Byron Coley, Tom Lax, Doug Mosurock, and Geoffrey Weiss are BIG fans. The idiosyncratic music critic, Byron Coley (Forced Exposure, Bull Tongue, Spin, Wire, Arthur), really lays it out there: 'Steve Hall's Afflicted (Man) project was one of the greatest mystery wobbles to come out of the Brit DIY explosion. Trying to figure out what the hell these records were about took years to unravel. We even thought there might be a Nurse with Wound connection when United Dairies released the Afflicted Man's Musica Box LP. We were stupid, but can you blame us? The slurred psych blues of I'm Off Me 'Ead were so unlike anything else going on at the time, it almost seemed like the whole thing had to be a put-on of some kind. There had been those earlier records, sure, this one felt way different. The concept of UK stoner-punks had existed for a few years, but their output had tended towards the arty end of things before this. There's a latent brutality to Im' Off that truly lashed our feeble minds. But maybe that's only because L.A. was awash in very good acid right about then. Still, it remains extremely difficult to place this music inside the contextual history of what was going on then. Jesus, I would have loved to have caught a gig or two. Unimaginable. I bought I'm Off Me 'Ead at the old Vinyl Fetish store on Melrose in '81, same year I finally managed to snag a copy of Randy Holden's Population II, and they were both records I'd play to anyone who dropped by our pad in Santa Monica for a listening session. The utterly fucked-up-ness of both guitarists never failed to astonish anyone who wasn't too wasted to acknowledge what they were hearing. And so it is.' We here at Permanent absolutely love this record and are incomprehensibly honored to be the label reissuing it on vinyl for the first time ever. It's been fully licensed by Steve Hall himself and painstakingly remastered by the total pros at Penguin Recording in Eagle Rock. The jacket artwork was graciously reconstituted and touched-up by Bill 'Trouble In Mind' Roe. The full-color I'm Off Me 'Ead inner sleeve contains a bunch of unseen Afflicted Man photos, an unpublished interview with Steve Hall and a fully authorized reprint of Chris Stigliano's article from Forced Exposure #9 (Winter 1986)."



LE CAROUSEL: Le Carousel LP (PKR 001LP) 25.50
LP version. Le Carousel is the new band project from acclaimed Belfast DJ/recording artist Phil Kieran. For Le Carousel, Kieran assembled some of Ireland's finest musicians, writing most of the album while staying in Donegal on the remote west coast. Fittingly, Le Carousel evokes feelings of half-remembered childhood day-trips and windswept empty beaches. Fans of emotive electronica, blissful Balearica, artists like Spiritualized, Slowdive, Pink Floyd, Goldfrapp, Steve Reich, Rothko, Bat For Lashes, and Galaxie 500 should sign up here, although anyone with a heart is going to take something away from this extraordinary piece of work. Limited to 250 bespoke, hand-manufactured, art cover sleeves cut out of the original tour stage backdrop painting. The original image measured 18 feet x 18 feet and is now being broken up into 324 limited edition vinyl albums. Each will be numbered and contain a print of the large image with a grid reference to show where the individual piece belongs.



WOEHL, JONAS: Into You 12" (POESIE 007EP) 12.00
Jonas Woehl debuts on Get Physical Music/Poesie Musik with a spectacular new EP, Into You, featuring Fabian Reichelt, and with remixes from Konstantin Sibold and Piemont. "Into You" is a synth chord-driven, groove-laden killer. The second original track on the EP, "Falling Leaves," uses an acid-inspired bass line with very deep chords on an almost classic tech-house backing to create a great melancholic vibe.



NIGGEMANN, ALEX: Tangram 12" (PFR 141EP) 12.50
Alex Niggemann returns to the scene of so many fierce releases with his latest weapons-grade stormer. "Tangram (The Bright End)" is a burner that slowly builds and builds, maintaining just the right amount of tension and release. "The Dark End" switches the vibe to something a little malevolent -- a techier workout that maintains the essential core of the original but provides a little extra drive to the groove. "Maze" features diamond-hard beats, unhinged synths and an evolving groove.



FREILAND: Freie Sicht (1) 12" (PROFAN 038EP) 12.50
Freiland, alongside Sog, is and was one of Wolfgang Voigt's most important projects. For his Z.O.M. mix of "Rot 2," Voigt enveloped it in an almost club-like, warm groove coat. "Rot 3," the mother of all shaffel bombs comes dressed in a gaffel mix, meaning: gabber meets schaffel (shuffle). The musical alter-ego of painter Albert Oehlen Wendy Gondeln uses aggressive, abstract violin sounds in real time for his remix of "Rot 4" while Michael Mayer's confident dancefloor-style provides insight into "Gelb 3."



PARMEGIANI, BERNARD: De Natura Sonorum 2LP (REGRM 009LP) 29.00
De Natura Sonorum (1975): Premiered at the Salle Wagram in Paris on June 3rd 1975. A suite of 12 movements, divided into two series of six. "The first series comprises six related movements, usually organized in pairs, electronic sounds with instrumental and more rarely, concrete sounds: Incidences/resonances bring into play controlled resonances akin to sounds of concrete origin in a process that helps to expand the variable electronic sound sources. Here, 'incidents' are opposed to one-off 'accidents' in the second movement: 'Accidents/Harmoniques' ('Accidents/Harmonics'). In the second movement, very short events of instrumental origin change the harmonic tone of the continuum they interrupt or overlap. Moreover, the high notes are underplayed, which stimulates the attention given to other phenomena generally hidden by the melodic form applied to the instrumental play. 'Géologie sonore' ('Sound Geology') is similar to a flight over an area where different 'sound' layers come to the surface one after the other. When seen from high above, instrumental and electronic sounds seem to fuse. 'Dynamique de la resonance' ('Dynamics of Resonance') is a microphonic exploration of a single sound resonating through different forms of percussion. 'L'Etude élastique' ('Elastic Study') places together various sounds produced by 'touching' elastic or instrumental skins (balloons, doumbeks) or vibrating strings and a number of instrumental gestures close to this 'touch,' using electronic processes to generate white noise. 'Conjugaison du timbre' ('Conjugated Tone'), the last movement in the series, uses the same substance to apply rhythmic forms onto a perpetually varying tone continuum. The second series of movements draws its inspiration from concrete and electronic sources rather than instrumental ones. 'Incidences/battements' ('Incidences/ Beatings') is a reminder of the first movement in the first series, which then quickly moves into 'Natures éphémères' ('Ephemeral Natures'): an ephemeral play on instrumental and electronic sounds, singled out by their internal trajectory rather than by the material itself. 'Matières induites' ('Induced Matters'): just as molecular effervescence triggers changes of state, it seems that the different states of these sound materials can be generated by each other or through induction processes. In 'Ondes croisées' ('Crossed Waves'), the pizz vibrations interfere with somehow 'visible' water drops on the surface of a similar material. 'Pleins et déliés' ('Downstrokes and Upstrokes') can be listened to as the energies absorbed in the motion of bouncing bodies, while hollow 'bubbles' and points bring together some people's gravity and others' downwards movements. The work finishes with 'Points contre champs' ('Reverse Angle Points'). Here, the notion of perspective of the different sound threads weaving a kind of network, or field, traps the occasional iterative elements in the foreground and progressively absorbs them, giving more space for the angle -- and the chanted sound -- to grow." --Bernard Parmigiani; De Natura Sonorum whose title echoes Lucretius' De rerum natura, similarly explores the multiplicity of sound possibilities. This profuse work, with countless discoveries and dazzling intuitions, has influenced several generations of composers and remains a truly seminal piece in the experimental music soundscape. De Natura Sonorum, one of Parmegiani's masterpieces, has left an indelible mark on the classical period of electroacoustic music. At last, it is being reissued on vinyl and for the first time this includes the whole of its 12 movements." --Christian Zanési & François Bonnet. Housed in a gatefold sleeve.



RAMESSES: Misanthropic Alchemy 2LP (RITE 014LP) 55.00
Ritual Productions celebrate the legacy of Ramesses in UK metal history with a mammoth retrospective collection reissue of Ramesses' debut LP Misanthropic Alchemy (recorded and mixed by Billy Anderson -- Melvins, Sleep, Neurosis) now available on double vinyl with two previously-unreleased bonus tracks. Limited to 300 units, pressed on 180 gram pure virgin black vinyl. 300 gsm, 5mm spine sleeve, silver mirror board, shrink-wrapped, 250 gsm gold inner sleeves and full-color labels. 100% sustainable paper labels and card sleeve. Printed with premium color-rich non-toxic inks. Sealed with non-toxic varnish.


RB 041EP

HUGH MANE: Spectra Sonics EP 12" (RB 041EP) 12.50
Made in the basement of an old tram station circa 1990 in a town that was probably London, Hugh Mane's first and only release so far consists of hidden gems on a vintage DAT. Brought to RB's attention via an old message board, "Back to Life" is the name of this EP's backbone. "Hard to Finish If You're Finish" and "My Midi Is a Mess" are the continuation of those heady visions, while "Fukdemdiscoidkids" via a Tuff City Kids edit is a rough-and-ready beat track.



DUB DYNASTY: Unrelenting Force CD (ASCD 001CD) 17.00
Alpha Steppa is thrilled to announce the arrival of a truly unique and international release that is bound to enthrall music lovers of every generation. Alpha and Omega, true icons of the dub world have joined forces with son and nephew Alpha Steppa to create Dub Dynasty. The record, in the words of Alpha Steppa, is "an exploration of the unrelenting force of nature and the inspirational powers that brought us together to create this record." Taking inspiration from this credo, the title Unrelenting Force is a true reflection of the power and community that dub has mastered. Alpha and Omega and Alpha Steppa have called on their favorite collaborators from the UK, Ireland, South America, New York, Jamaica and South Korea to join with them in merging their pure, unadulterated dub into one of the deepest releases ever seen. Alpha Steppa spent 2011/2012 living and creating music in Asia, and he has been rewarded with some powerful connections in South Korea. For Unrelenting Force, he has called in Koonta, a member of Rude Paper and Korean reggae duo Koonta & Nuoliunce. Another artist from Korea to feature on the release is up-and-coming melodica wunderkind Smiley Song. Singing on "Chicken and the Cow and the Buffalo" and "Goodness" is N'goni, one of the most exciting and mysterious new lyricists/singers to hit the scene. "Monsoon Come" features the Dublin-based South American singer Ras Tinny, and there is also an appearance by Dub Judah of Dub Jockey label fame -- one of the most respected names in UK dub. Linval Thompson is considered one of the essential contributors to reggae and its message in its 1970s golden era. Featured here on the dub "Long Time," Thompson's vocals are as memorable as they are powerful. Last but not least, Cian Finn contributes his unique blend of Celtic spirit and rootikal dub to "9 Years" and "Dub Island." This album is powered by bass -- the kind of bass that can reverberate through your whole body and lift you into another time and place. Raw, pure and unadulterated dub. The CD version contains bonus mixes and dubs.



KOLETZKI, OLIVER: Schneeweiss CD (SVT 108CD) 17.00
Over the years, Oliver Koletzki has continuously cited Berlin as a point of reference and, more importantly, a source of inspiration. Two of his albums, Großstadtmärchen (SVT 037CD) and Großstadtmärchen 2 (SVT 075LP/080LP), have been a direct ode to the capital. Friedrichshain, one of Berlin's vibrant districts, has always held a special place in Oliver's heart. This is where he started out when he first moved to the city, and this is where he lives now. Moreover, the Stil vor Talent HQ is situated in the center of the bustling Kiez. So is Schneeweiss, one of Friedrichhain's best and most-loved restaurants. Over the course of eight years, the stylish eatery has impressed many a Berlin foodie with its contemporary take on alpine cuisine and attention to detail. Music is part of the experience here, which is no surprise due to one of the owners' extensive background in Berlin's club scene of the early days. Thus, after many a late-night label dinner an idea slowly formed. Why not join forces and collaborate on a compilation that represents both, Oliver Koletzki's and Schneeweiss' tastes? Compiled specifically with the restaurant in mind, this compilation is a tasty treat for the music connoisseur and a musical treat for the culinary aficionado. Isolée's stunning "Allowance" opens the compilation on a bittersweet note, as melancholic autotune harmonies and a melodious loop glide over a cozy bass bed. Next, Serge Erège's soulful voice, set against a backdrop of sunny synth stabs provided by Niko Schwind and Dunwich, leads into "From the Inside" by Chasing Kurt. Here, a decisive bass-line supports the track's incredibly emotive, velveteen vocals, making for an early highlight. The piano keys on Oliver Koletzki's remix of "Once Again" push things forward into "Love Lines" by Artenvielfalt, the perfect summer track. After the compilation peaks in Jonas Mantey's beautifully epic "Sie ist Schön," Oliver Koletzki's "Bring Me Home" enchants with guitar licks and a swaying groove. Danish duo Ost & Kjex provide feel-good vibes on their poppy "Indie" to highly addictive results. Next, Andhim reinterpret HVOB's "Always Like This," focusing on metallic percussion and a whole lot of melody, while former Bar 25 resident Dirty Doering makes you dream aided by Spanish guitars. Lastly, Stimming's wonky "Window Shopping" seamlessly flows into Oliver Koletzki & Fran's jazzy classic "I Might."



KELOMPOK KAMPUNGEN: Mencari Tuhan CD (STRAW 007CD) 15.00
"One of the true gems of the Indonesian scene, this album stands to be one of the best, and also one of the most unique albums to come from the region. Banned by the Shuko government soon after release, it remains somewhat obscure to most collectors up until now. An album created by Bram Makahekum (who had no musical experience or training at all) Kelompok Kumpangan had multiple members trying to recreate the sounds of nature, even using original handmade instruments invented by the band themselves. The end result is nothing short of brilliant, one of our personal favorites from the region and an album that can't be compared to much else. Wonderful progressive folk of the highest caliber, we can't stand behind this one enough."


SR 008LP

BURROUGHS, WILLIAM S.: Break Through In Grey Room LP (SR 008LP) 15.50
2013 repress, originally released in 2008. One of the most classic and in-demand titles in the Sub Rosa catalog -- mid-'60s cut-up tape machine recordings made by William S. Burroughs in hotels -- originally released on CD in 1987, reissued in 2001, released on vinyl in a gatefold sleeve. During the 1960s, Burroughs was in Europe and England. The Vietnam War, the cultural revolution, hippies and the acid gospel, the U.S. in tumult -- all these were dispatches to him. Living between Paris and London, his only excursions to America were in 1965, when he lived a year in New York at the Chelsea Hotel and 210 Centre Street, and revisited St. Louis and Palm Beach; and in 1968, when he covered the Democratic Convention in Chicago for Esquire in the company of Genet, Southern and Seaver. Burroughs had quit the States in 1953 exactly because he foresaw these police-state conditions. But now the wild boys were in the streets, in London and Paris too, and Burroughs was inspired to hope that the world could really change. In the creative world/switchboard of Paris' Beat Hotel, in London, in a house in the Arab Quarter of Tangier, he experimented with tape recordings -- under the tutelage of Brion Gysin -- hoping to cut the pre-recorded time line of present time, and, as he put it, "let the future leak out." It's impossible not to recognize the writer's sonorous voice -- a sonority also present within the silence of every text he wrote. An explosion of styles -- a blasting of borders -- the silence after a gunshot -- the overtaking of the fetishized word -- from the exploded painting, to the cut tape. Break Through In Grey Room includes various monologues, radio shortwaves, music, and countless cut-up tape from which emerges new structures of communication. Words gain power when losing the boundaries of semantics. Also included is some Joujouka music recorded by Burroughs while he was with Ornette Coleman in the hills of Morocco, circa 1973. Many of these tapes are as much Ian Sommerville's work as Burroughs, or even more so. Ian's technical background is a tribute to the early development of sound-and-light shows in London. Ian was a sorcerer's apprentice in creating recordings. This is an important sound document in the history of Burroughs as an innovator, as well as an archive of the genesis of literature in opposition during a time-period whose urgency is more relevant than ever.

SR 373CD

DE JAER, BAUDOUIN: Compositions for Geomungo and Gayageum 2CD (SR 373CD) 17.00
Sub Rosa reissues Belgian composer/violinist Baudouin de Jaer's Gayageum Sanjo (SR 347CD), with a complete new design and an additional CD of new compositions for another ancient Korean instrument: the geomungo ("black zither"). "Baudouin de Jaer chose a highly delicate musical instrument, the geomungo, and has drawn from it a marvelous creation; I can only congratulate him with all my heart for such an accomplishment, and for the release of this beautiful CD. I hope he will continue to make great works like this one and to contribute in such a committed way to the development of korean music." --Mr. Kim Yong-Jae Holder of Intangible Cultural Treasure #16. Performed by Lee Jung-A, Kim Hyunchae and Lee Hwa-Young.



FOXX & JORI HULKKONEN, JOHN: European Splendour EP 12" (SGR 024EP) 14.50
John Foxx and Jori Hulkkonen have collaborated on a new EP, featuring four brand-new songs, including a remix by film-director David Lynch. Artwork by Bowie collaborator Jonathan Barnbrook.


SBR 5041LP

DRAKE, NICK: Family Tree 2LP (SBR 5041LP) 31.00
2013 repress on vinyl. Comprising recordings made at Nick Drake's family home and in France before his 1969 debut, Family Tree offers a unique insight into a nascent songwriting genius. Spread over four sides of 180 gram virgin vinyl, its 29 songs range from folk standards and compositions by his mother Molly to early versions of future classics taped by his Cambridge friend and arranger Robert Kirby at Cambridge in 1968. Mastered at Abbey Road and featuring 29 rare tracks (one previously only available on iTunes), as well as a deluxe gatefold sleeve, rare photographs and a lavish insert including lengthy sleeve notes, this lovingly assembled set is sure to become a prized item amongst lovers of Nick Drake.

SBR 5069LP

SECOND HAND: Death May Be Your Santa Claus LP (SBR 5069LP) 22.00
2013 repress. Gatefold vinyl version, pressed on 180 gram virgin vinyl. Second Hand's debut album, Reality, is widely acclaimed as one of the best psychedelic albums to have emerged from the UK in the late 1960s. The follow-up, Death May Be Your Santa Claus, originally issued in April 1971, is a similar milestone in the progressive genre. Originally recorded as the soundtrack to an obscure underground movie, it's a dark, dense and challenging masterwork combining uniquely experimental compositions with wild organ playing and complex rhythms. This is its definitive edition, remastered from original tapes and complete with a booklet offering rare photographs, detailed liner notes and an introduction from its producer, the legendary Vic Keary.



BLACK ROSE: Sky 12" (SMR 008EP) 12.50
Already famous from Henrik Schwarz's Boiler Room set, "Sky" is the latest offering for a lovely summer from Jesse Rose & Henrik Schwarz aka Black Rose. Featuring the beautiful voice of Luisa Gerstein. The vinyl version also features a dub of the track without the vocals.


TS 6011EP

LITTLE JEWEL: I Want To/It Doesn't Matter 7" (TS 6011EP) 8.00
"Little Jewel's 'I Want To' backed with 'It Doesn't Matter,' the first single issued on the Tay-Ster imprint."

TS 6020EP

CHUCK-A-LUCK: Are You Experience/Whip It 7" (TS 6020EP) 8.00
"Here we have the Love Men LTD backing up Charles Whitworth -- aka Chuck-A-Luck -- on 'Are You Experience' with the incredibly hot 'Whip It.'"

TS 6025EP

CHICO & BUDDY: A Thing Call the Jones/Can You Dig It 7" (TS 6025EP) 8.00
"This reissue series comes to a close on a big, funk-filled high note with the release of Chico & Buddy's 7" masterpiece on the Tay-Ster imprint. 'A Thing Call the Jones' with the ultra-funky 'Can You Dig It' on the flipside."



ELEKTRO GUZZI: Circling Above Cassette (TTW 056CS) 7.00
Elektro Guzzi are an Austrian trio: Bernhard Breuer (drums), Bernhard Hammer (guitar), and Jakob Schneidewind (bass). Signed to Berlin's Macro label, they play and record live -- however, their sound is not what you might be expecting from such a traditional band line-up. Macro's Finn Johannsen writes: "Live performances of electronic music have gone a long way since the seminal decision of a few men from Düsseldorf to leave their Krautrock beginnings behind and to become machines. Since then, the list of successors is epic and technologically refined in the process: from the musicians who on stage incorporated electronics into their post-punk aesthetics, to today's laptop PAs blurring the lines between performance and DJ set in a club context. Of course, the evolution of according concepts also proceeded in reverse, with electronic musicians implementing their sound into traditional band structures, and performing their music as modern interpretations of the latter, combining the sounds of the according analog and digital equipment. Taking all this into consideration, Elektro Guzzi from Vienna are none of the above, which is exactly why Macro didn't hesitate to sign them. Though their sound most certainly suggests that Bernhard Hammer, Jakob Schneidewind, and Bernhard Breuer also decided to become machines, they strangely enough don't use any (it took several confirmations in mails and personal meetings and a rehearsal video to convince that they don't). As digital as they may sound, they couldn't be more analog, producing and performing with the most classic of all setups: bass, guitar, and drums. But however traditional they may look as a band, they certainly do not sound like one. There is no computer backup material that they prepared earlier, no loops and things, no overdubs. However hard it is to believe, what you hear is 100% live." Elektro Guzzi write: "We recorded Circling Above in January this year. After two years of finding material for The Tapeworm, we finally agreed on these three tracks. We were searching for material which fits to the format, concerning sound and structure of the tracks. We had never done something for tape but, as you may know, we love the analog way of doing music..." --Elektro Guzzi, Vienna, April 13, 2013


AMY WINEDEATH: Speakeasy Cassette (TTW 057CS) 7.00
"A tongue wags. A tongue licks. A tongue tastes. A tongue clicks. A tongue lashes. A tongue curls. A tongue tuts. Tongue twister. Tongue-tied. Be careful what you think -- you don't know who is inside your head. How do these sounds get inside me? How do I get them out? Are they sent to stop me or urge me on? What do I risk if I spit them out? Am I in danger? Who is listening? Is anyone hearing this? What happens to the sounds? Do they die? Or is someone perpetually monitoring in space? I must be more careful... Or less... Speak easy." --Amy Winedeath, London, July 2, 2013. Edition of 150 copies. Illustration by Dave The Cap.


CURGENVEN, ROBERT: Transfixed Cassette (TTW 058CS) 7.00
A1: various recordings of live performances in the UK from late 2011 remixed; pipe organ recordings from Cornwall from 2011-2013; a 78rpm acetate from 1927; series II resonating dubplates, stereo test LPs, generalized record and turntable abuse, industrial fans, custom-made low-and high-frequency oscillators. B1: pipe organ recordings from West and Mid-Cornwall, turntables, series II resonating dubplates. No electronics. Robert Curgenven (1974) is an Australian composer/sound artist currently based in Cornwall. His work draws on the physicality of sound, not just the physical impact on the body but how it can shape our perception of space and the dramaturgical flow of time. After many years living and working in the elemental vastness of the tropics and deserts of Northern and Central Australia and subsequently five years in Europe, relocating to Cornwall has facilitated a return to wild country and the pipe organ. The renewed focus on pipe organ comes following over 30 years of active engagement in composition, radio, and performance since his beginnings as a classically-trained organist. Edition of 150 copies.


LEICHTMANN, HANNO: Unfinished Portrait of Youth Today Cassette (TTW 059CS) 7.00
All music by Hanno Leichtmann: tapes, Sony WM-D6C, modular system, Telefunken equalizers, LXP-5. Recorded at Static Music Berlin. Hanno Leichtmann writes, "When The Tapeworm asked me to do a tape which referred to tape music or cassette culture, I immediately thought of my 30-or-so remaining tapes from my (back in the days) huge tape collection. I bought a Sony WM-D6C to play them back in good quality, took little snippets of favorite songs and ran them through a modular system. I made about 40 short static pieces, all about 1:30 long. They are highly influenced by and, at the same time, a homage to: John Oswald's Plunderphonics, Curd Duca's Easy Listening 1-5, Stock, Hausen And Walkman's Me 7", and above all, Yasuaki Shimizu's Music for Commercials." Hanno Leichtmann, Berlin, May 16, 2013.


VAN VELDHOVEN, WOUTER: Redundant/Rotary/Rotations Cassette (TTW 061CS) 7.00
Wouter van Veldhoven has been fascinated by the imperfection of musical equipment since 2004 when his first sampler broke and he started collecting tape recorders, junk, and some rudimentary analog gear to create music with. After a few years of making experimental ambient he decided to try and turn his studio with modified, half-crippled tape machines into a repetitive beats production center. Here are the results. All tracks by Wouter van Veldhoven, using 24 reel-to-reel tape recorders used for looping, delay, reverse delay and editing and a Doepfer A-100 system, for filtering and switching things. Sound sources: tape-hiss, a broken valve radio, a defective '50s television set, self-resonating filters and sine wave generators. Recorded between February and June 2013.


TEG 75506CD

DEL THE FUNKY HOMOSAPIEN: No Need for Alarm CD (TEG 75506CD) 16.00
2005 release. "After breaking out of the Bay Area underground scene in the early '90s Del the Funkee Homosapien made a radical turn with his sophomore release, 1993's No Need for Alarm. Casting aside the familiar G-funk vibe of his debut, perhaps as No Need was produced without the involvement of his cousin Ice Cube, he moved into a jazzier -- some would say more East Coast -- direction on this project. The verbal content on No Need shifted as well, moving away from comic interludes and towards a focus on battle raps. No Need for Alarm was produced with his Oakland based Hieroglyphics Crew with Domino, A-Plus, and Casual all contributing beats making the record one of the three 'Hiero Golden Age' releases (along with Souls of Mischief's '93 til Infinity and Casual's Fear Itself)."



DJ HELL: Kern Vol. 2 CD (KERN 002CD) 17.00
Hot on the heels of DJ Deep's inaugural Kern (KERN 001CD) mix for Tresor comes Kern Vol. 2, selected and mixed by Gigolos boss DJ Hell. Hell has a track record of releasing benchmark mixes, most notably the wildly eclectic mix for Belgian club FUSE in 2000, and 1995's X-Mix 5: Wildstyle, whose concept he feels is not far away from Kern Vol. 2. For Vol. 2 the Munich/Berlin machine dug deep into his vast collection to unite early house and techno with the new wave. Detroit minimalism is represented by Robert Hood's "Sleep Cycles," originally released in 1994 on the limited Minimal Nation EP, and Daniel Bell, who appears with an unreleased "Chicago Style" version of his evergreen 1992 track, "Blip." Kenny Larkin's epic "War of the Worlds" also features. It's an old favorite of Hell's and he describes it as "very emotional." New York's Joey Beltram makes an appearance as Code 6 with "Quad 1," an irresistibly dark slice of Nu Groove house. But Kern Vol. 2 isn't just about the old school and Hell has included tracks from new producers like Recondite and Jonas Kopp. Hell's background in harder-edge sounds predates the launch of Gigolos in the late '90s, and he welcomes its resurgence. Kern Vol. 2 also showcases some tracks that didn't get recognition the first time round. The churning, throbbing bass of Literon's 2006's "Machine 1" is one such track, one of the many projects of Dutch producer Gerd. Another obscurity is the Afro-acid groove of No Smoke's "Koro Koro." Hell spent a lot of time trying to trace the artist behind the project and offers the following observation: "They are from London and this was released between 1988 and 1989, but I am not sure of their identity," he says. Other artists include: Odori, Dan Diamond, Peace Division, Dark Comedy, DJ Yoav B., The Horrorist, QX1 (feat. Emanuel Pipen), SubCulture, Inner City, Halogen, Major Problems, Jonas Kopp, Shivers, DJ Spookie, Steve Poindexter, N.Y. Connection, DBX, Lisa Cadena, Sebastian San, and Capracara.



NOHOME: Nohome 2LP (TROST 119LP) 25.50
Double LP version. After the internationally and heavily praised Caspar Brötzmann Massaker in the early '90s, not much was heard from the German "Modern Primitive" guitar player Caspar Brötzmann, aside from some collaborations for theater. Now he is back with a new band -- extreme, heavy, intense. In summer 2012 he was invited by the A L'arme Festival for a special gig with Swiss musicians Michael Wertmüller (drums) and Marino Pliakas (ebass) (those two form the group Full Blast with Caspar's father and free-jazz legend Peter Brötzmann). The show went so well that they decided to continue doing music together, record an album and tour. In spring 2013, Nohome played some gigs in Russia and the Moers Festival. Improvised music, noise, guitar walls, industrial, and jazz meet and get a performative enhancement through special guest FM Einheit (ex-Einstürzende Neubauten) on two pieces. Recorded live at Radialsystem V, Berlin, August 29th, 2012. Mastered by Martin Siewert (Wien), March 2013.


After the great 2012 record by Brötzmann/Noble/Edwards, The Worse the Better, Peter Brötzmann and Steve Noble started to play some gigs as a duo. It worked out really well -- wonderful pieces of music that had to be put on CD; an expert, you might even say telepathic, interplay between those two outstanding musicians -- sometimes delicate and swinging, sometimes full-force free jazz. Recorded live at Ateliers Claus, Brussels on January 19, 2013. Peter Brötzmann (reeds); Steve Noble (drums). Mixed and mastered by Michael W. Huon, Brussels 2013.



WORK/DEATH: Phone About to Ring LP (TYPE 116LP) 20.00
Work/Death might be a new name to most, but for anyone listening to noise that is lucky enough to be based in and around Rhode Island, then Scott Reber's grizzled drones are likely a well-known staple. Reber is something of the noise musician's noise musician, and his deeply knowledgable and surprisingly technical take on the sound has left those able to source one of his rare tapes or manage to catch a show slack-jawed. One such tape is Phone About to Ring, which emerged from the ether on Reber's own Three Songs Of Lenin imprint in 2012 with little fanfare. Now Type is proud to announce that it is being given the deluxe treatment, and has been remastered by Reber himself before being cut to vinyl for the first time. The music itself is hard to get a grip on -- two effortlessly gloomy passages of sludgy, ominous noise, which in the wrong hands could end up falling into usual traps, but with Reber at the helm sound both fresh and deeply complex. Instruments are bashed into near obscurity by Reber's steady-handed layers of tape-hiss and crunch, and thick, doomy bass echoes like an earthquake in the background. The most startling aspect of Phone About to Ring is Reber's ability to inject harmony into his stark, low-end rumbles and piercing cacophony. Comparable to Tim Hecker or even Thomas Köner at times, Reber makes noise that has a lot more beneath the surface that you might initially realize, and Phone About to Ring is his most concise and involving statement to date. Cut at Dubplates & Mastering, Berlin.



JOVONN: Back to House (Ian Pooley Remixes) 12" (USR 002EP) 12.50
Underground Solution represses this classic release from 2001 -- Ian Pooley's remixes of Jovonn's Back to House, with Ian's "Classic Goldhouse Mix."



WAYFARER: Reflections 12" (UALPS 001EP) 11.00
Wayfarer is a one of the hottest new artists in the dubstep scene right now. "Reflections" is crafted with incredible groove and accompanied by reinforcing percussions, solidifying the rhythmic bliss which unfolds piece by piece. The catchy vocals in this track are spellbinding, commanding full-body goosebumps upon every listen. With support by Skream & Benga, Youngsta, J:Kenzo, Seven, Vivek, N-Type, Mala, Rinse FM and Radio 1, "Reflections" has already been tipped to be track of the year. One-sided release. Hand-numbered limited edition of 100 copies.



Limited edition of 500 copies and pressed on 180 gram vinyl. Chester Endersby Gwazda is a 28 year-old producer and musician living in Baltimore, Maryland. First earning his stripes by driving around the U.S. like a latterday Lomax, recording countless bands out of his car/studio for food and lodging, Chester has since become one of underground rock's most inspired and in-demand producers. With acts like Dan Deacon, Future Islands, Cloud Nothings, Ed Schrader's Music Beat, and Air Waves having all recorded breakthrough records with Gwazda, his credentials stack up to the ceiling. Immersed in Baltimore's lively music scene, Chester has also found himself as a sought-after live player, performing synth and bass duties for the Dan Deacon Ensemble and in Nuclear Power Pants. However, only in this last year or so has Chester tracked down his musician's shadow, addressing his own artistic sensibility for once with his swift, deeply serene songs, packed out with irrepressible melody. Chester began quietly writing and recording an ever-growing personal catalog of pop-centric gems amidst his busy schedule realizing the visions of others. These songs have grown into his debut album, Shroud. With Shroud, not only do we finally get a glimpse of Gwazda the songwriter, but we finally see the producer totally off the leash. The album is full of vocal harmonies, meticulous arrangements and precise timbres that bespeak his sensitive ear and fascination with pop music. Opener "World Killer" is a paean to green-think set to stammering synths, digital guitar and a soaring vocal. "Globes" unfurls with a gloriously trippy percussion loop, before softly spun-out chords and a luxuriantly sunny vocal haul it into perfect sense. "Skewed" sees Chester harmonize with himself over a cyclical song of mechanized drones, drum machine euphorics and one of the best accelerating synth solos ever. "Another Life" lets Chester showcase his ease with subtlety, too, pinned down by just a leaping series of guitar chords and Chester's effortless voice. Only the deftest blush of brass and tremulous keyboard touch are used to color the song, emphasizing his meticulous attitude and respect for pop simplicity. Shroud concludes with "Changing Your Life," a cover of the Future Islands' song. Given an almost Laurie Anderson-meets-Arthur Russell echo treatment, the track revels in the moment, calling the album to a close, dipped in saturated '60s harmonies and exultant bliss.



LOS AMAYA: Los Amaya Y Su Combo Gitano LP (MRSSS 030LP) 25.00
Released by EMI in 1971, the debut LP by brothers José and Delfín Amaya with their Gipsy Combo is the beginning and the end, the alpha and the omega of a cultural and musical movement, the rumba, that spread its infectious rhythm all over the dancefloors of Spain and beyond. The illustrious musicologists Don Sicalíptico and Diego Manrique write of these EMI recordings, respectively, as of "The Gospels," and as equivalent in importance to those of Elvis for Sun Records. What Los Amaya y su Combo Gitano achieved on this LP is a milestone, a place where nobody had gone before and few would reach later. It was only when Los Amaya arrived that pop prophecy became flesh: rock 'n' roll, pop, boogaloo, soul, salsa, and plena exploding into gypsy music. Many elements can explain this miracle of a record. A gypsy identity, their traditional interests (the music of their race running through their veins, being nephews of the immortal dancer Carmen Amaya), but also their modern tastes. From tender moments in the night club, perhaps, come jíbaro hits such as "Pena, tristeza y dolor" and "Qué mala suerte la mía," both very successful for Los Amaya and both written by Toñín Romero, or "Ya la pagarás" by Baltazar Carrero, who, like Romero, was a famous Puerto Rican hillbilly or "jíbaro" music singer. In the neighborhood movie theaters, the brothers watched Spaghetti Western films whose famous music scores they recreated here in two gypsyfied covers that must have made Morricone pale with jealousy: The Good, The Bad And The Ugly and For a Few Dollars More (titled "La muerte tenía un precio" in Spain). They wrap it all up with a frantic ode to the Passion of Christ Our Savior, "En la cruz moría." The last key element is the sound, both in form (a miracle of production: the whole quintet recording everything live into just two microphones) and in content, as these songs sound like Los Amaya and nobody else: the guitars played, as Manrique says, "not with guitar picks but with pocket knives," the high-pitched vocal harmonies, the ubiquitous Cuban bongos, the hands clapping, the constant jaleo of the encouraging exhortations, bravado, mouth whistle and whistling, cowbells, Far West bandits screaming... and everything played at top speed. Includes liner notes in English and Spanish by David Menéndez. On 180 gram vinyl.


ITURRALDE, PEDRO: Jazz Flamenco LP (MRSSS 033LP) 25.00
Pedro Iturralde's Jazz Flamenco album on LP, originally issued in 1967. This is the first time this album has been available on vinyl since its original release. Iturralde was born in 1929 in Falces, Navarra. He received his first saxophone lessons from his father and soon started to play in all kinds of orchestras and learned a repertoire of popular music which included compositions by Falla, Albéniz, and Granados. His permeability towards local folklore also awakened in him a great interest in the musical traditions of countries such as Lebanon, Turkey and Greece -- places he would visit before turning 30 as part of several orchestras. On his return to Spain, Madrid's Whisky Jazz Club became his artistic residence for years. The German pianist Paul Grassl joined his quartet, and their shared growing interest in flamenco meant that the formation's repertoire opened up to influences from the records of that genre that both were listening to and their frequent visits to concerts and tablaos (flamenco venues). They worked on adaptations of traditional songs, especially those collected by García Lorca, until the favorable reception by public and press of Miles Davis' Sketches of Spain made it possible to do jazz interpretations of "El zorongo gitano," "Las morillas de Jaén," and "El Café de Chinitas," among others, performed at a renowned venue on Marqués de Villamagna street. At that point Pedro Iturralde still performed in a quartet format, comprised of German drummer Peer Wyboris, Swiss bass player Eric Peter, and the aforementioned pianist Paul Grassl, from Munich. The inclusion of a flamenco guitarist was not part of Iturralde's initial plan, who always intended to explore Andalusian traditional melodies rather than pure flamenco. However, it was suggested by the music journalist and producer Joachim Ernest Berendt, a key figure of the German jazz scene, to include a guitarist in the formation. Paco de Antequera, at the time a regular guitarist at the best tablaos in Madrid, was chosen to be part of Iturralde's first recordings for Hispavox in June 1967. But another name replaced him in the recordings that followed in September of that year and later on: Paco de Algeciras, a pseudonym for a young guitarist who couldn't reveal his true identity due to contractual requirements. This enigmatic artist was none other than Paco de Lucía. The sessions for the second Hispavox album were resumed with the extra help of Italy's Dino Piana on trombone. Jazz Flamenco was originally released in 1967, while Jazz Flamenco 2 came out in 1968. Both albums would be compiled on one CD by Blue Note later on, but their vinyl editions have remained in the exclusive record collecting circuit for years, with prices that match the most sought-after Spanish records. This reissue not only makes both albums easily available again, but also rescues with the highest quality these essential recordings of Spain's jazz history. On 180 gram vinyl.


ITURRALDE, PEDRO: Jazz Flamenco 2 LP (MRSSS 034LP) 25.00
Pedro Iturralde's Jazz Flamenco 2 album on LP, originally issued in 1968. Iturralde was born in 1929 in Falces, Navarra. He received his first saxophone lessons from his father and soon started to play in all kinds of orchestras and learned a repertoire of popular music which included compositions by Falla, Albéniz, and Granados. His permeability towards local folklore also awakened in him a great interest in the musical traditions of countries such as Lebanon, Turkey and Greece -- places he would visit before turning 30 as part of several orchestras. On his return to Spain, Madrid's Whisky Jazz Club became his artistic residence for years. The German pianist Paul Grassl joined his quartet, and their shared growing interest in flamenco meant that the formation's repertoire opened up to influences from the records of that genre that both were listening to and their frequent visits to concerts and tablaos (flamenco venues). They worked on adaptations of traditional songs, especially those collected by García Lorca, until the favorable reception by public and press of Miles Davis' Sketches of Spain made it possible to do jazz interpretations of "El zorongo gitano," "Las morillas de Jaén," and "El Café de Chinitas," among others, performed at a renowned venue on Marqués de Villamagna street. At that point Pedro Iturralde still performed in a quartet format, comprised of German drummer Peer Wyboris, Swiss bass player Eric Peter, and the aforementioned pianist Paul Grassl, from Munich. The inclusion of a flamenco guitarist was not part of Iturralde's initial plan, who always intended to explore Andalusian traditional melodies rather than pure flamenco. However, it was suggested by the music journalist and producer Joachim Ernest Berendt, a key figure of the German jazz scene, to include a guitarist in the formation. Paco de Antequera, at the time a regular guitarist at the best tablaos in Madrid, was chosen to be part of Iturralde's first recordings for Hispavox in June 1967. But another name replaced him in the recordings that followed in September of that year and later on: Paco de Algeciras, a pseudonym for a young guitarist who couldn't reveal his true identity due to contractual requirements. This enigmatic artist was none other than Paco de Lucía. The sessions for the second Hispavox album were resumed with the extra help of Italy's Dino Piana on trombone. Jazz Flamenco was originally released in 1967, while Jazz Flamenco 2 came out in 1968. Both albums would be compiled on one CD by Blue Note later on, but their vinyl editions have remained in the exclusive record collecting circuit for years, with prices that match the most sought-after Spanish records. This reissue not only makes both albums easily available again, but also rescues with the highest quality these essential recordings of Spain's jazz history. On 180 gram vinyl.


WG 012EP

JONES, LEE: A Perfect Kick 12" (WG 012EP) 12.50
Lee Jones' "A Perfect Kick" describes the end of a long, but successful search which finds its expression in four versions. The original starts with swirling scapes, which are cut into a rhythm by smoothly rattling hi-hats. Soft synths wind again and again through the composition and carry away every thought, except the sunrise in your head. The "Lee Jones Remix" rolls faster and has a darker atmosphere than the original. Other remixes by Matthias Meyer and Daria.


YM 013EP

SCANONE: Scenes 12" (YM 013EP) 12.00
Five scenes are chosen from an imaginary sci-fi film for this very cinematic release by Scanone. Magical melodies are contrasted with dark, brooding synths on "Moon 2" and on "Scene 7," we walk amongst eroding space debris. Delicate melodies guide us through this scene enhanced with rich, lush pads and ethereal voices held together with mechanical, bionic glitch beats. "Vox Eight" is a beat-driven shorter track with an early '90s IDM vibe, and "Menace 44" has a intricate, scientific, macro-experiments feel.

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