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Forced Exposure New Releases for 8/12/2013

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New music is due from John Tejada, Terence Hannum, Mike Cooper, and Omenya, while old music is due from Asmus Tietchens, Oppenheimer Analysis, Eliane Radigue, Bad Brains, and Os Mutantes.


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OEP 1003LP

NOZERO, LARRY: Time 2LP (OEP 1003LP) 22.00
"Rare jazz from the legendary Detroit jazz label Strata Records, Inc. Remastered from the original master reel to reel tapes. Following on the heels of Kenny Cox's previously unreleased Clap Clap! The Joyful Noise, 180 Proof Records continues to bring new life to the Strata Inc. catalog with Larry Nozero's 1975 passion project, Time. The last album to be released on Strata Inc., Time is a dream-like mix of mood, an album full of range, tempo, and feeling; from the impulsive and airy rendition of the jazz standard 'All the Things You Are' to the brooding melancholia of 'Tony,' Nozero's Time is destined to become known among aficionados as a classic of 1970s jazz. Like time itself, each song is open to individual interpretation - something Nozero himself confessed to on the album's original liner notes, saying 'It got so deep that we decided to call the group and our album after that concept of Time, because it seemed to mean something to just about everyone.'"



MARSH, WARNE: Warne Marsh LP (ATL 1291HLP) 13.00
180 gram repro of this 1958 release. Saxophonist Warne Marsh plays with Paul Chambers (bass), Philly Joe Jones (drums), Ronnie Ball (piano) and Paul Motian (drums).


B 196LP

KRAFTWERK: Live At Ebbets Field In Denver, May 20, 1975 LP (B 196LP) 27.00
"Amazing 1975 live performances from these kraut-rock originators playing tracks from their Ralf und Florian and Autobahn LPs immediately prior to and during their very first North AmBerican tour. Clear white vinyl in a clear PVC sleeve with blue lettering pressed in a limited edition of 500 copies."

B 197LP

CLAPTON, ERIC: Live At The Hammersmith Odeon, April 27, 1977 LP (B 197LP) 27.00
"Despite being recorded the same year as the Slowhand LP, this classic live set does not feature any tunes from that album. Instead Clapton opted to showcase some of his classic songs, both originals and covers, dating back to Derek & The Dominoes. An essential live date from arguably Britain's #1 guitarist. Clear blue vinyl in a clear PVC sleeve with blue lettering pressed in a limited edition of 500 copies."

B 198LP

HIGH NUMBERS, THE: London 1964 LP (B 198LP) 27.00
"For a brief period in 1964 The Who were known as The High Numbers and released one 45 under the name. Before reverting back to The Who moniker, they made some legendary recordings that are collected here, mixing originals with classic American blues and R&B numbers. Clear yellow vinyl in a clear PVC sleeve with blue lettering pressed in a limited edition of 500 copies."

B 199LP

CREAM: Disraeli Gears at the BBC LP (B 199LP) 27.00
"The power trio of the 1960s, captured live at the Beeb in 1967 and early 1968 playing cuts from their greatest LP. Clear purple vinyl in a clear PVC sleeve with blue lettering pressed in a limited edition of 500 copies."

B 200LP

CARAVAN: In The Land Of Grey And Pink Live at the BBC LP (B 200LP) 27.00
"Captured live in the spring of 1971, playing tracks from their landmark LP In The Land Of Grey And Pink, this LP find the Canterbury group at their progressive best. Pink vinyl in a clear PVC sleeve with blue lettering pressed in a limited edition of 500 copies."

B 201LP

FREE: Live In Croydon & Sutherland 1970 LP (B 201LP) 27.00
"Despite being recorded in the same year, the two shows on this LP find the band Free in completely different worlds, one before (Sutherland) and one after (Croydon) 'All Right Now' became a massive hit. Regardless, the band is in fine rocking form on both sides. Clear red vinyl in a clear PVC sleeve with blue lettering pressed in a limited edition of 500 copies."

B 202LP

MATCHING MOLE: BBC 1972 LP (B 202LP) 27.00
"Although they lasted less than two years, Robert Wyatt's post-Soft Machine group left an indelible mark on the British progressive scene. This LP combines material from three 1972 appearances on the BBC, including two for the legendary John Peel, and includes songs from both of their LPs. White vinyl in a clear PVC sleeve with blue lettering pressed in a limited edition of 500 copies."

B 203LP

JOY DIVISION: London February 1980 LP (B 203LP) 27.00
"A classic live date from Ian Curtis & Co. recorded at the University of London Union. Absolutely essential post-punk. Yellow vinyl in a clear PVC sleeve with blue lettering pressed in a limited edition of 500 copies."

B 204LP

JOY DIVISION: Live At Town Hall, High Wycomb February 20, 1980 LP (B 204LP) 27.00
"Another incredible 1980 live date from Joy Division, recorded the same month as the University of London gig. The band was clearly in top form that month, playing their classic titles with an urgency unmatched in their studio recordings. Clear green vinyl in a clear PVC sleeve pressed in a limited edition of 500 copies."

B 205LP

BLOOMFIELD, MIKE: California 1970s LP (B 205LP) 27.00
"A great collection of recordings from Chicago's finest white bluesman along with a group of friends that includes Nick Gravenites, amongst others. Clear white vinyl in a clear PVC sleeve pressed in a limited edition of 500 copies."



VIOLET POISON: Awakening Messiah 12" (NAIL 004EP) 16.50
Dominick "Vatican Shadow" Fernow presents veiled techno producer Violet Poison on his Bed Of Nails imprint with the spectral industrial gloom of Awakening Messiah. To date Violet Poison is best known as the mysterious accomplice of Shaped Noise in their Violetshaped alias -- but here he strikes solo, transmitting four cuts of steely, night-stalking cyberpunk driven by sputtering techno engines through intensely bleak synth interzones. Like Black Rain or Vatican Shadow, it's a chilling exercise in transposing techno from pure dancefloor functionality into the nether realms of sonic fiction.



TROPIC OF CANCER: The Sorrow of Two Blooms 12" (BLACKEST 003BEP) 18.00
2011 release. One-time repress on clear vinyl with the original picture sleeve, edition of 500. Tropic Of Cancer is the L.A.-based duo of Camella Lobo and Juan Mendez (Silent Servant). "A Color" is a soaring cold wave anthem, wailing synths and dead-eyed vocals riding an insistent, minimalist drum pattern that channels Stephen Morris, Mo Tucker, and early Cure. "Temporal Vessels" invokes Hannett's gloomiest productions. With shades of Nico, Cocteau Twins, and the finest '80s dream-pop, "Dive (Wheel of the Law)" takes up the entire B-side.


BLACK RAIN: Protoplasm 12" (BLACKEST 017EP) 18.00
Protoplasm is a four-track EP by Black Rain, containing its first new material since 1996. Since the release of the Blackest Ever Black compilation Now I'm Just a Number: Soundtracks 1994-95, Stuart Argabright (also of Ike Yard, Dominatrix, Death Comet Crew) has reactivated the Black Rain project. The four tracks of desolated cyberpunk techno that constitute Protoplasm were recorded live from the desk at the 2012 Blackest Ever Black showcase at Corsica Studios, London. Mastered by Matt Colton at Alchemy, London. Edition of 500.


RASPBERRY BULBS: Deformed Worship LP (BLACKEST 018LP) 21.00
The second album by New York's Raspberry Bulbs. Since their debut LP Nature Tries Again (Hospital Productions, 2011) RB has grown from the solo project of M. del Rio (HWCT from Bone Awl) into a five-piece of extraordinary force and focus. The first studio version of Deformed Worship was scrapped, and its songs re-recorded by the band on cassette 8-track in November 2012, before being mixed and mastered by Kris Lapke (Alberich). Stomping, vicious and unrelenting. Nine songs. Thirty minutes. Raspberry Bulbs defies the constraints of classification but is often mistakenly labeled as a black metal band. It is not a black metal band.


DRL 11798HLP

SCOTT-HERON, GIL: The Revolution Will Not Be Televised LP (DRL 11798HLP) 14.00
2013 repress. Gatefold 180 gram vinyl collection of previously-released songs highlighting Gil Scott-Heron's career. Includes the title track, "Sex Education: Ghetto Style," "The Get Out Of The Ghetto Blues," "No Knock," "Lady Day And John Coltrane," "Pieces Of A Man," "Home Is Where The Hatred Is," "Brother," "Save The Children," "Whitey On The Moon" and "Did you Hear What They Said?". Featuring Hubert Laws, Pretty Purdie, Brian Jackson, Ron Carter, Burt Jones, David Spinozza, Eddie Knowles, Charlie Saunders and Gerry Jemott.


BDS 5117LP

MASON, BARBARA: Give Me Your Love LP (BDS 5117LP) 13.00
"Barbara Mason becomes a woman on this Buddah release. No longer the love-struck teen who hit with 'Oh How It Hurts,' 'Girls Have Feelings,' and 'Sad, Sad Girl,' the new Barbara makes the rules and gives the ultimatums. She unleashes a sensuous contralto on 'Bed And Board,' Curtis Mayfield's 'Give Me Your Love,' and a rekindled 'Yes I'm Already.' And is marvelous on 'You Cans Be With the One You Don't Love,' a lamenting ballad that Barbara creams." --All Music Guide


BB 140LP

YOU: Laserscape LP (BB 140LP) 21.00
LP version. Comes on 180 gram vinyl. Udo Hanten and Albin Meskes, the Krefeld duo collectively known as You, played their way into the elite of the German electronic music scene with their first two albums Electric Day (1979) (BB 073CD/LP) and Time Code (1983) (BB 074CD/LP). Reissued by Bureau B in 2011, the pair of albums caused quite a stir both in the media and amongst afficionados of the so-called Berlin School (Tangerine Dream, Klaus Schulze, etc.). Their fourth album, Laserscape, consists of music created for the laser performances of the same name by the artist Horst H. Baumann. Having met Udo Hanten during a film project in 1981, Baumann approached him with the idea of collaborating in 1985. He wanted a lavish soundscape to match his open-air installations and You fit the bill perfectly. Their first joint event on August 31, 1985 was a resounding success: 10,000 attended the "Philips Laserscape KrYou." Berlin's SFB radio station recorded the concert for broadcast on their "Steckdose" (power socket) program, subtitled "computer music -- music from the computer." Naturally, it made sense to put together a Laserscape album of pieces composed for the various laser events. Some were recorded in Berlin at Christoph Franke's studio (of Tangerine Dream fame), most were completed at You's own studio. The music resembles the laser events: simultaneously dark and dazzling. Multilayered drones, some over 13 minutes long, evocative of Blade Runner's menacing atmosphere, sometimes laced with driving, pulsating sequences, typical of the so-called Berlin School. A drum, or rather a drum computer, was used on only one track. You remained true to their spirit of experimentation by enlisting the services of classical guitarist Jaime Zenamon on two compositions.

BB 141LP

TIETCHENS, ASMUS: Biotop LP (BB 141LP) 21.00
LP version. Comes on 180 gram vinyl. 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 142LP

TIETCHENS, ASMUS: Spat-Europa LP (BB 142LP) 21.00
LP version. Comes on 180 gram vinyl. 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.



LYONS, JIMMY: Other Afternoons LP (BYG 309LP) 11.00
2013 repress. Ninth volume in the BYG Actuel series; gatefold sleeve, 180 gram vinyl. "His first outing as a leader (recorded in Paris on August 15, 1969). Jimmy Lyons (alto sax) with Lester Bowie (trumpet), Alan Silva (bass) and Andrew Cyrille (drums). 'Jimmy Lyons is regarded by every musician who played with him as an under-heralded genius. He was the one alto player to take Charlie Parker's classic bop fluidity and drive it into the fire music of first generation free jazz.' -- Thurston Moore and Byron Coley.



STEFANIK, DANIEL: Confidence Rmxs 12" (COR 107EP) 12.50
Cocoon presents Leipzig house hero Daniel Stefanik, featuring remixes by Adam Port, Mr. G, Mathias Kaden and Legowelt. Adam Port's remix is a real deep and housey gem with cool Moodyman-like elements. Mathias Kaden builds his remix on a very solid and pumping New York house beat. Mr. G follows the house route, adding oldskool elements such as straightforward 909 hi-hats and cymbals. Legowelt's remix focuses on the technoid and crazy side of house and techno.



VA: Colourful Summer Sampler 12" (COLOUR 011EP) 12.00
Bringing three new emerging acts to the label, the Summer Sampler sets the tone of the future sound of Colourful. Hot and keen yet musical, the selection captivates different moments of the club night as imagined in the head of Tobias Linden. From the gorgeous builder that is "Flipside" to the thick, rolling "Anima," onto the peak-time percussive "Arcadia," closing with the piano-laden "Tell the World," this is a ride well worth catching. Artists include Adis & Espada, Tobias Linden, Fedele, SINN & Louis Kolben, and Elic White.



NYMA: Flip Side 12" (DESOLAT 033EP) 12.50
Up-and-coming producer Nyma presents an exciting and refreshing take on the deeper shades of house and techno. Combining his colorful international upbringing with a rich musical heritage as a multi-instrumental musician and graduate of the revered SAE Institute, it is no surprise that on the Flip Side EP Nyma expertly delivers four rich and absorbing sonic soundscapes.



FELDMAN, MORTON: Turfan Fragments CD (DWAB 004CD) 15.00
Repressed; originally released in 2001 by the Dog W/A Bone label, this release features these 2 long pieces: For Samuel Beckett and The Turfan Fragments. Performed by: The Orchestra of the S.E.M. Ensemble, with Petr Kotik, conductor. For Samuel Beckett and The Turfan Fragments are Morton Feldman's only chamber orchestra compositions. Both were commissions: The Turfan Fragments by the Swiss-Italian Radio Orchestra in 1980, For Samuel Beckett by the Schönberg Ensemble, Amsterdam, in 1987. Both titles are descriptive and suggest how Feldman arrived at a particular concept for each piece. The Turfan Fragments is a succession of short sections, which could indeed be described as fragments. The title relates the composition to manuscripts from Turfan (the southwest region of present-day China), which are in the collection of the Preussischer Kulturbesitz in Berlin. These calligraphic remnants, going back to the 9th century, were brought to Germany before World War I and Feldman must have seen them while living in Berlin in 1971. In contrast, For Samuel Beckett is based on a single idea of several chord progressions unfolding continuously for almost an hour. In 1977, Beckett wrote a text for Feldman, to be used as the libretto for his opera Neither. Feldman's description of Beckett's writing most eloquently suggests what was on his mind when composing For Samuel Beckett: "here's something peculiar about it [Beckett's text]. I can't catch it. Finally I see that every line is really the same thought said in another way. And yet the continuity acts as if something else is happening. Nothing else is happening. What you're doing, in an almost Proustian way, is getting deeper and deeper saturated into the thought." Includes an 8-page booklet with liner notes from Petr Kotik and an extract from Morton Feldman from Give My Regards To Eighth Street (Exact Change). The Orchestra of the S.E.M. Ensemble; Petr Kotik, conductor.



DYLAN, BOB: Finjan Club In Montreal, July 2, 1962 LP+CD (DOK 327LP) 26.00
"Of the handful of live dates available from 1962, Finjan Club In Montreal, July 2, 1962, may be Bob Dylan's most passionate and commanding performance. In addition to being a stellar performance, with great sound quality for the era, this live date is also of note for including many rarely heard Dylan originals including 'The Death of Emmett Till,' 'Quit Your Lowdown Ways,' and 'Let Me Die in My Footsteps'. Doxy is pleased to present this deluxe version of the show on 180 gram vinyl + bonus CD with detailed liner notes."


BRUBECK QUARTET, THE DAVE: Jazz Goes to College LP (DOX 889LP) 23.00
"Recorded at various Mid-Western US universities and released originally in 1954 (Brubeck's first album for Columbia, which would prove to be a long and fruitful relationship), Jazz Goes To College is a landmark live recording that features the Quartet at their lively, improvisational best. Paul Desmond, Brubeck's longtime bandmate on the alto sax, is especially strong and the whole group's unparalleled improvisational talent is the most evident on album opener, 'Balcony Rock.' An absolute '50s jazz classic. Includes original liner notes. 180 gram LP."


WITHERSPOON, JIMMY: Feelin' the Spirit LP (DOY 683LP) 23.00
"One of the great blues singers of the post-war period, Arkansas native, Jimmy Witherspoon (1920-1977) had a slew of hits around 1950, with the most famous being a version of Bessie Smith's 'Ain't Nobody's Business If I Do.' By the mid-fifties, however, Witherspoon's career had begun to languish, as the 'jump blues' style began to go out of fashion. However, Witherspoon's appearance at the 1959 Monterey Jazz Festival restarted his career and exposed him to a new generation of record-buying fans. Feelin' the Spirit, released in 1959, hoped to capitalize on Witherspoon's newfound popularity (particularly with white audiences) by bringing traditional African-American spirituals into the national arena. While songs like 'Deep River' and 'Every Time I Feel the Spirit' would have been well-known to any African American church-goer at the time, they were not known among white audiences. Interestingly, Witherspoon chose the popular 'Randy Van Horne Singers' (who famously provided the theme songs to the Flintstones and the Jetsons cartoons) to sing backing vocals here." Comes on 180 gram vinyl.


DYLAN, BOB: Robert Zimmerman Plays Bob Dylan LP (DOY 685LP) 23.00
"As the title, Robert Zimmerman Plays Bob Dylan, implies, these recordings show the young man we all now know as Dylan finding his way in NYC after bumming a ride from Madison in the early months of 1961. Featuring songs that were left off of his first two Columbia LPs, Bob Dylan and The Freewheelin' Bob Dylan, as well as other assorted demos and unreleased recordings, this essential LP of early recordings perfectly captures his growth from traditional folk music interpreter into what he would become: America's greatest living songwriter."



CAUSA SUI: Euporie Tide 2LP (EPR 013LP) 28.50
Double LP version, includes a download coupon for the album. Since they formed in 2004, Danish instrumental four-piece Causa Sui has become a much-revered act on the fertile European psych scene. The soil planted in festivals like Roadburn, Roskilde, Burg Herzberg, has been harvested with praise by Uncut, Julian Cope, and Mojo, as well as growing a dedicated fanbase -- paying top Euros for a first edition vinyl of any of the band's seven past LPs. Many psych and stoner-rock bands aim for the perfect imitation of that vintage heavy psych sound circa 1970, but Causa Sui have forged their own distinct path. Causa Sui draws on a larger pool than the usual derived exploration of Sabbath riffs and clichéd Krautrock jamming. Collaborations include members of Tortoise and Chicago Underground Collective (under the name Chicago Odense Ensemble) and Sunburned Hand Of The Man (released as Pewt'r Sessions,) and the band always adds untraditional flavors, past and present, into their seething experimental sound. Causa Sui has been described as "the sound of a giant wave rolling up through the last four decades of rock," which is truer than ever for their most ambitious album to date, Euporie Tide. Yes, the heavy riffs are certainly here, but it's apparent that it does not tread the waters of retro rock. There's a different depth here. Whereas previous albums were brewed with spontaneity, and flickers of complete improv, Euporie Tide was meticulously perfected over years of work. Opening track "Homage" pays tribute to the early/mid-1990s American grunge and stoner-rock bands the band grew up with. From that point of departure, Causa Sui goes on to weave a rich and complex textile, with threads coming from early 1970s electric jazz, post-rock, exotica, heavy rock, raga, and all kinds of psychedelia. Whether the band goes for straight-up rock or ventures into freeform territory, there's always that certain warmth and atmosphere present, which is so characteristic for Causa Sui. When one reaches the multigenre-influenced grooves on the album's D-side, it's obvious that the band has arrived at something that is very relevant in the present day. The album was recorded and produced by Jonas Munk, crafting a sound that is simultaneously naturalistic in approach, yet strangely detailed. The album was mastered in a way as to maintain the full dynamic range of the recordings.


P 742926HLP

GOLDEBRIARS, THE: The Goldebriars LP (P 742926HLP) 14.00
Repressed; exact repro reissue on 180 gram vinyl. Originally released in 1963, an early project of Curt (Sagittarius, The Millennium, The Association) Boettcher. "The Goldebriars' debut album is clean-cut folk-pop with bright, high female-male harmonies, sometimes foreshadowing the searing high harmonic blends typical of group member (and arranger) Curt Boettcher's later rock productions." -- All Music Guide


FP 038EP

MORKEN, OYVIND: Kakemonsteret 12" (FP 038EP) 12.50
Øyvind Morken is the ultimate Oslo DJ and runs the cool Luna Flicks label together with his mates Strangefruit (Mungolian Jet Set) and Kang. His debut on Full Pupp is "Kakemonsteret," one of these endlessly building 6:54 minute-long Oslonatic rave monsters.


PRINS THOMAS: 2 - The Limited Bonus Tracks 12" (FPPIBONUS 001EP) 12.50
Two "leftover" stand-out tracks that were originally part of Prins Thomas' second album recording session in autumn 2012. "Søt Kløe" and "Sur Svie" are two long, mesmerizing, and tantalizing masterpieces that totally stand out from the block of singles, so this extra release was due.



BLUE AND THE GREY, THE: Don't Send Me No Flowers/Wine, Wine, Wine 7" (GHAS 070EP) 6.00
"1960s garage gem from Arkansas. Reissue of original single on Zay-Dee records with a new picture sleeve and liner notes. Remastered from original tapes by George Ingram at NRP. Extracted from the Garage compilation Psych of the South Vol. 1. Southern members of the Zay-Dee studio band and a Northern Arkansas college student pulled together to form The Blue and the Gray. This Archive Series classic contains two remastered tracks from a single 1966 recording session in Batesville, AK. Only two copies of the original 45 are known to exist." Includes download code.


LITTER, THE: Distortions LP (GHAS 5020LP) 16.00
2013 repress. "Fabulous '60s garage reissue. Debut album by legendary Minnesotans, includes new liner notes and great photos and art."



ANDHIM: The Wizard of Us 12" (GPM 230EP) 12.00
Andhim make their Get Physical debut with The Wizard of Us EP. The title-track is a peak-time pumper that also possesses a sweet side. Riding high on rhythm and sexy vibes, it's gonna get you on your feet whether you like it or not. "Hausch" shows a lighter side of Andhim, with lofty percussion and a smooth summer vibe. "'Hausch' is a typical andhim song, putting a smile on people's face. It's a very warm and laid-back track to welcome the spring."



CHRISTICIDE: Upheaval of the Soul CD (HOS 329CD) 17.00
"The second album from one of the most compelling black metal bands from France. Combining the serpentine violence of early Deicide with the tom-heavy thunderous drumming of early Mayhem. Salivating barks echo amidst an engulfing atmosphere of crawling obscurity. Darkness upon the world."


ALBERICH: Machine Gun Nest: Cassette Works Vol. 0 LP (HOS 394LP) 22.00
Machine Gun Nest: Cassette Works Vol. 0 is a massively crucial vinyl dispatch from the no-man's-land between noise and techno, penned by Kris Lapke aka Alberich. Scoping rare and out-of-print highlights from his extensive cache for co-conspirators Hospital Productions over the last six years, it embodies a shell-shocked and embattled spirit in eight parts ranging from water-boarded ambience to remorseless industrial rhythms and night-goggled darkwave projections. Since the earliest days of Hospital Productions, Kris Lapke has been integral to the label's audacious aesthetic, whether applying signature ceramic finish to their releases as go-to mastering engineer, or as a shadow member of Prurient and in black metal assault unit Ash Pool, both with Dominick "Vatican Shadow" Fernow. However, it's arguably under the Alberich aegis which he's produced his most important work, a string of almost entirely cassette-only releases united by themes of military might, depraved distortion and cathartic despair. In a bloodied field where noise is worn like armor, Alberich has developed an almost impenetrable, aggressive defense mechanism to shield a bitter, bruised, and occasionally vulnerable soul. It's employed to invasive, visceral effect in his most brutal pieces such as the rollicking "Rumbala" and "Panerai," and tempered to make sure your wounds won't heal after the industrial battery of "Open Warfare" or the bone-splitting "Image of Progress," but it's most affective when combined with bilious, scowling darkwave synth atmospheres in the shocking vista of "Gold" or the crushing pathos of "Virgins." Yet, if there's any one track that sums up the feeling of desolation, attrition and decay most vividly, it's "No Mistake," where the abrasive exoskeleton is shed to reveal genuinely heart-in-mouth chords and glazed-eye pads which leave us an emotional mush every time.



CAPTAIN BEEFHEART: The Lost Tapes: 1966-1970 DVD (LM 017DVD) 17.00
"The Lost Tapes is a music documentary film tracing the roots and history of this iconic musical legend. It features rare live and studio performances of The Captain and his Magic Band. Limited collector's edition." Region 0; run time: 39 minutes.


KI 004LP

ME SUCCEEDS: Rongorongo Remixed 2LP+CD (KI 004LP) 25.50
Double LP version, comes with a CD of the album. For the first part of Ki Records' split series Hamburg, the Hamburg-based band Me Succeeds did a remake of Arp Aubert's "Actress." In return, Arp Aubert, consisting of Mirau label-founder Stephan Lorenz, made a beautiful, dreamy remix for Me Succeeds' "Riemerling." Now the remixing goes on for a full-length album. After their last album Rongorongo from 2011, which Me Succeeds released on their own imprint isawmusic, the band return to Ki Records with a remix album. Eleven friends were invited to put their hands on the album's tracks and lend their own interpretations. Besides a whole lot of danceable tracks, you will also find some broken beats and spherical electronica here, which makes this release fit perfectly into the Ki catalog. Of course, Arp Aubert once again got his hands on one of the tracks, turning "Rongorongo" into a driving techno track which is underlined by the emotional vocals of lead-singer Mohna and beautiful melodies, making this remix perfect for the early hours of the dancefloor. The Berlin based producer and DJ Iron Curtis gives the original of "Seventeen" a dubby note that is definitely special, as he uses many vintage synthesizers-sounds and broken pieces of the original vocals to make this remix one of the strongest on this album. The last remix on the album was done by Greek musician Chronik, who turns "Books" into a hymn with twisted rhythms and broken beats. Apart from that, a few more great producers such as Tilmann Tausendfreund, Showing Off The Bling Bling, Christian Löffler, On:Stop:Off, My First Trumpet, Iron Curtis, Lorin Sylvester Strohm, Bug Lover, My First Trumpet, and Suburb contributed to this Rongosium.



GOOD AREA: French Antarctica LP (KYE 024LP) 17.00
"Kye is proud to present French Antarctica, the debut LP by Good Area. Drawing from a palette of guitar, rhythm box, cornet, shortwave radio and room activity Good Area have crafted the ultimate stand-alone testament to instantaneous expression. Bypassing such obsolete concepts as dexterity and restraint French Antarctica cuts loose with a raw unbridled rush of creative force, bristling with home-spun malevolence and anti-social aplomb. Good Area harvest the wisdom passed down from the Decayes, Semool, Nishimura Alimoti, and other bastions of shoe-box cassette culture and transcribe their teachings into epic new screeds of confusion. French Antarctica arrives in a full color, high gloss sleeve, with commemorative postcard, in an edition of 400 copies."



ANONYMOUS: Inside The Shadow LP (PICCHU 001LP) 20.00
Repressed; LP version. "Originally released in 1976 in an edition of 300 copies, the sole album by Indianapolis' Anonymous stands today as a high-water mark in rock 'n' roll, combining the adventure of west coast ballroom groups, the 12-string majesty of Byrds, and breathtaking multi-part harmonies to forge something inimitable and one-of-a-kind, with powerful songs that pushed the limit and raised the bar at the same time. Long time top ten favorite with almost every head we know, a true classic recommended for everyone into amazing rock records of all varieties."


MW 001EP

OPPENHEIMER ANALYSIS: Oppenheimer Analysis 12" (MW 001EP) 22.00
4th pressing now available. "The first release from Minimal Wave, Oppenheimer Analysis, is back by popular demand. On 180 gram vinyl -- selected tracks from the Oppenheimer Analysis cassette entitled New Mexico released in 1982, as well as two others that were previously unreleased. Andy Oppenheimer (nuclear weapons consultant) and Martin Lloyd (previously involved in the Survival Label, also known for his project Analysis) formed Oppenheimer Analysis in the early 80's shortly after meeting one another at a science fiction convention in London. They opened up for such bands as Hawkwind and Spizz Energi, and were reviewed in Melody Maker back in the day."



RUBY PINS: Ruby Pins LP (MLADYS 011LP) 15.00
"Fantastic and mysterious debut album from Lillian Maring (drummer & singer in the renowned group Grass Widow), Ruby Pins was recorded and performed almost entirely by Ms. Maring, with the aid of a few friends, in Port Townsend, Wash. Ten songs of intrigue that have been in heavy rotation here at M'lady's HQ all winter long, and can now be yours all summer." "The result, written over three years and self-recorded with a laptop and one microphone, is a haunting collection of cryptic pop songs." --Pitchfork


NW 80746CD

CHEN, SHIH-HUI: Returning Souls CD (NW 80746CD) 15.00
"The five compositions by Shih-Hui Chen (b. 1962) on this recording can be considered variations of an 'ethnic style': they reflect her experiences of being able to return to Taiwan for a year in 2010 as a Fulbright Scholar specifically to study its music. Particular Chinese/Taiwanese myths and ideas stand behind these compositions. Melodies and instrumental techniques, topics and texts, the use of Chinese musical structures such as heterophony, and the peculiar stretta effects which can be seen both in terms of metric as well as in terms of sonic arrangements, are all elements that can be explained as derived from Chinese and Taiwanese musical practice. Each of the pieces revolves around a small number of notes and motifs which are continually reinterpreted. The compositions feature colorful sounds and they exemplify Chen's particular predilection for effective timbres, for the potent qualities of 'noise' as well as of 'silence' as part of a comprehensive musical whole. Not unlike many other composers of Chinese descent, who consider it important to express their 'Chineseness' in music, Chen employs this style to great effect."



DAVE AJU & THE INVISIBLE ART TRIO: Look Out Above 12" (NEK 009EP) 12.50
Dave Aju's Look Out Above with The Invisible Art Trio continues his practice of aural alchemy, reconciling genres and eras in distinct, versatile elixirs of house. The subtle, smooth elements of the title-track blend effortlessly into a dense, lush sonic cocktail. "Good Gawd" is decidedly upbeat, with a straightforward and propulsive groove, a bass line that smolders beneath riffs that shimmer, punctuated with funky hoots and hooks that cinch it all together. On "Fall," lilting voices, grimy grind, and space-age arpeggios come together in surprisingly smooth way.



ARGENTO, ASIA: Total Entropy 2LP (NUUN 015LP) 25.50
Gatefold double LP version. 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. Includes mp3 download.



SHAPEDNOISE: Until Human Voices Wake Us LP (OPAL 026LP) 19.50
This album by Shapednoise opens with the violent techno deconstruction of "Witness of a Heart Attack Death," an oddly syncopated gallop through hard layers of analog scree and earth-breaking kicks. A despairing atmosphere dominates the remainder of the side with less percussive yet still deeply rhythmic tracks evocative of the power electronics of Slaughter Productions yet brought to be with the sensibility of a techno producer. Everything is darkened with sonic dirt and dismal vibes but remains nuanced, layered and highly dynamic.



MARCO, NACHO: Ghosts 12" (OVM 231EP) 12.50
Born in Valencia Spain, Nacho Marco is one of the most respected DJs and producers in the Spanish electronic music scene. Starting his DJ career at the age of 15, Nacho has over 20 years of experience in dance music. Nacho delivers a very diverse two-track EP that starts out with the rocking, acid house-influenced title-track "Ghosts." He rounds it off with the gorgeously deep "Friday Night," with its undertones of acid. You can feel the warmth of the rising early morning sun on this track.



TEJADA, JOHN: Anaphora 12" (PAL 064EP) 12.00
John Tejada returns to his own Palette Recordings imprint with "Anaphora," delivering a set of two eruptive grooves with a focus that has earned Tejada the respect of both listeners and peers alike. "Anaphora" showcases Tejada's trademark use of hopeful melodies and emotive sequences. It highlights his undeniable quality of crafting arrangements that rise above monotony. "Bode's Law" explores a darker, more driving side of the two songs. Furious analog synths and drums orbit each other in syncopation to create a hypnotic, engaging rhythm.


PD 029LP

Originally created as a 6-part radio series in 1965, and released in 1966 by Sveriges Radio. This is the first LP recording by either of these composers. Recorded at EMS (Elektron Musik Studion), the newly established studio facility at Swedish Radio. This pioneering work did not easily fit in any category that existed at the time. Inspired by the work of Öyvind Fahlström (who was a pioneer of concrete poetry along with the Lettrists and Futurists), a few young Swedish artists began exploring new text-based experiments. The only other artist releasing records of similar soundworks at this early time in Sweden was Åke Hodell who had released two 7" singles. These Swedish sound poets differ in style from their other European counterparts mainly due to their easy access to the high quality facilities available at EMS, with its own in-house engineers and sophisticated studio equipment. Given the close relationship at that time between EMS and the national Swedish radio station, their works often have a strong narrative (radio art) quality. Semikolon is one such work. By 1967, Bodin and Johnson had together finally agreed upon a term for this particular style of sound poetry; text-sound composition. This term was then taken up by other Swedish artists working in the same field including Hodell and Sten Hanson, and soon became internationally-recognized. The following year Bodin and Johnson in association with Fylkingen inaugurated the first annual festival of text-sound composition. This international festival, and the commissions it gave rise to, became a major part of the work at Fylkingen and EMS. The festival ran for 10 years. 7 LPs from the early years were released by Sveriges Radio and more recently Fylkingen have compiled the series as a 5CD set. Naturally, both artists were included in the festivals, but they also created a large body of work which appeared on many of the essential anthologies of European sound poetry at the time, including the Revue OU and Klankteksten (released by the Stedelijk Museum in 1970 to accompany their exhibition of concrete poetry), as well as other international compilations. Both artists have also worked in the area of pure electro-acoustic composition, and these works are also mostly available on compilations. This record though, is a collaboration rather than a compilation and retains a timeless contemporary feel that is shared with other radio art projects like the Hörspiel Heute series released by Luchterhand in the '70s. This new vinyl edition of the original LP adds an extra 7-minute composition by Bodin, also taken from the original Semikolon radio series. Includes 4-page, hand-numbered insert; edition of 300.


PIL 6001CD

OTHER HALF, THE: The Other Half CD (PIL 6001CD) 17.00
2013 repress. This legendary early psychedelic band are best-known for featuring the guitar wizardry of Randy Holden (who went on to join Blue Cheer and record a shattering solo LP). Based in Los Angeles, they gigged regularly in San Francisco, sharing stages with many of the city's best-known acid-rock bands throughout 1967. Their sole LP -- a mixture of singles and newer material -- appeared in March 1968, by which time Holden had departed. Brilliantly showcasing his innovative playing, it's a psychedelic classic, and is issued here complete with five bonus tracks culled from rare 45s and a French EP.


POGUS 21069

HUNT, JERRY: Haramand Plane CD (POGUS 21069) 13.00
"Pogus is very honored to be able to reissue this recording of works by the late Jerry Hunt (1943-1993), originally released on What Next. Having long been fascinated by Hunt's work, it is great to be able to have these last works of his available on CD once again. To quote 'Blue' Gene Tyranny: 'Among the pioneers, Jerry Hunt was the rarest, most marginal explorer of a remote terrain. As his musical activities moved from the electronic sound pieces of the 1970s into the legendary performances of the 1980s, Hunt brought along with him a curiously rich and viable ecosystem of pieces, structuring principles, performing gestures, and theatrical personae.' The sounds on this recording, created in 1993, are completely different from the ones that constitute normal or academic electronic music. The three sections of this electronic work constitute the composer's last pieces. He regarded the recorded version of this work as a 'document for rehearing.' The overall sound is the densest and most intricate in this one of a kind artist's body of work. The three sections consist of 'interlocking audio and video optical discs which provide the fundamental image, sound and program control strings... action code pattern structures... for a group of transactional mimetic gesture exercises... inflection calls evoking... melody streams' with simultaneous tracks of acoustic percussion. The sonic result is an entrancing, overwhelming, evocative shamanic performance of brilliantly designed electronic timbres.' Please note: This release comes folded into quarters, ending up as a 5 ½" x 5 ½" brochure style booklet (liner notes inside), with the CD in a paper sleeve, all inserted into re-sealable plastic sleeves. There is no jewel case, tray card, etc."


PYS 40006LP

Gatefold exact repro reissue of the third album by psych/prog outfit The Mandrake Memorial, originally released in 1970. "..."positively weird swells of operatic doomsday voices and cinematic electronic rock." --All Music Guide



MEN IN BURKA: Techno Allah 12" (RER 017EP) 12.00
Techno Allah explores the sound of Men In Burka further, with the A-side representing their signature sample-driven dance tracks, and the B-side exploring a more psychedelic mood. Since their first release, the group has gone on to share stages with Balkan Beat Box, Chelsea Wolfe, SSION, Pictureplane, Tanlines, and many others. In 2012 MIB played over 30 shows including SXSW and self-released a follow-up album titled War/Magic.


RM 453CD

ABRAHAMS, CHRIS: Memory Night CD (RM 453CD) 16.50
Chris Abrahams' Memory Night is his third edition for Room40 -- Play Scar and Thrown preceding this album. Widely-recognized as the pianist for Australian liminal improvisation trio The Necks, Chris Abrahams' solo work etches out an entirely different universe. It's a place that is entirely his own, unashamedly unique and at times startling -- yet always alluring. On Memory Night, Abrahams' expands his sonic palette, building on the uneasy frontiers of the highly-regarded Play Scar. Never content to revisit past glories, Abrahams charts course into unfamiliar sound spaces, where electronics and instruments meet in a constant state of tension and release. Nothing is quite what it appears upon first listen and as a result Memory Night demands an attentive ear. Recorded across 2011 and 2012, Memory Night is a haunted series of pieces that provoke and compel. Chris Abrahams has created what can only be described as a profound rendering of contemporary composition -- a powerful, yet delicate evocation of sound, where instruments and electronics melt and are reformed.

RM 454CD

COOPER, MIKE: White Shadows in the South Seas CD (RM 454CD) 16.50
It's difficult to know how to summarize the meandering journey that has been the life and times of Mike Cooper. Having just celebrated his 70th year of mischief making, here's what we can tell you: a young Mike Cooper can be spotted playing a beatnik guitarist on an anti-nuclear march in London beat cult film That Kind of Girl. His first band, The Blues Committee, played with and supported blues legends such John Lee Hooker, Howlin' Wolf, and Jimmy Reed. Cooper was central in launching several of the first folk and blues venues outside London, especially in and around Reading. He was a regular on John Peel's program from 1969-1975, recording numerous sessions. His free music group The Recedents was formed in 1982, threading directly into London vibrant improvisation community. He moved to Italy in 1988 after a slew of musical projects during the '80s in the UK and EU. Since 1994 he has spent increasing amounts of time touring and exploring Oceania. One of the outcomes of his exploration is Beach Crossings-Pacific Footprints -- a radiophone work commissioned by Italian and Australian radio -- that traces the history of colonization in the Pacific by Europeans from Tahiti up to the dropping of the atomic bomb on Hiroshima. His recordings have been re-issued numerous times by labels across the globe. Original pressings are found for obscene prices via various outlets. White Shadows in the South Seas is his latest offering and follows up directly from his lauded Rayon Hula album. It's a pacific sunset-like dream spanning the horizon in pulsing waves of richly-colored rhythms, tropical sound fields and pacific-inspired slide guitar.


RUM 2011051LP

DIDDLEY, BO: In The Spotlight LP (RUM 2011051LP) 22.00
"One of the essential names of the early rock and roll era, inventor of that 'Bo Diddley beat' -- bomp, ba-bomp-bomp, bomp-bomp -- that became one of rock & roll's bedrock rhythms - showing up in the work of Buddy Holly, the Rolling Stones, and the Who to name but a few - Bo Diddley pushed rock and roll to its funkiest extreme. Mostly known for the hot and raunchy hit 'Road Runner', Bo's fourth album from 1960 hides more than a few suprises: from the Caribbean-sounding 'Limber', to the doo wop-style 'Deed and Deed I Do', or the solid instrumental 'Scuttle Bug', this is an unmissable chapter in Bo's early career."

RUM 2011052LP

DIDDLEY, BO: Is A Lover LP (RUM 2011052LP) 22.00
"Unlike a lot of other rock 'n' roll stars who had gotten their start in the 1950s, Bo Diddley kept going strong into the 1960s and even the early 1970s for that matter. Bo's sixth album from 1961 clearly prefigures most of his '60s output, while still keeping that classic rock 'n' roll feel he had been one of the pioneers of, and probably its most original interpreter. From the flamenco-inspired instrumental 'Aztec', to the two briskly-paced rockers, 'Hong Kong, Mississippi' and 'You're Looking Good', or the goofy spoken word 'Bo's Vacation', Is A Lover demonstrates what a huge influence the man was not only on British rock bands from the mid-1960s but what is commonly described as the 'San Francisco Sound' as well."



MUNGO'S HI FI (FEAT. SOOM T): Bong Bong EP 12" (SCOB 037EP) 14.50
What could be better than an EP from Mungo's Hi Fi and Soom T? How about TWO EPs from Mungo's Hi Fi and Soom T! These stalwarts go together like fish and chips and have been successful for putting Glasgow on the reggae map. The first EP, titled Bong Bong is a foray into the world of digital reggae. The much-requested title-track takes Sister Nancy's bam-bam bang up to date in a smoky fashion. Soom's singing abilities shine through on the ultra-modern "31st Century" song.


This limited edition 7" is born out of Dreadsquad's massive remix of the Damian Marley and Skrillex combo Bun Dem and is his first release on Scotch Bonnet. It has "collector's item" written all over it, even before we say it features '80s cult hero Everton Chambers and is the only track on this riddim to get pressed on vinyl AND it features an exclusive dub mix on the B-side.


MUNGO'S HI FI (FEAT. SOOM T): Listening Bug EP 12" (SCRUB 008EP) 14.50
The Listening Bug EP showcases the Mungo's Hi Fi sound that does not fit straight into the reggae mold, featuring more electronic, bass-heavy excursions. The edgy "Listening Bug" is a bass-driven flurry with minimal meandering melodies. "Jump Up Quickly" is full of Eastern mystique before cutting to a hard-hitting rap style mixed in with Eek A Mouse. "Run Fool" is dark, jittery and hard. "War Song" has a sound that would not be out of place as a Bond theme tune.



ENSEMBLE ECONOMIQUE: The Vastness Is Bearable Only Through Love LP (SHELTER 014LP) 21.00
New LP from Ensemble Economique aka Brian Pyle, one-half of Humboldt avant-abstractionists Starving Weirdos and RV Paintings. "We've long loved the SW's sprawling rhythmic dronescapery, and on his own, Pyle explores similar sonic territory, but Pyle's approach sans partners seems to be more dense and dark, caustic and abrasive, the rhythmic element balancing the atmospheric elements, like here on the title-track, which spreads out over all of the first side. A thick, swirling low-end thrum oozes and undulates, it's a hazy blurred rumble, over which Pyle layers heaving shards of crunch, thick throbs, deep bell-like tones, rhythmic machine gun stutters, all of which pile up and overlap, creating a soft cacophony of clatter and crunch, chug and churn, a strangely haunting, and sorta noisy, almost industrial creepscape, that sounds like some weird hybrid of Wolf Eyes, Philip Jeck and Umberto, performed by some strange robotic minimalist chamber ensemble. A swirling, heady, and darkly psychedelic barrage of loops and rhythms, layers and textures, mesmerizing and intense. The flipside is another permutation of Pyle's abstract, beat-laden drones, another thick, swirling morass of sitar-like buzz and sci-fi synth squelch, this time the beats buried, little flurries of stutter and shuffle, squalls of glitchy tangle, more coloring the proceedings than driving them. The last track is a tense, soundtrack-y stretch of layered buzz and haunting melody -- a sprawl of pulsing high-end over deep, ominous rumbles, like the music from the scariest moment in some lost Italian giallo, stretched out into minutes instead of seconds, all tension, no release, brooding and intense, haunting and mesmerizing, fantastic stuff." --Aquarius Records


HANNUM, TERENCE: Spectral Life LP (SHELTER 025LP) 21.00
Debut LP of one-third of avant drone metal outfit Locrian. Contemporary artist/musician Terence Hannum is back on wax with two sides of meditative and sonic cathartic noise torrents. Following on from a dozen of highly-regarded solo tapes and CDrs, Spectral Life follows the artist through two tracks of electronic and acoustic drones blending in the most efficient way all the previous works of the artist. While the A-side is made of short, different synth-driven pieces blended together in an immense opening track, the B-side brings us on an extensive, immersive psychedelic journey. Standing as a deep emotional sonic ceremony, this new record draws Hannum at his best, finding his influences from the avant spectrum of black metal as well as bits of modern composition. Mastered by James Plotkin and pressed by Handle With Care on 180 gram black wax. Cover artwork by Hannum himself.


SRK 25709LP

RAMONES, THE: Mania 2LP (SRK 25709LP) 21.50
Double LP version of this compilation album, originally released in 1988. 30 tracks, including one B-side, "Indian Giver." Black vinyl (not the colored-vinyl RSD version).



OMENYA: Kali Mantras CD (SOL 183CD) 14.00
"Omenya is the solo project of Mark Davis, a musician and visual artist who lives in the forested mountains of North Carolina, USA. Kali Mantras is his fourth album, following releases for Klanggalerie (Austria), Tantric Harmonies (Russia), and Purple Soil (Czech Republic). Although he cites Zoviet France and Rapoon as inspirations, Davis' music is imbued with a silky richness that sets it apart from the angular starkness of the more well known British acts. Kali Mantras is a hypnotic blend of organic rhythms and ambient electronics, infused with ritual chant and minimalist atmospheres. It evokes the golden glow of warm autumn sunlight filtered through trees, or the quiet time just before dawn, when the eastern sky traces a jagged silhouette above a dewy mountain meadow. The five long tracks of the album carry the listener through a dreaming wakefulness, transporting us from nature's earthly temple into humankind's highly developed spiritual ceremonies, and finally returning us to our own perfect place, surrounded by long blue waves of comfort and tranquility. The packaging for this CD is hand printed and assembled in India, giving it a rustic and handmade feel entirely appropriate for the music it contains."


SOM 4036097LP

OS MUTANTES: Ao Vivo LP (SOM 4036097LP) 13.00
Repro of Os Mutantes' first live album, originally released in 1976. This was the band's final album until their 2006 reunion.


SP 029LP

DOZZY, DONATO: Plays Bee Mask 2LP (SP 029LP) 27.50
Double LP version. In hindsight, the pairing of Chris Madak and Donato Dozzy was inevitable from the moment when the two connected on Mount Naeba, Japan at the storied Labyrinth party last fall. Both artists have worked to craft singular visions unlike anything else happening in electronic music today, yet despite each producer's unmistakable individuality, there is a deeper reservoir of shared sensibility between them which makes Donato Dozzy Plays Bee Mask feel like a logical and necessary event. 2012 saw the release of Madak's monumental When We Were Eating Unripe Pears (SP 023LP) album along with the astounding Vaporware 12" for Room 40, the title-track of which opened Bee Mask's Labyrinth performance to memorable effect. Dozzy had an equally massive year thanks the release of the acclaimed Voices from the Lake (PRG 001CD/003LP) album with Neel, which set the bar for intricate, subtle, and forward-thinking contemporary techno at a new high. Both artists have pushed the respective boundaries of their work to arrive at the point of this crucial and welcome overlap: a double album of material from the Vaporware sessions, re-imagined as only Dozzy could do it. Initially commissioned for a single remix, Dozzy found so much possibility in the source material that he turned in over an hour of material, making a standalone release the only reasonable course of action. The results are absolutely divine, a suite of seven pieces of time-stopping bliss in which the structure and melodies of Vaporware glitter through the prism of Dozzy's singular production style. The meeting of these powerful minds provides evidence of an unparalleled organic chemistry. When listening to these works we hear the worlds of Bee Mask and Donato Dozzy bleed into one another, creating a new sonic entity with a life of its own -- one which with any luck will not end at this release. Mastered and cut at Dubplates & Mastering, Berlin, May 2013.


STH 2307LP

DUB CLUB: Foundation Come Again 2LP (STH 2307LP) 19.00
"Stones Throw has teamed with Los Angeles's Dub Club for this collection. Foundation Come Again is 20 new recordings by Jamaican sound system legends Josey Wales, Lone Ranger, Dillinger, Tippa Lee, Prince Jazzbo, Big Youth, Trinity, and several others. These new tracks are recorded and produced by Tippa Lee and Tom Chasteen in Jamaica and Los Angeles." Comes with a download card.

STH 2314LP

MYRON & E: Broadway LP (STH 2314LP) 17.00
"The vocal duo is something of a rarity. There have been countless solo stars, trios, quartets, and quintets, but the pairing of equally talented singers isn't nearly as common. Sam and Dave, Ashford and Simpson, the Righteous Brothers, and the Everly Brothers comprise a short list of standouts. Enter Myron & E. The two began working together while on the road with the Bay Area's Blackalicious, and shortly after, E released an independent record as E da Boss. While touring in Finland behind his solo project, E found himself in an impromptu jam session with members of The Soul Investigators, whose work with singer Nicole Willis helped define them as one of Europe's foremost retro-soul bands. Investigators producer Didier Selin was impressed enough to leave E with several unfinished tracks. Back in the U.S., E recruited Myron as a singing and songwriting partner, and Myron & E was born." Includes mp3 download card.


SBR 5006LP

MOONKYTE: Count Me Out LP (SBR 5006LP) 22.00
2013 repress. Yorkshire's Moonkyte only made one album, and -- though it was supported by John Peel, who wrote the effusive sleevenotes -- it sank without a trace when it appeared on the tiny Mother label in 1971. Now, with originals having changed hands for over £1000, Sunbeam is giving it its first-ever vinyl reissue, complete with lovingly-reproduced die-cut artwork, a replica inner sleeve and a separate insert detailing the band's history, complete with rare photographs. It's nothing short of a British acid folk classic.


TSQ 2929LP

VALENTE, DINO: Dino Valente LP (TSQ 2929LP) 16.00
"First-ever vinyl re-issue of the 1968 psych classic by Dino Valente (Quicksilver Messenger Service). First time commercially available in glorious mono. Recorded under the supervision of Bob Johnston (Dylan, Cohen, Cash). Original liner notes by Ralph Gleason."


US 7716LP

JAMES, ELMORE: The Blues In My Heart, The Rhythm In My Soul LP (US 7716LP) 13.00
"Elmore James, prior to his death, was one of the many highly-regarded folk blues singers whose contributions to American musical history cannot be denied; he contributed a wealth of material to the field of music."



BAD BRAINS: Black Dots LP (MRSSS 523LP) 25.00
By the early summer of 1979 the Bad Brains were already tearing up Washington D.C. They were armed with a tape they made at rehearsal, a real rugged thing, and were looking for people to play it to. The Slickee Boys heard it and suggested the band go out to record these songs at the fledgling Inner Ear Studios in Arlington, VA. What you are holding in your hands is the band's first full-length session of any kind in a recording studio. At that time, Inner Ear was Don Zientara's basement. Don had a four-track Teac 1/4" tape deck and a small drum booth to one side of the basement. Doc and Darryl set up in the main space while Earl somehow got himself into the "closet" with his drum kit. HR was in the backyard with the vocal mic (you can hear Don's son speaking to HR between tracks along with some crickets, too) and Don was set up in the kitchen upstairs. This day everything was just right and the band played straight through their live set of that time including "Black Dots" and "Pay to Cum," songs that were just too fast to ever be performed live to the band's satisfaction. The set on this record represents all of the band's songs, their first month's output, starting with the first song the band ever wrote, "Don't Need It." As is true with all four-track recordings, some decisions were made "going to tape," most notable is the eerie reverb on the drums, and these choices are forever a part of the mix. Formed as Mind Power a year earlier, it wasn't until their early vocalist Sid McCray showed up at Darryl's apartment in SE D.C. with his records and safety pins that the band transformed itself into the progressive punk outfit now known as Bad Brains. They were one dose Dead Boys topped off with a couple of shots of The Damned mixed with the Sex Pistols and The Clash. All the material on this record was written while the band lived together in a house on Bayway in Maryland. Doc had acquired the house from the manager of the Rustler Steak House where he had been working. HR and Darryl got jobs there as well, though they didn't last and ended up washing cars at the dealership down the street. Earl was washing clothes at the community hospital. Doc then got a job for himself and HR at Atlantic Research and Development, a bomb factory that manufactured Stinger and MX missiles. Darryl, without a driver's license, would pick them up from there at midnight and take them to rehearsal at the Bayway house. They lived at that house for about six months from late 1978 to mid-1979. They left after playing a series of basement shows at parties they threw. Sid would get on stage and start the set singing "Regulator." His girlfriend Tally would run on stage, tackle him and knock him off the stage and HR would then take the mic for the rest of the show. It wasn't long before Sid left the singing completely to HR and all of his sonorous vocalizations and lyricism. Needless to say, the house got a bit trashed and when they vacated Darryl moved in with Sid and everyone else moved back in with their parents. The next step was their first club shows; at the Atlantis (later named the 9:30 Club) and Madam's Organ (in Adams Morgan, MO with the Yippies and Youth Against Racism), conquering the D.C. punk/new wave scene with their sonic onslaught and clever musical curves. It was at this point that this record was made. Darryl got thrown out into the street by the bouncers after the band opened for The Damned at the Bayou, resulting in the band being banned from the club. With the Atlantis in reconstruction and the Bayou now off-limits, the possibilities in D.C. were shrinking for the band. New York had CBGB's, Max's Kansas City, Tier 3, 2 + 2, A7, Hurrahs, The Eighties, The Pep lounge and squats. The scene was jumping so the band headed off to NYC for the first time. They never looked back. On 180 gram vinyl with a full-color innersleeve.


VF 002EP

TIROGO: Disco Maniac/We Like to Party 12" (VF 002EP) 14.50
At the close of the 1970s, just a couple of years after the classic psych-funk of Float (QDK 052CD), Wilf Ekanem and crew trained their frazzled peepers on disco. The ensuing Aiye People LP is a stunner and a collector's legend. Here are two standouts from the album, magnificently revived with crisp sound, a top-notch pressing in a Voodoo Funk house-bag, with a two-by-one-foot poster. Afro-fried Kool and The Gang on a mission to "blow your soul on fire," featuring space-jazzbo Fred Fisher on trombone, the E Gang sisters on sassy backing vocals, Elvy's funky lead guitar, solo flute by Willie Chucks Edozie, and ill cosmo-synths and moog.


XI 119CD

RADIGUE, ELIANE: Triologie de la Mort 3CD (XI 119CD) 25.00
Classic 1998 release, restocked. "Trilogie de la Mort is a work in three parts. The first, Kyema, was originally released by XI in 1992. The 2nd and 3rd parts, Kailasha and Koumé are being released for the first time and the trilogy now makes its debut as a whole [this 3CD set is being sold for the cost of 2 CDs to make up for the prior availability Kyema]. 'Kyema' is inspired by the texts of Bardo-Thodol (The Tibetan Book of the Dead). This work evokes the six intermediate states which constitute the 'existential continuity' of the being. 'Radigue's 'Kyema' explores electronically the full range of existence, going beyond death and back into the exuberance of physical life, expanding the musical consciousness of the uninitiated, leading one in a cyclical voyage through a myriad of tones, drones, and warbles where the end is only the beginning.' -- Neil Strauss. 'Kailasha', the second chapter in the work, is structured on an imaginary pilgrimage around Mt. Kailash, one of the most sacred mountains in the Himalayas; considered as a path to other spheres of existence. 'Koumé' makes up the last part of the trilogy and emphasizes the transcendence of death. It is the descent to the deepest, where the spark of life is. There, Death is born. Death becomes birth. Activity re-beginning. Eternity, a perpetual 'becoming'."


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