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Forced Exposure New Releases for 8/19/2013

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New music is due from Psychic TV, Adrian Corker, Hellsongs, Zeitgeber, and House Of Black Lanterns while old music is due from Muddy Waters, Merzbow, Venom P. Stinger, and Skullflower.


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OEP 1004CD

SANDERS, SAM: Mirror Mirror CD (OEP 1004CD) 15.00
"A collector's dream come true, Sam Sander's Mirror Mirror is so rare that the recordings on this album have never before seen a proper release and even the cover art had to be created from scratch. An almost unbelievable fact given that it ranks as one of the strongest releases in the already air-tight era of Strata Inc's Detroit. Although he's been compared to John Coltrane, Ornette Coleman, and Joe Henderson, Sam Sanders stands out as one of the most unique phenomena to come from the Motor City. Drawing on his experience with Motown acts like Stevie Wonder and Smokey Robinson, Sanders incorporated a fresh soul sound into recordings that would have otherwise been categorized as jazz. As such, Mirror Mirror moves seamlessly between spirit and style. The album starts on the street with 'Inner City Player,' a superfly breakdown of a Detroit hustler's life, before moving into distinctly abstract territory with the melancholy 'Face at My Window.' The experience is held together by a no-nonsense rhythm section featuring the aggressive drumming of Jimmy Allen and the intensely focused bass playing of Ed Pickens. Perhaps the most straight-forward jazz song on the album, 'Lover's Gain' showcases Sanders at his freewheelin' best. And if there was to be any doubt that Mirror Mirror can get funky as hell, look no further than the wah-wah guitar and early synth sounds of 'Funk'ed Up,' easily the greasiest cut on the album. Mirror Mirror has been remastered from the original reel to reel masters, along with the artwork, which has been restored and printed on top heavy stock, tip on gatefold jackets. The record is numbered and pressed on 180 gram vinyl. Includes extensive liner notes and never seen before photos."


SANDERS, SAM: Mirror Mirror 2LP (OEP 1004LTD-LP) 31.00
Double LP version. Comes numbered in a heavy stock, tip on gatefold jacket. Pressed on 180 gram vinyl. Includes extensive liner notes and never-before-seen photos.


50 028EP

ADDISON GROOVE & SAM BINGA: BS3 EP 12" (50 028EP) 14.00
808 master Addison Groove is back with a fresh new EP with Bristol's finest, Sam Binga. If "11th" sounds somewhat familiar to you, you might have heard it on Radio 1, or on Kode 9's Rinse FM mix CD. Now these four gems are finally out on wax. "Bouncing 808s at 170, but it's not jungle... chopped up vocals but it's not footwork... all I can say is -- first we lean widdit, then we rock with it." --Sam Binga



PSYCHIC TV: Silver Machine/Hurry On Sundown 7" (OTTT 026EP) 11.00
"Psychic TV covering Hawkwind's 'Silver Machine' and 'Hurry On Sundown.' Edition of 320 copies on random recycled colored vinyl in a full color jacket."



ARTHUR: #35 August 2013 MAG (ARTHUR 035) 5.00
"On the Trail of the Lonesome Snock: Wily folkplayer Michael Hurley (aka Elwood Snock) has charmed hip audiences for over fifty years now with his timeless surrealist tunes and sweetly weird comics, all the while maintaining a certain ornery, outsider mystique. Longtime Snockhead/Arthur Senior Writer Byron Coley investigates this wild American treasure in an enormous 11,000-word, eight-page feature replete with rare photos, artwork, comics... and a giant color portrait by Liz Devine. Snock attack! The Biophonic Man: Guitarist, composer and analog synthesizer pioneer Bernie Krause left the recording studio to find that really wild sound. What he discovered was far more profound. Interview by Jay Babcock. Illustrations by Kevin Hooyman. Giant Steps For Mankind: Stewart Voegtlin on John Coltrane's startling 1960s ascension from space bebop to universe symphonies. Dual astral/material plane illustration by Beaver. Chew the Leaves, Get in the Tank: Inside Baltimore's T Hill, new kinds of experiments with salvia divinorum are going on. Journalist/photographer Rjyan Kidwell visits Twig Harper, Carly Ptak, and the Wild Shepherdess. Buried Alive By the Sufis: Swap-O-Rama Rama founder and author Wendy Tremayne (The Good Life Lab: Radical Experiments in Hands-On Living) wanted to understand what motivated her life-long anti-consumerism. She found the answer underground. Illustration by Kira Mardikes. Gash, Crash, Ash: Nobody rides for free. Dave Reeves on the price motorcyclists pay for being better than you. Illustration by Lale Westvind. Flowers, Leaves, Anarchism: Matthew Erickson on the J.L. Hudson Ethnobotanical Catalog of Seeds. And, of course, the 'Bull Tongue' exhaustive survey of underground cultural output by your intrepid guides Byron Coley and Thurston Moore."


BAM 7010CD

MARU SANKAKU SHIKAKU: Maru Sankaku Shikaku (Circle Triangle Square) 3CD (BAM 7010CD) 29.00
Reissue of this Japanese early '70s performance group. The group's name is literally the icons for a "circle," "triangle" and "square," with "Maru Sankaku Shikaku" substituting as a translation for those images. Circle Triangle Square were a painted bunch of commune rockers and percussion tribe second to none, whose random bells, flute and remedial tea-tray flailings were still more like the Godz or Nihilist Spasm Band than the deep theta-space obliterations of Taj Mahal Travellers. Led by future Murahatchibu drummer Sahuro "Kant" Watanabe, CTS were part of an elite bunch of Shinjuku Futen bands who actually made it onto record. Digitally remastered. Includes a 16-page booklet with notes by band leader Sahuro "Kant" Watanabe. Contains the original LP artwork.



Cycles introduces a new artist to the intimate roster that makes up the avant-garde label Bedroom Community: James McVinnie. The music on Cycles comprises 13 organ pieces by label-mate and composer Nico Muhly. Performing the pieces in addition to McVinnie are Nadia Sirota, Chris Thompson, and Simon Wall. What makes McVinnie such an ideal interpreter of Muhly's music is that he and Muhly share not just an understanding of the capabilities of the pipe organ as a musical instrument, but also an equally deep understanding of, and even affection for, its limitations. McVinnie speaks eloquently on behalf of his instrument's potential. "The organ is like a grand symphony orchestra controlled by one person manning a series of keyboards and pedals, stops and buttons. On the one hand, an organ can imitate orchestral instruments -- the ardent string section of an orchestra, a lyrical clarinet, a French horn, timpani -- and on the other, it has its own indigenous magisterial voice. Organs are built to speak into specific acoustic spaces. When you play, it's as if you're playing the whole building you're in, which often can be electrifying." And the organ as an instrument is tied to centuries of liturgical practice, capable of supporting or imitating a church choir with a solemnity few others could hope to summon. McVinnie is quick to point out, however, that the organ is also "the ultimate and original synthesizer" -- and it is nothing if not a mechanical, wind-powered synthesizer, with all of the uncanny falseness that that word implies. The symphonic, the acoustic, the sacred, the synthetic: there's a little of each in every one of the pieces on Cycles, and sometimes more than a little.



FANTASTIC MR FOX: The Trap/Jackal Youth 12" (ACRE 044EP) 12.50
The Black Acre big boss returns with his own distinct hunter/gatherer take on house music. Here he drops two oddball DJ weapons. "The Trap" is the Full Monty Fantastic Mr. Fox crate-haunter featuring fearless soul sample jacking, steam-driven percussion and trademarked tangy chords. "Jackal Youth" on the flip finally outs and assassinates Mr. Fox's not-so-secret alter ego. Breathy baritone vocal samples pin down steam engine churps and schoolyard hand-clap percussion.



DEEP'A & BIRI & GENE: Redshift 12" (BLACKCROW 001EP) 12.50
Production/DJ duo Deep'a & Biri now launch their own Tel-Aviv based label, Black Crow. Inaugurating the label is Redshift, produced in collaboration with their long-time partner Gene. "Redshift" has the signature Deep'a & Biri sound, a pumping Detroit-indebted roller, with shout snippets riding in & out of the keys-led workout. Greek producer Argy provides the remix, accenting the bass line and adding a spoken vocal that takes "Redshift" all the way to Chicago. "Blueshift" demonstrates the team's melodic tendencies, and is perfect for those deep space moments.



ARNALDO: Blank Slate 003 12" (SLATE 003EP) 15.50
Blank Slate is proud to launch its third release with a full four-tracker from Arnaldo. "Sunrise Picnic" eases into things with a spaced organ stab, loose woodblocks and shuffling hats over an elastic 303 bass line. Things take a turn for the weird with "Atmosphere Breached," with a much more strident, funked organ line leading the way past sizzling, bubbling FX, syncopated handclaps and filtered groans. "Verano" is a dark, chugging stomper, and "Watching Ants" is a head-down track straight for the floor.



WATER WORLD: Dead 7" (BOXBED 001EP) 12.00
Box Bedroom Rebels is a UK-based label offering 7" format releases crammed with as much as possible: each release is an edition of only 100 copies and is packaged in a unique sleeve with handstamped/stenciled vinyl, inserts, artwork, download codes and much more. Manchester's Water World write pop heavy, happy, detuned garage-rock with lo-fi Pavement-esque energy and infectious hooks.



BOODY & LE1F: Liquid 12" (BNR 088EP) 12.50
Boysnoize Records welcomes New York's Boody and LE1F -- both producers, beatmakers, rapper, and vocalist. "Jelly Fish" features deadly, deep kicks sphered by drippy ice rinks. "Buoy" swipes away into a howling, cryptic and moody underwater action. "Soda" chops up the classic "The Ha Dance" of Masters At Work into a juke-ballroom mix. With its UK funky, rooted percussion and dominant bass lines, they take it to another level with "Sweet Tea." Remixes by Cedaa and MikeQ and Divoli S'vere.


BOYS NOIZE: Go Hard PIC. DISC (BNR 110EP) 12.50
The Go Hard EP comes right when Boys Noize starts his new world tour. Boys Noize is scheduled to play at Bonnaroo, Spring Awakening, Electric Daisy Carnival (Las Vegas), Camp Bisco, Forcastle, Electric Zoo, and Alex Ridha/Boys Noize will also play at Ottawa Blues Fest, HARD Summer, Lollapalooza, and Electric Zoo as Dog Blood, his group with Skrillex.


BOYS NOIZE: Inhale/Exhale 12" (BNR 110LTD-EP) 12.50
Limited, one-sided white label 12" with red disco bag. Before the official release of the brand new EP Go Hard by Boys Noize -- and right in time with the summer tour kick-off -- Boysnoize Records is releasing one song, "Inhale/Exhale," on vinyl. This will be available only as highly-limited vinyl and will be available in selected stores for a short time only.



REBELSKI: The Rift Valley EP 12" (CADENZA 088EP) 12.00
The Rift Valley by Rebelski finally gets a full release with remixes from Lee Van Dowski and Luciano. "The Rift Valley" is a short, multi-instrumental piece, backed with a full choir, whose soaring voices go panoramic over the light and simple drum programming. Luciano weighs in with a delicate remix, building the percussion and instrumentation before ushering in the vocals, underpinned with an organic synth line. Lee Van Dowski provides a more club-oriented remix, all punchy drums and finger snaps.


CH 111LP

PIKELET: Calluses LP (CH 111LP) 17.00
LP version with download code. Melbourne exploratory synth-pop four-piece Pikelet return with third album Calluses, the follow-up to 2010's Australian Music Prize-shortlisted Stem. Recorded with John Lee (Lost Animal, Mountains In The Sky), Calluses is a darker, denser beast than its predecessors. The celebrated Stem can now be seen as a transitional record, bridging the gap between the loop-driven solo project of Evelyn Morris (as heard on debut 2007 album Pikelet [CH 059CD]) and the fully-fledged live band that came together in 2009, comprising Evelyn, drummer Matthew Cox (Witch Hats), bassist/guitarist Tarquin Manek (Bum Creek) and synth-wizard Shags Chamberlain (Lost Animal). Now with four years under their belt, Pikelet are captured on Calluses in full flight, confidently exploring unknown territory. From the post-apocalyptic eeriness of "Pressure Cooker" (a teaser track premiered on to the frenetic introspection of first single "Combo," to the '60s Euro space-jazz of "Forward Motion," Calluses is bold, ambitious and layered -- a record that rewards repeated listens with subtle details and hypnotic depths. Back in 2007, first album Pikelet was made by Evelyn with an accordion, percussion and a loop pedal. It came out to rave reviews, Pitchfork write-ups and community radio high rotation. Evelyn toured the world, playing with Jens Lekman in Portugal, Jeffrey Lewis in France and Bachelorette across America. Back home she appeared at festivals like Golden Plains and Laneway, and opened for Sufjan Stevens, Beirut and Goldfrapp. Evelyn and Shags met as backing musicians for Ariel Pink on his first Australian tour in 2009, and soon the Pikelet band was born. When Stem emerged in 2010, the expansion of vision was immediately apparent. The live band brought a cosmic edge that infiltrated Evelyn's inquisitive style with kaleidoscopic results. Glowing reviews, Triple J rotation, community radio feature albums, and a place on the 2010 Australian Music Prize shortlist followed. Since then, the band have toured Australia extensively, sharing stages with Ariel Pink, Devendra Banhart, Dirty Projectors, Beirut (again) and Broadcast, and playing festivals such as Mona Foma, Queenscliff and Melbourne International Arts Festival. Evelyn also drummed for Japanese noise legends the Boredoms at their Melbourne International Arts Festival Show, and toured nationally supporting Shellac in solo Pikelet mode in late 2012. Calluses is a remarkable statement of artistic intent and new purpose.



BEROSHIMA: Real 2 Reel CD (CIRCLE 015CD) 17.00
There's no need to say thousands of words about Beroshima: Ulrich Schnauss earned worldwide respect for his electronic works while Frank Muller joined different projects as a producer and put his focus on his live performance and DJ works. In 2013 we celebrate the 20th anniversary of the Beroshima project, produced by main-main Muller. In the '90s he was one of the main protagonists in Germany's electronic scene and even today his drive is enormous. Thus, the fifth album Real to Reel is now ready to rumble. The title track is the perfect opener, with many strings and a lot of hard beats -- just as you've come to know from Beroshima. "A New Citizen" comes along quite deep, yet tidy pressure builds up to high speed, "Detroit Tragedy" is a tribute to the sound of America. "Hexaline" is almost a trance track and "Unter Den Linden" has a very unique quality as well. The typical Beroshima sound is also at work in "I Was Waiting for You" in the form of plentiful beats and lots of effects, and "Leytonstep" plays with plenty of hypnotic sounds. "Books for Matthew" is a real treat of electronics and "Highway One" closes the album very nicely. Beroshima remains a top producer, who always discovers new ideas even after all these years, tries them out and excites everyone.



Cocoon welcomes Ilario Alicante and Alejandro Mosso on the new Cocoon Ibiza double CD feature. Let's start with the Italian Ilario Alicante and his DJ mix -- strong but relaxed at the same time, with a good variation and XXL deepness in the selection makes this mix a great house excursion. Ilario's mix incorporates the right elements, such as emotional piano breaks, cool vocal samples, kicking house beats and hypnotic bass lines. He is known for his energetic minimal sets and techno-spiced productions, however, this mix proves he is a master of all things house, too. And we are talking real house here, far away from the house of all these stadium events and Las Vegas house nights. No mega-hedonistic "alarm" and no higher, faster, and louder -- just pure, solid house. The second CD in the Cocoon Ibiza soundtrack is an exclusive live show of the latest Cocoon artist signing: Alejandro Mosso. Alejandro presents a CD with partly unreleased tracks and creates a perfect soundtrack for summer months. The young South American producer (who moved to Berlin) rocked the terrace for Cocoon's first night at Amnesia and this CD captures the energy and the emotions of Mosso's live set. Dive deeper with us into the sound of Alejandro Mosso, where fascinating percussion lines meet house- and minimal techno elements. All spiced up with sounds of real instruments and fresh melodies, this creates something unique and new but familiar at the same time. Another perfect soundtrack to all the hot days on your own personal island, for the next beach experience, for salty air and for dancing in flip-flops with mirror shades and heavy sun protection. Artists include: Terekke, Henrik Bergqvist, A Sagittariun, Ryan Elliot, Head High, DJ Qu, Cosmin TRG, Trus'me, Henrik Schwarz, Parris Mitchel, Cassy, Ritzi Lee, Benjamin Damage, Mathew Jonson, Omar S, and Christian Sol.



MASONNA: Spectrum Ripper LP+CD (CSR 017LP) 28.50
Limited vinyl reissue of one of Cold Spring Records' all-time favorite noise albums from 1997, featuring the extreme collage sounds and insane vocals of Maso Yamazaki, one of the world's leading noise musicians. Brutal frequencies and rabid, screaming vocals mix to create the finest album Masonna has ever produced. Divided into 25 tracks, this is considered by some as the last word in noise recordings. Limited to 300 copies on brown vinyl in a full-color sleeve. Comes with the remastered CD version in a card sleeve.



GORILLAS, THE: Message to the World CD (DAMGOOD 414CD) 19.50
"The Gorillas livened up the mid-'70s rock scene like few others. They were the missing link between Hendrix, glam, and punk. This new version features three bonus tracks not featured on the original 1978 Raw Records release."



SKULLFLOWER: Kino I:Birthdeath CD (DPROM 095CD) 19.50
Finally available, after almost two years of driving Dirter & Shock to the brink of insanity -- a massive 4CD retrospective of Skullflower's early works from 1986-1990, featuring all the material previously released on Broken Flag, Shock, Majora and Forced Exposure, plus around two hours of previously-unheard music -- 14 tracks spread across the series. And this is not "out-take" dross used to fill up CDs, this is essential early Skullflower providing further insight into their uniquely twisted musical world. All material has been digitally mastered by Richard Whittaker at FX, and each CD comes in a deluxe gatefold card cover and inner sleeve with newly-unearthed artwork by Matthew. Booklets feature extensive notes and previously-unseen flyers, posters and photos. Comprises the remastered first 12" EP, available in its entirety for the first time since 1987, plus six previously-unreleased, unheard and undreamed-of tracks. This series of CDs are a co-production between the original Shock label and Dirter.


SKULLFLOWER: Kino II:Form Destroyer CD (DPROM 096CD) 19.50
The remastered first album by Skullflower, originally released on Broken Flag in 1989 -- the best it has ever sounded. Includes two "bonus" tracks from Shock's long out-of-print RUINS and two previously-unheard pieces. A truly monstrous disc of heavy, fucked up music.


SKULLFLOWER: Kino III:Xaman CD (DPROM 097CD) 19.50
The most requested early Skullflower release, Xaman (1990) the original CD rendered unplayable by disc rot for 20 years and the subject of endless drivelsome internet speculation. Finally remastered, with new cover art from Matthew Bower's archive.


SKULLFLOWER: Kino IV:Black Sun Rising CD (DPROM 098CD) 19.50
Rounds up the first three 7" releases on Shock, Majora and Forced Exposure, the bonus track from The Portable Altamont (1991) compilation, plus six previously-unreleased tracks, including three from the Xaman sessions. A disc of total rock!


DC 536LP

VENOM P. STINGER: Meet My Friend Venom LP (DC 536LP) 18.00
"The Venom P. Stinger retrospective is on. One of the roughest groups of the '80s is back in print on vinyl and for the first time ever on CD, and still nice and hard and rough and wild on either format. File under: punk rock/noise rock/free-of-constraints rock. If you think of Venom P. Stinger simply as the proving ground for 2/3rds of the Dirty Three first, then you're seriously missing it, and fuck you."

DC 537LP

VENOM P. STINGER: What's Yours Is Mine LP (DC 537LP) 18.00
"Venom P. Stinger's second LP, first released in 1990 on Aberrant Records."

DC 538EP

VENOM P. STINGER: Walking About 7" (DC 538EP) 5.50
"Venom P. Stinger single with 'Walking About' on the A-side and '26 Milligrams' on the B-side."

DC 539EP

VENOM P. STINGER: Waiting Room 12" (DC 539EP) 15.00
"Four song EP from Venom P. Originally released in 1991 by Au Go Go."

DC 540CD

VENOM P. STINGER: 1986-1991 2CD (DC 540CD) 16.00
"The Venom P. Stinger retrospective is on. One of the roughest groups of the '80s is back in print on vinyl and for the first time ever on CD, and still nice and hard and rough and wild on either format. File under: punk rock/noise rock/free-of-constraints rock. If you think of Venom P. Stinger simply as the proving ground for 2/3rds of the Dirty Three first, then you're seriously missing it, and fuck you. It was the mid-'80s and everything was going fine. The music underground was its own world, not related to the orbit of commercial music that rained bullshit down onto the overground. Nobody down below had any great plans, they were just playing in bands. Melbourne had launched the career of the legendary Birthday Party, but that lot were long gone and there were loads of other interesting and great things going on. Like Sick Things for instance. Dugald McKenzie and Mick Turner were part of that extremely raw and intense band, whose 'Committed to Suicide' had changed so many lives (for the better!). Mick had played as well in The Moodists and was in Fungus Brains and some others. Also on the scene was Jim White, who was playing in several bands, including People with Chairs Up Their Noses and the Feral Dinosaurs. It was a small group of people playing in bands like these back in mid-'80s Melbourne and probably only a matter of time before you played in the same band together. And so, they did. Venom P. Stinger attacked in a modified, somewhat streamlined hardcore punk style, with Mick's burnt-and-twisted guitar tone setting them apart. Also unique was Jim White's drumming, which appeared to be born of a snare roll that grows and grows until it has eclipsed the entire kit, played with casual aplomb while never sparing the rod to any aimed-for surface. Meanwhile, bassist Alan Secher-Jensen nailed these loosely divergent styles together with nice heavy root notes. Instead of the violent pile-up that occurred in every Sick Things recording, there was instead something more organized, though coming from unique and indeed, singular corners of approach: post-hardcore with a very individual style. Unchanged from Sick Things days, however, was frontman Dugald McKenzie, whose vocalizing was a ferocious, largely apolitical transference of personal experience, all about conveying the awful qualities of life with throaty sensuousness and dirty glee. This was an unfiltered view of his day-to-day, which involved partying with drink and drugs and other low types drinking and doing drugs and not having responsibility for anything, other than getting more drink and drugs. The down-and-out side of life is most clearly envisaged with 'Walking About,' which is as definitive a slice of early-wave Aussie garage punk as they come. As well, there is a pleasing aesthetic and humor afoot, parlayed most effectively in the straw-in-shallow-water sound effects of the noise-rock piece, 'Jaws 2.'"

DC 565CD

SEGALL, TY: Sleeper CD (DC 565CD) 13.50
"A plan quickly evolved: before he checked out of his SF Mission digs and headed down the coast for a new way of life (big changes, yuh?), Ty fired up the machines, hit play and wrung a last helping of blood from his rock, creating a new set of songs to translate his mind-current. Between two minds, between two places, beyond Twins, Sleeper envisions a world of haves and have-nots, but the currency that separates them is psychic. Class is determined by where your head goes -- and Ty puffs the pied pipe, leading you back to what you forgot you knew. Sleeper is Ty-fi, for sure, but it's not that different from this world we live in. It's a hard-knock existenz, but there's plenty tenderness to try, and the trip is crafted especially to fit in your ears and sail down the canals deep into your skull. The acoustics expand upon contact, creating new shapes for you to fill inside yourself over the full-length of a true album-length entertainment. With Sleeper, Ty Segall explores your mind, coming through his own head to slip inside with thought sharing. Ty engineered this one from beginning to end, and his ultimate sonics were accessed with a freaky hand and an instinct for what makes something perfect. Sleeper flows more colors than ever before through your mind's eye, pushing the walls of the universe out just a micron further, making everything heavier and lighter all at once, to allow for one moment that will live forever."

DC 565CS

SEGALL, TY: Sleeper Cassette (DC 565CS) 8.50
Cassette version.

DC 565LP

SEGALL, TY: Sleeper LP (DC 565LP) 17.00
Gatefold LP version.

DC 570EP

CALLAHAN, BILL: Expanding Dub/Highs in the Mid-40s Dub 12" (DC 570EP) 12.00
"We don't know what this is. The tape arrived in a battered cardboard box. 'It's the single', Bill said, sounding slightly annoyed but later claiming he wasn't. The usual low blood sugar excuse. One of us hung up. It was Bill. We called back to get the details and maybe suggest he eat something. 'I am,' he replied. We couldn't hear any chewing. 'Goat cheese.' Nice. Turns out it is two dub versions of songs from the forthcoming Dream River LP. A 12" dub single to preview the non-dub LP. Hm! We are intrigued. 'So you can feel it before you know it.' Bill said. Do you say something about Donald Sutherland in one song? One of us hung up. Again. With flashing echo, this one's a macka!"



PHILOGRESZ: Emerald's Edge EP 12" (ECHO 058EP) 12.50
Philogresz's Emerald's Edge EP contains two original tracks and a remix. Dubby techno and house with a huge Detroit feeling, with a remix from Mikkel Metal. Philogresz' sound is moody, melodic, jazzy and organically -composed, yet it is also arrogantly-arranged techno with absolutely no boundaries.



CAUSA SUI: Euporie Tide CD (EPR 013CD) 16.50
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.



BEN UFO: Fabriclive 67 CD (FABRIC 134CD) 16.00
Ben UFO is among a handful of specialist DJs who possess the talent, care and breadth of taste required to project their personality solely through other people's records. Fabriclive 67 showcases the different aspects of the music that he stands for. Accordingly, it is not a straightforward mix of house, bass music or techno; it is an indicator of where we have come from, where we are at, and a statement of future intent. Artists include: Mix Mup, Delroy Edwards, Pev & Kowton, Tim "Love" Lee, Elgato, Gesloten Cirkel, Chicago Skyway, K-Hand, Fluxion, Minimal Man, Jam City, Herbert, Lowtec, Pearson Sound, Mr. Fingers, Shackleton vs. Kasai Allstars, Kyle Hall & Kero, Circuit Breaker, Osbourne, Shake, Juniper, A Made Up Sound, Grain, Bandshell, Blawan, Pangaea, Joe, Floating Points, Grown Folk x Main Attrakionz, and Kuedo.


INSPIRESCU, PETRE: Fabric 68 CD (FABRIC 135CD) 16.00
Loosely rooted in house and techno, but with minimalism coursing through his veins, Petre Inspirescu's sounds have often come in conjunction with fellow Romanians Raresh and Rhadoo on the trio's own A:rpia:r imprint. Exclusively showcasing his own unreleased productions on Fabric 68, Petre's recent love and appreciation of classical music permeates the deep electronic structures and rhythms of the mix, creating a genuinely unique statement that lays out a complex yet compulsive vision of house music.


CALIBRE: Fabriclive 68 CD (FABRIC 136CD) 16.00
Almost as notorious for his quiet nature as his prolific production rate, Calibre has never managed an online presence, had his material remixed, or -- until now -- released a commercial mix CD. On Fabriclive 68, the Northern Irish artist uses his perfect ear for pitch to weave soulful vocals throughout a lush tapestry of deep, dubby and techno-tinged drum & bass, making an impeccable mix representative of his countless sets at Fabric over the past decade. Featuring artists such as DRS, DJ Marky & S.P.Y., Bo Saris, Marcus Intalex, Random Movement, Totally Enormous Extinct Dinosaurs, SpectraSoul (feat. Tamara Blessa), Zero T (feat. Steo), Lynx & Hellrazor, dBridge, Kodo, and Genotype.


Each with over 20 years invested in the ceaseless development of techno, the pairing of Function & Regis make up the DJ facet of the Sandwell District entity, established in 2002. Fabric 69 is the only audio output from Sandwell District since label communications ceased at the end of 2011, and will be the final body of work to bear the Sandwell District name. The mix distills notable works from the collective's constituent members with contemporary and classic tracks into a coherent body of work that masterfully defines the techno zeitgeist. Artists include: Silent Servant, Function, CMG, VCMG, Boyd Rice/Frank Tovey, Raime, Ike Yard, Vatican Shadow, Fiedel, Cub, Mary Velo, JPLS, Rrose, Carl Craig, Markus Suckut, Ø, Samuel Kerridge, Untold, Surgeon, Mark Ernestus, Plastikman, Trevino, Planetary Assault Systems, Factory Floor, James Ruskin, SS/S, and Laurent Garnier.


FAKE BLOOD: Fabriclive 69 CD (FABRIC 138CD) 16.00
Previously known as The Wiseguys, Touché, and one-half of The Black Ghosts, Theo Keating finally lands on the Fabriclive series under his Fake Blood alias. A snapshot of a Fake Blood DJ set at Fabric, Fabriclive 69 consists of his trademark upfront electro-house sound, including unreleased exclusives from his Blood Music imprint, punctuated with house classics and techno diversions, which means the mix never keeps still, peaking at regular intervals throughout. Artists include: Special Request, Brodinski, RVBRA, Drums Of Death, Tanka, Madame, Steve Starks, Nightmares On Wax, TWR72, Mesa & King, Mumbai Science, The Black Ghosts, Boy 8-Bit, House Syndicate, Sable Sheep, The Untouchables, NT89, Cause & Affect, John Roman, Headz Up, Attaque, Hoshina Anniversary, French Fries, Bot, Wretch 32, Happa, Keith & Supabeatz vs. Slap In The Bass, Douster, Funkystepz, Hot Pink Delorean, and Volta.


APOLLONIA: Fabric 70 CD (FABRIC 139CD) 16.00
Vibe brothers in the studio, DJ booth and life, Apollonia (Parisian trio Dan Ghenacia, Dyed Soundorom & Shonky) have cultivated a creative synergy that sees them connect and work as one artist. Always focused on the house groove, their style is "a meeting of black music and white soul." Fabric 70 twists and turns, with the trio constantly manipulating energy levels with masterful precision, injecting the energy and intensity of their live performances into the mix. Artists include: El Prevost, Trus'me, The Mole, Nail, Daze Maxim, Funk E, Dyed Soundorom, Eduardo De La Calle, Mood II Swing, John Ciafone, DeWalta, Frieder Klaris, Mazi, Môme, Tevo Howard, Philipp Boston, Masomenos/Ark/Cabanne, Grimes Adhesif, and Calisto.


FCR 1211LP

HENRY & HAZEL SLAUGHTER: Endless Power Cycle LP (FCR 1211LP) 23.00
"49 minutes of raw and crude rhythm-scaping noise-dub from Wolf Eyes' John Olson. The first vinyl presentation of John Olson's primitive basement techno unit, Henry & Hazel Slaughter's Endless Power Cycle is the beat of degradation. These are sounds of the roots of south-east Michigan musicians exploring electronics, which diverged into the distinct worlds of Detroit techno and circuit-bending outsider noise, brought back together here by this true home-state hero."



HEMMANN, MAREK: Bittersweet CD (FREUDE 009CD) 17.00
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.


GET 54043LP

GENIUS/GZA: Liquid Swords 2LP (GET 54043LP) 24.00
2013 black vinyl repress. "According to legend, when the Wu-Tang Clan formed like Voltron on their debut album in 1993, GZA happened to be the head--an appropriate place for a man also called 'The Genius.' Yet at the time few could have predicted that his 1995 masterpiece Liquid Swords would be considered 'one of the most substantial lyrical journeys in hip-hop history' (Chicago Tribune). At the peak of his powers as a producer, Wu-Tang mastermind RZA crafted the album's distinctive soundtrack at his basement studio in Staten Island; a haunting landscape of dusty samples, sharp snares and menacing urban gloom, with frequent interludes of dialogue from the classic Samurai flick Shogun Assassin. Cerebral, strategic and precise with his words, GZA crystallizes a range of influences--from chess to kung-fu films to mob flicks and Eastern philosophy--into sharply delivered rhymes. The album features appearances by the entire Wu-Tang Clan, and includes the auspicious debut of Killah Priest on 'B.I.B.L.E.' Acknowledged as one of the '100 Best Rap Albums' (The Source) and 'Top 100 Records of the 1990s' (, Get On Down is proud to present Liquid Swords as it was intended to be experienced, on double vinyl with audio remastered from the original source tapes and the original iconic cover artwork from DC Comics artist Denys Cowan." Includes poster insert.



PANTALEIMON: The Butterfly Ate the Pearl LP (GGM 009LP) 21.00
LP version. The Butterfly Ate the Pearl is the follow-up to 2008's remix and collaboration collection Heart of the Sun and features nine new tracks. Co-produced with Hugo Race, this album from Pantaleimon is another great collection of hypnotic, magical, and understated songs that Andria Degens has become known for, but with The Butterfly Ate the Pearl there is a more psychedelic feel and a real progression of sound and it is without doubt the most accomplished release to date. The multi-talented Degens not only provides vocals, but plays a diverse range of instruments and effects including distorted and delayed dulcimers, guitar, keyboard, Indian harmonium, bass, samples, loops, pedal board, FX, vibra, bells, tambourine, and sansula. She also brings together an array of eclectic musicians to elevate the dream -- Will Oldham (Bonnie "Prince" Billy), James Blackshaw, Otto Hauser (Vetiver), Jay Darlington (Oasis, Kula Shaker), and Steve Finnerty (Alabama 3), to name a few. The result is a cinematic soundscape, a journey through terrains both familiar and unknown, with her gorgeous and heartbreaking voice leading the way, sounding like nothing else around.


GF 006B-EP

DIE & JENNA G: 1000 Soul Songs 12" (GF 006B-EP) 12.50
Gutterfunk presents remixes of "1000 Soul Songs" from Die & Jenna G, both OGs of the original drum n' bass scene. Keeping the vibes rolling but with a harder edge, Breaks' super-crisp production is definitely heat for the clubs and raves. Jus Now takes the track down to 120 bpm, transforming the track into some sort of tribal house/soca monster. Already receiving massive support from all corners of the scene, from Goldie, Mistajam, and Skream to Chrissy Chriss, Trevor Nelson, and Norman Jay.


HH 001EP

THESE HIDDEN HANDS: Ivy (Vatican Shadow/Lakker Mixes) 12" (HH 001EP) 14.50
Hidden Hundred presents Tommy Four Seven and One Million Mangos Studio engineer and producer Alain as These Hidden Hands. "Ivy" is heavily informed by the romantic dystopia of mid-late '90s IDM and D&B's grander gestures. Vatican Shadow's remix charges the atmosphere with a more driving intent, rolling out with ruggedly offset kicks and jabbing hi-hats while keeping the funereal goth-techno ambience intact. Lakker provides a more broken, complex take with splintered drums and amorphous bass shapes. Edition of 300 individually numbered, hand-stamped copies pressed to clear vinyl.



BELLOWS: Reelin' LP (HOL 056LP) 25.00
"Third act for the duo composed of Giuseppe Ielasi and Nicola Ratti after their eponymous debut on Kning Disk and the acclaimed Handcut LP on Planam-Senufo (featured on the Wire list of the best releases of 2010). CDJ, Sony Walkman, Revox A77, and Memory Man are the perfect instruments to create labyrinthine meta-pathways through quietly convective thickets of acousmatic sound, from spacious clouds of fuzzy electronics verging on dub imprints to water-stained electronics reminding of BJ Nilsen & Stilluppsteypa's Space Finale and more fractal, decaying bleeps nudged and frayed with a beautifully tactile intuition. Originally released on CD by Entr'acte, here it comes in a deluxe LP edition with embossed lettering on the cover and printed inner sleeve." Edition of 250 copies.


ROCCHETTI, CLAUDIO: Pointless Vanishing Point 12" (HOL 057EP) 23.00
"Back on wax after a four-year hiatus, Claudio Rocchetti gives us a one-sider vinyl assembled at home, in Auerstr. 7, Berlin. Inspired by the work of Robert Smithson. Including a sample from Trilogie de la Mort by Eliane Radigue and some sounds provided on purpose by Al Doum, Von Tesla, and Stefano Pilia, Pointless Vanishing Point is a three-parted journey into the recurring environment of awkward sounds and slow frequencies interrupted by a distant sounding psychedelic interlude." Edition of 200 copies.


U.S. STEEL CELLO ENSEMBLE: Bitter Suites LP (HOL 058LP) 29.00
"Deluxe repress edition of this incredible masterpiece made out of two live performances of the U.S. Steel Cello Ensemble recorded in 1979 at The Showing Room in NYC and at Helen Shlien Gallery in Boston. The Ensemble performs playing large sheets of metal and producing amazingly droning sounds. These live recordings are the result of an evolutionary refinement of instrumental design and playing techniques which Robert Rutman explored and developed after a ten year period of practice. He invented the two only instruments played by the Steel Cello Ensemble: the Bow Chime - a six foot sheet of steel formed into a horizontal curve with an iron bar attached to the top corners of the metal sheet - and the Single String Cello - an eight foot sheet suspended vertically from a stand. This limited reissue has been released in occasion of Bob Rutman's 83rd birthday party concert at Cookies, in Berlin." Edition of 300 copies.


LES CONVERSIONS: Snowwhite LP (HOL 059LP) 25.00
"Second effort from this NYC trio composed by Jason Meagher (NNCK, Coach Finger), Pat Murano (NNCK, Decimus, Key of Shame), and Dave Shuford (NNCK, Rhyton) after their private press self titled LP released on Kelippah. An improvised ritual of metal percussion and electronic modulation recorded at Black Dirt Studio in 2012. As in previous NNCK and Decimus works there's a lot of buzzing drones and flickering electronics, just less haunting and more tripping. Nature boys gone electronic." Edition of 200 copies.


LETTERA 22: Physical Point 12" (HOL 060EP) 23.00
"Lettera 22 is the duo of Matteo Castro and Riccardo Mazza, two main characters in the Italian noise and experimental scene, building incredible collages of field recordings and abused dynamics. The lucky few who attended their live set at the Dome in London for the Broken Flag 30th Anniversary - where they caused a speaker stack to fall over, almost setting fire to it - saw their potential unleashed and knows what we mean by saying that they have an incredible control of the multi-layered texture they produce. Physical Point is a perfect demonstration of this skill, where the pair builds up a simmering tension made of captured sounds and hissing tapes, keeping a grip on it with the cold blood of a snake charmer." Edition of 200 copies.


THOMAS, JO: Mermaids LP (HOL 061LP) 25.00
"Mermaids includes four tracks composed and recorded in early 2013. The concepts of the work are built around freedom - expressed by the use of the audio 'glitch' - and unity framed in metaphors of water and transformation. All sound sources are mostly from the human voice. Jo Thomas is a London-based composer teaching sound design, composition and music technology at the University of East London. Her compositional work is primarily focused on the use of human voice, microsound, and technological artefacts. She has written electronic works in the studios of INA-GRM in Paris and EMS in Stockholm. She won the Golden Nica for Digital Music at Prix Ars Electronica 2012 for her work Crystal Sounds of a Synchrotron, and her album Alpha (Entr'acte) was nominated for a Qwartz 7 Award in 2011." Edition of 250 copies.



HOUSE OF BLACK LANTERNS: Kill the Lights CD (HTH 003CD) 15.50
House Of Black Lanterns is the brand-new project from Dylan Richards, formerly known as King Cannibal (Ninja Tune) and Zilla (Warp). Retaining the earlier influence of DJ Krust's sprawling drum and bass soundscapes, House Of Black Lanterns sees Richards develop his sound to incorporate the dub-inflected techno textures of Rhythm & Sound while nodding to the catchy, yet occasionally bleak floorfillers of Trax, all inspired by the modern noir visual style of Michael Mann. Featuring "Shot You Down," co-written by Alpines' Catherine Pockson, and vocals across the rest of the LP from Trinidadian emcee Juakali, Planet Mu's eccentric Rudi Zygadlo, Ghettozoid, and British singer/songwriter Leni Ward, Kill the Lights is dark but serene, with a beautiful range of tracks throughout. Houndstooth is the artist-led label from London's renowned Fabric nightclub and label. Mastered by MPG Mastering Engineer of the Year 2013, Matt Colton at Alchemy.


SNOW GHOSTS: A Small Murmuration CD (HTH 006CD) 15.50
Crafted from a shared interest of the odd folk nature of Britain and the resultant dark strangeness, Throwing Snow (Ross Tones) and Augustus Ghost (Hannah Cartwright) pool their individual inspirations, ideas and styles on A Small Murmuration, the first full-length album under their collaborative Snow Ghosts moniker. Sounding like the dreamchild of Massive Attack, Björk, Clubroot, and Zola Jesus, and including an appearance by man-of-the-moment Blue Daisy, their music is brooding and at times imposing, yet sweepingly majestic throughout -- Augustus Ghost's rich vocals balance perfectly on Throwing Snow's somber sonic creations. Ross' resumé includes playing the recent London date of Thom Yorke's Atoms For Peace project and joining Bonobo on his forthcoming tour, while Hannah comes from a songwriting background, having previously worked with Phaeleh. Mastered by MPG Mastering Engineer of the Year 2013, Matt Colton at Alchemy.


HH666 007LP

CONVERGE: Caring & Killing - The Early Years 1991-1994 2LP (HH666 007LP) 28.50
"For the first time on double LP, Caring & Killing collects early Converge material from 1991 through 1994. Completely remastered by Kurt Ballou, and featuring new artwork and design by Aaron Turner and Jacob Bannon." Comes in a gatefold sleeve.



ROZMANN, AKOS: Images of the Dream and Death 3LP (SOMA 016LP) 40.50
This recording is the fourth version of Images of the Dream and Death by Ákos Rózmann; revised at EMS/Elektronmusikstudion, Stockholm in 2001 for a performance in Essen. The first version was realized with Buchla synthesizer at the State Academy of Music, EMS/Elektronmusikstudion, Stockholm 1974-1977 (released on Phono Suecia as PS 27, 1986); the third version in April 1990 (released on Phono Suecia as PSCD 27, 1991). Images of the Dream and Death/Bilder inför Drömmen och Döden. "My intention in composing this work was, with the aid of sound, EMS, and the studio of the State Academy of Music in Stockholm between August 1974 and June 1977, to portray good and evil. I failed, however, to depict good 'idealistically.' The figures which I use here are always characteristic of deserted, anxious, weeping humanity. When I conjure forth the good in the introduction to a piece, other 'forces' soon make themselves felt. The beginning of the third movement, for example, reminds one of the sound of distant bells. These approaching impulses inspire peace and serenity, but all the alien elements which then reveal themselves stand in the way of 'development'; their impact is devastating. The sound of the bells becomes muddied, it is transferred beyond recognition and finally ceases. With my composition I seek to describe a process. The main emphasis is on the two contrary elements declaring themselves simultaneously, and on a scrutiny of the changes which occur when they interact. First movement: 'sounds' characterizing various 'types' (good and evil) -- cries, weeping, shrieks, growls, etc. -- occur at random and are linked together by noise, movements, beats, etc. Second movement: this portrays various forms of matter and various phenomena connected with our existence: a. earth b. water c. movement-energy. The structure of movements two and three is characterized by the different blocks accompanying one another. Each block is a fully worked-out unit, the meaning of which depends on the position it occupies in the development of the composition. Third movement: the 'sound types' from movement one now constitute different groups. Among them we find blocks denoting the good (e.g. the sound of bells) or evil (e.g. metallic rattling, violent blows, the knocking of wood-like objects). The antitheses discernible between the musical units are a new element." --Ákos Rózmann (from Nutida Musik nr. 3 1977/78) Ákos Rózmann was born in Hungary in 1939. He studied composition and took his organist's and composer's diploma at the Liszt Academy in Budapest. Between 1971 and 1974 he studied composition with Ingvar Lidholm at the State Academy of Music in Stockholm. He became organist of the Catholic Cathedral in Stockholm in 1978. Composed & produced by Ákos Rózmann. Vinyl cut by Rashad Becker at Dubplates & Mastering, Berlin, April 2013. Cover painting by Ferenc Füzeskuti. Rózmann's portrait by Per B. Adolphson. Liner notes by Jim O'Rourke and Mats Lindstrom.



VA: New Music for Old Instruments CD (INC 013CD) 15.50
Curated by Dutch composer/lutenist Jozef van Wissem, the New Music for Old Instruments festival took place all over the world: in Brussels, New York, Paris, Utrecht, Antwerp, and other cities. The idea was to rid traditional instruments of their clichés. When one thinks of a lute, for example, the Robin Hood image comes to mind of the player standing under a balcony serenading a lady and getting a flower pot thrown at him. In order to update the instrument, to make it mature and give it the recognition it deserves, one needs to put it in an entirely different and contemporary context -- denouncing audience expectations, for example, such as not playing the instrument in a classical manner, or by playing the instrument for over a minute in concert, making the audience the performer, albeit uneasy and claustrophobic. What else can be done? Early instruments can be processed on a laptop in many different ways, field recordings can be added, lute tablature can be performed backwards, baroque themes can be repeated without end -- the freeing up of these constraints seems endless. The idea is to drag the instrument out of the museum, out of the safe hands of a small group of specialists, and give it back to the people. The lute, of course, is only an example. There are other instruments like this which suffer from cliché: pedal steel, harpsichord, steel guitar, you name it. New Music for Old Instruments intends to liberate these instruments by updating them in non-conventional ways. Artists include: Heresy of the Free Spirit with Keiji Haino, Jon Mueller/Robbie Lee/Jozef van Wissem, Paul Metzger, Gregg Kowalsky, Susan Alcorn, Cameron Deas, C Spencer Yeh, Cian Nugent, Sharron Kraus, Stephan Matthieu, R. Keenan Lawler, and Urpf Lanze.


VAN WISSEM & JIM JARMUSCH, JOZEF: Apokatastasis CD (INC 016CD) 15.50
New material from the duo and new solo lute pieces. Acclaimed film director Jim Jarmusch plays electric and acoustic guitar and does tape on one piece. CD has duo bonus track not on LP: "Hymn to Earth." Composer/lutenist Jozef Van Wissem on 13 course baroque lute and 12-string electric guitar, Jim Jarmusch plays electric and acoustic guitars, and tape loops. Recorded in New York City.



E.M.M.A.: Blue Gardens CD (LDN 039CD) 16.50
Welcome to the colorful sonic world of E.m.m.a and her debut album Blue Gardens for Keysound. To the outsider it's perhaps not immediately apparent the connections between reference points such as, Coney Island and Rebel MC, or Encarta '96 and Delia Derbyshire but as you immerse yourself into E.m.m.a.'s vivid sound palette they begin to lead you down a winding path of fantastic vistas. Her story begins several years back: around '05 she was mostly absorbed in the U.S. rap of Big Pun, Fabolous, and Jadakiss before having a "what the??!" epiphany with Skream's Midnight Request Line. But from fairly well-trodden beginnings, her story quickly diverts into unexpected realms. She met Sully and began sending him the grime she'd been making, albeit with her own twist. While her interest in a quasi-humorous "Victorian grime" style would wane, a pattern of musical creativity driven by a vivid inspiration source was emerging. "American Nostalgia, Point Break, American high schools, bubble gum, picture houses, Coney Island, Hollywood, proms, Long Island, picket fences, boardwalks, Baroque tonality, Wendy Carlos, Delia Derbyshire, Jeff Wayne, Westerns, sci-fi, Spaghetti Western soundtracks, Encarta '96: genuinely these are in my mind," she explains. "I just think the idea of the monopoly the Encarta encyclopedia had on knowledge is ridiculous in the context of the present day. I'm not ashamed to say it's my muse." A few key happenings helped E.m.m.a. on her journey. Firstly by '08 she became baffled by the lack of melody in bass music, though she connected strongly with a small cluster of purple synth experiments from Rustie, Starkey, Zomby, and Joker. Secondly a guy called Adam heard her music at a party, and would then go on to encourage her production. His name was Adamski. He in turn introduced her to Rebel MC and legendary dub producer Adrian Sherwood. Adamski's impact would be to empower her to write in strange time signatures, such as 3/4 on "Dream Phone VIP." With Rebel MC she would collaborate on "Jahovia." E.m.m.a's sound was beginning to emerge. A 12" of "Dream Phone," a key contribution to Keysound's flagship This Is How We Roll compilation, a 7" of Jahovia (feat. Rebel MC) replete with a dub mix co-written with Wil from LV, not to mention her DJ debut at Fabric leads us to her debut album Blue Gardens featuring an exquisite collaboration with Sully. It positions her at the forefront of the emerging new wave of 130 BPM producers and yet also as a highly individualistic, fresh new talent for 2013.



GIASIRANIS, TASOS: Rhodes Dreamline CD (KLTMP 002CD) 17.00
Tasos Giasiranis has been involved with music in all its forms. Since 2000, he has been a radio producer at Rodos Radio 1 and his shows are broadcast in New York and Berlin. With his experience from being a DJ in the major clubs of Rhodes since the age of 19, as years went by Tasos Giasiranis created his own event-philosophy that paid attention to every detail from communication and marketing to location and of course, music. Surrounded by a unique team of professionals, he plans each event upfront, resulting in success. His famous projects "Starlight Club Mix," "Music Voyages," "Club Roots," "Love House Elements," and "Trade Mark Community," soon left the borders of the island and were hosted worldwide from Athens to New York. In 2008, he released his first CD compilation dedicated to Rhodes island. The idea was to promote his beloved birthplace through a unique project of elegant sounds. In 2012 he joined Klik Records compiling his Rhodes Terme Di Callitea project that travelled the world promoting the island's amazing vibe. June 2013 marks his return to life as a compiler with his newest and most elegant project so far, Rhodes Dreamline. Twelve tracks of amazing contemporary electronic. Featuring artists such as George Pallikaris, Cayetano, Georges Perin, Mikael Delta, Chris Nemmo, Th. Apergi, Ralph Myerz, Elias Tzikas, Hiroshi Watanabe, Ben Pearce, Chymera, Jakob Korn, Soda Inc., and Argy. Packaged in an oversized slipcase with 12 postcards.



VA: 20 Jahre Kompakt/Kollektion 2 2CD (KOMP 109CD) 15.50
Kompakt celebrates 20 years of tastemaking in all shapes and colors with 20 Years of Kompakt, the second entry in the Kollektion series -- a jam-packed follow-up to the hugely successful Kollektion 1 (KOMP 105CD/KOM 283LP). As with the first volume, the label plunged into their extensive archives and looked for personal favorites as well as certified bangers, dovetailing the new and the old, the rough stuff and the soft, funky noises and epic melodies. Although Kompakt cast a slightly wider net this time, you should consider every single track on this list a tried-and-true label classic, sounds that they think helped define what Kompakt is today. Take Closer Musik's achingly beautiful "Maria," for example: starting Kollektion 2 in this fashion means business -- Kompakt really couldn't be any clearer about the level of emotional investment and sheer musical quality they're aiming for here. Kollektion 2 is also a perfect opportunity to plug the first installment's gaping holes. Feeling a little bit like they were robbing Peter to pay Paul, Kompakt had to make some pretty tough choices when compiling Kollektion 1, such as the omission of a certain Jürgen Paape -- after all, Kompakt's reclusive giant is responsible for some of their greatest releases, such as the timeless house ballad "Wir Fliegen Soweit Wie Noch Nie" or floor juggernaut "Take That." Both tracks make a highly welcomed appearance here, alongside other fixtures in their label canon like Michael Mayer's "Pride Is Weaker Than Love," Lawrence's "Teaser," and Reinhard Voigt's "Robson Ponte." But there's more: in the secret weapons department, you'll find yourself treated to Steadycam's irresistibly tripping "Knockkneed," Shumi's epic "The Wind and the Sea" and Aril Brikha's driving "Berghain," just to name a few. The rat pack comes into the limelight, too, with Coma's "Playground Altona," Saschienne's "Grand Cru," and Walls' "Sunporch," representing those vital bouts of fresh air that every label needs in its roster. Never shy to branch out while caring for the roots, Kollektion 2 navigates 20 years of producing, releasing and dancing to electronic music. Other artists include: Terranova, Tomas Høffding, Schaeben & Voss, The Modernist, Whomadewho, Burger/Voigt, Peter Grummich, Superpitcher, Kölsch, Perc & Fractal, and Oxia.



WELLS, ORSON: Never Lonely No More 12" (PLAYRJC 026EP) 14.00
This is Orson Wells' first full-grown EP. Made by a Frankfurt kid with a mature sound signature, "Never Lonely No More" nods towards what once was and what could be one day. Chicago rhythm boxes merge with the fragile soundscapes of post-new wave modernists. Tangerine Dream's Krautrock utopia strays between drowsy house music bass lines. The whole thing feels like the soundtrack to Pretty In Pink if Akira Kurosawa would have directed it and held a release party at the Music Box.


MR 329LP

LOS SAICOS: Demolicion: The Complete Recordings LP (MR 329LP) 21.00
Repressed. LP version with a 12-page full-color booklet with extensive notes and unseen photos. "With only six singles released between 1965 and 1966, and from an apparently remote place such as Lima, Peru, Los Saicos created a raw, wild and visceral sound, the Southern Hemisphere equivalent of the garage rock that was coming out of the U.S. Northwest at the same time. Theirs is the same DNA shared by The Sonics, The Cramps and Black Lips. This release compiles all their recordings and tells their amazing story. This snarling maelstrom of nihilism was cut in Lima when the rest of the world was wetting itself over The Beatles, direct links to both The Stooges and The Cramps here and several more equally-enthralling combos. The latter spawned several generations of individuals who would dig deep to previously (mostly) unheard seams of music and other forms of culture that have since become part of the mainstream fabric. Another strong case of the same kind of happenstance to my mind is that which preceded the much-vaunted 'punk' explosion of the '70s." --Lindsay Hutton



"Third record on the Ninja Tune label featuring the vocals from the legendary Fontella Bass and a spoken word performance from Roots Manuva." Comes on 180 gram vinyl. Includes a download card.


NA 5055LP

HEWITT JAZZ ENSEMBLE, P.E.: Jawbones LP (NA 5055LP) 21.00
"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. Second in the series, Hewitt's first release Jawbones, a mix of modal and deep jazz that should appeal to fans of Pharaoh Sanders and Archie Shepp."

NA 5102CD

CHOP: Illuminate CD (NA 5102CD) 16.00
"Mr. Chop's debut EP for Now-Again in 2009, Lightworlds, drew together anthemic synth-rock, the jagged sound of Italian prog monsters Goblin, and musique concrète, with surprisingly accessible results. Since then, the artist known to friends as Coz Littler has rid himself of the Mister and returns with renewed focus for his first Now-Again full length release. The path that took him here was winding indeed. Isolating himself in his Cheshire, UK studio in late 2009, Chop decided to try his hand at the nearly fifty year old -- and rarely successful - quest to musically merge the organic and the electronic. Three years later, surrounded by hours of ideas, his music started falling into itself. Enter his friend Joe Fearon, A&R for the likes of Liverpool bands The Coral and The Zutons. With Fearon's help, Chop whittled down hours of recordings to a selection of the most inspired moments. It became clear that while each stood up on its own, they lacked a unifying theme. Chop discovered a solution in the processed sound of his own voice. And then everything fell into place: Heliocentrics drummer Malcolm Catto's rhythm tracks were edited off-the-grid until they became more Neu than James Brown, more driving than syncopated; Bill Ryder Jones from The Coral stepped in for the lead guitar parts, which lent a powerful psychedelic 60s rock sound to the proceedings; Chop repurposed a range of obsolete musical gear to renewed ends, in line with his desire to search for a future imbued with the innocence of the past. The result is Illuminate, an album equally inspired by the retro-futurism of the still-sputtering 19th century power station in Northern Wales, across the estuary from Chop's studio, the events of his life, and Chop's collection of hip-hop, disco, new wave and minimal synth records. Unsurprisingly, Illuminate traverses a number of moods. The jackhammer pounding of 'Building Blocks' segues into the moody but serene 'Picture Box'. The futuristic soundscape 'Arcane Future' takes an uplifting melodic turn, revealing Chop's hopes for a more perfect tomorrow. Though it's the most intellectual approach Chop has taken with his music to date, it retains a spontaneous feel throughout, and despite its technical accomplishments, Illuminate is Chop's most intimate and personal album yet."

NA 5102LP

CHOP: Illuminate 2LP (NA 5102LP) 25.00
Double LP version with download card.

NA 5117EP

GASLAMP KILLER, THE: Helio x GLK 12" (NA 5117EP) 13.00
"Gaslamp Killer is one of our favorite DJs and a big supporter of the Heliocentrics, recently saying that Heliocentrics producer and drummer Malcolm Catto 'is the reason I got into all of this shit.' That inspiration comes through in this mix of GLK re-edits of some of the best tracks from their new album 13 Degrees of Reality and the series of EPs that Now-Again will launch in 2014. He also mixes in some music from 60s ensembles that influenced the band."



DE MEY, YVES: Metrics LP (OPAL 025LP) 19.50
Brussels-based Yves De Mey's minimal discography belies his profound ability for sound design and narrative in electronic music. Previous releases on LINE and Sandwell District have blended techno and sonic art practices into an abstract landscape full of disjointed rhythm, cavernous depth and an enduring originality in his choice of sound. This 12" release on Opal Tapes consolidates those practices with a darker sonic palette than usual. "Box Caisson" opens side A with an ultra-deep shuffle through open circuitry, amp buzz and stabbing kick and bass line combination. Side B both brightens and darkens simultaneously as a stronger sense of melody is introduced on "Eye Splice," a cinematic cut evoking science/fact industrial work lines and gelatinous mid-range detailing.



VA: The Post Romantic Empire Album 2LP +7" (OSS 001LP) 58.00
Imagine gathering the dream-team of your most cherished musicians to re-record your favorite songs: Peter Hook, David Tibet, Annabella Lwin and Dave Barbarossa, Andrew Liles, Massimo Pupillo and many others, getting them together to record a novel, psychedelic, ultimate version of "Love Will Tear Us Apart"; or Roger O'Donnell of The Cure and Julia Kent performing their personal interpretation of the Shéhérazade story. This is The Post Romantic Empire Album: a dream embedded in a record. This album contains the story of an idea told by voices far apart: four composers (Roger O'Donnell, Baby Dee, Matt Howden, and Maja Elliott) were invited to re-write songs selected as potential archetypes of contemporary music. Each of them invited other musicians, and all the materials produced for each track has been harmonized and tuned, each by a producer (Roger O'Donnell, Andrew W.K., Andrew Liles and Matteo Spinazzè). PRE has been an organization for festivals and a concept label active between 2003 and 2012, whose aim is to explore the influence of Romanticism on music vanguards. By studying the cultural revolution that saved the soul of the Western world, by searching its footprints in the subcultures surrounding us, PRE has been able to propose a synthetic and open definition of Romanticism: here and now everything is romantic, even what pretends not to be so. This is a polyphonic document composed by a double LP and one EP, revealing the common matrix binding Nikolaj Rimsky Korsakov to Joy Division -- because what remains after almost 10 years of activities are mostly the connections among artists coming from different music scenarios. Making The Post Romantic Empire Album real entailed becoming a meeting point, a shared liminal space, for 26 artists (and a children's choir) spread all over the world, each with his own, different, specific rhythm and working method. Featuring Roger O'Donnell (The Cure), Julia Kent (Antony And The Johnsons), Maja Elliot (ex-Current 93), Gitane Demone (ex-Christian Death), John Contreras (ex-Current 93), Pueri Cantores Regina Nivis choir, Matt Howden (Sieben), Peter Hook (Joy Division and New Order), Nat Wason (New Order, The Light), David Tibet (Current 93), Annabella Lwin (Bow Wow Wow), Dave Barbarossa (ex-Bow Wow Wow), Vin Cassidy and Larry Cassidy (Section 25), Massimo Pupillo (ZU), Andrew Liles (Nurse With Wound), Baby Dee (Current 93), Little Annie Bandez (ex-Crass), Matt Sweeney, Matthew Robinson, Skip Shirley, Sarah Alden, Robbie Lee, Sarah Nowicki, and Andrew W.K. The double LP (33 rpm) is printed on black vinyl with an embossed cover, printed inner sleeves and two inserts. The 7" (45 rpm) is printed on white vinyl with an embossed hand-made cover and two inserts. This first and only release of The Post Romantic Empire Album is limited to 1,000 copies.



BECKER, RASHAD: Traditional Music of Notional Species Vol. I LP (PAN 034LP) 25.50
In the vast world of electronic music, where sounds, signifiers and gestures are recontextualized to a numbing degree, it is increasingly rare and refreshing to encounter a release as perspective-distorting as the debut full-length release by Rashad Becker. The album is a masterpiece of focused, non-referential electronic environments. It is both warm, alien, paranoid and exhilarating. Sounds are stretched in the most unusual manner, foreign bodies are frequent and the structure is simply bewildering. Split into "Themes" and "Dances," the eight tracks guide the listener through Becker's brave new world. Despite being entirely synthetic, there are sounds which appear like a distortion of the world around us, on occasion "voice-like" sounds are present, elsewhere there appears the sound of cicadas, only these cicadas are made of mercury and swim through time. The end result is beautiful in a way only a unique work of art can be. PAN is proud to present the outside from within. Mastered and cut by Becker himself at Dubplates & Mastering, and pressed on 140 gram vinyl.



SYNTAKS: Nachtblende CD (PARALL 021CD) 16.50
2011 release. Hailing from Denmark, Syntaks aka Jakob Skøtt and Anna Celilia's previous releases with record labels like Benbecula, Darla, Ghostly International, and Morr Music have all been great pieces of musical works in themselves and so are the musical projects they been involved in with, such as the likes of Jonas Munk of Manual, etc. This latest offering on Parallax Sounds Records is perhaps the broadest ranging Syntaks album to date. It is a massive effort in terms of both style and length, cultivated over a range of a few years. Nachtblende is the fully-realized scope of two Danish lover's vision -- a vision far removed from the minimalist design and grey skies of Scandinavia. On the masculine side you got your wall of feedback guitars, swirling arpreggios and dead-pan, dusty beats -- all rising, crackling and disappearing into the hemisphere. But what brings the creative counter-spark is the muted piano, haunted acoustic guitar-picking and wordless soprano sighs of Anna Cecilia. If making picturesque or cinematic music seems like a concept of the past, Nachtblende is an attempt to rewrite history on its own terms. Forging a gap between overdriven circuitry and minimalist ambient repetition, Nachtblende moves through the past 30 years of music on its own unique path. Drawing on the milestones of Brian Eno and Steve Reich, as well as the Bibio/Takoma-styled folk guitar-playing, the ambient textures of Syntaks doesn't stop there -- film composers Ennio Morricone, Popol Vuh and John Carpenter flutters through the sonic architecture of the album as well. And then there's the full scope of multi-layered psychedelic pop and Kraut-rock as well as the muffled shoegaze-esque cacophony of sounds, so expect similarities to artists like Boards Of Canada, Cocteau Twins, M83, My Bloody Valentine, Seefeel, Slowdive, Ulrich Schnauss, etc. In the end, everything is forged together in a phat, inseparable synthesized mix that is as delicate and fragile as it is dense and ear-shattering. The seemless mix of the turbulence on the surface and the pressure from the bottom is what makes Syntaks an uninhibited display of vibrant emotions, conjured by its creators' inner lives.



VA: Piccadilly Sunshine Part Thirteen CD (PART 4027CD) 17.00
Subtitled: British Pop Psych and Other Flavours 1967-1970.. Serving to embrace the floral heavens of British pop from a time that was and never shall be again. This latest installment celebrates the obscured artifacts of illustrious noise that emerged from the Great British psychedelic era and beyond. A flower-powered trip through a momentary place where kaftans, beads and painted faces slip barefoot through the fields of Berkshire and delicious sounds adorned everyday life to paint the world in luminous wonder -- or was it all just a technicolor dream? Piccadilly Sunshine Part Thirteen presents a healthy dose of hocus pocus with 20 long-forgotten pearls of magical pop for your listening pleasure. Includes a 16-page booklet with comprehensive liner notes, and rare color photographs. Digitally remastered. Artists include: The Secrets, Mud, Jet Harris, Christopher, Cain, Richard Henry, Paper Blitz Tissue, Billy Boyle, Concords, Washington DCs, The Guys, Octopus, The Young Idea, C.M.J., The Decision, Ramases And Seleka, Bill Niles, Money, David Symonds, and Peter Collins.


VA: Portobello Explosion CD (PART 4028CD) 17.00
Portobello Explosion: Collected Artefacts of Illustrious Noise 1965-1970. Swinging Mod sounds that ruled the world. Portobello Explosion captures the definitive soundtrack to London's 1960s music scene. A colorful explosion of mod pop euphoria and R&B cool echoed from rare and obscure singles. This collection defines an era of attitude and energy that has remained a heady influence over its teenage contemporaries. After digging through the Rubble in a Perfumed Garden, drinking Chocolate Soup for a Sugarcube Flashback, it's finally time to put some fuzz in your freakbeat, so hold on. Includes a 16-page color booklet with comprehensive liner notes and rare color photographs. Digitally remastered. Artists include: Clayton Squares, The Feet, Thane Russell, Roger Young, Him And The Others, Richard Kent Style, Scots Of St. James, The Bunch, The Gods, Rosko, Oscar, Edwick Rumbold, The Answers, The Wards Of Court, Twinset, Charles Dickens, O'Hara's Playboys, Roger James Four, Thane Russell And Three, The Executives, The Nightriders, Transatlantics, and Tony Wilson.


ASH 3003LP

SILVER APPLES: Silver Apples LP (ASH 3003LP) 31.00
2013 repress. Limited edition deluxe LP format, pressed on 180 gram virgin vinyl; housed in a deluxe gatefold foil sleeve containing the insert from the original release. The self-titled first album by '60s electronic legends Silver Apples, originally released by Kapp Records in 1968. Fresh off their stint as The Overland Stage Electric Band, Simeon and Dan Taylor formed their own extravagant, two-man electronic space-odyssey, Silver Apples, to remarkable critical acclaim. "What's so amazing is that they make absolutely mind-shattering music with all this junky equipment," commented one reviewer, astounded over the then-mindbending concept of build-it-yourself electronics combined with rock drums. The debut album features lyrics by poet Stanley Warren and is an absolutely essential piece of musical history from electronic/psychedelic/rock music's ground-breaking legends.


AMB 1314LP

SHAH, NADINE: Love Your Dum and Mad LP+CD (AMB 1314LP) 20.50
LP version with CD. "Debut album from singer songstress Nadine Shah, recorded with and produced by Ben Hillier (Blue, Depeche Mode, The Horrors). Eleven tracks imbued with an understated unease, and a deep personal connection."



UNKNOWN: Shimmy Sham Sham 05 12" (SHIMMY 005EP) 12.00
Shimmy Sham Sham delivers the fifth installment in its ongoing celebration of classic funk and disco. On one side you have a focused disco-burner that works some flamboyant chops of vocal over sharp guitar licks while keeping the groove simmering at all times. On the flip, a more loose, jazz-powered collage blossoms around a central double-bass hook, letting organic smatterings of percussion, laconic saxophone, emotive strings and all manner of other atmospherics unfurl into the mix at will.



MOOD II SWING: I Need Your Luv/Penetration 12" (CORE 092AB-EP) 11.00
"Mood II Swing are giants of NY metro area club culture. On calibre with heavy-hitters like Masters At Work and Blaze, Lem Springsteen and John Ciafone's output boasts the bejeweled crown of deep house supremacy, spanning from the early 1990's to the latter part of the decade, molding and modelling a sound painstakingly tailored to the vanguard of minority and transgendered club scenes, pre-purge New York. One of their first and most explosive claims to the throne was 1992's 'Wall of Sound' EP, a no-prisoners-taken masterpiece with the confidence and cockiness of two producers just out the gate and fully assured of their total domination of the craft. 'I Need Your Luv' is, to this day, the indisputable measuring stick of cunty club tracks, opening as the curtain lifts with the outpouring of one fierce ruling diva, quickly picking up force in a storm of wide swinging-drum programs, punching bass drives and sparse, splitting synth stabs, all punctuated with unyielding vocal cut-ups and yearning cries. On the flip, 'Penetration' delivers the same expert method, albeit with a more abstract, dreamy air about it, a bumping, endlessly ascending standard of the vocal-sample driven deep house track of the early 1990's, constantly building and morphing in its deceptive complexity. Brilliant, timeless and time-defying, 'I Need Your Luv' & 'Penetration' have finally been reissued for the first time since their original debut 21 years ago, the latest feature in Slow to Speak's ongoing CORE series, a testament to the formative years of NY house lore."



MERIDIAN BROTHERS: Devocion (Works 2005-2011) LP (STAUB 128LP) 18.00
LP version. For the first time officially available outside of Colombia, Bogota's Meridian Brothers present on the Staubgold label a delightfully surreal and playful compilation of their works from 2005 to 2011. Devoción (Works 2005-2011) features the best moments of three albums which previously have only been released on the local Colombian La Distritofónica label. Traditional instruments, electronics, and distorted vocals are dragged through an array of influences to create a world that is as original as it is unclassifiable. Straddling the line between new and old, the Meridian Brothers' mischievous blend of Latin rhythms and psychedelic grooves is the creation of Eblis Álvarez, one of the key figures of the experimental music scene in Bogota. As with all of the Meridian Brothers' releases, every instrument on Devoción (Works 2005-2011) was played and recorded by Eblis himself. A true avant-garde guitar player and composer, he also plays in Mario Galeano's band Frente Cumbiero and was one of the 42 musicians involved in the recording of Ondatrópica. A real musical maverick, labeled a genius by his contemporaries in Colombia, Eblis Álvarez and his Meridian Brothers finally get the full, worldwide attention they deserve. The Meridian Brothers started back in 1998 with Eblis Álvarez experimenting with alternative ways of playing instruments and electronic media. Heavily influenced by Latin rock (Argentinean in particular) these early recordings were distributed by cassette on the underground music market in Bogota. It was in 1999, after joining Mario Galeano's Ensamble Polifónico Vallenato that Eblis first became interested in the tropical music of Colombia and began working these new influences in to the Meridian Brothers. Another key period in his development was his time spent in Denmark at the Royal Danish Academy of Music and the DIEM (Danish Institute of Electronic Music). It was during this stage that Eblis started using more sophisticated and intricate techniques in both electronics and signal processing. Eblis returned to Bogota in 2008, joining a burgeoning music scene with cumbia, salsa and currulao all being explored by a new generation of Colombian musicians. 2009's Meridian Brothers VI goes deep into tropical sounds of the '60s and '70s in Colombia and integrates other influences such as highlife, Ethiopian music, surf and Peruvian and Colombian cumbia. It was around this stage that Meridian Brothers made their first appearances as a live band with Damien Ponce (percussion), Maria Valencia (clarinet, saxophone and synthesizers), Alejandro Forero (keyboards), Cesar Quevedo (bass) and Eblis Alvarez (vocals, guitar and electronics). In 2011, Meridian Brothers VII was released. The sound of this album returns to Latin American rock influences as well as champeta experiments, jazz, cumbia, and tropical. Distorted sounds, electronic changes in voice, obscure surf guitar and randomly-changed sampled percussion all collide head-on. Two tracks from this record were released on 7" by New York label Names You Can Trust in 2012. Recorded in 2012 and released by Soundway Records in London, Desesperanza is dedicated exclusively to salsa and tropical music, twisting it through a dark and theatrical soundscape without abandoning traditional aesthetics.



KELOMPOK KAMPUNGEN: Mencari Tuhan LP (STRAW 007LP) 30.00
LP version. "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."


SA 004CD

ZEITGEBER: Zeitgeber CD (SA 004CD) 17.00
Zeitgeber is a German word that, loosely translated, means "synchronizer." It's also the new project of Electric Deluxe head Speedy J and Stroboscopic Artefacts' boss, Lucy. Both artists make some of the most forward-thinking techno around, but Zeitgeber sees them pushing together even further into uncharted territories. Freed of dancefloor considerations, the duo have constructed an album that breathes with life and rewards close listening. That's no surprise when you consider the artists involved. Speedy J has been around from techno's very beginnings. Based in Rotterdam, his Electric Deluxe label has consistently released techno that has gleefully tugged at the constraints of the genre. Lucy, on the other hand, is a newer name to most techno fans, but his Stroboscopic Artefacts label has quickly made a name for itself as one of the leading purveyors of the stuff. You'd expect nothing less from two of the most talented producers in the techno world. The culmination of 18 months of work, Zeitgeber is an album that is a collaboration in the best sense. Two artists urging the other to new heights and new sounds.


SR 369CD

NOVI_SAD: Neuroplanets CD (SR 369CD) 15.50
New Series Framework is an extension of Sub Rosa's Concrete Electronics Noise, a mix-up of unusual conceptions of sound material by young unknown composers, well-known not-so-young composers and old and clever composers. Limited editions. Neuroplanets is a project which explores the aesthetics of information on sound. Initially based on multiple ways of audio analysis in rare sonic phenomena taking place on other planets, this project has been developed and executed by applying data and numerical elements from neurosciences, on tracks commissioned from BJ Nilsen, Daniel Menche, Francisco López, and Mika Vainio. Neuroplanets is the follow-up to Inhumane Humans ((SR 301CD). "Novi_sad is the mutated body that stands on the tips of its toes to look over a wall of white noise. It reaches the edge, almost getting a glimpse of what is on the other side. It almost sees. And when it almost sees, then it hears. And when it hears, it hears the sudden attack of static. And as it hears it looks: the sky is static and falls like a sonic ceiling collapsing on its sole inhabitant: Novi_sad. Novi_sad is the sound of the shadow of the body that faces the wall of sound. The mutated body steps back from the wall. It is not a wall, it is a mirror. The mutated body looks at itself. It sees: an open mouth that is shouting to itself and is not heard, it sees closed ears bleeding that do not hear. It says: lift sonic ceilings up over my head, push them up over the sky, as far as my arms can reach, as far as my eyes can see. I will hear, I will here." --Thanasis Kaproulias

SR 370CD

Sub Rosa presents another edition in their Framework series -- an extension of their Concrete Electronics Noise, featuring a mix-up of unusual conceptions of sound material by young unknown composers, well-known not-so-young composers and old and clever composers. Limited editions. "I had heard so much about the machine created by Daniel Aspuru that my curiosity turned to desire. The transductor eolico is not an easy item to move around, and as there were no concerts on the horizon, I decided to follow my intuition and invite Steven, Daniel, and Manrico to spend some time in La Perrera, located in my house in Oaxaca, Mexico in order to experiment with the TE and eventually produce material for a record. During this 10-day residence, La Perrera was transformed into a recording studio and my home into a sound laboratory. There was no budget for this project but there were friends and accomplices to whom we give our sincere gratitude." --Gabriela Leon (co-producer). "To fully appreciate the nature of this instrument, I invite you to listen to the track 'Living Pillars,' a solo performance by the Eolic Transducer where Gabriela's garden is transformed into a temple of transcendental wonderment." --Steven Brown



FOXX & JORI HULKKONEN, JOHN: European Splendour EP CD (SGR 024CD) 10.00
John Foxx and Jori Hulkkonen have collaborated on a new EP, featuring four brand-new songs, two remixes by film-director David Lynch and a radio edit of the exquisite lead track "Evangeline." The other songs -- "Strictly," "Something Is Coming Down the Avenues," and "Can't See You Anymore" -- are as dream-like and strange as anything in either artist's catalog. For Foxx, the closest reference would be his 1981 album, The Garden but the surrealist feel of the new material is more displaced and dislocated. There's a strong sense of melancholy, loss, destruction, and also romance. Perfect material for David Lynch to reinterpret and re-imagine, quietly stretching out "Evangeline" with the sound of surf, a drum machine heartbeat and the twang of a '50s guitar. It's a beautiful, evocative remix and a shimmering instrumental version. Foxx, who wrote all the lyrics, describes the EP as a "Lynchian love story set against the background of a convulsed Europe -- where New York is the capital of France, Rome has moved to Manhattan and declared itself a republic, and new neon Blackpool has outstripped Las Vegas and London as the playground of Sino-Russian oligarchs." Adding to the sense of mystery, Foxx goes on to say: "It's based in a Eurozone where dark forces insinuate the cafes, alleyways and, penthouses." The artwork is by Bowie collaborator Jonathan Barnbrook, with the cover featuring a new sculpture by Foxx. Film icon remixes. Musician sculpts. Hulkonnen's career is as diverse as anyone. This is the world of European Splendour.



GHOST OUTFIT: I Want You to Destroy Me LP (SWAYS 020LP) 23.00
LP version. This is the debut album by Manchester duo Ghost Outfit and the first full-length release from the Sways label. While other duos/bands strive for "stripped back," Ghost Outfit opt for layers of wild guitar, industrial drum rhythms, relentless grooves, restless drones and innovative ambience. It's a record of schizo-fi intensity, straddling the line between melancholia and euphoria, melodic pop and teeth-grinding white noise. Combining an appreciation for late '80s/early '90s bands The Cure, My Bloody Valentine, Throbbing Gristle and Sonic Youth, with the modern omnivorous approach of bands such as No Age or Deerhunter, the unexpected, unconventional quality of the album is only further enhanced.


TR 255LP

HELLSONGS: These Are Evil Times LP+CD (TR 255LP) 22.00
LP version. Comes with a CD copy of the album. In 2011, a most sudden strike of serious illness suddenly ended a very nice era for Swedish lounge metal band Hellsongs. During the first half of 2011, the only moment of joy was the last waltz, celebrated with the Gothenburg Symphonic Orchestra. This, Hellsongs' final performance with their former singer, was recorded and later released as Long Live Lounge (TR 225CD) in 2012. Luckily, Hellsongs had signed up with an extremely nice and supportive label in 2009, Tapete Records. The staff in Hamburg kept cheering and soothing, insisting that there must be thousands of singers in Gothenburg with a fever for the road. In May 2011, Kalle started working with an outtake from the Minor Misdemeanors (2010) album. His feeling was that there was something good in it, it just needed a new treatment. The idea was to release "Stand Up & Shout" for free, as a tribute to Ronnie James Dio (R.I.P.) on the anniversary of his passing. While working with it, he started thinking about the vocal duties and then came to think of My Engström Renman. They had both been acquainted since the days when Kalle worked at the kindergarden where both of My's kids attended. My was very happy to record some vocals for the track and they had a great time in the studio. During that summer, when more and more requests for live shows came, the idea of doing these with My presented itself. One show was played at the legendary Sommarmelad Fiesta in Gothenburg (with David Bäck on keys and Finn Björnulfson, of Håkan Hellström fame, on percussion) and it felt like things were starting to fall into place once again. Hellsongs spent both spring and summer on the road to much acclaim. Clearly, it was time to begin work on a new album. When listening to These Are Evil Times, you will hear Hellsongs sounding like the band always have, but you will also hear Hellsongs sounding like never before. When recording these songs they wanted to do so with a queer attitude, musically speaking -- not bothering about the correct way to dress them, or how they would fit into the old Hellsongs discourse. In the past they have consciously limited themselves, with great result, but this time they wanted to do something different. Beware, because here comes the full drum kit, here comes a song in German and here comes a song about long-gone and dead anarchists in Chicago. Thrown away is the old testament of lounge, please welcome the new gospel.

TR 263LP

MEN AMONG ANIMALS: Buried Handsome LP+CD (TR 263LP) 22.00
LP version. Comes with a CD copy of the album. Men Among Animals from Denmark present their third album Buried Handsome. Since the release of Run Ego in 2010, the band has undergone perceptible changes. Formerly a quintet, the band now only holds three members, making their music more minimalistic, well-reflected and harmonic. The album was recorded in Janus' family summer cottage by the Danish west coast. The band ate splendid home-cooked meals and drank good beer, they listened to bands like Menomena, Vampire Weekend, and The Antlers and jammed 'til the early morning. It was in the middle of summer, the sun was shining, and birds were singing. In fact, the lead vocal recordings for "When You Smile" unintentionally caught a blackbird singing, which is now an integrated part of the song, giving the song a bit of extra warmth and depth. Where Run Ego was experimental, inquisitive, and bold, Buried Handsome is much more euphonic and mellifluous. Relying on the lax and melodic sounds of the sixties, the music smoothly captures the mood of a late summer evening. The lyrics are graphic, sharp and subtle, and together words and sounds define and fulfill the aesthetic melancholy that Buried Handsome is all about. Since the release of their debut in autumn 2007, Men Among Animals toured from the most southern part of Europe to the most northern. They've played Spain, Norway, England, Belgium, Holland, Switzerland, Germany, and Denmark, including festivals Festival Placa Odisea in Barcelona, Reeperbahn in Germany, Roskilde Festival in Denmark, By:Larm in Norway and many more.



J:KENZO: Dubstep Allstars Vol. 11 CD (TEMPA 022CD) 15.50
Eleventh volume in Tempa's prestigious Dubstep Allstars series -- the original dubstep compilation series. The only dubstep compilation to contain real dubstep tracks by the best current artists, and road-tested by real dubstep DJs -- contains no dubstep remixes of pop songs. Mixed by one of the most prolific producers in the scene, J:Kenzo, who is a regular host on Rinse FM and who has toured in recent months in Japan, North America, and Europe. Packed with exclusive tracks from labels like Metalheadz, Exit Records, and Shogun Audio. Four exclusive tracks come from J:Kenzo's forthcoming Bloodlines EP on Tempa. Over the last few years, a series of acclaimed releases through Tempa, including his 2012 self-titled debut album, have established J:Kenzo at the forefront of a growing wave of new dubstep producers. His Dubstep Allstars Vol. 11 offers a fresh perspective on the genre -- a vision of dubstep still defiantly focused on physical impact and sonic experimentation. The mix opens with a call-to-arms, as the technoid percussion of Kryptic Minds & Killawatt's "Cunning Juncture" explodes into AMIT's aptly-titled "Don't Forget Your Roots." Its dub-infused sound pays homage to the genre's earliest incarnations while also hinting toward new innovations to come. The diversity of Kenzo's selections shows off the variation present within this growing scene -- all manner of influences are present, from techno and ambient music to drum and bass, two-step and grime. Indeed, many of these new producers cut their teeth in other genres before finding that dubstep offered an ideal shared space within which to experiment. The mix contains four brand-new, as-yet-unreleased tracks by Kenzo, each of which takes a drastically different approach -- from the beautiful, Blade Runner-esque synths of "Enter Valarak" to the ultra-percussive whirlwind of "Ricochet." These four tracks will be released on the Bloodlines EP, available on 2x12". "With this type of music you have to forget about big synth lines or obvious uplifting styles, you have to just go in there and just absorb it," enthuses Kenzo. "All the tunes are tried and tested, they work on a sound system, some of the bass lines will take your head off. For this mix I wanted to encompass the emotion of the tracks and their heaviness as well." Other artists include: Rani, Kaiju, Flowdan, SP:MC, Jubei & Consequence, Ulterior Motive, Skeptical, Ipman, Thelem, Asylum, TMSV, Sleeper, Icicle, LX ONE, and DJ Madd.


KILLAWATT & IPMAN: Darkplace/Sur Place 12" (TEMPA 079EP) 11.00
First discovered by dubstep DJ and label owner N-Type in 2011, Killawatt's productions have found homes on N-Type's own Wheel & Deal Records, J:Kenzo's Artikal, and most prominently on Kryptic Minds' Osiris Music imprint. Darkplace/Sur Place, produced with regular collaborator Ipman, is Killawatt's debut release on Tempa. Featuring his signature intricate rhythmic textures and unwavering half-step bass pressure, "Darkplace" is a bold statement of intent. "Sur Place" is a techier 4/4 production, its hybrid techno rhythms guaranteeing the track will cross over all dancefloors.


J:KENZO: Eyes Wide Open (feat. Rhianna Kenny) (Remixes) 12" (TEMPA 081EP) 11.00
Arguably the stand-out vocal track from J:Kenzo's self-titled debut album, released in 2012 on Tempa, "Eyes Wide Open" boldly showed off dubstep's ability to be a uniquely flexible form of music. Its half-sung, half-whispered lyrics and descending arpeggio turning oceanic half-step into a deep vocal track, equally at home in headphones, on late-night radio or cutting through the crowd at FWD>>. Assembled on this remix 12" is a 170 bpm reworking from dBridge, and a meditative remix by scene mainstay Youngsta, in collaboration with Metalheadz' Jubei.



FOUR TET: Kool FM 12" (TEXT 024EP) 12.00
"Kool FM" is the first single from Four Tet's full-length Beautiful Rewind. Includes the "Bliss Mix" on the B side.



MERZBOW: Grand Owl Habitat LP (RAVE 004LP) 20.00
For The Death Of Rave, Masami Akita aka Merzbow submits two petrifying pieces of psychedelic, technoid sturm und drang. Harking back to the feral attack and pulsing rhythmic disciplines of his early work (recently collected on V-o-D's excellent Lowest Music & Arts 1980- 1983 box set), the howling 12-minute pummel of A-side "Grand Owl Habitat" appears on vinyl after release on Handmade Birds' Dark Icons series. An ecstatically abusive, furious maelstrom of colored noise is rail-eroded by a pistoning undercarriage that sounds like it careened out of mid-'90s Berlin into a noise-techno receptive 2013. The intent behind it is meditative malevolence, seeking to dilate and masticate mind and body to euphoric effect. The three-part, 20-minute B-side, "Obusuma" is exclusive to this release. Here, the roiling bass patterns are initially submerged, consumed by virulent squall and piercing, frightening frequencies in part one, before the lurching, elliptical chug surges forth to struggle against the consumptive, polymetric oscillations which rain down without remorse, culminating a final battle of apocalyptic sensation between primal pulses and convulsive noise. It ain't for everyone, that's for sure, but the most fearless DJs and those with a high tolerance for Alberich, Maurizio Bianchi, the most extreme L.I.E.S., Whitehouse or Prurient are urged to get a fix. Mastered and cut by Matt Colton at Alchemy.


WIRE 355

WIRE, THE: #355 September 2013 MAG (WIRE 355) 9.50
"On the cover: Young Echo + Livity Sound (Rory Gibb goes west to meet the movers and shakers of Bristol's post-dubstep underground, encountering the low frequency traders of the Young Echo and Livity Sound collectives, DIY activists advancing the cause of bass music via a mess of white label vinyl pressings, marathon radio sessions, cassette releases, sound system jams and online zines). Features: Kazuo Imai (Alan Cummings goes east to meet guitarist Kazuo Imai, former Taj Mahal Traveller, and the focal point of Japan's most enigmatic experimental music collective, Marginal Consort); The Primer: Cabaret Voltaire (Keith Moliné goes back in time to essay a Primer on the sprawling recorded legacy of Sheffield Industrialists Cabaret Voltaire, tracking their development from Eno-obsessed garage punks to mutant House breakers); Invisible Jukebox: Christina Carter (The Charalambides singer and guitarist picks apart The Wire's mystery record selection). Plus all the (un)usual news, views, reviews and more from the heart of the global new music network."


TEG 74001CD

WATERS, MUDDY: ''Unk'' In Funk CD (TEG 74001CD) 15.00
"'Unk' In Funk, Muddy Waters' 1974 release, saw the Chicago bluesman further building on the electric blues of albums like Electric Mud (1968) and After The Rain (1969). It would be one of the last collections of original material that Waters would record with Chess Records, after a nearly 30-year association with the label. The record included a core line up of famed blues players who would remain Waters' backing band for the duration of his career, featuring Pinetop Perkins on piano, (Earl Hooker) Luther Johnson (The Nighthawks) and Bob Margolin on guitar, Calvin 'Fuzz' Jones on bass, (The Legendary Blues Band) and Willie 'Big Eyes' Smith on drums, (Bo Diddley, John Lee Hooker) with additional guest appearances by George Buford, Paul Oscher (Louisiana Red), and Carey Bell (Willie Dixon) on harmonica. Even at the age of 61, Waters sounds at the top of his game on 'Unk' In Funk. His booming, powerful blues vocals dominate the album's fuzzy, electric orchestration. Overhauled versions of Waters classics like 'Rollin' and Tumblin'' and 'Just To Be With You' sound fresh as ever, and newer tracks like 'Katie' and 'Waterboy, Waterboy' are classic and organic additions to Waters' discography. Overlooked and underrated in its time, 'Unk' In Funk is a pinnacle album from Waters' catalog."


UY 070X-EP

KINK & SIERRA SAM: My Space 12" (UY 070X-EP) 12.00
One wants to collect beautiful things. This is also the case with the Pascal Hetzel remix of KiNK & Sierra Sam's "My Space" (feat. Hollis P. Monroe & Overnite). You won't get that one digitally, not on tape, DVD or on Blue Ray. Up for grabs 'til the stock is gone -- 200 copies only. One-sided release.



ITURRALDE, PEDRO: Jazz Flamenco 1 & 2 CD (VAMPI 154CD) 16.50
Pedro 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. Liner notes by genre expert Javi Bayo.


VG 005CD

CORKER, ADRIAN: Raise CD (VG 005CD) 14.50
With a background in electronic music, experimenting with samplers and varied live instruments during the '90s, Adrian Corker also developed a parallel career developing film scores. Interested in the way changes in different spaces affected the recordings and performances, Corker chose to record in numerous locations from his local pub to Valgeir Sigurðsson's legendary Greenhouse Studios in Iceland. Raise combines tranquil moments of expansive beauty, gentle piano and subtle strings and synths with surges of ominous force, resulting in a work that is replete with emotion, curiosity, and humanity. For fans of Nico Muhly, Ben Frost, Stars Of The Lid, Winged Victory Of The Sullen, and Fennesz. Features performances from The Elysian Quartet, Lucy Railton, and members of The Portico Quartet.

VG 005LP

CORKER, ADRIAN: Raise LP (VG 005LP) 20.00
LP version. 180 gram deluxe heavyweight vinyl. Pressed at Optimo, Germany. Comes with an MP3 download code.



BURNING: Noches de Rock & Roll LP (MRSSS 035LP) 25.00
"At last, legendary Spanish rock band Burning's fifth album becomes available after nearly three decades when it was almost impossible to get hold of in good condition. This hidden gem is rescued here with great sound and packaging. Burning, already icons of Spanish rock, had just practically split in half. Toño, their charismatic singer, told his partners Pepe Risi (guitar), and Johnny Cifuentes (keyboards) that he was moving to Bilbao and planning to launch a new musical project. Manolo, the bass player who had replaced the band's founder, Enrique Pérez, would leave with him. For some of their followers, here's where the band, weakened by hard drug abuse and lack of personal harmony, ended. For Pepe and Johnny, it was the opportunity to keep Burning alive and show that they were capable of writing and performing material which matched what was expected from them. Along with them stayed Miguel, their own Bobby Keys, preserving their passion for street rock, that mixture of sweetness and cocky attitude they commanded so well. Their visit to the Sonoland studios produced nine excellent tracks, starting with the catchy 'Esto es un atraco,' the frenetic album closer 'Nena' and 'Una noche sin ti,' possibly the best song they ever wrote. There were jail tales such as 'Johnny el Seco' and 'Tú de azul y yo no,' a settling of scores with their former vocalist, nods to The Velvet Underground, sensitive ballads and one of the most emotionally-intense tracks of their career ('Cristina,' dedicated to a friend of Risi's who had been murdered by a heroin dealer). The rock 'n' roll nights were back after their flirtation with new wave sounds and two irregular albums which combined hits and misses. Propelled by the energy of a reliable and professional rhythm section comprised of drummer Arturo Terriza and bassist Eloy, they recovered part of their original vigor. They were no longer the long-haired guys from the suburbs who howled with lust, who asked their girls to shake their hips, who went for drinks with dangerous guys like Jim Dinamita. But they knew how to sing authentic rock & roll in Spanish better than anyone else. Expectation surrounded the album's release. Some thought them dead and buried, others defended them with passion. They worked hard, recovered old melodies from unreleased songs and gave them new life, writing songs on which the band's future depended. It didn't look like they would have a second chance if the first one failed. Some Johnnie Walker bottles helped ease the mood, and soon the record was ready to be released -- again by Belter, a record label which had grown dramatically. On the back cover of the LP, Burning wrote a thank you note: 'To all the team at Belter for believing we'll be millionaires shortly' -- which couldn't have been further from reality. When the promotion of the album was just starting and most of its copies were still in the label's warehouse, awaiting distribution, Belter went bankrupt. The label died and the band saw how their potential hits never reached the shops. This was the beginning of what became Burning's doomed cult album." --Alfred Crespo, author of the liner notes. On 180 gram vinyl.

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