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Forced Exposure New Releases for 9/16/2013

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New music is due from Carter Tutti, Jack Dangers, Robert Haigh, Saroos, Trentemøller, and Acid Mothers Temple while old music is due from Tim Hecker, Sun Ra, Clock DVA, and Live Skull.


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A&O 2012CD

ALPHA & OMEGA/DAN I: Blessed Are the Poor CD (A&O 2012CD) 15.50
Blessed Are the Poor, by the King and Queen of Dub, Alpha And Omega. Joining them on this 10-track release is Italian roots singer Dan I. Alpha And Omega are titans of British dub, and have played a crucial role in its development both locally and internationally. They have worked with every major industry icon and have been putting out albums at a consistent rate since the late '80s. Prolific and well-respected by critics and fans alike, they have an almost prodigious talent for choosing musical collaborators who work seamlessly with their unique Brit-dub sound. This trend continues with this album. Dan I represents all that is fantastic about the Italian roots/reggae scene. Commander General of the Imperial Sound Army, Dan I has a flow that is uniquely his own, while still having a universal appeal. This latest offering surely represents Dan I at the height of his powers and is sure to win him a legion of new fans. Blessed Are the Poor represents all the best qualities from the artists. From the opening moments of the title-track, dub-aficionados will recognize this as a potential track-of-the-year contender. Every track on this release is a winner, however, with Dan I offering smooth, clear lyrics that compliment the flawless, deep beats provided by Alpha and Omega. When musicians of this caliber work together, fans are rewarded with songs that demonstrate exactly how good dub can be. Previously only available on vinyl, this limited CD edition features six exclusive tracks and mixes.


N 035CD

SAROOS: Return CD (N 035CD) 15.50
Click-clack, click-clack, click-clack: The beat of riding on a train before the invention of pneumatic suspension was no jazz. But combined with the landscape passing by the window, its steady, pulsing beat had consequences. Digressing thoughts, imagination kicking in -- this principle can be heard on Saroos' third album. The three band members, who live in Berlin and Munich, have toured Italy by train numerous times. They liked it a lot -- you travel more slowly, you tour at low revs, with enough click-clack to make it click in the head. Take "Tsalal Nights." A rhythm, as straight as if drawn with a sewing machine, yet the music lets your brain whir casually and playfully in all sorts of directions. Retro-futurism in a slightly psychoactive form -- more H.P. Lovecraft than Jules Verne. "Spiaggia di Pluto" throbs in extraterrestrial chill, but with the stylish coolness of a Kubrick-space-lounge in the year 2001, whereas "Kraken Mare" lets the listener float through a sea of glacial sounds -- and then, in the closing moments, tugs them in a rhythmic eddy. Compared to their earlier albums, the beat seems so unrestrained that the sound has sufficient room. Sometimes jungle-electro-exotica wobbles through the undergrowth of sound in elliptic circles, sometimes the foghorn strikes up a savage dub, as if King Tubby was circulating through the analog nirvana after a particularly massive spliff. This makes the album not only more organic, but also more social. More man, less machine. When guests came round in the studio, the samplers remained turned off. This, of course, leaves marks. Not all as big as Fenster's Tadklimp, who contributed a bagful of sounds and had his fingers on the mixing console. Whoever expected a jam album from Saroos? But this is it.



VA: Afrobeat Airways 2: Return Flight to Ghana 1974-1983 CD (AACD 074CD) 22.00
From the coastal cities of Accra and Cape Coast, basked in a tropical sound heavily influenced by highlife, to the semi-Saharan cities of Tamalé and Bolgatanga (part of a self-proclaimed "Islamic Funk Belt") via the central city of Kumasi, Analog Africa has criss-crossed Ghana in search of rare tracks for the Afrobeat Airways series. Following the success of the first installment in 2009, Analog Africa is proud to present the second volume -- a selection of 13 ultra-rare tracks composed by some of the musical giants who had created a movement that rocked the West African nation throughout the '70s: legendary singer K. Frimpong; Nana Ampedu (leader of the mighty African Brothers Band); Gyedu-Blay Ambolley and his superb guest appearance with The Complex Sounds; Afrobeat star Ebo Taylor, backing his son on an unreleased track called "Children Don't Cry"; the enigmatic Rob and his unique blend of twisted Afro-funk; innovative drummer De Frank; and Uppers International, with their raw, Islamic funk style. More obscure artists such as Los Issufu And His Moslems, Waza Afrika 76, and Tony Sarfo And The Funky Afrosibi make northern hemisphere debuts, adding to a rich list of Ghanaian artists whose music could be transferred seamlessly to any dancefloor in the world. Three years in the making, the accompanying 44-page booklet of Afrobeat Airways 2 features an introductory essay written by Afropop Worldwide editor Banning Eyre, exploring the development of soul, funk and Afrobeat during the '60s and '70s in Ghana. The remaining 30 pages are packed with interviews and biographies of the artists and producers involved in the creation of this wonderful music. Additionally, the Analog Africa team has managed to track down the photographers of the famous Modern Photo studios, located at the front of Accra's legendary Tip Toe, a venue notorious for organizing unforgettable dance competitions, "Miss Tip Toe" contests and the most in-demand highlife and Afrobeat gigs of the day. To document what happened within the music scene in Ghana during that time, 400 negatives have been lent to the Analog Africa team. Samy Ben Redjeb selected 50 of the most expressive pictures to document what could well be Analog Africa's most beautiful booklet to date.



DEBRIS: Static Disposal LP (ANOPH 006LP) 21.00
Restocked; 2002 reissue. "Anopheles Records is proud to announce a high quality, deluxe, tip-on style heavy jacket sleeve edition of this 1976 acid-punk classic from Oklahoma for 2008, with an additional two-sided insert unique to this edition, pressed on black vinyl for the first time since the original pressing in 1976. LP reissue (the first non-clear vinyl pressing we've released since we started doing the Anopheles label in 1991) of this December 1975 recorded, Oklahoma outer limits psych-noise proto-punk extravaganza, which has gone on to inspire the likes of the Screamers and Nurse With Wound. This edition features the complete April, 1976 self-released LP, taken from the original master tapes, with original artwork, and a previously unreleased (and amazing!) November 1975 practice take of the Stooges' 'Real Cool Time' (an earlier, radically different recording to the CD version, which is still available)."



CLOCK DVA: Post Sign CD (ARMCOMM 001CD) 19.50
This is a collection of material recorded after the release of Sign (1993), the last of the Clock DVA releases on the Italian label Contempo. Produced and composed by Adi Newton throughout 1994/1995 in Florence and Milan during a transitional period in the chronology of DVA. Due to circumstantial events, these recordings remained primary bases for later development, intended as an instrumental companion album to Sign, similar in concept to the instrumental album Digital Soundtracks (1992). Newton: "I felt that these recordings although unfinished, represented a point in time that contained a series of emotions and paradigms that these recordings capture. Coming back to them after more than a decade I did not want to try and re-work them, as those ideas and feelings have now developed into something new, and rather than letting them remain in obscurity, it would be more positive to release them in their original form. The drawings reveal the core, the latent intentions of form. These recordings represent some of the darker elements of the NASA/Mercury program, which in recent years has become increasingly more exposed." Included in the booklet is the extended text from Sign that was referenced in the original sleevenotes along with a number of original artworks that are based on conceptual elements contained within the tracks. All tracks composed and produced by Adi Newton. DVD-sized packaging.


AUS 1344EP

MIDLAND: Trace EP 12" (AUS 1344EP) 12.50
The release of Midland's Placement EP as well as collaborative projects with Pariah and Breach show the continued development of his off-kilter take on electronic music. He has backed these up with a slew of remixes for James Zabiela, Guy Gerber, Dusky, Flume, and Lucky Paul. In 2013, the consistently close relationship between Aus and Midland continues apace with him once again launching the label's release schedule with the Trace EP.


AX 062-5USB

MILLS, JEFF: The Jungle Planet USB CARD (AX 062-5USB) 42.00
Limited edition "Cube USB" format: "Cube USB (40mm square) in a plastic box. Contents: Music (13 tracks), The Jungle Planet Story by Jeff Mills, Sleeper Wakes series overview." Numbered edition of 400.


BEC 5161623

COSMIC MACHINE: Spirit/Motel Show 12" (BEC 5161623) 14.00
This EP is an extract from the forthcoming Cosmic Machine LP compilation. "Motel Show" is a Pierre Bachelet track from the original soundtrack of Le Dernier Amant, released in 1978. The Uncle O remix synthesizes on its own the whole concept of Cosmic Machine. There is also the track "Spirit" by Frederic Mercier, both the original 1978 version and a dancefloor version by DJ Prins Thomas. Cosmic Machine combines all the major and inspired individualities that gave birth to the early '70s electro galaxy. Includes download code.



VA: WIZZZ! French Psychorama 1966-1970 Volume 2 LP (BORNBAD 013LP) 19.50
2013 repress on vinyl, originally released in 2008. Since the success of the first volume in 2002, WIZZZ! has been considered the benchmark compilation of French '60s alternative pop. It launched an unprecedented craze for this rare breed of disc, featuring exceptionally danceable rhythms, twisted sounds from another world and demented lyrics, coupled with an underlying sense of mockery. It focuses on the creativity of these French artists who dared to break with the boring commercial conventions of their era. If your notion of French '60s music is based on innocuous hits from the likes of Adamo and Sheila, this new collection of rare and unreleased tracks, unearthed from the obscure depths of made-in-France pop, will astonish you with the brilliance and daring of a few of their deranged cousins, who passed completely unnoticed in the epoch of Gainsbourg. WIZZZ! 2 rediscovers and revitalizes these underground geniuses and freaks. Their audacity and inventiveness refutes those who sneer about the alleged inferiority of French pop. Includes a 36-page booklet.


CLOTHILDE: Queen of the French Swinging Mademoiselle 1967 LP (BORNBAD 047LP) 18.00
Repressed; LP version. Comes with a four-page insert. Clothilde, queen of the "Swingin' Mademoiselles." Why Clothilde? Why not that more star-worthy, internationally-acclaimed Françoise Hardy, or the more akin to the sub-genre, France Gall? Because she's the most characteristic, archtypical French mademoiselle, that's why! Christine Pilzer, even Jacqueline Taïeb before her, both may have been rediscovered first in this style unique to French '60s pop, and Stella also may have been the most out and out "anti-ye-ye" with her slightly anti-establishment and derisive lyrics countering the pop system and establishment, but Cleo's all about text, not that much as a whole production. As such, Clothilde takes the crown. Not only has Clothilde the most natural (albeit unknowingly) disposition as a chanteuse, singing such subversive lyrics with as much second degree detachment as possible but also, the music itself is highly original: inventive arrangements including French horn, musical saw, church bells, barrel organ, marimba, brass fiddle, woodwinds, and busy fuzz guitar amidst all that slapstick comedy-like audio bric-à-brac. Almost avant-garde in concept, it was imagined and produced by Clothilde's impresario, manager and indeed creator, legendary Disques Vogue A.D. Germinal Tenas. This could've only come out of France.


BTT 1282CD

OCHER, MARY: Eden CD (BTT 1282CD) 17.00
Mary Ocher was born on November 10, 1986 in Moscow, Russia. Ocher moved to Tel Aviv at the tender age of four and to Berlin at 20. She has been playing with various media, be it with words, sound, color or movement since mastering the craft of songwriting at the age of 11. Disillusioned by the mainstream music industry, she set her mind on accomplishing everything DIY. With her first band, Mary And The Baby Cheeses, she released five limited edition independent releases. The band toured all over Europe, in the underground circles, but that wasn't enough for young Ocher. War Songs was the first label release, which came out on the Berlin-based label Haute Areal on March 11th, 2011, followed by a 7'' EP. Both received incredibly wonderful reviews. Other than being a stunning musician, Mary makes film, visual art, documentaries, music videos, art installations and poetry. She has become an integral part of the upcoming international Berlin cream. In 2011, she was discovered by King Khan at a karaoke bar in Berlin, and he immediately invited her to record at his legendary Moon Studios. The album took over a year to finish, and in the meantime, she has launched the new-tribalism act Your Government with an incredible drummer duo, and toured along the German best-selling author Sibylle Berg, for her novel Vielen Dank fuer Das Leben. Mary Ocher continues to bewilder audiences with her powerful performances and incredible, out-of-this-world voice. Her wild outfits have also caused quite a stir on the scene. She currently resides in Berlin and is preparing for world domination.



ARBY, KHAIRA: Timbuktu Tarab CD (CLE 005CD) 12.00
This is not world music. These are today's sounds from contemporary Africa, from mysterious Timbuktu, the crossroads of religions, cultures and epochs. Through her music, Khaira Arby bridges cultures. With her rock band, she sings about work, love, family, women and the toll of war. She expresses pride in the people and the potential of her desert homeland. Prepare yourself for complex rhythms and rolling melodies. Khaira's voice rings strong, clear and true through it all. Born in Abaradjou, a neighborhood of Timbuktu, Khaira's parents were from different ethnic backgrounds, Sonrhai and Berber. You can hear these worlds mix through her songs as she slips among several languages, sometimes within the same tune. The musical arrangements are a complex fusion of driving electric guitars and bass with drumkit, calabash, ngoni and traditional violin. You can hear rhythms of the camel caravans, desert blues, contemporary rock and roll -- all sounds of today in northern Mali. As she says, "Malian audiences find me in all their music. My style has many Malian musical influences." The hugely popular Khaira is acclaimed by all as the Nightingale of Mali's North. Honored by her country in 2006, she was named a Chevalier de l'Ordre National du Mali. This album represents the latest work in her amazing musical career. Named one of the top 25 Albums of Malian music by Songlines magazine in July of 2013, this album has not been widely distributed until now. Relatively unknown outside of Mali before 2010, Khaira toured to promote this Clermont Music album release. The music has a rough garage band sound grounded in traditional songs. A singer with power and drive, bringing a new fusion to African music and a new interpretation of the diverse music of Timbuktu.


KELLY, MAMADOU: Adibar CD (CLE 007CD) 12.00
From the heart of Mali's Niger Delta, blues guitar genius and singer Mamadou Kelly has played beside two of the greatest Malian musicians: Ali Farka Touré, as a member of his backing group; and Afel Bocoum, as a key member of the band, Alkibar. The supporting guitarist, he has accompanied these two greats on many tours and albums. The glue that holds the music together, Mamadou is a virtuoso. With an encyclopedic knowledge of Malian music, Mamadou Kelly represents the new sophistication of Mali. Yet, his charm belies a determined professional. Mamadou's song style is direct, deceptively simple and yet subtly layered with meaning. A rich, historical awareness supports his composition and delivery. Gently prodding his audience with stories, tales and life lessons learned, Mamadou brings a gracious hospitality to his music and the concert stage. With this album, Mamadou steps center-stage. Supported by long-time collaborators, Alpha Ousmane "Hama" Sankare, a calabash genius who can be heard on many historic recordings, and Brehima "Youro" Cisse, njarka (monochord violin) master, their music presents the best and most captivating combination of traditional and contemporary West Africa. On this disc they are joined by the young and gifted bass player Baba Traore. A smooth sophistication testifies to the high level of these artists' craft. The songs were all composed, arranged and performed by these musicians and represent the verve, style and sophistication of contemporary music from Mali. This is the first recording by Mamadou and Bankaina released under their own name.



DRUMCELL: Sleep Complex 3LP (CLR 013LP) 32.00
3LP version. The debut album from Drumcell is an emotionally-profound, open-minded approach to current techno with a variety of influences and a complete disregard for any limitations musical genres could possibly represent. Drumcell was still just young Moe Espinosa, a local East L.A. kid who was heavily into listening and playing rock and industrial music, when he coincidentally found some of the heroic synthesizers of the first hour of techno in the closet of a recording studio where he had been hired for a job. From this very minute on, things just gelled. If you imagine a technology geek/science-fiction-movies-loving teenage-outsider with a yearning, punk rock soul, together with a TR-909, a TR-808, and a TB-303 in the back room of an old Latin house label in Hollywood, then you are pretty much imagining the humble beginnings of the man who started calling himself Drumcell around the year 2000 and who has dedicated his life to the search and creation of mind-expanding, glorious sounds. His first vinyl record was hand-pressed and hand-wrapped in an L.A. garage, and when he handed out some copies of it on the following Detroit Electronic Music Festival, it was played on various festival stages the very next day. This immediate enthusiasm gave him enough power and endurance to go all the way and follow his dream uncompromisingly. On the one hand, Sleep Complex pays respect to the root-element of techno, the raw, dirty and hypnotic vibe that goes back to early Detroit techno; on the other hand, it almost has some kind of a rock attitude, especially when it comes to the beats, making it stylistically independent and impossible to pigeon-hole. It also makes very little sense to talk separately about individual tracks on the album, as each single piece of music is a sophisticated, complex sonic landscape, which is interconnected with the others and ultimately forms part of a bigger entity. As it was meant to be a bass-heavy record, and he thought that no one could treat a bass like Chris Liebing, his dear Frankfurt-based friend eventually had the great pleasure to do the final mixes, giving the tracks a beautifully-shaped bass sound and incredible presence and clarity. The album is an experimentation with analog modular synthesizers and a variety of digital tools. By working within the limitations of an individual instrument, it inspired each single song to have its own unique feeling or sound.



VA: Cocoon 100 2CD (COR 032CD) 23.00
Cocoon Recordings celebrates their 100th release (actually, they have released even more than 100 titles) with this compilation of new and exclusive tunes. This double CD pack contains tracks by heroes such as Lawrence, Nick Curly, André Galluzzi & Dana Ruh, Secret Cinema, Pig & Dan, Extrawelt, Recognition (aka Jacek Sienkiewicz) and last but not least, two gems by Loco Dice and Ricardo Villalobos. Also includes further exclusive material by Dominik Eulberg, Minilogue, Sante & Frank Lorber, Popof, Timo Maas, Gregor Tresher & Petar Dundov, Electric Rescue and a track by Legowelt. And as it's the label's 100th "birthday," for the vinyl version they have added a pair of slipmats and stickers and made the whole package a limited "numbered" edition.


VA: Cocoon 100 3x12" BOX (COR 100LP) 88.00
Deluxe 3x12" box edition with the double CD version, a pair of slipmats and stickers, released in a hand-numbered edition of 500 copies. Vinyl tracks by Ricardo Villalobos, Lawrence, Nick Curly, Loco Dice, Recognition, Andre Galluzzi & Dana Ruh, Secret Cinema, Pig & Dan and Extrawelt.


CR 001LP

NEW CREATION, THE: Troubled LP (CR 001LP) 31.00
"We are thrilled to present the first vinyl reissue of Troubled. Originally pressed in 1970, this extraordinary garage demo barely made it outside of its hometown of Vancouver, British Columbia. We hope this vinyl edition will reach folks who were allergic to checking it out in CD form. For the LP, 500 exact repro copies were pressed at RTI with heavy, textured jackets produced by Stoughton. Just like the original these were printed by letterpress. 'The New Creation is amongst my favorites, the sincerity and verve in the performances remain fresh to the ear and heart thirty years later. Every track here is a magical doorway into a time when liberal thinking was ascendant, minds were expanding, music was filled with new ideas, and the kids were ready to fly as soon as they mastered a few guitar chords. The opening sound collage here may as well have been titled "Food for Thought," seems like every issue and idea except the kitchen sink is expressed. Each track on this LP is a potential personal fave, from the VU stylin' "Sodom & Gomorrah" to the achingly beautiful "Wind." Spiritual Revolution, "That irresistible Man from Galilee is quite upsetting the show!"..."Here in the 20th century, fantastic times with God!" Indeed. Circular melodies, terrific melodic garage band atmosphere -- this is a special experience, and one that gets better with every play. Long live the New Creation!' -- Paul Major, vinyl archaeologist, co-editor of Enjoy the Experience."

CR 008LP

MEDICO DOKTOR VIBES: Liter Thru Dorker Vibes LP (CR 008LP) 31.00
"The first licensed reissue of Médico Doktor Vibes' mysterious Liter Thru Dorker Vibes LP from 1979 is now available. We feel privileged to have the opportunity to offer this singular recording. Five hundred exact repro copies were pressed at RTI with crisp, heavy, old-style tip-in jackets produced by Stoughton. Turns out these seven songs are Guyanese-American artist Bill Russell's only recordings. Bill had 100 vinyl copies pressed up in 1979 on his own Bi-Russell Records label, promoted it modestly and locally, and it went nowhere. Thirty-some years later, in a kind of message in a bottle-type scenario, one of those copies ended up at the Oakland Coliseum Flea Market and found its way into our hands. Inspired by army pals who were recording and releasing music without any label backing, Russell bought a Fender Telecaster and a Korg Mini and recorded Liter Thru Dorker Vibes in a makeshift home studio in South Central L.A. in just a few short sessions. When asked about his influences he insta-mentioned Santana and then added Hendrix, Sly Stone, Jobim, along with some New Orleans jazz stuff as well. For fun we'll go ahead and recommend this to any fan of Suicide, Cymande, Steve Reich, Nadi Qamar, Otis G. Johnson, Lord Invader, Bruce Haack, TJ Hustler, T-Rex, Heitkotter, Edward Larry Gordon, Madrigal, or The Mind Expanders."



CRAY76: Call My Name/The Holy Ghost 12" (CRWD 003EP) 12.50
New artist on Crowdspacer, Cray76 -- for club use. House and acid and U.S. garage; 606 plus 303 plus 909. Nothing more to add except you have to listen to this on a smoky, boiling-hot dancefloor.



CARTER TUTTI: Coolicon 10" (CTIV 045EP) 16.50
Carter Tutti (Chris Carter and Cosey Fanni Tutti) release their first single in over 20 years on their own CTI label. The double A-side 10" single featuring two versions of "Coolicon" was originally only available by mail order as a limited edition on green vinyl, but due to popular demand has been repressed as a regular black vinyl 10". "Coolicon" is the name of the manufacturer of an old metal lampshade electronic pioneer Delia Derbyshire used to "sample" while at the BBC Radiophonic Workshop in the 1960s.



WOOD, TALBOT: Dream Sequence 12" (CURLE 046EP) 12.50
Talbot Wood is a young producer from Antwerp, Belgium. He was featured on a various artists EP on the Other Heights label earlier in 2013, but this is his debut EP. "Analepsis" is a funky dub techno track and definitely the bomb on this one. "Dream Sequence" is a lot deeper. Locked Groove (Hotflush Recordings) turned it into a stomper with his remix. Sure shots for the floor.



KALISHA: I Got Something Here: The Remixes 12" (DCR 007EP) 12.50
The storming Danse Club Records are back with another big house classic that comes complete with remixes from Dutch tech-house hero Lauhaus, label bosses Brodanse plus Bass Culture alumni John Jastszebski, whose version is vinyl-only. Kalisha's original is a classic house beat released on N Sync Inc back in 1992, but it still sounds hugely on-point. With garage-inflected beats, grainy, catchy percussion and pristine chord stabs, it is an ebullient jam that brims with personality.



LIVE SKULL: Live Skull EP CD (DESIRE 054CD) 15.50
Formed in 1982 by guitarists Mark C. and Tom Paine with Marnie Greenholz on bass and James Lo on drums, Live Skull is considered by many aficionados to be the quintessential New York noise band. Together with Sonic Youth and Swans, Live Skull defined the term "noise rock" in the 1980s, spearheading the post-no wave underground music scene in NYC with a series of legendary live performances and eight groundbreaking records released over the course of that decade. Often brutal and yet strangely seductive, each of these classic records creates hooks out of the most unlikely, seemingly disruptive elements, subverting traditional rock forms in previously unheard ways that became an undeniable (albeit often unacknowledged) influence on many of their contemporaries. Live Skull broke up in 1989, just within sight of that magical moment when the sort of music they pioneered began to finally break through, but the band's recorded output reminds us that Live Skull got there first. This is the record that started it all, Live Skull's first EP. A gloriously sprawling collection of deep, dark grooves and insidiously entwined guitars, the Village Voice rightly described the EP as "classic post-punk" and "the best introduction to New York's guitar explorers." The East Village Eye proclaimed it "one of the best-sounding records to come out of any New York band past or present." The New York Times put the EP on their short list of the best five records of 1984, declaring, "A few contemporary bands are making music as a deliberate antidote to the burbling synthesizers, polite crooning and polished gloss of today's well-fed pop mainstream. New York's Live Skull, Sonic Youth and Swans... are making the sort of music rock's early opponents must have feared most, the music of their nightmares." Out of print for far too many years, this 30th anniversary reissue of Live Skull's first EP is now available for the first time ever on CD, complete with a lavish booklet including extensive liner notes by founding members Tom Paine and Mark C., and eight extremely rare bonus tracks. This is the first release in Desire's Live Skull project, an ambitious, eight-title series of reissues of the entire Live Skull catalog, personally overseen by Mark C. and Tom Paine. Includes eight bonus tracks and a 24-page booklet with rare, unseen pics and extensive liner notes by band members Tom Paine and Mark C.


LIVE SKULL: Bringing Home the Bait CD (DESIRE 057CD) 15.50
The unholy trinity of Live Skull/Swans/Sonic Youth dominated New York's so-called noise scene throughout most of the 1980s, but Live Skull was the component in that musical equation that was, first and foremost, always about the songs. Years before the noisy-catchy anthems of Daydream Nation, Live Skull was pioneering their own radical fusion of concisely constructed songwriting feeding off the seductive potential of chaos, transforming dissonance into something alluring while pushing the boundaries of what defined a song. Many of the band's most potent and perverse musical explorations began to take shape on their second record (and first full-length album), Bringing Home the Bait, recorded in 1984 and originally released in 1985 on the Homestead label. Bringing Home the Bait extends the approaches found on Live Skull's first EP, but the feel here is even harsher, more complex and confrontational. Using the most traditional of rock instrumentation -- two conventionally-tuned guitars, bass and drums -- Mark C., Tom Paine, Marnie Greenholz, and James Lo gleefully throw themselves into the business of subverting traditional rock forms, and the result is an intensely eccentric, nearly unclassifiable record that has been called, among other things, "The Best Noise Rock Post Punk New Wave No Wave Experimental Indie Emo Goth Album Ever." Make no mistake: BHTB can be a tough listen, but it's also an immensely rewarding one. The UK paper Sounds gave the record a five-star review, stating "Live Skull grab accepted practice by the throat and twist it to their own perverted ends," while Pulsebeat gushed, "Devastating, intoxicating noise, practically unparalleled among this year's record releases." Spin magazine appreciated the record's "highly distinctive dark, slow and dedicated sound," while the New York Times' Robert Palmer, writing for New Look magazine, famously declared: "The most startlingly original array of guitar sounds and approaches since Jimi Hendrix. They make guitars do things you've never imagined." Finally reissued after nearly three decades in limbo, Bringing Home the Bait is now available for the first time ever on CD, complete with a lavish 24-page booklet, including rare and unseen pics plus extensive liner notes by founding members Tom Paine and Mark C., and seven extremely rare bonus tracks. This is the second release in Desire's Live Skull project, an ambitious, eight-title series of reissues of the entire Live Skull catalog, personally overseen by Mark C. and Tom Paine.



LAWRENCE: Films & Windows CD (DIAL 029CD) 17.00
Almost a decade after his last Dial Records album, after an enormous amount of releases on labels like Pampa, Mule Musiq, Ghostly International, Kompakt, Styrax, and many more, Lawrence continues with a wonderful selection of extraterrestrial dance music: Films & Windows. From the first sparkle to the last whisper, this album is dedicated to "Angels at Night." As the album title suggests, Lawrence as a cineaste and voyeur is inspired by an endless number of screened movies and real-life films -- some only appearing while watching landscapes, stars and people passing by in front of a train window. While wondering at moments like this, strange ideas and colorful sounds occur inside the mind of the musician. The ideal approach would be to transfer these ideas into music without any norms or rules -- but there is the club and it was always there. So no matter where Films & Windows started, it should always arrive at the dancefloor with frenzied people and other addicts of the outer-world's soul. For over 20 years, clubs and nights out at places such as the Front, the '90s WMF, Golden Pudel Club, Click, Sud Electronic, Panorama Bar, Robert Johnson, Smallville, Yellow, Precious Hall, etc., have been at the center of Lawrence's universe. House music, techno, alien-funk, the unheard, the unseen -- it is all magic everywhere.


LAWRENCE: Films & Windows 2LP (DIAL 029LP) 23.00
Gatefold double LP version.



EVANS, BILL: Interplay LP (DOX 891LP) 23.00
"Originally released in 1962 on the Riverside label, Interplay features piano giant Bill Evans at his gently swinging best. The band is beyond stellar; Percy Heath and Philly Joe Jones complete the rhythm section, while Jim Hall's guitar and Freddie Hubbard's trumpet round out the sessions. This set is a bit of a departure from his usual trio recordings of the time, but the results are no less fantastic. A classic LP from arguably the greatest jazz pianist of all time, reissued with the original liner notes on 180 gram vinyl."


DAVIS, MILES: Jazz At The Plaza LP (DOX 898LP) 23.00
"Jazz At The Plaza is another fine live recording from 1958 by the Miles Davis Sextet (this time with the classic first Miles Davis Quintet drummer Philly Joe Jones, instead of Jimmy Cobb). Recorded at the Edwardian Room of the Plaza Hotel for a bunch of record biz execs celebrating the success of Columbia Records jazz division, the crowd may have been stiff but the group was anything but, storming through 'If I Were A Bell' (yes, the Guys & Dolls tune) and 'Straight, No Chaser' before settling into a beautiful rendition of 'My Funny Valentine', and closing out the set with Sonny Rollins' hard-bop classic, 'Oleo'. Reissued on LP by Doxy." 180 gram vinyl.


HARDY, FRANCOISE: Francoise Hardy LP (DOY 677LP) 23.00
Repressed. "A seminal album of the French ye-ye era, Françoise Hardy's self-titled debut (known in the US as The 'Yeh-Yeh' Girl From Paris!) was released shortly after her debut single 'Oh Oh Chéri' in 1962. The success of this album, along with its hit 'Tous Les Garçons Et Les Filles', made the eighteen-year-old French bombshell a huge star in Europe and an icon of the French fashion and music industries. Along with other ye-ye girls of the sixties, like Jane Birkin, Brigitte Bardot, France Gall, and Sylvie Vartan, Hardy exuded a kind of sexy innocence that made French women the most liberated and the most desired in the world."


VINSON, EDDIE "CLEANHEAD": Back Door Blues with The Cannonball Adderley Quintet LP (DOY 686LP) 23.00
"Although primarily known as a jump blues and R&B artist, singer and alto saxophonist Vinson could swing and bop with the best of them, as he shows here on this session backed by what was, at the time, one of the premier jazz quintets working. Storming through a blues oriented set, Cannonball, Nat, Joe Zawinul, Sam Jones, and Louis Hayes really smoke, and Cleanhead's vocals and sax shine through. A fine LP dusted off and reissued by Doxy." On 180 gram vinyl.


DC 553CD

CALLAHAN, BILL: Dream River CD (DC 553CD) 13.50
"Cabin crew, prepare for landing. Gliding through low altitudes, Bill Callahan has set his sights on the runway. It is 2013 and he's ready to land again, with a full cargo for the people down below on earth. From way up high, everything looks so small. But then you land and it swallows you whole. You disappear into the little models, and the trains keep rolling by. And the lights go on and off again. And the trucks on the highway, bound for parts unknown. Dialed into the mindset, the Dream River instrumental crew man a hovercraft that bears the songs along, humming deeply with bass and percolating with the abiding resonance of hands drumming on skins, the lively popping of claves. Guitar strums fan into blooms of smoke, sliced through by other guitars taking other forms -- shards of mirrors, plumes of ignition, telephone wires, snakes and ladders plunging through the depths of the sky. The musical modes are exquisite, aquatic; shifting in delicate but deliberate undetectable time as Bill's lyrics wander from yard to yard."

DC 553LP

CALLAHAN, BILL: Dream River LP (DC 553LP) 18.00
LP version.

DC 567CD

KLEYN, CAROL: Return of the Silkie CD (DC 567CD) 13.50
"Return of the Silkie, 1983's third chapter in the as-yet unfinished saga of the nomadic West Coast harpist, Carol Kleyn, offers a slice of the wild and free utopian dream that changed so many lives in the '60s and '70s. Pure and simple, harp and vocals, accompanied only by scattings of harbor seals and sea lions, this loosely woven concept album includes gentle reminders that life is short -- take it in while you can -- and, along the way, try to preserve the magnificence of this world for the next generation. Sentiments and music as hauntingly true today as the day they were first sung and recorded. Carol's lyrics close with: 'there's a storm over paradise and it's we who decide / just how long we shall live / or when we shall die.' The instrumental that follows, and closes this album, reiterates that message with the cries of sea lions in the background, as the Silkie returns, perhaps by choice, to her underwater origins. The vinyl format is represented by a remastered, newly-pressed LP, packaged in the original album jackets and recently signed, with love, from Carol to you. As George Winston once wrote to her: 'I enjoy the new album. I like it the best, just you and harp.'"

DC 567LP

KLEYN, CAROL: Return of the Silkie LP (DC 567LP) 19.00
"The vinyl format is represented by a remastered, newly-pressed LP, packaged in the original album jackets and recently signed, with love, from Carol to you."

DC 573EP

MAGIK MARKERS: Ice Skater/Machines 7" (DC 573EP) 6.00
"What a single! Magik Markers put the 'sense-and-sensibility' back into 'sensuality' with 'Ice Skater,' which radiates the mystic allure and cool remove of the best of them pretzel people 'n cold-water dancers. There's always been that starched-collar, puritanical undercarriage to the MM vibe, right? Well here, it melts all over you with a winsome melody, bloodless disco beat and nu-romance synths blearing in pastel flares behind. This ain't your father's Magik Markers -- and now that you're ten, you can make up your own mind about what Magik Markers u want in ur life, LOL. Course, knowing the gutter-obsessional bent of Magik Markers, maybe 'Ice Skater' is just about blowing meth too, right? The B-side balances the new Markers scale with a blast of freejams based on the chords of... well, no chords."



ORCUTT, BILL: A History of Every One LP (EMEGO 173LP) 20.00
LP version. A History of Every One by Bill Orcutt is an album of songs: minstrel songs, holiday songs, hymns, marches, cowboy songs, Disney songs, work songs, Delta blues. The original tunes themselves are nothing special, well known, but not particularly well-regarded. Most would be filler on a mid-'60s Doris Day or Burl Ives LP. What Orcutt does with them however is remarkable: expanding upon techniques developed on 2011's How the Thing Sings (EMEGO 128CD/LP) and incorporating ideas forged since his recording of "The Star Spangled Banner" during his 2012 tour, Orcutt interrogates the apparent banality of his material, subjecting it to discontinuity, disjuncture and a fractured repetition that is disturbing and revelatory. Titled after a line from Gertrude Stein's The Making of Americans and inspired by the scholarship of Elijah Wald and Eric Lott, A History of Every One is a bold re-writing of an important historical thread, an interpretation of a lost text and a bewildering extension upon Orcutt's already singular language.


S/H is an anthology of rare and unreleased solo works by former Emeralds member Steve Hauschildt. Handpicked from eight years of home recordings, S/H is an archival work which delves into the inner workings of both his own music and his contribution to Emeralds' sound. Much of Steve's work has lay dormant for many years, but S/H gives the listener a personal tour of his canon from 2005-2012. Steve's music was initially born out of the mid-2000s Midwestern noise scene. But instead of creating harsh noise, he reconfigured and reappropriated techniques from the Berlin School, drone, new age and other forms of electronic music to create something wholly his own. This two disc set ranges from short electronic sketches to full-blown synthesizer suites. Most of this material is unreleased, with a few essential rarities that appeared on cassette and CD-r releases for such imprints as Mike Pollard's Arbor, Chris Madak's Deception Island and Hauschildt's now-defunct label, Gneiss Things.



PSICOMAGIA: Psicomagia LP (EPR 014LP) 21.00
LP version. Despite the rumors, pre-fusion acid jazz-rock is alive and well, living it up in Southern California. Psicomagia is the joint forces of leading members of noted prog and stoner-rock outfits Astra and Radio Moscow. The band serves up a mixture of the same essence that Soft Machine, Tony Williams Lifetime, and Magma pioneered during that magical period just seconds before progressive electric jazz was grabbed by the institutional jazz scene. A formula thought lost until this day, when seemingly out of the blue, the relentless force of Psicomagia appeared. Spearheaded by multi-instrumentalist and producer Brian Ellis' roaring saxophone, constantly interplaying Tyler Daughn's franticly screaming organs and synthesizers, the soul of Psicomagia is in the endlessly permutated bursts of energy of the two. The relentless heart, however, is kept going by drummer Paul Marrow (Radio Moscow), who carves out a constantly brooding and shifting rhythmic base along with the heavy, travelling bass of Trevor Mast. Together they balance a line between an insanely tight and rhythmic notion of progress, as well as transgressing each instrument's carved path on this cataclysmic journey of musical events. Imagine, on top of that, two poets, repeating obscured mantras, rumbling bells and gongs, and you're getting closer to playing your own Jodorowsky-does-jazz movie playing in your head via Psicomagia. If Psicomagia sounds like a thing of the past, it's simply because they have inherited a unique quality lost in music today: grabbing onto a wide array of genres, and permuting them into their own distinct musical landscape. Roaring with the same neverending energy of SoCal brothers Earthless, Psicomagia opens up a dimension thought lost in music, reshaping a new possible outcome of progressive rock, building their own present time. It is beyond doubt that Psicomagia is not a pastiche retro band -- they are the real deal. True to original formula, the album is produced with a grace and warmth, maintaining a full dynamic range. Mastered on analog tape by Causa Sui's Jonas Munk.



VA: Erased Tapes Collection V 5x7" BOX (ERATP 050BOX) 120.00
Erased Tapes releases its fifth anniversary box set entitled Erased Tapes Collection V, a collection of five 7" records carrying 10 exclusive songs recorded by Erased Tapes artists in celebration of the label's fifth birthday. Designed by Torsten Posselt at FELD Berlin, the Erased Tapes Collection V comes in a deluxe, hand-assembled outer box, emblazoned with a detailed debossing of the mountain-shaped logo. The black box opens at an angle and reveals five screen-printed inner sleeves carrying five dinged 7" records, plus a hand-numbered sixth inner. The additional sleeve contains a mountain-shaped record centerpiece, an anti-static cleaning cloth and has a unique code imprinted on the back. The code enables its rightful owner to download a digital edition of this release on December 24, 2013. Until then, this exclusive collection shall be enjoyed on vinyl only. Erased Tapes Collection V comes in a strictly limited edition of 500 copies worldwide available in selected record stores only. Artists include: Rival Consoles, Kiasmos, Anne Müller, World's End Girlfriend, Nils Frahm, Peter Broderick, Codes In The Clouds, The British Expeditionary Force, Ólafur Arnalds, and A Winged Victory For The Sullen Chamber Orchestra.


ESK 506063

HOLY MODELS: Swimming 12" (ESK 506063) 12.50
James Curd, Adam Frawley, and Mitchell van Kaathoven aka Holy Models are a three-piece psychedelic daytime disco band hailing from outback South Australia. Their work transports the listener into a dream-like state, yet renders them fully conscious. Their genre-bending style allows the user to explore a variety of different feelings. Fellow Aussie Rocco Raimundo delivers a trippy remix that is tailor-made for a lazy afternoon at the pool. Also includes a remix from Freeform Five.


FP 039EP

NYGARD, TARJEI: Hardkokt 12" (FP 039EP) 12.50
Tarjei Nygard, head of Untz Untz Records is no complete unknown on the international circuit and will be even less after this release. The thrilling, mad-deep, 4/4 business of "Katapult" comes like a mix of extra-crisp electronic-spiced and ultra-compressed fjord air and Brooklyn dirt. "Brosteinsjungel" does just the same but even deeper, while "Hardkokt" is as the name suggests, another forward-motion, synth mini-monster with bleeps and compressed bass lines. Very well-produced and with fascinating on/off action.



ORION: Odyssee 12" (GKNSTR 002-13EP) 12.50
Ultra-deep, hypnotic techno from Orion. Vinyl only. Beware! Do not play this at peak-time. Only for dropping to a stoned crowd in the late hours.



To source the material for Neil Michael Hagerty & The Howling Hex's Hildreth Tapes, Golden Lab approached Matt Valentine (Tower Recordings/MV & EE) as he was both a big Neil fan and had the key to the "Tapers Pit" city. He got back to us right away and told us he was on it and, within about a week, he'd mailed us a data CD with a note marked, "Howdy Nick, here's a whole lotta booty. You GOTTA credit Jim Hildreth." There were seven performances on the disc captured from six shows and over eight hours of material. Hildreth, we learned, is a notorious NYC taper who's turned up to practically every weirdo show in town armed with a pair of binaural mics and a digital recording device, and, after Matt put out the appeal, he'd replied to say he had these shows recorded from over a 10-year period, most of the shit being from the first half of the '00s with the exception of one show recorded in 2010, and was more than happy to donate them. We took a listen. Sound quality-wise, the stuff varied as mics were placed in different spots at each show so there was no real consistency there, but what did come through were the performances. Long, drawn-out solos with intensely applied wah from 2001/2002... relentless, insanely extended repetitions of All-Night Fox riffs from 2005... cabaret-style medleys with paradoxically slapdash precision from 2010. All incredible and, on top of all that, ready-themed by the fact of its source: these were The Hildreth Tapes. Golden Lab set about the lengthy process of mastering it in a tiny flat in South Manchester in the winter of 2012. The result is this 3LP set, which features typically gorgeous, gatefold artwork by the venerable Lucy Jones. The sound quality has been homogenized to the best of their capability to give smoothness of flow to the sequencing (the label decided not to present the material in chronological order, rather in order of vibe -- this is just what felt right) and the required kick-up-the-arse where mic placement had failed to do so. And they think they have managed to get it sounding pretty sweet. Finally, Jim Hildreth gets some credit for his years of efforts in the name of preservation.



TELONIUS: Inter Face CD (GOMMA 185CD) 15.50
After string of hot 12" singles since 2009 and remixes for Diskokaine, Phenomenal Handclap Band, Headman, Ilya Santana, Box Codax, and others, Gomma co-founder/German producer and DJ Jonas Imbery aka Telonius releases his debut album, Inter Face. One thing is for sure, the album is an intentionally body-shaking affair that incorporates a certain twisty edginess -- the product of 15 years of experience in various diverse musical projects. In 1999, Imbery founded the Gomma label with his partner Mathias "Munk" Modica, a musical juggernaut that has become a platform for an astounding group of artists such as Esperanza, Justin Robertson aka The Deadstock 33, WhoMadeWho, Moullinex, The Phenomenal Handclap Band, Mercury, and Dimitri From Paris. From the start, Gomma has emphasized its independence of musical trends and fads, working with surprising influences and carving its own brand of club music. Under his Telonius moniker, Imbery creates a kind of house music that exists far outside of scene chic and boring retro clichés. His music is brimming with funk influences that were already a hallmark of his producing techniques in previous productions. There's a hint of disco in these arrangements -- here and there strings and horns surface for a brief sojourn, and always there are strong bass lines all over the place. The icing on the cake comes in the form of the vocal contributions by friends and colleagues from Munich, Berlin, New York and Amsterdam (such as Faberyayo of Dutch band Le Le, led by graphic artist Parra). Inter Face is a collection of 10 tracks and many surprising musical elements, ranging from house to disco to techno to funk and some new wave with a penchant for analog instruments and organic sounds. Telonius takes these elements and creates an atmospheric mix that is only about one thing: an infectious groove. This is not a club music thesis, nor is it functional, run-of-the-mill house that so dominates the current club scene. This is a collage of house tracks that never sound banal and have plenty of emotion in them.



MCKAY: A New Light Shines LP (GUESS 117LP) 25.50
Ray "McKay" Pierle started recording his own songs in 1974 and in 1977 he released his first album, Into You, which is one of the finest West Coast/rural-rock private pressings ever. A New Light Shines collects previously-unreleased tracks recorded at home between 1974 and 1979. The overall sound here is more psychedelic, raw and loose than what you can hear on his other albums, Into You and Take Two, but you can expect the same kind of laid-back sound, top-level songwriting, Neil Young-esque vocals and outlaw guitars. An exciting find for any lover of West Coast/psychedelia/rural-rock/obscure U.S. private press sounds. Master tape sound, liner notes, and insert with lyrics.


HR 007EP

PROPER, SAN: Properepublica 12" (HR 007EP) 12.50
For their seventh release, Houserepublic is happy to welcome Amsterdam house master San Proper, sharing a release with Houserepublic's very own Carrasi. On the A-side, San delivers two tracks of pure San-style delight. On the flip side, San teams up with Carrasi for the track "Rum & Coco," for a more old-school house anthem.



In My Room presents Lost, the third full-length venture from Anders Trentemøller. Lost, much like its predecessor Into the Great Wide Yonder (IMR 002CD/LTD), serves not only as a logical continuation of his work, but also as yet another fuck you to whatever genre you thought you had him boxed into. The Trentemøller sound is definitely left intact, yet as a whole it really doesn't sound like anything he's ever produced before. Differing from Into the Great Wide Yonder, which was a rather bold cinematic landscape, Lost is definitely a far more streamlined affair and way more "song structured." It's the kind of record one can only produce after endless months of studio isolation. Danish musician, live performer, producer, remixer and DJ and Anders Trentemøller has risen to the heights of international success usually only connected with artists in more mainstream, pop realms. His outstanding skills and talent for heart-wrenching melodic moments, fused with his trademark sound, have helped him gain fans across the globe, and blur the boundaries between cutting-edge, underground quality and mass appreciation. The 12 songs on Lost mark yet another big step forward in Trentemøller's career. That trademark haunting feeling that defined both The Last Resort (PFR 018CD/LP) and Into the Great Wide Yonder hasn't been neglected on Lost. It's just been redefined and made way more ferocious, the signature glitchy bass being replaced by sub woofer frequencies far more pounding. Trentemøller has managed to bring on-board a whole rake of fantastic peers, personal influences and sprouting talent in the form of guest appearances by Johnny Pierce (of The Drums), legendary slow-core pioneers Low, Jana Hunter (of Lower Dens), Marie Fisker, Ghost Society, Kazu Makino (of Blonde Redhead) and Sune Wagner (of The Raveonettes). The initial edition of the CD will be released as a luxury "bookstyle" cardboard package including a full booklet.


Gatefold double LP version on 180 gram vinyl. Includes download code. In My Room presents Lost, the third full-length venture from Anders Trentemøller. Lost, much like its predecessor Into the Great Wide Yonder (IMR 002CD/LTD), serves not only as a logical continuation of his work, but also as yet another fuck you to whatever genre you thought you had him boxed into. The Trentemøller sound is definitely left intact, yet as a whole it really doesn't sound like anything he's ever produced before. Differing from Into the Great Wide Yonder, which was a rather bold cinematic landscape, Lost is definitely a far more streamlined affair and way more "song structured." It's the kind of record one can only produce after endless months of studio isolation. Danish musician, live performer, producer, remixer and DJ and Anders Trentemøller has risen to the heights of international success usually only connected with artists in more mainstream, pop realms. His outstanding skills and talent for heart-wrenching melodic moments, fused with his trademark sound, have helped him gain fans across the globe, and blur the boundaries between cutting-edge, underground quality and mass appreciation. The 12 songs on Lost mark yet another big step forward in Trentemøller's career. That trademark haunting feeling that defined both The Last Resort (PFR 018CD/LP) and Into the Great Wide Yonder hasn't been neglected on Lost. It's just been redefined and made way more ferocious, the signature glitchy bass being replaced by sub woofer frequencies far more pounding. Trentemøller has managed to bring on-board a whole rake of fantastic peers, personal influences and sprouting talent in the form of guest appearances by Johnny Pierce (of The Drums), legendary slow-core pioneers Low, Jana Hunter (of Lower Dens), Marie Fisker, Ghost Society, Kazu Makino (of Blonde Redhead) and Sune Wagner (of The Raveonettes).


AERA 007-3EP

BROWN/JONAS KOPP, STEPHEN: Lost Archives III 12" (AERA 007-3EP) 14.50
Part three of the Lost Archives series, including two heavy tracks for the floor. On the A-side, Stephen Brown contributes with "The Flow," in which he perfectly shows his own distinctive trademark sound. Moving synths on top of a rolling, tribalesque beat. On the B-side we find Jonas Kopp with "Telergia," one of his most melodic pieces to date. He kept in mind some of his personal favorite productions from Steve Rachmad and Robert Hood when he made this track. Up-to-date techno with old school Detroit influences.



MASTER PLAN INC.: Master Plan Inc. CD (JMAN 058CD) 17.00
A whole album of previously-unreleased soul and funk gems from Master Plan Inc., recorded 1973-1984. All serious record collectors agree that finding rare records can be a difficult, time-consuming and often expensive business. Finding previously-unknown records takes this challenge to another level; another step further and you're into the realm of lost master tapes, acetates and demos in record company archives -- take one step further still and you've just stepped into a black hole: the mysterious, unknown world of private recordings made by individual musicians, never before circulated beyond the four walls of their studio or home. Such is the case with Master Plan Inc., a band from Chicago led by Fred Shorts. With just one single to their name -- an uber-rarity rated at over $2,000 -- nobody had any idea that within the confines of a studio archive and Shorts' private residence there would be a wealth of other recordings on acetate, reel-to-reel tape and cassette. Despite Jazzman's 24/7 commitment to search for such material, such a find is very rare indeed, coming up only once every few years. Yet what marks this as so special is that only when these soulful treasures had been fully excavated did it come to light that the quality of the music would make for a complete album of astonishingly high quality -- most albums have one or two gems padded out with filler, but here we have the real deal -- gem after gem after gem. And all previously-unreleased! If you're into modern soul, '70s funk, smooth mid-tempo crossover dancers or high-energy funk blasts, you're in for a treat. CD comes with a 16-page booklet with liner notes and previously-unpublished photographs.


MASTER PLAN INC.: Master Plan Inc LP (JMAN 058LP) 22.00
Deluxe vinyl LP pressing with thick, pasteback card sleeve.


KK 073CD

MOBIUS, GUIDO: Though the Darkness Gathers CD (KK 073CD) 15.50
Spirituals by Guido Möbius Remixed. Featuring Senking, Rotaphon aka Bori Hegenbart, Gangpol & Mit, Jason Forrest, Candie Hank aka Patric Catani, Mesak, Sick Girls, Daniel Padden (Volcano The Bear). Guido Möbius' fourth studio album Spirituals appeared in July 2012. Spirituals united subtle humor and dark premonition, transfiguration and kitsch. Six out of the nine pieces on this album use lyrics taken from traditional gospels. Without knowing the originals, Möbius set the texts to new tunes and so used them for his own ends. The subject of spirituality is approached from track to track in very differing ways, whether through hypnotic rhythms, cathartic noise or the reassuring sound of an amateur choir. Thereby the agnostic Möbius is not looking to provoke or invite any kind of religious critique. Much more, he has accustomed himself to something that is deeply rooted in the collective consciousness. Spirituals and gospels can be powerful and energetic. Guido Möbius has brought this energy into a new context. This playful style of creative conversion now finds its continuation. Möbius asked eight of his favorite contemporary musicians to make their own versions of his new Spirituals, and the results could hardly be more varied or entertaining. Senking throws the door open with a kind of doomstep track in his dark and compulsive interpretation of "All Evil Ways." He is followed by Rotaphon, an alter ego of Boris Hegenbart, here with a weightless version of "Blessed Sleep." The French duo Gangpol & Mit turn the feverish "Godhead Appears" into a kind of voodoo-jazz piece with a high speed finale in seven-four time. With a totally new melody and created solely from samples generated by pitch-shifting splinters of the track "Judgment," Jason Forrest has created a true Armageddon Version of this cheerful music for the end of time. Candie Hank aka Patric Catani emphasizes the funk in "The Reign of Sin" with club-friendly Raumpatrouille-Orion-Sounds in his remix of "Reign of Sweet Sin." Harmönia label colleague and protagonist of the Finnish skweee scene Mesak delivered a hypnotic, slow-motion monster with "Babel in Port to Mesak." A wonderfully rounded instrumental old school version of "All Around Me" is provided by the hyperactive Sick Girls. And Daniel Padden (Volcano The Bear) sets a magical closing point with "Send the Ark." Although or perhaps because the remixes gathered together here are so different, Though the Darkness Gathers is an acoustic discovery journey of an album wherein each piece is a fine surprise.

KK 074CD

Following the release of The National Jazz Trio Of Scotland's Christmas Album on Karaoke Kalk, the Berlin label now presents the second album by acclaimed pianist Bill Wells' latest project The National Jazz Trio Of Scotland; Standards Vol. II. While the previous record focused on seasonal classics, Standards Vol. II is comprised almost exclusively of Bill Wells' original compositions. Just for the record, The National Jazz Trio Of Scotland don't play jazz, nor are they a trio. And while their status as national ambassadors is not exactly official, Bill Wells has, however, worked with many of the key players in the Scottish indie scene from the likes of Isobel Campbell and Future Pilot AKA to the magnificent collaboration with former Arab Strap vocalist Aidan Moffat on Everything's Getting Older on Chemikal Underground. Indeed, a host of Glasgow's finest have contributed to the new NJTOS album with Norman Blake from Teenage Fanclub responsible for additional studio work and lending his voice to "Winter Breaks and Back to Spring." Belle & Sebastian's Chris Geddes and Stevie Jackson also helped with the recording. Yet despite these impressive rock solid credentials and all the big names with whom Wells works, what sets the National Jazz Trio Of Scotland apart is the vocal performances by Lorna Gilfedder, Aby Vulliamy, and Kate Sugden. While these girls may not be professional singers their voices posses an honest quality which fits Well's compositions to a tee. The sparse arrangements are understated yet outspoken while the lyrics tell of everyday moments, walking a fine emotional line between melancholy and optimism. The majority of the songs on Standards Vol. II are written and composed entirely by Bill Wells, and there are two covers including a version of the traditional Scottish folk song "Mary of Argyle" and a delightful cover of the Moondog tune "My Tiny Butterfly" with Gilfedder, Vulliamy and Sugden singing in a round to great effect. Already his fifth album on Karaoke Kalk, and including previous collaborations with Stefan Schneider aka Mapstation (the bassist from To Rococo Rot), Barbara Morgenstern, and the Japanese improvised free-jazz ensemble Maher Shalal Hash Baz, Standards Vol. II marks another milestone release for the Glaswegian musician.



ETCH: Old School Methods EP 12" (LDN 040EP) 12.50
Keysound Recordings returns to the shadows with the label's first full EP from newcomer Etch. Etch brings a jungle flavor to the dubstep dance. Not exclusively of course: his collaboration "Sounds" with Wen-mentor J-One sits somewhere between two-step garage and Mala's more meditative moments. Etch recontextualizes '97 tech-step's robotic rigidity into the new 130 BPM experimentation zone. Direct, imposing snares punch relentless rivet indentations that are ripe for filling with deft, flickering percussion. Like an intense proxy-memory flood, the sample intones with the epic grandeur of a late '80s/early '90s anthem. For lovers of the Metalheadz/No U-Turn era of drum 'n' bass, it's like meeting an old friend in an entirely new life. Etch has uncovered some old school methods and is alchemist enough to deploy them.



P.GOD: Ecliptic Plane EP 12" (KOMISCH 016EP) 12.50
Komisch calls again on Italian producer P.God, prince of dark techno, for another atmospheric release. Lead track "Winter Solstice" achieves the rare feat of blending atmospherics with functionality, as a dark, prowling groove builds up, its pummeling primal drums, dry hats, and fatty bass providing the backing for an eerie synth sequence that swirls through the arrangement. "Ecliptic" is more esoteric, with Dioguardi conjuring up dreamy pads that ride a hypnotic, tripped-out groove, but the Italian artist's slick arranging and subtle percussive ticks ensure that things don't get too deep. Finally, there's "Module 1," which highlights a different side to P.God. Gone are the synths, replaced by stomping drums, doubled up claps and sleek metallic snares that are full of the malicious intent of an assassin's blade.



LOTUS PLAZA: Spooky Action at a Distance LP (KRANK 166LP) 14.00
2013 repress; LP version. "This is the second album from Lotus Plaza, the solo nom de plume of Lockett Pundt, better known as the guitarist in Deerhunter. There is a wide variety of songs and moods here, from unabashed rockers such as 'White Galactic One' and 'Monoliths', acoustic laced introspection on 'Dusty Rhodes' and 'Black Buzz', to the lysergic electronics of 'Remember Our Days'. Spooky Action at a Distance is a wide angle view of what should be the zeitgeist of contemporary guitar pop."



DISAPPEARS: Pre Language LP (KRANK 164LP) 14.00
2013 repress; LP version. "The third annual report from Chicago's Disappears is submitted for your consideration. Direct allusions to Philip K. Dick, James Baldwin, and Joan of Arc sit side by side with songs about the lows of life and the characters that permeate it. Recorded in Hoboken New Jersey at Sonic Youth's Echo Canyon West studio and mixed with John Congleton, Pre Language finds Disappears at their most potent and focused."


HECKER, TIM: Mirages 2LP (KRANK 181LP) 19.00
"This is the first vinyl issue for Tim Hecker's classic 2004 album." Housed in a deluxe gatefold sleeve.



SUN RA & HIS ARKESTRA: The Lost Arkestra Series Part 1 10" (KSAY OFF1-EP) 12.50
2013 repress. Three unreleased tracks from the Art Yard Sun Ra & His Arkestra vaults. On the A-side is "Along Came Ra" featuring June Tyson. The B-side includes a beautiful edit of "The Sky Is A Sea Of Darkness When There Is No Sun" and "We Travel The Spaceways."



ERICKSON, ROKY: Don't Slander Me CD (LITA 098CD) 15.00
"Housed in a deluxe gatefold 'tip-on' jacket with 18 page booklet, liner notes by Joe Nick Patoski. Includes rare/unseen archive photos and ephemera. If The Evil One was the album that broke Erickson out of the indie ghetto and brought him to a worldwide audience, the follow-up, 1986's Don't Slander Me was the one that showcased his rock and roll sensibilities like no recording before. Losing the more out-there and exotic elements of earlier and future albums, it presents us with Erickson the rocker, playing punk, rockabilly, blues and -- in 'Burn the Flames,' later found on the Return of the Living Dead soundtrack -- even power ballads. Erickson was just 15 when he wrote 'You're Gonna Miss Me,' the song that epitomized the garage rock movement and inspired punks, rockers, and noisemakers ever since. In another life, Erickson and Austin-based band could have been as big as any of the '60s legends still making music today. But fate took Erickson down a meandering path via the Houston psychiatric hospital where he was institutionalized for almost a decade following a diagnosis with paranoid schizophrenia in 1968. Erickson's experiences in the hospital proved to be fertile inspiration for his music -- on leaving, he formed the group Roky Erickson and the Aliens and began penning songs about zombies, demons, vampires, and -- to counter the B-movie monsters, the real-life monsters of social injustice."


ERICKSON, ROKY: Don't Slander Me 2LP (LITA 098LP) 26.00
""If The Evil One was the album that broke Erickson out of the indie ghetto and brought him to a worldwide audience, the follow-up, 1986's Don't Slander Me was the one that showcased his rock and roll sensibilities like no recording before. Losing the more out-there and exotic elements of earlier and future albums, it presents us with Erickson the rocker, playing punk, rockabilly, blues and -- in 'Burn the Flames,' later found on the Return of the Living Dead soundtrack -- even power ballads. Erickson was just 15 when he wrote 'You're Gonna Miss Me,' the song that epitomized the garage rock movement and inspired punks, rockers, and noisemakers ever since. In another life, Erickson and Austin-based band could have been as big as any of the '60s legends still making music today. But fate took Erickson down a meandering path via the Houston psychiatric hospital where he was institutionalized for almost a decade following a diagnosis with paranoid schizophrenia in 1968. Erickson's experiences in the hospital proved to be fertile inspiration for his music -- on leaving, he formed the group Roky Erickson and the Aliens and began penning songs about zombies, demons, vampires, and -- to counter the B-movie monsters, the real-life monsters of social injustice. 2LP housed in a deluxe gatefold 'tip-on' jacket with liner notes by Joe Nick Patoski. Includes download card for the full album, an etching on side D by artist Travis Millard, plus rare/unseen archive photos and ephemera."


ERICKSON, ROKY: Gremlins Have Pictures CD (LITA 099CD) 15.00
"Housed in a deluxe gatefold 'tip-on' jacket with 32 page booklet, liner notes by Joe Nick Patoski. Includes rare/unseen archive photos and ephemera. By 1986, Roky Erickson's career had endured twists, turns, and a late-period purple patch marked by incredible music and self-destructive behavior. The Evil One (LITA 097) broke him out of the indie underground and Don't Slander Me showed off his rock 'n' roll sensibilities. But Erickson was difficult to manage -- and patience was running out. 'I'd given up after the second album,' Erickson's then-manager, Craig Luckin, has said. 'I had enough.' Yet a third album -- arguably his best -- was to be found, if not created. Gremlins Have Pictures is an anthology of Erickson's solo work following his extended incarceration at the Rusk State Hospital for the criminally insane, beginning with his first live performance (opening for a screening of the Texas Chainsaw Massacre in Austin) all the way to Don't Slander Me (LITA 098). Collected here, the odds and ends of Erickson's post-incarceration work tell a story of a man finding his musical feet, ranging from Dylan-like folk strumming to the big, Neil Young-like rock of the unparalleled 'Anthem (I Promise).' The span of time is great -- from The Ritz Theatre tracks, recorded in Austin in 1975, at the debut performance by The Aliens, to those troubled Don't Slander Me off-cuts. Other tracks were cut with the Explosives, the band Roky started working with at Raul's punk club in Austin after he'd returned to Austin in 1979, following the departure of the Aliens. Together the various tracks deftly summarize Roky Erickson's recording career."


ERICKSON, ROKY: Gremlins Have Pictures LP + 7" (LITA 099LP) 24.00
""By 1986, Roky Erickson's career had endured twists, turns, and a late-period purple patch marked by incredible music and self-destructive behavior. The Evil One (LITA 097) broke him out of the indie underground and Don't Slander Me showed off his rock 'n' roll sensibilities. But Erickson was difficult to manage -- and patience was running out. 'I'd given up after the second album,' Erickson's then-manager, Craig Luckin, has said. 'I had enough.' Yet a third album -- arguably his best -- was to be found, if not created. Gremlins Have Pictures is an anthology of Erickson's solo work following his extended incarceration at the Rusk State Hospital for the criminally insane, beginning with his first live performance (opening for a screening of the Texas Chainsaw Massacre in Austin) all the way to Don't Slander Me (LITA 098). Collected here, the odds and ends of Erickson's post-incarceration work tell a story of a man finding his musical feet, ranging from Dylan-like folk strumming to the big, Neil Young-like rock of the unparalleled 'Anthem (I Promise).' The span of time is great -- from The Ritz Theatre tracks, recorded in Austin in 1975, at the debut performance by The Aliens, to those troubled Don't Slander Me off-cuts. Other tracks were cut with the Explosives, the band Roky started working with at Raul's punk club in Austin after he'd returned to Austin in 1979, following the departure of the Aliens. Together the various tracks deftly summarize Roky Erickson's recording career. LP housed in a deluxe gatefold 'tip-on' jacket with eight page booklet, liner notes by Joe Nick Patoski, and a bonus 7" containing tracks 13-16 from the CD. Includes download card for the full album plus rare/unseen archive photos and ephemera."



HOOD PRESENTS FLOORPLAN, ROBERT: Living It Up/Wall To Wall 12" (MPM 010EP) 12.00
2013 repress. Robert Hood finally restarts his disco-influenced pseudonym Floorplan. "Living It Up" loops a disco sound while evolving with pads and synth stabs. "Wall To Wall" takes things deeper, exploding with claps, driving things in a way only the Hood can do.


HOOD, ROBERT: Alpha (James Ruskin Remix)/The Family 12" (MPM 011EP) 12.00
2013 repress. Robert Hood is firmly back in business for 2011 with more M-Plant excellence. James Ruskin remixes "Alpha," the first single that was taken from Omega (MPM 008CD/LP). This grooving, percussive remix adds a touch of Ruskin magic while maintaining the essence of Hood's original. On the B-side, Hood delivers a brand-new track called "The Family." This is classic Robert Hood with its unrelenting rhythm, powerful bass line and a good dose of the funk. Hood fans will not be disappointed.


2013 repress. For the next release on M-Plant, Robert Hood revisits his Floorplan moniker, delivering three new tracks. "We Magnify His Name" is a classic example of the Floorplan ethos. Hood layers gospel vocals and a joyous atmosphere over a funked-out disco backbone. "Baby Baby" will have dancefloors jumping too, with its clipped, staccato vox and pumping bassline. The EP ends on "Basic Principle," the techiest of the three tracks, though still removed from Hood's usual dark minimal techno.


HOOD, ROBERT: The Greatest Dancer 12" (MPM 014EP) 12.00
2013 repress; the latest release in the Perpetual Masters series, which sees the M-Plant catalog being remastered and re-released, is the classic The Greatest Dancer. A disco-styled techno track which was originally released on M-Plant in 2001 with a live version of the title track from Motor City, Detroit. This remastered version is accompanied with a new disco-styled techno track called "Dancer."


2013 repress. Robert Hood delves back into Floorplan for this M-Plant release. The double-headed Altered Ego EP features two new Floorplan workouts, "Altered Ego" and "Confess." The title track jacks out from the onset, and Hood's distinctive, rhythmic grooves are as intoxicating as ever. With the staccato vocal cut and Detroit-meets-Chicago feeling, we're back in "Baby Baby" territory. "Confess" shows the other side to Hood's Floorplan with an opening gospel-style piano riff that's gradually overlaid with Latin percussion and that special Hood kick.



GERSTAFFELEN: The Old Villagers 12" (MOSDEEP 017EP) 12.50
Mysterious producer Gerstaffelen here debuts on Dutch label M>O>S Deep with The Old Villagers, a four track EP of grainy analog house. If you've heard label-boss Aroy Dee DJ recently, you may well have heard one of the tracks, which has already proven a success on knowing dancefloors around Europe. It's a dense, multi-layered 12" with plenty of squiggly synths, bobbling analog bass lines, and radiant pads.



DUFFY: Just In Case You're Interested LP (MABELARC 958LP) 29.00
"Obscure UK hard prog band that released this first album back in 1972 only in South Africa. Second press in 74 in Germany and France (different sleeve). A later press appeared in 1978 on Brazil with a unique sleeve. This is the original 1972 sleeve pressed in a limited run of 400 copies with remastered sound. Duffy took influence from other UK hard prog giants such as early Deep Purple and Uriah Heep, but crossed it with pastoral Rock ala Jethro Tull. The band also released a second album in 1973 (Scruffy Duffy) finishing shortly after their career. Both albums are very hard to find, so it's time for a revamp of this great UK prog band that should not be forgotten in the UK 70's Rock history."



MANU, ATAKORA: Disko Hi-Life LP (AMBI 102LP) 11.00
Original copy of this 1981 release from Ghanaian highlife musician Atakora Manu. Limited stock.


MD 706CD

HEADCOUNT: Lullabies for Dogs CD (MD 706CD) 14.50
This is Headcount, Oxford, UK's "punk metal titans" as described by one writer, and this is Lullabies for Dogs, the band's fourth studio album. Lullabies for Dogs continues with the trademark hook-laden, heavy melodic sound that has become the band's calling card. The Headcount of 2013 features none other than the talents of Marco Pirroni of Adam And The Ants/Sinead O'Connor fame lending his distinctive style to the existing sonic platter resulting in 11 tracks of uncompromising, uptempo, joyous power. Formed in 1999 by Rob Moss (guitars & vocals), Stef Hale (drums) and Rob Jeffrey (bass), Headcount have been referred to as "hell bound pig-fucking devil dogs" and sounding like "Adam And The Ants being sodomized by Therapy?". That should give you an idea. Lullabies for Dogs builds on the success of the KKKK-rated 2002 debut (which also featured Marco) It's a Business Doing Pleasure With You, 2004's Paul Raven (Killing Joke, RIP)-produced Die Monkey Die and 2008's To the Point. Fourteen years on from forming, it's unmistakably Headcount -- big, pounding drums, driving, killer bass, and full, guitar-laden choruses.



KABOOM KARAVAN: Hokus Fokus CD (MIA 024CD) 15.50
Bram Bosteels' Kaboom Karavan project reappears out of the thick Belgian jungle to deliver what must be one of the strangest and most exotic records since Gultskra Artikler's uncategorizable Kasha iz Topora. After the already quite surreal Barra Barra (MIA 015CD/LP) album on Miasmah from 2011, Bram takes his sound further into unknown yet still strangely familiar territories. Listening to Hokus Fokus feels like staring frozenly into a postcard sent from your long-lost uncle that went missing in the Amazon after an expedition gone wrong (circa year 1935). Merge this image with the decaying sounds of an old Tom Waits record slowly tuning out in the background and you're getting close. This is not instantly gratifiable music, but rather, a thick fog of details, sounds and atmospheres blended together with utmost precision and skill to create something quite unique that really shines with repeated listening and full immersion. Coming from a background as a notorious piano husk experimenter, film, theater, and dance composer, as well as regular Kreng collaborator, Bram has set off to confuse and wonder us with this selection of highly amazing Kaboom Karavan alternate-universe pieces fittingly entitled Hokus Fokus. For fans of '50s exotica records, Jeff Beal's score for Carnivalé (the TV show) and Andy Votel/Demdike Stare-curated Pre-Cert entertainment (with artists such as Anworth Kirk and Slant Azymuth).



DAPAYK & PADBERG: Smoke 12" (MFP 066EP) 12.50
In September 2013, Mo's Ferry presented the fourth album Smoke (MFP 067CD/LP) by Dapayk & Padberg. After their last album on Stil Vor Talent in 2012, the duo now opens the door to a gloomy-melancholic world. Dapayk & Padberg consciously turn their back on the dancefloor and abandon the formerly typical balancing act between club sound and listening electronica. Even though the A-side of the present single is certainly made for the DJs, it shall be the sole exception to their current creative path. The downtempo version of "Smoke" on the B-side already reveals the new Dapayk & Padberg uneasy listening mixture.



METASPLICE: Infratracts 2LP (DOSER 017LP) 23.00
Repressed. Infratracts revealed. Eight outstanding tracks from the twisted minds of Philadelphia's finest. After the Topographic Interference four-tracker and the abstract head-banger Decant/Churn releases, the duo formed by Kenneth_Lay and V.Hold has established the fundamentals of a real new generation of psychedelia and wild technological freedom. This is the clear and definitive Metasplice manifesto: fist-rising -- scream if you can read it.



MUM: Smilewound CD (MORR 124CD) 15.50
You don't need to be Freud to regard teeth as a delicate issue. They can make joy look joyous and pain look painful, and on the cover of the new múm album they do both at the same time. Smilewound is another example of the band's art of juxtaposing two conflicting meanings and taking advantage of the energy created through the tension between both. Sparser in sound than many of its predecessors, Smilewound is an airy, relaxed record. The múm core duo of Örvar and Gunni doesn't make you laugh out loud (except maybe for the quirky vintage arcade-sound-start of "When Girls Collide"), but it will make you smile often -- despite the heavenly voices singing about violence in one form or another in most songs. Musically, múm's capability to build playful electronic sound-ornaments around simple melodies is in full bloom. And these days they know that trimming the ornamentation can strengthen the melody. Take "The Colorful Stabwound": an aguish drum 'n' bass piece and Smilewound gets close to a straight pop-song. Even that isn't very close, but it combines its rhythmic strength with a simple yet effective piano-line and the soothing lushness of a female voice to something compelling that follows you like the smell of a delicate eau de toilette. Or "Candlestick," which started out as a little ditty strummed on an acoustic guitar many years ago and has grown into this bouncy piece of synth-pop that changes its musical colors every couple of beats until you feel comfortably dizzy. Perfect pop in very fancy clothes. No wonder that antipodean pop-princess Kylie Minogue wanted to collaborate with múm on "Whistle," the main song in 2012 movie Jack & Diane. Recorded in, among other places, the band's practice space, an old Baltic farmhouse and on the kitchen table after dinner, the album was produced by múm themselves. And being the revolving collective they are, it comes as no surprise that we see the return of former member Gyda. Defining satellites as part of the core fits nicely with the band's penchant for ambivalence -- in fact, that's part of the album's charm.


NW 80748CD

ZWERM: Underwater Princess Waltz CD (NW 80748CD) 15.00
"A collection of one-page pieces by Karl Berger, Earle Brown, Alvin Curran, Nick Didkovsky, Joel Ford, Daniel Goode, Clinton McCallum, Larry Polansky, and Christian Wolff. The 'one-page piece' -- a written-down musical composition that fits on a single piece of paper -- is appealing to a group like the Belgian/Dutch electric guitar quartet Zwerm. Zwerm and their collaborators took full advantage of the opportunity to create their own scores out of the one-page pieces, to allow their own creativity and compositional ideas to run free, to explore interesting sound worlds, and to seek out possible links between the pieces. These positive experiences are inherent to the format of the one-page piece: a composer provides a musical idea, in traditional notation, prose, graphics, or some combination of all three; sometimes this idea is rough or conceptual, sometimes more clear in its musical content and process. The rest is up to the musicians. Collaborative brainstorming is necessary, and many ideas might be tried out before settling on a particular way of realizing the piece; often, the possibilities seem endless, limited only by one's conventional training, adherence to idiomatic instrumental techniques, and musical sensibilities. This collaborative brainstorming works best when the ensemble is made up of adventurous musicians who trust each other. One-page pieces fall into the category of process pieces. With roots in the history of American experimental music, both process pieces and one-page pieces are sometimes traced back to Terry Riley's minimalist masterpiece 'In C' of 1964. The recordings on this CD represent a crossover project in which Zwerm looks for connections between the sound worlds of blues, free improvisation, experimental rock, noise, minimalism, and many other contemporary musical ideas. Zwerm are Johannes Westendorp, Bruno Nelissen, Kobe Van Cauwenberghe, Toon Callier (guitars); with Eric Thielemans (drums, percussion); Bertel Schollaert (saxophone); Matthias Koole (guitar); Thomas Moore (voice-over)."



LEISURE CONNECTION: Jungle Dancing/Wave Riding LP (RHD 008LE-EP) 12.50
More Peaking Lights-related 12" goodies arriving without a label. Producer Aaron Coyes is joined by friend and former bandmate Nate Archer (together they once formed Rahdunes). Both tracks clock in over 10 minutes each, making this a real double-sided mind expander. Artwork by Cosmo Knex. Mastering by Sonic Boom.


FREDERIKSEN, JONAS: Toekomstje LP (RHD 010STJE-LP) 19.50
Jonas Frederiksen is a young painter, record store attendant, poet, and night porter, but perhaps most people know him as being one-third of the Copenhagen by-product Girlseeker. Toekomstje is work derived straight from the notebooks of the young Casanova, written during 2012 on the streets of medieval Copenhagen. Toekomstje is now finally brought to life on vinyl and includes a color insert/lyric sheet and exclusive "Splash Rock" sticker. Very limited edition.


OT 001EP

L/F/D/M: Purple Maps 12" (OT 001EP) 12.50
Optimo Trax is an offshoot label of Optimo Music for tracks aimed at DJs/dancefloors. L/F/D/M is from London and studied art with Dom from Factory Floor, who encouraged him to work on music production. But his musical influences range from jazz, exotica, Afrobeat, disco, post-punk -- you name it. "I'm always trying to reach that magic point where you can remove yourself from what you're making, and the music starts to trigger an emotion rather than just being blocks of color on a computer." --L/F/D/M



One of the most reliable names in techno and arguably Berghain's most prominent face, Marcel Dettmann has already once accomplished the difficult task of translating his pared-back techno sound to the album format. His debut self-titled album, released back in 2010, comprised 12 sculptures of obdurate stone and steel aimed at a pair of good headphones as much as they were a dancefloor. They showed a producer as adept at intricate sound design as he was rocking the world's best club. Since then, Dettmann has released another acclaimed mix CD and a string of singles which had him move away from that LP's tough textures and into everything from liquid ambient to the catchiest music of his career. But then there's Dettmann II. A sequel in a true sense, the album marks a return to the spirit of the first album, but things feel less tense this time around. Dettmann brings his recent experimental outlook and applies it to the album template, creating a record that lives and breathes with a naturalism rare for a techno album. Expertly paced, Dettmann II impresses especially with its carefully rising narrative. On first glance, as the album barrels into action with the particulate grit of "Throb" and "Ductil," Dettmann is in fine style. But to the careful listener, these tracks feel lightweight, like they're built from aluminum instead of steel. Each tune's central theme is a bit more out-there than usual, from the sheet-metal racket of "Lightworks" to the house-hinting chorus of "Soar," which is every bit as majestic as its title implies. He offers up some top-notch ambient material as well, like the trippy "Shiver," or the ominous "Outback," which features contributions from Levon Vincent. Dettmann also reaches for a rare collaboration on his second album. Kindred spirit Emika lends her spectral gasps to "Seduction," which stays stunningly antiseptic even as it weaves her voice into its wire framework. With Dettmann II's stretch of tracks "Radar" and "Corridor," the album finally takes flight into full-on club mania, fist-pumping, career-high material with all the subtlety of his old work molded up into a spiky banger. "Aim," which ends the record in lofty fashion, hints at a new direction for Dettmann, uncharacteristically melodic and even uplifting. Co-produced by René Pawlowitz, it bears the Shed touch but keeps it firmly in Dettmann's finely-honed world.



HOLT, BILL: Dreamies: Auralgraphic Entertainment LP (OSR 008LP) 25.50
Dreamies is ranked #37 on MOJO magazine's 2005 list of the "Top 50 Most Out-There Albums of All Time" (a list that includes The Beatles, Pink Floyd, Jimi Hendrix, The Velvet Underground, and Miles Davis). This unique album by Bill Holt, first released in 1974, sounded way ahead of its time and became an international cult classic in the following decades. A perfect example of what was called "head music" at the time, Dreamies consists of two large suites full of Lennon-esque vocals, sound collages, early electronics and proto-sampling. The perfect marriage between psychedelia, pop, and experimental sounds. Remastered sound, original artwork, repro of the rare original insert.



HELM: Silencer 12" (PAN 043EP) 18.00
Eldritch electro-acoustic explorer and uncompromising sound artist Luke Younger aka Helm presents his first new material since his Impossible Symmetry (PAN 027LP) album. Issued as a split release between PAN and his own Alter label, Silencer documents four studio actions conducted in the wake of his renowned LP, charting the alchemical relationships between base, stripped-down rhythms, cruddy electronics, and acousmatic source material manipulated on cassette tapes. Features foghorn brass from John Hannon of Liberez and metallic scrape from Tom James Scott. On clear vinyl.



Parallax Sounds are excited to announce their first release from Japanese psychedelic collective Acid Mothers Temple. Active since the late 1970s, founding member Makoto Kawabata has directed the Acid Mothers Temple project and its various offshoots for over 15 years, championing an inimitable brand of sonic exploration at once visionary yet steadfast in its refusal to conform to the occasional mundanity of the present, taking in a diverse array of audible and aesthetic influences including Berlin School Krautrock, earlier German elektronische musik, British progressive rock -- particularly its Canterbury contingent -- as well as Japan's own hallucinatory pioneers such as Brast Burn, Taj Mahal Travellers and Les Rallizes Dénudés. Now under their Cosmic Inferno guise, Doobie Wonderland sees them utilizing these influences to their full extent while continuing to expand, finding new inspiration in such genres as psychedelic soul, funk and disco. This new approach is perhaps evidenced by a shift in line-up; in addition to core members Makoto Kawabata, Higashi Hiroshi, Tabata Mitsuri and Shimura Koji, this collection of material, recorded over the space of five years, features the final appearance from drummer/vocalist Pika (formerly of psychedelic punk duo Afrirampo) and marks the arrival of Opera, who also performs with Kochi-based hardcore group Reveal. Pika's spell with the band marked not only a new sound but a sensibility that extended to a live setting, giving rise to a new sonic and performative method, manifesting in a joyous, often ecstatic character that stands in contrast with the doom-laden arrangements heard on albums such as Starless and Bible Black Sabbath and Ominous from the Cosmic Inferno. This sensibility lives on following her departure, resulting in a refreshingly primitive style that can be heard both live and recorded. A must for converts, and a welcome addition to any progressive rock, psychedelia or even jazz fusion collection, this is a trip not to be missed.



VA: Goush Bedey: Funk, Psychedelia and Pop from the Iranian Pre-Revolution Generation CD (PHS 013CD) 17.00
Groovy Tehran '70s pop singles swirl like the skirt of a dancing dervish. With five volumes, this series is now the most complete investigation into Iranian singles ever issued. By now, you've probably developed an ear for the way that '70s Tehran pop stitches phrases together. And you know generations raised during the Pahlavi dynasty's warmth for the West were excited to apply arranging tricks they gleefully swiped from disco and funk hits. Hear the microtonal grace notes as powerhouse singers like Soli and Sattar hit devotional ecstasy. Or just groove to the glamorous party when magazine stars like Neli and Nooshafarin knock-off bass lines they heard in English-language movies. Remastered sound, insert/booklet with pictures and detailed liner notes by Angela Sawyer (Weirdo Records).


VA: Goush Bedey: Funk, Psychedelia and Pop from the Iranian Pre-Revolution Generation 2LP (PHS 013LP) 33.00
Double LP version. Includes insert with liner notes and photos.


ALPAY: Yekte CD (PHS 014CD) 17.00
In Turkey, psychedelia wasn't just some fleeting fad. Fuzzed-out guitar shredding genuinely intersected with some of the goals of traditional folk and classical music. As a result, even former twist singers and folk balladeers explored some fascinating and wild territory. Meet Alpay, the soccer player turned-lawyer-turned-singer who started matching local lyrics to Western arrangements, even before the mid-'60s countrywide battle of the bands concerts. These early '70s singles lay down doleful Anatolian melodies, and they're simply soaking in heavy and wah-ed-out guitar solos. If you're ready to go beyond Baris and Erkin, this is the perfect spot. Remastered sound, insert/booklet with liner notes by Angela Sawyer (Weirdo Records).


ALPAY: Yekte LP (PHS 014LP) 25.50
LP version.



HAIGH, ROBERT: Darkling Streams CD (PRIMA 003CD) 14.50
Robert Haigh is a veteran of UK underground music from the early '80s onwards. In the '80s he worked on seminal Nurse With Wound albums and released a series of darkly ambient albums and EPs under the name Sema. The '90s saw Haigh experimenting with atmospheric textures and sequenced rhythms under the name Omni Trio. From the mid-naughties onwards, Haigh has returned to his love of minimal piano counterpoint with releases on Seal Pool, Crouton, Siren, and now Primary Numbers. Darkling Streams is the anticipated follow-up to the acclaimed trio of piano albums released on Siren Records between 2009 and 2011. Taking up where the Siren trilogy left off, Darkling Streams is a collection of piano miniatures with occasional wisps of shimmering electronic texture. As with the Siren albums, the pieces are intimate, atmospheric, hauntingly melodic, and introspective. Shades of Satie, Harold Budd, Arvo Pärt, Philip Glass, and Ryuichi Sakamoto can be detected in these works but never to the extent of overshadowing Haigh's distinctive expression and harmonic preoccupations. This current set stands apart, however, with the inclusion of a handful of extended pieces. Tracks such as "Fugue State," "Of Eros and Dust," and "Rain for Avalon" have an epic and darkly cinematic quality not heard on previous albums. Limited to 500 copies.


DANGERS, JACK: Bathyscaphe Trieste CD (PRIMA 007CD) 14.50
Jack Dangers has been recording, performing, and releasing music for nearly three decades in Meat Beat Manifesto, Tino Corp, and Perennial Divide. Dangers' resume as a producer and remixer includes David Bowie, Depeche Mode, Nine Inch Nails, Coil, Merzbow, Twilight Circus, Public Enemy, Cranes, David Byrne and many, many more. Apart from the noise, beat, and dub-driven Meat Beat Manifesto, Dangers has released numerous solo recordings probing the depths of sound of analog synths and tape manipulation on labels such as Important Records, Shadow Records, Bella Union, Brainwashed, and his own Tapelab and Flexidisc imprints. Bathyscaphe Trieste is more in line with his critically-acclaimed releases such as the Forbidden Planet Explored, Music for Planetarium, and Electronic Music from Tapelab. In 1960, a two-person bathyscaphe ("deep boat") named Trieste reached a record maximum depth in the deepest known part of the Earth's oceans, the Challenger Deep, in the Mariana Trench near Guam. The five hour descent was made possible by the earth's gravitational pull on nine tons of lead shot, while the three hour ascent was aided by a balloon filled with gasoline. Only James Cameron has returned to the Challenger Deep, and is allegedly in production of a film of the journey. Dangers' composition honoring this journey is the product of years of work, featuring super slowed-down tape manipulations of analog synthesizers (often 30x as slow), bounced from machine to machine to achieve the appropriate soundtrack for a vessel on an exploratory journey into uncharted depths under massive amounts of physical pressure. Jack's intention was to create music from a mysterious world which mixed at the bottom of the Mariana Trench at the Challenger Deep Bedroom Quilt Studio. The disc comes with CD-ROM content of 35 minutes of video footage edited and set to music by Jack Dangers.



A stateless trio (Narumi is Japanese, Maïk is English, and Leo is Swedish), Tristesse Contemporaine chose Paris as their battleground. The sound of their first self-titled album, produced by Pilooski (Discodeine) in 2012 (DL 017LP), was immediately praised among the music scene and critics -- raw and minimal, catchy yet mesmerizing, both poppy and spleen-heavy. Equally inspired by the ghosts of shoegaze, Krautrock and Madchester, they aimed to write the soundtrack of an era that got lost into the nights. Songs like "I Didn't Know," "Daytime Nighttime," "In the Wake," and "Hell is Other People" set catwalks (Chanel) on fire along with the music press and live venues, as much in France (where they opened for Pulp at the Olympia) as elsewhere, including Russia and Eastern Europe. After the Woodwork EP, which announced the start of a new collaboration with the label Record Makers (and their original home, Dirty), Tristesse Contemporaine returns with a second album, Stay Golden, where the trio reaffirms with nine thrilling songs which stay close to the original DNA while daring to reveal new secrets of their identities. The uplifting pop of "Fire," the abrasive rock "I Do What I Want," through to the surgically-precise house of "Going Out," Stay Golden points the Tristesse Contemporaine projectors to the city skies as well as the twisted dancefloors.



POPULATION ONE: Reducible Expressions 12" (REDUCTION 002EP) 12.50
Obscure techno outings of the highest order from Population One on Terrence Dixon's own label. This stuff is the real deal.



PIEETE, ANTON: Loner 12" (REJ 029EP) 12.50
Anton Pieete is welcomed back to Rejected with yet another premium release. Once again we witness Pieete's well-respected contempo techno style with the versatile two-track EP, Loner. "Loner" fronts a straight-forward deep ambiance that's cleverly fused with a classic synth and retro vocals, a definite nostalgic vibe ready for a modern dancefloor. "I Hold from You" presents a break from the generic with Pieete focusing on a progressive chill-out roller, setting the mood for any performance.


RS 6247CLP

Exact repro reissue, colored vinyl edition. 2nd WCPAEB album overall, first for Reprise. Originally issued in 1966. "With their soaring psychedelia, achingly pure folk-rock and Zappa/Beefheart strangeness, these seminal underground gems from the West Coast Pop Art Experimental Band -- Part One, Vol. 2 and A Child's Guide To Good & Evil -- can be seen as encyclopedic primers of the late-'60s Los Angeles musical experience."



SHIHAB, SAHIB: Jazz Sahib LP (SJC 409LP) 12.00
Sahib Shihab grew from the swing era to eminence in 1947 with Thelonious Monk, Tadd Dameron, Art Blakey, Dizzy Gillespie and others in the forefront of the bop movement. This is an exact repro of the 1984 reissue of a record originally released in 1957. Shihab is joined by Phil Woods (alto sax), Bennie Golson (tenor sax), Hank Jones (piano), Paul Chambers (bass), Art Taylor (drums), Bill Evans (piano) and Oscar Pettiford (bass).



BLEAK: Open Space EP 12" (SECRET 011EP) 12.50
For Secretsundaze's 11th release they welcome Swedish rising techno producer Bleak to the family. All three tracks stand out for their high-end production and driving sound, while retaining plenty of soul and atmosphere. Title-track "Open Space" features a driving kick and numerous percussive elements all working together alongside gliding, hypnotic pads and chords. A tweaky, acidic line fades up in the mix and worms its way into your consciousness with more killer percussive elements picking the energy up into a tracky, hypnotizing groove.


SR 6037HLP

HELL AND THE VOIDOIDS, RICHARD: Blank Generation LP (SR 6037HLP) 13.00
2013 repress. Exact repro vinyl version of the debut Richard Hell album, originally issued by Sire in 1977; 180 gram vinyl . "Hell formed the Voidoids, whose unwavering individualism kept the group out of the big time while producing a demanding and impressive corpus of work. 'I was saying let me out of here before I was even born.' That lyric sums up Hell's attitude, which he expanded and perfected on Blank Generation with a new version of the title track and such powerful statements as 'Love Comes in Spurts' and 'New Pleasure.' The album combines manic William Burroughs-influenced poetry and raw-edged music for the best rock presentation of nihilism and existential angst ever. Hell's voice, fluctuating from groan to shriek, is more impassioned and expressive than a legion of Top 40 singers." --Trouser Press


OUT 5008LP

COSTANZO, JACK: Mr. Bongo Has Brass LP (OUT 5008LP) 25.00
"After popularizing the bongo drum in a jazz setting with Stan Kenton's orchestra of the late '40s, as well as a stint in Nat King Cole's group, 'Mr. Bongo,' Jack Costanzo, set out on his own, releasing his debut solo record in 1956 on the Zephyr label. As the title implies, the Chicago born bongo master is joined by a large orchestra that includes a boatload of trumpets in a Latin jazz/exotica setting. Cinematic in scope, some might call this 'crime' jazz, with a distinct Latin flavor. Whatever you call it, be prepared to dance. Mr. Bongo Has Brass is lovingly reissued here on 180 gram LP by the fine folks at So Far Out."

OUT 5010LP

"Originally released in 1958, Dance Mania, is amongst a handful of late '50s Latin LPs that took the sounds of mambo, cha cha, and guaguanco, out of Spanish Harlem and Puerto Rico and into the mainstream of America. Leading a group that includes congo master Ray Barretto, timbalero Puente blazes through a set of mostly original tunes. An essential Latin dance LP from one of the masters, reissued on 180 gram vinyl."

OUT 5012LP

BARRETTO CHARANGA BAND, RAY: Barretto Para Bailar LP (OUT 5012LP) 25.00
"Charanga is the group and pachanga is the dance, and few had a band more adept at playing the rhythms for the dance than Ray Barretto. Featuring all original compositions from the incredible Hector Rivera, Barretto's debut recording as a leader, Barretto Para Bailar was originally released in 1961 on the Riverside label. Though of Puerto Rican descent, and hailing from Spanish Harlem, Barretto is a master of this Cuban style and his full fledged force of nature percussion style is on display here. With the recent increased demand for pachanga rhythms, So Far Out is pleased to bring a highly sought after title back on the market for the first time in 50 years. On 180 gram vinyl."



WOOD & MEAT, CHRIS: Cock Robin (Mr G's RA Dub Mix)/Tonis Pipe 12" (SOUVENIR 058EP) 12.50
The first track on this 12" from Chris Wood & Meat comes courtesy of deep house don, Mr. G. His remix provides a sparse take on the original "Cock Robin," jacking straight-ahead into a hard-hitting house rhythm, complete with finger-clicks and vocal stabs. A definite dancefloor roller. On the flip, the duo have provided a brand-new cut, "Tonis Pipe," which rattles with drilling percussion and soaks itself in a modulating, acid-tinged synth line, all built around emerging, muffled vocal samples.


SP 029CD

DOZZY, DONATO: Plays Bee Mask CD (SP 029CD) 15.50
In hindsight, the pairing of Chris Madak and Donato Dozzy was inevitable from the moment when the two connected on Mount Naeba, Japan at the storied Labyrinth party last fall. Both artists have worked to craft singular visions unlike anything else happening in electronic music today, yet despite each producer's unmistakable individuality, there is a deeper reservoir of shared sensibility between them which makes Donato Dozzy Plays Bee Mask feel like a logical and necessary event. 2012 saw the release of Madak's monumental When We Were Eating Unripe Pears (SP 023LP) album along with the astounding Vaporware 12" for Room 40, the title-track of which opened Bee Mask's Labyrinth performance to memorable effect. Dozzy had an equally massive year thanks the release of the acclaimed Voices from the Lake (PRG 001CD/003LP) album with Neel, which set the bar for intricate, subtle, and forward-thinking contemporary techno at a new high. Both artists have pushed the respective boundaries of their work to arrive at the point of this crucial and welcome overlap: a double album of material from the Vaporware sessions, re-imagined as only Dozzy could do it. Initially commissioned for a single remix, Dozzy found so much possibility in the source material that he turned in over an hour of material, making a standalone release the only reasonable course of action. The results are absolutely divine, a suite of seven pieces of time-stopping bliss in which the structure and melodies of Vaporware glitter through the prism of Dozzy's singular production style. The meeting of these powerful minds provides evidence of an unparalleled organic chemistry. When listening to these works we hear the worlds of Bee Mask and Donato Dozzy bleed into one another, creating a new sonic entity with a life of its own -- one which with any luck will not end at this release. Mastered and cut at Dubplates & Mastering, Berlin, May 2013.



MUSLIMGAUZE: Tandoor Dog CD (ARCHIVE 013CD) 18.00
In 1998 Staalplaat and Muslimgauze were in a conquering spirit. Bryn Jones (1961-1999), the man behind Muslimgauze, delivered new works almost on a weekly basis and was more than happy to see them released straight away. Unlike others, Staalplaat was never shy to release larger works, lumping them together, such as the 9CD Box of Silk & Dogs. Allowing free reign in editing, the 4LP box set Tandoori Dog contained an LP called Tandoor Dog, which included only eight out of the 11 original pieces. Now the whole Tandoor Dog album is released on a limited CD, spanning in total 60 minutes of music. Muslimgauze didn't fail in this highly productive period. Peaking as never before, his music here carries all that makes Muslimgauze the unique artist he is. Taking his influences from what can be loosely called the Middle East, but extending that to as far as Pakistan, Jones freely samples percussion, instruments and voices and adds these to his own sequences and instruments, such as the tabla. The melting pot that is the studio blends this together in hypnotic pieces of music. Captivating, minimal, and groovy, this is the roughly-shaped electronic world of Bryn Jones. All of this was motivated and inspired by events in the Middle East -- a strong pre-occupation with the fate of the occupied people in the Palestinian lands and an unashamed love for such controversial groups as Hezbollah, as reflected through the titles Jones picked for his work. With the re-issue of Tandoor Dog another keystone work by Jones is finally available again.


MUSLIMGAUZE: Islamic Songs CD (ARCHIVE 016CD) 18.00
The sun always shines bright, very bright in the Middle East. Windows open up and we hear music. Not the music by Muslimgauze, but traditional music. We hear the Adhan, the call for prayer, the souk and people talking. Music comes from all directions -- rhythmic, mysterious, monotonous perhaps, but swirling like a dervish, round and round it goes. The music of Islam was such an inspiration for Bryn Jones (1961-1999), although perhaps "inspiration" probably doesn't justify the seemingly endless flood of material he recorded during his life. Islamic Songs is a previously-unreleased album which now sees the light of day. Although albums by Muslimgauze were usually not thematically based, it's perhaps possible to see Islamic Songs as a thematically organized album, not set in a specific surrounding, but moving along inside the busy city of the occupied Palestinian land. Jones produces his beats with considerable force on the opening piece "I Shall Sing Until My Land Is Free" and on the sixth track, which has a nice, deep bass thump. It's the sound of a low-flying drone, spying on us. A female voice is singing, guided by a tribal dance beat -- a classic Muslimgauze opening move. From then on it's down to the Kasbah, and we hear tablas, samples of stringed instruments, and obscured vocal samples. There is a moment of rest on "Sahara Head Dress," and we wake up back on the airplane, back home, with "System Virus Abuse 1, 2 and 3," a short piece on digital failure. Noted as such by Jones on the tape, this 17-second piece is the sound of a drone crashing -- one down for the enemy.



Debut release by the brand-new two-piece Grits'N Gravy from Cat Lee King and Mighty Mike OMB. You might have seen Mighty Mike doing his one-man-band thing or causing trouble as the drummer/singer of Voodoo Rhythm recording artists The Juke Joint Pimps, but you sure do not know about Cat Lee King. The King is a skinny 20 year-old rock & roller (looking like 17) living in the hill country east of Cologne. He plays a mean piano and has a voice that knocks you out. No idea where he gets it from, but he has the soul of Ray Charles and the mean attack of Bunker Hill. The guys spent a day in the studio and the resulting eight-track is released on a nice 10" and an eco-friendly digifile CD. Featured here are covers of tunes by Bunker Hill, Nick Curran, J. Starkes (of Nightriders fame), Dickie Thompson (amazing version of "13 Women") and Larry Williams as well as two original tunes -- "Little Devil Talking" is simply killer. This is a rhythm & blues battle of epic proportions.


VA: The Fuzztones: In Fuzz We Trust CD (STAGO 040CD) 17.00
The album you now hold in your hands is nothing short of the greatest tribute album ever recorded. Nowhere in history have as many legendary performers appeared on one record for the purpose of saluting another artist. In this case, the artist is the band that instigated the '80s garage revival that continues today -- The Fuzztones. Preaching the garage (and psych) gospel since their inception in 1980, The Fuzztones influenced countless bands worldwide with their enigmatic image, high velocity performance and personalized interpretations. Fact is, even if The Fuzztones had never written a song in their long and illustrious career, they succeeded in accomplishing something much more important, even profound... they resurrected a music style that had only existed from (roughly) 1966 to 1967, and through relentless touring and recording, kept it alive for over 33 years. Initially, the band's mission was to introduce this long-lost music to the world, and did so by covering obscure classics, many by artists who appear on this album. "When The Beatles and Stones started out, they covered a lot of Motown and blues stuff, in an attempt to turn people on to it," points out head Fuzztone Rudi Potrudi, "and that's what we wanted to do as well." The music they chose to cover was so obscure that most of their audience assumed they were originals, and the band could easily have kept it that way. Instead, Rudi joined forces with Germany's Music Maniac label and released the album, Songs We Taught the Fuzztones, a collection of original versions of songs made famous by The Fuzztones. This record, released in 1993, turned Fuzztones fans on to the original artists, hence beginning the "purist" movement that eventually spawned the emergence of reunited '60s garage and psych legends, as well as events such as Cavestomp, which brought them and their newfound fan base together. But The Fuzztones are much more than a cover band. Their original material bears their own distinctive sound -- which owes as much to Chuck Berry, Bo Diddley, The Stooges, and The Doors, as to the '60s garage and psych they obviously adore. When you hear The Fuzztones, there's no mistaking them for someone else. This album is the last of a three-part trilogy of Fuzztones tribute albums that began with Fuzztones Illegitimate Spawn 1 and its successor 2. Both double CD collections featured bands from all around the world, paying homage to the band that inspired them. Now we come full circle with a collection of Fuzztones classics, covered by the legendary bands that inspired The Fuzztones in the first place. Ladies and gents, the Holy Grail: In Fuzz We Trust. Artists include: Davie Allan & The Arrows, Shadows Of Knight, Sky Saxon, The Pretty Things (w/Plasticland), The Shy Guys, Gonn, The Monks, The Electric Prunes, Charlie Souza & The Tropics, Shadows Of Knight, The Vagrants, Strawberry Alarm Clock, Wallflowers, ? & The Mysterians, Davie Allan & Craig Moore, and Vanilla Fudge.



TITINA: Titina Canta B. Leza CD (STCD 3064CD) 16.50
A landmark Cape Verdean album remastered and re-packaged to celebrate its 25th anniversary. In the island town of Mindelo, Cape Verde, a little girl called Titina used to wake each morning to follow the smell of fresh cornbread and coffee which would lead her to her neighbor's house and the entrancing music that emanated from within. There the four-year-old would intently watch and listen to B. Leza, the great Cape Verdean composer, poet and activist (1905-1958), as he worked. Soon he began teaching her how to sing his songs. So began a life of music for Titina. She started recording songs by many of the country's best composers from the age of 15, but it was not until 1988, when she was 42, that she felt ready to record an entire album of songs by her mentor, B. Leza, working with multi-instrumentalist and arranger Paulinho Vieira. Immediately applauded as a classic by her Cape Verdean contemporaries, the resultant LP, Titina Canta B. Leza, sold out many pressings. However, it has been unavailable for many years now, so Sterns is delighted to present this definitive new edition. It has been 25 years since Titina recorded these songs, and in this span of time the islands of Cape Verde have become much better known around the world, not just for their sunny climate but especially for their music, thanks to artists such as Titina, Paulinho Vieira, their friend and sometime-collaborator Cesaria Evora, and the master they all admired and loved, B. Leza.



FIELDS, JORDAN: Among the Kloudz/Keepin' It Together 12" (SUBWAXEXC 1203) 12.50
Old-skool acid house alert. These tracks were recorded by Jordan Fields in Chicago during the late '80s -- just recently re-discovered on reel-to-reel tapes. As soon as Subwax Excursions heard these beauties, they knew the world needed to have these on vinyl. It all starts off with "Among the Kloudz," which is a very raw and mental analog acid-house track. On the flipside you'll find "Keepin' It Together," a warm, soulful but club-friendly Mr. Fingers, Virgo Four-style track. This EP is for all the true Chicago heads.



DUBKASM (FEAT. RAS ADDIS & ABA SHANTI): Jah Bible 10" (DUBK 022EP) 11.00
Dubkasm give us yet further access to their dubplate box and unleash Jah Bible on 10" vinyl. For those who remember, this track became an anthem on the mighty Aba Shanti-I Sound during the late 1990s. Ras Addis takes us through biblical history with his rasta reasoning before we move head-on into the realms of dub. All tracks are mixed by Aba Shanti at his London studio. "Raw Mix" is, in particular, soundsystem dubplate business to the core, extreme cut-outs and vocals echoed into oblivion.



SUN ARAW: On Patrol 2LP (SUNARK 002LP) 20.00
"On Patrol, originally released in 2010, is a double album in two parts, and the fourth full length album from Sun Araw. An album for heavy-steamin' late nights in the city, inter-dimensional back alleys, ghost cabs; it creeps and tunes in on a much darker, sparser, and more classically minded channel than its predecessors: dark and deep steam-vent ruminations on Phil Cohran, lenticular objects, and fried Hot 92.3 R&B slow-jams. A cold bug makes a real 'live wire.'"


CELEBRATE MUSIC SYNTHESIZER GROUP, THE: The Celebrate Music Synthesizer Group 2LP (SUNARK 030LP) 20.00
"The Celebrate Music Synthesizer Group is a spice-hunting collective formed in Rotterdam in the summer of 2012, when multi-media cultural center The Worm graciously opened their world-class synthesizer studio to the current incarnation of Sun Araw Band. Cameron Stallones (Sun Araw, Magic Lantern), M. Geddes Gengras , Tony Lowe (CEO Raw Tings), and Butchy Fuego (San Gabriel, Boredoms) spent a week amidst Syrinx, Serge, and Surinamese victuals, tracking the self-titled double album live to two-track. The parabolic fruits were charted, graphed, and have been presented on a double vinyl album as follows. Please join us and, celebrate music!"



MORCEE: Black Hole EP 12" (TKR 001EP) 14.00
Tight Knit Records are proud to announce their inaugural label release from London-based DJ and producer, Charlie Potter aka Morcee. Featuring Funkystepz-affiliated guest vocalist Lily McKenzie, "Black Hole" is rhythmic yet stripped-down, showcasing his desire to shy away from traditional patterns and structures. "Control" kicks off with arpeggiated synths that slowly open out over a frenetic beat, once again proving the "less is more" production style carries through every stage of his creative process. Outside of DJing and producing, he's working collaboratively on Tight Knit Records with Tomb Crew's Nick Bennett. The focus is as much on the design and detail as it is on the music and this also resonates with his aspirations as a producer, to make something people want to hold onto -- a rarity in a time of such instant disposability.


VG 006CD

DAVID-GUILLOU, ANGELE: Kourouma CD (VG 006CD) 15.50
Angèle David-Guillou is best-known for a brace of critically-acclaimed electro-acoustic dream-pop albums under the alias Klima. She is also known for her signature contributions to cult Anglo-French ensemble Piano Magic and for cameos on albums by the likes of The Go! Team and Peter Astor. Angèle's debut album under her given name is a largely instrumental work, predominantly consisting of melodically opulent, emotionally-compelling compositions for the grand piano. Inspired by the direct, elemental melodies of French folk and the flamboyant arrangements of European and Latin American Baroque music, Kourouma is hallmarked by a purity of expression. There are other influences at play on Kourouma: the clear, mellifluous lines of Carl Orff and Gunild Keetman's Schulwerk (Music for Children) and the intertwining counterpoints and percussive patter of Moondog are consistent touchstones.


VV 018LP

STRAY DOGS: Wasteland LP (VV 018LP) 32.00
Stray Dogs' Wasteland is the fourth release for the Ghent-based partnership between Icarus Records and Ghent-based record store Vynilla Vinyl. Wasteland is the label's fourth release, following Echo Beatty's highly-acclaimed debut album Tidal Motions, the Record Store Day 2013 single Dirty Beaches-Ravel Ravel, and Ecila's full album The Sofa Managements. Stray Dogs aka Koenraad Ecker (cello, guitar, electronics) and Frederik Meulyzer (percussion, electronics) have been on an exciting musical journey ever since their debut album Intangible States. Balancing between electronica, dub, and experimental music, they've constructed their own sound universe where attention to detail and texture is combined with a physical intensity that you not only need to hear but feel as well. Stray Dogs take you along on a menacing, post-apocalyptic trip through a disintegrating no-man's land. Wasteland was recorded in a church in Antwerp (Belgium), making it more stripped-down, industrial and ritualistic than Intangible States. The acoustics of this space were exploited to a maximum, after which all elements were merged in the recording studio. Percussion, cello, guitars and analog hardware lead to a sonic result situated at the crossroads of ritual drums, dubby, reverberating echoes and disintegrating orchestras. Wasteland is released on a limited edition of 250 vinyl copies.


WS 1898HLP

HANCOCK, HERBIE: Mwandishi LP (WS 1898HLP) 13.00
2013 repress. 180 gram exact repro reissue, originally released in 1971. "With the formation of his great electric sextet, Herbie Hancock's music took off into outer and inner space, starting with the landmark Mwandishi album recorded in a single session on New Year's Eve. Ever the gadgeteer, Herbie plays with electronic effects devices -- reverb units, stereo tremelo, and Echoplex -- which all lead his music into spacier, open-ended directions very much influenced by Miles Davis' electric experiments, rendering it from post-bop conventions. There are just three tracks: the insistent 15/4-meter Afro-electric-funk workout 'Ostinato (Suite for Angela),' the inquisitive 'You'll Know When You Get There' with its ethereal Hancock voicings, and trombonist Julian Priester's 'Silent Way'-influenced 'Wandering Spirit Song,' which eventually dips into tumultuous free form." -- All Music Guide



OZKA: Tiny Pleasures Part II 12" (WOLF 028EP) 14.00
Wolfskuil Records presents the second in their two-part 12" series from Belgian producer Ozka. On part two we explore Ozka's other musical sides -- house, electro, and even more leftfield-oriented non-dancefloor territory. "Highway at Night" and "Kaleidoscopes" are two beautiful, house-y gems, moody, sad, and funky. The flip kicks off with the relentless electro of "Noise Dynamo" before taking the foot off the gas pedal with two fantastic leftfield/electronica tunes in the form of "Abyss Requiem" and "Lucarne."



BROONZY, BIG BILL: The Young Big Bill Broonzy LP (YAZ 1011HLP) 17.00
180 gram reissue, originally released in 1968. "Big Bill Broonzy was probably the most important Chicago blues artist of the thirties and early forties (that's before the period of 'Chicago blues' represented by Muddy Waters, Willie Dixon, Little Walter, Howlin' Wolf)."


BROONZY, BIG BILL: Do That Guitar Rag 1928-1935 LP (YAZ 1035HLP) 17.00
180 gram reissue, originally released in 1973. "The late Big Bill Broonzy looms as one of the few country blues greats whose career seems as remarkable as his musicianship. He played every professional role available to the untutored black guitarist of his generation: that of the country blues soloist catering to dance audiences, the city bluesman beguiling record-buyers with full-dress lyric themes and a slow song delivery, and the folk entertainer trading on familiar standards ear-marked for white listening audiences... It is his early career as a country bluesman that this LP, like its companion volume The Young Bill Broonzy commemorates."


WILKINS, ROBERT: The Original Rolling Stone LP (YAZ 1077HLP) 17.00
180 gram vinyl reissue of blues guitarist Robert Wilkins' 1989 collection on Yazoo. Recordings from 1928-1935. "There are perhaps a half-dozen blues musicians with as much to offer as the Reverend Robert Wilkins, who may be the most underrated figure in the blues field. A listener who can take blues only in small doses before becoming bored will find nothing tiresome in the versatile Wilkins; his breadth of material is practically unmatches among bluesmen."


JOHNSON, BLIND WILLIE: Sweeter As The Years Go By LP (YAZ 1078HLP) 17.00
180 gram reissue, originally released in 1990. "Blind Willie Johnson (1902-1947) is one of the great gospel blues legends. Initially a preacher who gave sermons in the street, Johnson first became known for his powerful voice, but it was his masterful slide guitar playing that would soon write his name in the annals of blues."

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Last Updated on Sunday, 15 September 2013 23:05  


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