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Forced Exposure New Releases for 9/30/2013

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New music is due from Andrew Liles, Tropic Of Cancer, Tonia Reeh, Susanna and Ensemble Neon, Arve Henriksen, Looper, and The Field while old music is due from The Reflections, LA Free Music Society, Muslimgauze, and Mainliner.


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BORBETOMAGUS: Trente Belles Annees CD (AGARIC 1998CD) 15.50
Jim Sauter (tenor saxophone), Don Dietrich (tenor saxophone) and Donald Miller (guitar); recorded live at Instants Chavires Montreuil, France, December 19, 2009. "What is there to say about Borbetomagus, apart from trotting out all those tired old lines about high-octane, earwax-melting balls-on-the-line free improvisation at cow-rending volume (thanks to Byron Coley for those last two)? If you want meat, details of the history of the group and their various escapades during the past three decades, generously seasoned with Messrs Sauter, Dietrich and Miller's wry humor, I respectfully suggested you go to But the chances are you've been there, or someplace like it.... So let me assume instead you know precious little about the Instants Chavires in Montreuil, just outside Paris, where this concert took place on December 19th 2009, and the last leg of a tour organized by the Instants' Jean-Francois Pichard to celebrate 30 years of Borbetomagus. It's an odd venue, acoustically: with a high ceiling, an upstairs dressing room above the bar which most musicians don't use unless they want to smoke without going outside or grab a gratis Kronenberg, and a balcony of sorts above the door accessible only by ladder and therefore not used by the public..... Unless you know the place already I don't suppose the above will mean much to you as you listen to this, but for what it's worth, I moved around that room quite a lot during the 46-minute set, remembering what Don Dietrich said in my interview about recording Experience the Magic back in 1993: 'We ditched the three amp approach and we had this big fucking Sunn amp, put all three of our signals into it, and what's really interesting if you listen is you've got this big mass of speakers that we're basically in front of, and as Jim and I walk in front of the speakers you can hear our sound shadows walking in front of the amplifier.' I love that story, and I experienced that same magic during the Instants gig between the pillars by the bar, thrilling at the myriad subtle shifts of frequency and timbre caused by the slightest movement of my head as I craned my neck forward to get a better view of what was happening onstage. Subtle? Borbetomagus subtle? You bet -- listen carefully and you'll hear quite clearly what's going on. You might not be able to tell Jim and Don apart all the time, but you can certainly hear how they bounce ideas off each other and then each take on Donald. So I strongly recommend you try the same thing: crank the volume as high as you can and dare see how this sounds from the other end of your apartment, or inside your walk-in closet when the neighbors come up to get you." --Dan Warburton



VA: Air Texture Volume III 2CD (AIR 003CD) 19.50
The Air Texture Volume series asks two producers to curate a CD each of more experimental electronic music for combined release. Volume III asked Scott Monteith (Deadbeat) and Gregor Asch (DJ Olive) to make the selections. With so much attention on beats, dance, and parties as a function of electronic music, what happens when you take those things away? Does it become more compositional, more personal, more contemplative? Volume III looks to connect the dots between New York and Berlin -- how their histories in minimalism, tape music, and avant-garde influenced a new generation of composers today. This 27 unreleased track compilation includes a heady group of musicians, from Ricardo Villalobos (w/ NSI.'s Max Loderbauer), Thomas Fehlmann (The Orb), Pole, The Field's ambient turn Loops of Your Heart, and T. Raumschmiere's alt-ego SHRUBBN!! to SunnnO)))'s Eyvind Kang, DNA's Ikue Mori, Christian Fennesz, and minimalist, avant-garde heavyweights Phil Niblock, Jim O'Rourke, and Pauline Oliveros. Other artists include: Blue Field, Hrdvsion, Tobias., Jacopo Carreras, Exercise One, Tom Thiel, Marina Rosenfeld, Oren Ambarchi, Andris Brazus, Raz Mesinai, lloop, and Once11.


AU 5030CD

MIDNIGHT SUN: Midnight Sun CD (AU 5030CD) 17.00
Previously known as The Rainbow Band, this legendary Danish quintet blended elements of rock, prog, jazz and psychedelia to powerful effect on their first album as Midnight Sun, with especially impressive guitar-work by Peer Frost Johansson. Originally released in 1971, it is now a considerable rarity and makes its long-overdue return to CD here. Background notes included.


AUS 1026EP

JOY ORBISON: The Shrew Would Have Cushioned The Blow EP 12" (AUS 1026EP) 12.00
2013 repress. Joy Orbison has found a sound that marries elements of house, two-step, jungle, techno and dubstep. Both "The Shrew" and "So Derobe" deliver devilishly catchy melodies and bass-lines, full of feeling and soul. Big drops, super-heavy drum programming and grooves that sound like only Joy Orbison could. There's shades of garage, shades of funky, shades of old school R&B. Actress' remix is a raw, unconstructed tool that in the right hands will create huge tension on the floor. Already destined to be as much of a classic as "Hyph Mngo."


BEC 5161636

MAJOR LAZER: Bubble Butt 12" (BEC 5161636) 14.00
New 12" single from Major Lazer, featuring Bruno Mars, 2 Chainz, and Tyga & Mystic. Pressed on colored vinyl.



BJARNASON, DANIEL: Over Light Earth CD (HVALUR 018CD) 17.00
This is the award-winning Icelandic composer's second solo album and third release on Bedroom Community -- hot on the heels of his Sólaris collaboration with label-mate Ben Frost. Daníel Bjarnason's critically-acclaimed debut album Processions (HVALUR 007CD) was hailed by Time Out New York as "coming eerily close to defining classical music's undefinable brave new world." On "Over Light Earth," the intensity of Bjarnason's orchestral voice is captured through meticulous close-micing and multi-tracking, a recording process that sets this recording radically apart from that of conventional orchestral recordings. This album is very much the fruit of Bjarnason's ongoing and intimate symbiosis with Bedroom Community's Valgeir Sigurðsson. Here, with engineer Paul Evans and the newly-formed Reykjavík Sinfonia, they have produced a suitably unconventional symphonic recording. As much at home in the recording studio as he is on the conductor's podium, it's no wonder Bjarnason is equally effective in collaboration with other sonic architects, whether it's the band Sigur Rós or his Bedroom Community label-mates. Over Light Earth comprises three major works. The title-piece was commissioned and premiered by the Los Angeles Philharmonic, and is Bjarnason's sonic nod towards the work of painters Mark Rothko and Jackson Pollock. The second -- the aptly-titled "Emergence" -- suggests a vast, pre-existing form just coming into view with steady harmonies manifesting in a range of unstable attacks, hesitations and anticipations. The final piece -- "Solitudes" -- is an early work that is in fact Bjarnason's first piano concerto, here reworked with electronics by Sigurðsson and Frost, demonstrating Bjarnason's mastery of more complex harmonies and melodies. It's between the simple elements and more abstract materials -- between harmonic motion and pure gesture -- that we can hear Daníel Bjarnason's compositional voice itself beginning to emerge.


BJARNASON, DANIEL: Over Light Earth LP (HVALUR 018LP) 19.50
LP version.



TROPIC OF CANCER: Restless Idylls CD (BLACKEST 005CD) 16.50
Restless Idylls is the first full-length album from Tropic Of Cancer, the solo project of Los Angeles-based Camella Lobo. Lobo debuted in 2009 with The Dull Age/Victims, a 10" single on Downwards and the first of three collaborations with Juan Mendez (Silent Servant). Two years later came a second Downwards release ("Be Brave," remixed by Cabaret Voltaire's Richard H. Kirk), followed soon after by The Sorrow of Two Blooms on Blackest Ever Black -- the label's third release and one if its most cherished. Since then there have been 12" releases on Mannequin, Sleeperhold Publications, Ghostly International (a Part Time Punks Sessions live split with HTRK) and a limited edition compilation, The End of All Things, compiling singles and unreleased recordings. Restless Idylls marks TOC's return to BEB and consists of eight new recordings written in Los Angeles, with additional production from Karl O'Connor (Regis) in New York and London. Its themes? The usual: romance, devotion, pain and helplessness. Mixed up mortals struggling against the brute mechanics of fate, and proving unequal to the task. A forced retreat into private, precious idylls of longing, faith, mystery, even misery. The urgent motorik of lead single "More Alone" is perhaps a misleading foretaste of the full-length, which is more lush, languid and extravagantly despondent than previous TOC material. Troubled hymns from an empty room, in a drowned world. A sensual and sepulchral psychedelia. Cover art by Silent Editions.


TROPIC OF CANCER: Restless Idylls 2LP (BLACKEST 005LP) 26.50
Double LP version, gatefold sleeve.



VA: WIZZZ! French Psychedelic 1966-1969 Volume 1 LP (BORNBAD 037LP) 19.50
2013 repress. Best-ever French '60s compilation, originally released in 2001 and finally reissued. All the tracks here have become classic. This compilation LP deals with the groovy side of French pop from the mid-'60s to the early '70s. Crazy lyrics about sex, drugs and other typical topics. Sung and performed by obscure artists such as Charlotte Leslie, Christie Laume, Les Fleurs De Pavot, Danyel Gerard, Richard De Bordeaux, Christine Pilzer, William Sheller, Les Papyvores, L'oeil and others.



SNUFF CREW: Work It Out 12" (BPC 274EP) 12.00
Let's celebrate the great return of hip house. This haunting sound that fraternized house and hip-hop at the end of the '80s is still able to set dancefloors ablaze and trigger uncontrollable euphoria. For Work It Out, the first single off their album, Behind the Masks (BPC 274CD), Snuff Crew joined forces with pioneer and protagonist of the genre, Tyree Cooper. Snappy raps, fierce grooves, jarring sirens and wild scratching are the explosive ingredients of this tune. Cooper shows he is still in peak form decades after his worldwide hit, "Turn Up the Bass." Another guest joins the Crew on the second track of this single. The fantastic Bulgarian singer Rachel Row lends her stunning voice to "New Life," a pure house vibe added to piano and strings that penetrate your heart. Goosebumps guaranteed.



NOVAKS KAPELLE: Naked LP (CFX 007LP) 26.50
One of the wildest Austrian bands in the late '60s and '70s, with their own mix of prog rock, hard rock, art, porno and extreme live shows. The original of this record is nearly impossible to find, and goes for a couple 100 euros. Now, after more than 30 years, a one-time repress of 750 copies is finally available. Members include: Erwin Novak (drums), Walla Mauritz (vocals), Peter Travnicek (bass), and Paul Braunsteiner (guitar). Recorded in 1977 at Musicland Studios, Munich, remastered in 2013 by Martin Siewert.



REEH, TONIA: Fight of the Stupid CD (CLOUDS 055CD) 12.00
Fight of the Stupid builds a foundation on classical music, where Berlin musician Tonia Reeh took her first steps. Voice, piano and the occasional sound effect are all Reeh needs to express her exhaustive compositional know-how. The album was recorded in the sound studio of the Hamburg-based Clouds Hill label, where she found support from ex-The Mars Volta member Omar Rodriguez-Lopez of Bosnian Rainbows on guitar and Jakobus Siebels and Mense Reents of Die Vögel performing as brass players. The catchy "The Accused" sticks out from the general feel with its classic pop-song structure and linear up-tempo beat. The captivating, PJ Harvey-esque "Non Believer" has intense tempo changes and beautifully abrasive use of brass instruments. And "Hellhound" is solid gold, reminiscent despite its slowness of old blues tunes and the minimalistic arrangements of Nick Cave's Push the Sky Away. This album is powerful, solemn, distinctive and complex in its beauty. And above all, it's a multifaceted musical statement on behalf of a clever, intrepid songwriter that deserves to be heard.



DRUMCELL: Disturbance 12" (CLR 069EP) 14.00
This EP features three remixes of the first single "Disturbance" from Drumcell's debut album Sleep Complex. A couple of them by Pfirter, which have already become two of Chris Liebing's undisputed summer anthems and a third one by Tommy Four Seven, which once more shows his outstanding production skills as well as his love for unusual rhythms and deep, haunting atmospheres. Drumcell is one of the most intriguing and unconventional characters in the North American techno scene and his noise, punk, and industrial roots can still be heard in everything he is doing. His total disregard for genre-limitations manifests in a clearly unique mixture of mind-bending, suspenseful and hypnotic techno.


CL 1654HLP

JOHNSON, ROBERT: King of the Delta Blues Singers LP (CL 1654HLP) 21.00
Pressed on 180 gram vinyl. "If there is such a thing as a greatest-hits package available on Johnson, this landmark album, which jump-started the whole '60s blues revival, would certainly be the one. The majority of Johnson's best-known tunes, the ones that made the legend, are all aboard: 'Crossroads,' 'Walkin' Blues,' 'Me & the Devil Blues,' 'Come On in My Kitchen,' and the apocalyptic visions contained in 'Hellhound On My Trail' are the blues at its finest, the lyrics sheer poetry." -- All Music Guide



O13: Time Wave Zero CD (DESIRE 030CD) 15.50
o13 creates an evolving texture of music, a piercing electronic post-punk, a future that never manifested itself, with spectral, uncompromising portals of electronic dread. For the better part of the '80s, Mark C was leading legendary New York noise band Live Skull as they were deconstructing the rock song with thick, gritty bass and street-y guitar. Among their eight releases on Caroline and Homestead, Live Skull's Bringing Home the Bait has been deservingly referred to as the "Best Noise Rock Post Punk New Wave No Wave Experimental Indie Emo Goth Album Ever." Meanwhile, Stuart Argabright was sketching his sonic vision of gothic futurism in Ike Yard, the first NY group on Factory Records America, also one of the first true purveyors of experimental, time-shifting electronic music. It is a torch that they still carry today, with a searing pyre. Stuart continued his visionary pursuit as a founding member of Death Comet Crew, Dominatrix, and Black Rain, as well as the galaxy-striding Bi-Conicals Of The Rammellzee. After releasing four acclaimed albums with The Holy Ghost, the last on Fargo Records, bassist Kent Heine met up with Stuart and Mark to form o13. In 2010, o13 produced Vandal Tribes, an audio movie EP with guests Judy Nylon and Jamie Teasdale aka Vex'd. o13 also began pre-production of a video for a series of events based on author JG Ballard's works. Along with a live score, the band eventually offered o13 Presents: The Atrocity Exhibition to audiences. The video/audio experience was last presented at the Serralves Foundation in Porto, Portugal, and continues to be part of the band's live arsenal. In addition, o13's music was recently featured in BAM150, a documentary celebrating the historic Brooklyn Academy of Music. Following a couple of European tours, o13 has now finished its first album Time Wave Zero, which glides through time and space like a lucid, dreaming dragonfly, settling on songs, scenes, and improvisations from a new postmodern American songbook.



FAINT WILD LIGHT: Faint Wild Light LP (DIGI 053LP) 20.00
Between 2003 and 2012 James Ginzburg masterminded the release of hundreds of records on the various imprints of his Bristol, UK-based label house Multiverse Music, including Tectonic, Subtext, and Kapsize, overseeing the second renaissance of bass music in Bristol. It's unsurprising that such a hyperactive spirit would begin to find the strictures of dance music creatively stifling. Focusing on his Subtext label, Multiverse's most cerebral outpost, he became occupied by two projects -- Emptyset, with the curator Paul Purgas, a brutalist exploration of the outer limits of modern composition via the reduction of industrial techno to a pummeling, sensory assault, and something at quite the opposite end of the musical spectrum: a solo acoustic folk record. Dance music has always been the sound of the city, thus it's no surprise that his journey into traditional songwriting saw him wandering into the countryside. Faint Wild Light lies in the bucolic tradition of Simon & Garfunkel, Nick Drake and Crosby, Stills & Nash, but this is not a work of journeyman nostalgia; the wandering has a genuinely fevered tone, a desperation to be totally lost in some potential inner arcadia, isolated from a computerized production process. Equally it's no minimal Pink Moon; it sounds more like a '60s folk troubadour produced by a contemporary hip-hop impresario, which in some ways it is. The finger-picked guitars are carried along by a monumental sound-wall of analog synths, pianos, and strings, while the legacy of his Ginz guise is evident in the intricacies of the percussion arrangements. Rhythms are conjured from found sounds, clicks, taps, tape hiss; a drum kit fashioned from the sonic scraps on the cutting room floor. Ginzburg's particular fondness for the short stories of Cortázar and novels of Nabokov is evidenced by the narrative structure of the songs; vignettes without beginnings, middles and ends, meditations on golden days misremembered, modified visions of half-imagined pasts, all delivered with a hallucinatory, celebratory fervor.



LILES, ANDREW: Ninki Nanka, Yumboes & Monsters CD (DPROM 042CD) 16.50
Ninki Nanka, Yumboes & Monsters is another installment in Andrew Liles' Monster series. The Monster collection aims to push musical boundaries and embrace a varied selection of musical styles and influences. As Liles explains, "In 2008 I heard that Andrew W.K. was producing an album by Lee 'Scratch' Perry. I knew Andrew through his contributions both live and in the studio with Current 93. So being a fan of 'Scratch' I pleaded to be sent the multi-tracks so that I could make my own 'dub' mix purely for my own entertainment. I ditched all the existing music and recorded my own, then added Mr. Perry's voice. I sent the results back to Andrew who seemed to like them at the time and there was some talk of releasing the mix some day, alas that day never arrived. Roll on four years and I have remixed those remixes, removed any sign of Lee 'Scratch' Perry (due to legal reasons), and added a further three 'dub' mixes to an album called Ninki Nanka, Yumboes & Monsters." The album is on CD only.


DC 447LP

DEATH: Spiritual-Mental-Physical LP (DC 447LP) 15.00
2913 repress. LP version. "Spiritual-Mental-Physical is a collection of wild early Death demos, presenting the three young Hackney brothers consolidating their powers as they embark on a trip into pure rock and roll inside look at Death's early days, one that fans of the group and fans of punk rock (and, indeed, rock of all kinds) are sure to enjoy for the rest of time."



VA: Longing for the Past: The 78 RPM Era in Southeast Asia 4CD BOX/BOOK (DTD 028CD) 64.00
Longing for the Past: The 78 RPM Era in Southeast Asia is the first survey of the 78 RPM record era in Southeast Asia. It is a kaleidoscopic collection featuring four CDs with 90 tracks of music spanning six decades (1905-1966), accompanied by a 272-page book with essays and annotations by leading ethnomusicologists that is richly illustrated with more than 250 vintage photographs, record labels, and sleeves. David Murray is the curator of Haji Maji (, a blog dedicated to the exploration of 78 RPM Asian music. He previously produced two LPs for Dust-to-Digital: Luk Thung: Classic & Obscure 78s from the Thai Countryside (DTD 029CD) and Kassidat: Raw 45s from Morocco (DTD 032CD/PT 2004LP). Longing for the Past: The 78 RPM Era in Southeast Asia continues the mission of Dust-to-Digital to explore the early days of recorded sound from around the world. Much like Opika Pende: Africa at 78 RPM (DTD 022CD) broke new ground in research while reissuing dozens of tracks for the very first time, Longing for the Past examines an era of music from a geographical region that has remained hidden until now.


VA: Luk Thung: Classic & Obscure 78s from the Thai Countryside CD (DTD 029CD) 12.00
Fourteen outstanding funky performances of Thai country groove music from the 1950s and early 1960s. All previously un-reissued, carefully transferred and mastered from the original 78rpm records and presented with detailed full-color liner notes. Luk Thung is the down home, funky "country music" of Thailand that blossomed as rural Thais migrated to Bangkok for work in the 1950s and 1960s. Luk Thung evolved out of a complex stew of traditional folk styles and international influences. Wild accordions and Latin horn sections mingle with Thai hand drums and finger cymbals, while exquisite vocalists swagger and sing stories about life's struggles. Compiled by David Murray, with notes by Peter Doolan.


VA: Qat, Coffee & Qambus: Raw 45s from Yemen CD (DTD 030CD) 12.00
Qat, Coffee & Qambus: Raw 45s from Yemen is a compilation of rare, Yemeni vinyl singles, showcasing the little-documented, evolving local music styles in the 1960s and 1970s. Vintage oud and vocal music inspired by the qat-chewing, coffee-sipping, qambus-playing culture of Yemen. Although part of the classical Arabic musical tradition, the music of Yemen takes its rhythmic lead as much from the East African coast (a mere 20 miles across the Red Sea) as the surrounding Arab Peninsula. Little has been written about the music and culture of one of the world's oldest civilizations, and each 45rpm disc gives a small glimpse of the poetic tradition, the unique local oud styles as well as an insight into people's day to day lives, or the highs and lows of human relationships. Overall, the compilation gives a flavor of the sights and sounds of Yemen, with detailed notes that tell the story of the hunt for music that has mostly lain forgotten in the antique markets of the capital, until now.


VA: Sorrow Come Pass Me Around: A Survey of Rural Black Religious Music CD (DTD 031CD) 12.00
A collection of spiritual and gospel songs performed in informal non-church settings between 1965 and 1973. Most are guitar-accompanied and performed by active or former blues artists. "Most records of black religious music contain some form of gospel singing or congregational singing recorded at a church service. This album, though, tries to present a broader range of performance styles and contexts with the hope of showing the important role that religious music plays in the Southern black communities and in the daily lives of individuals." --David Evans, from the liner notes. David Evans is an ethnomusicologist and director of the Ethnomusicology/Regional Studies program at the Rudi E. Scheidt School of Music in the University of Memphis, where he's worked since 1978.


VA: Kassidat: Raw 45s from Morocco CD (DTD 032CD) 12.00
Kassidat: Raw 45s from Morocco is a full-length album that features six extended tracks from the golden age of the Moroccan record industry. After Morocco gained its independence in 1956, Moroccan-owned record labels sprouted and flourished in Casablanca. The inexpensive 45 rpm format allowed the record companies to release thousands of songs during the 1960s, creating a snapshot of the raw and hypnotic Berber music that thrived throughout Morocco. Powerful traditional styles were still alive and well at this time and untouched by international pop influences. Kassidat looks back at this era and presents it anew for audiences hungry for intense and authentic folk music. David Murray is the curator of Haji Maji ( a blog dedicated to the exploration of 78 rpm Asian music, as well as, a blog featuring 78s from around the world. He previously produced Dust-to-Digital's Luk Thung: Classic & Obscure 78s from the Thai Countryside, as well as the forthcoming Longing for the Past, a 4CD set of Southeast Asian 78s.


HOLLEY, LONNIE: Keeping a Record of It CD (DTD 033CD) 12.00
Keeping a Record of It is the follow-up to Lonnie Holley's debut album, Just Before Music (DTD 026CD). It features recordings made in 2006, 2010, and 2011. Guest performers include Cole Alexander from the Black Lips, Bradford Cox from Deerhunter, and visual artist Lillian Blades.



ORCUTT, BILL: A History of Every One CD (EMEGO 173CD) 15.50
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.


EM 1118CD

FINIS AFRICAE: El Secreto de las 12 (The Secret of 12 O'Clock) CD (EM 1118CD) 16.50
El Secreto de las 12 (The Secret of 12 O'Clock) is the second EM Records release by Spaniard Juan Alberto Arteche Guel's Finis Africae project. This release collects six pieces from Finis Africae's three 1980s albums, pieces not released on A Last Discovery (EM 1113CD/LP). This collection captures Finis Africae in a more spiritual mode, organic and flowing, with some prominent drone textures, featuring a wide range of instruments including flutes, hand percussion, guitar, sax, keyboards and synths, combined with field recordings in a music which could be heard as a less-chilly and more organic parallel Fifth World to Jon Hassell's Fourth. The title track, "El Secreto de las 12," is a Balearic chill-out classic, a firm favorite of Cafe Del Mar DJ Jose Padilla, who spun the track during his sunset sets on Ibiza. This track has circulated only on cassettes for years. "El Secreto" and the accompanying tracks are back, sure to appeal not only to chill-outers and nostalgic DJs, but fans of New Age sounds and organic music. Secret no longer.

EM 1118LP

FINIS AFRICAE: El Secreto de las 12 (The Secret of 12 O'Clock) LP (EM 1118LP) 20.00
LP version. El Secreto de las 12 (The Secret of 12 O'Clock) is the second EM Records release by Spaniard Juan Alberto Arteche Guel's Finis Africae project. This release collects six pieces from Finis Africae's three 1980s albums, pieces not released on A Last Discovery (EM 1113CD/LP). This collection captures Finis Africae in a more spiritual mode, organic and flowing, with some prominent drone textures, featuring a wide range of instruments including flutes, hand percussion, guitar, sax, keyboards and synths, combined with field recordings in a music which could be heard as a less-chilly and more organic parallel Fifth World to Jon Hassell's Fourth. The title track, "El Secreto de las 12," is a Balearic chill-out classic, a firm favorite of Cafe Del Mar DJ Jose Padilla, who spun the track during his sunset sets on Ibiza. This track has circulated only on cassettes for years. "El Secreto" and the accompanying tracks are back, sure to appeal not only to chill-outers and nostalgic DJs, but fans of New Age sounds and organic music. Secret no longer.



NOCOW: Solus LP (FAUXPAS 012LP) 17.00
After a short break, Fauxpas Musik announces its comeback with the album Solus by Nocow. The music of the St. Petersburg-based Russian reminds a little of old Aphex Twin and Autechre records. The record is pressed on heavy 180 gram vinyl. The artwork was made by Igor Rudyak, design and concept by Alex Ketzer.



VITA & OLIVER GEHRMANN, TIM: 24 Pieces 12" (FREUDE 065EP) 14.00
Let there be house. 24 Pieces in the bag. Vitá and Gehrmann seem to possess an affinity for numbers in their titles. Fortunately, they paint their sounds not only after such elementary means, but rather, with sensual artistry and authentic musicality. From this EP bubbles forth modern house with a melodic sensibility, honoring the past. There is a hymnic character here, and an easiness with the vocals -- an experimental, midnight train to the dancefloor.



Limited edition deluxe vinyl of 300 numbered copies. 180 gram heavyweight vinyl, DVD of the film, eight-page booklet, download of the soundtrack plus an additional exclusive bonus download of the soundtrack being performed live at the Saint-Merri Church in Paris, April 2011. Housed in a black paper inner sleeve and packed to reverse-printed black and white outer sleeves. A very special limited edition release, from the founding members of FareWell Poetry. The Freemartin Calf is a labor-of-love film and soundtrack, created in the home workshops of filmmaker Jayne Amara Ross and composer Frédéric D. Oberland, with the significant contribution of cellist Gaspar Claus. Written in 2008 as a deliberation on the creative process, the film relates a day in the life of a young girl and her mother as they brave two very separate realities governed by the desire to both reject, and conform to, the societal roles imposed upon them. Shot on Super 8 film between 2009 and 2010 and scored during the spring and summer months of 2010, The Freemartin Calf is imbued with a delicate fragility synonymous with the inner experience of its protagonists. DVD: European PAL format, region free; Aspect ratio 16:9; Running time 40 minutes.


GB 007CD

TAMIKREST: Chatma CD (GB 007CD) 17.00
"Tamikrest" means "crossing" in the language of the Kel Tamashek, a traditionally nomadic Saharan people that are commonly referred to as the Tuaregs. It is an apt name for a band that so successfully merges the values of their timeless culture with the sounds and visions they have encountered on a headlong journey to the concert stages and iPods of the world. Since the band emerged onto the international scene with their debut album Adagh, they have been in constant motion, moving between the Sahara and Europe as though these places were next-door neighbors. All the while, during this same time period, their homeland has suffered increasingly profound and catastrophic events. Originally hailing from Kidal, in the northeast of Mali, as the result of ongoing war, persecution and political collapse, most of the band now lives in exile in Algeria. These last years have been intensely vivid for Tamikrest, defined as they have been by both tragic sadness (families and friends turned refugees, the brutal imposition of Sharia law in their hometown) and collective growth (their musical dreams building one upon another). Their album Chatma, their third, deftly navigates these experiences and fashions them into a fully persuasive and poetic musical document. The album is filled with sober reflection, moral indignation, musical experimentation, cultural celebration and the kick of rock and roll. Chatma is also Tamikrest's first album to be wholly written around a defined theme. In Tamashek, "chatma" means "sisters," and the band has dedicated the album in their own words to: "the courage of the Tuareg women, who have ensured both their children's survival and the morals of their fathers and brothers." Chatma also delivers Tamikrest's most wide-screen and wide-ranging sonic statement to-date. The infectious, sing-along rock stylings of "Imanin bas zihoun," the acoustic seduction of "Adounia tabarat," the Pink Floyd-influenced montage "Assikal" and the lush, melancholy ambiance of the album's finale, "Timtar," all add up to a sustained audio adventure. Echoes of dub, blues, psychedelia, funk and even art-rock are seamlessly woven by Tamikrest into their increasingly individual take on the Tuareg musical tradition. And on an album where the title translates as "sisters," it makes perfect sense that this time around we hear the full emergence of the haunting voice of female vocalist Wonou Walet Sidati in tandem with lead vocalist Ousmane Ag Mossa. A new guitarist, Paul Salvagnac has also joined the band, bringing with him fresh textures and possibilities. Contemporary Tuareg music has produced several unforgettable albums in recent years and Chatma certainly deserves to be ranked with these. But one also gets the sense, when listening to Chatma that there is something uniquely innovative and exploratory about Tamikrest's musical quest and that at last they have stepped into a wide-open space of their own.


GP 1019LP

ARAWAK: Accadde A... LP (GP 1019LP) 23.00
"Long revered in connoisseur circles, but always elusive almost to the status of a myth, Arawak's Accadde a... takes us on a journey across the planet, depicting faraway places with an uncanny sense of style, using a tapestry of sounds and instruments, sometimes mellow and dreamy, sometimes engulfing the listener in a funky wicked drum break groove. We are offered the chance of a unique journey that takes us from Harlem to Boston, passing through Cuzco, Bali, Bahia, Belfast, Lima and more. Arawak is one of a multitude of pseudonyms that Luciano Simoncini used in his career as a composer for film scores and background music for radio and television in Italy. Luciano Simoncini was an Italian pianist, arranger and conductor (born in Piedimonte Matese, province of Caserta, September 25th , 1939, died in Rome November 8th , 2011). Originally released in 1970 on Simoncini's own Squirrel records this album managed to stay under the radar until Hip Hop performer Quasimoto (alter ego of producer Madlib) sampled 'Accadde a Harlem' for the Suono libero series on '70s jazz funk from Italian library music. Since then the album has gathered considerable interest, hence calling for a proper reissue. The laid-back grooves and enticing dreamy atmospheres alternate with more funky sounds to make a truly unique music experience that will appeal to fans of Janko Nilovic, Stefano Torossi, Remigio Ducros, Pino Canizzo. Strictly limited to 1000 copies in high quality cover and vinyl plus insert and obi."



LUCID DREAM, THE: Songs of Lies and Deceit CD (HAY 004CD) 15.50
This is the debut album from UK psych foursome The Lucid Dream. Formed in Carlisle, Cumbria, in the far north of England, in 2008 and fused by small town boredom and a mentality to break the mold, they siphoned the spirits of key influences such as The Jesus & Mary Chain and Spacemen 3, to suitably shape their live repertoire in an old textile factory, overlooked by a disused gas works. Initial releases between 2010-2012 (Erbistock Mill EP), and three sold-out 7" singles (Love In My Veins, Heartbreak Girl, Hits Me Like I'm Stoned), gained significant praise from the likes of British music magazine The Fly, NME, and BBC Radio. The white noise that opens the first nine minutes of the album is by no means indicative of the album as a whole. Tracks such as "In Your Eyes," "Love In My Veins," and "Heartbreak Girl" ultimately owe more to the psych pop of The Stone Roses, The Byrds, The Ronettes, and C86-era Primal Scream.



MOTORPSYCHO & JAGA JAZZIST HORNS: In the Fishtank 10 LP (FISH 010LP) 16.00
"Issued for the first time ever. In the summer of 2002, crammed in-between boring press-days and exciting festivals in Holland and Belgium, Motorpsycho and the horn section of fellow Norwegians Jaga Jazzist, with whom they had done some experimental shows on jazz festivals, came together to record. What came out is a stunning cocktail of Stax Soul, John Coltrane, and, obviously, Pharaoh Sanders. Motorpsycho's recent funkiness blends in perfectly with the mesmerizing quality of most of the material and, as always, you can rely on these guys to give an excellent performance."


ISIS & AEREOGRAMME: In the Fishtank 14 LP (FISH 014LP) 16.00
"Three collaborative tracks from Isis and Aereogramme. Both bands are known for their love of metal and post-hardcore-next-to-experiment approach. They not only show these skills here, but on top of that they reach an impressively high level of purity, roominess, and emotion."



KIRK, RICHARD H.: URP Vol. 2 CD (INTONE 004CD) 10.00
2004 release. A retrospective collection of previously-unreleased spiky beats/joints circa 1995-1997 written and produced by UK electronic producer Richard H. Kirk. Old school break and electro with a difference, the beats embellished with cheeky Latin grooves and shed-splitting dub interventions welded to some serious head-pounding rhythm. Difficult to fit into any category, this one stands in a realm totally on its own. Tastefully suited and booted by long-term Kirk collaborators The Designers Republic.


KIRK, RICHARD H.: URP Vol. 3 CD (INTONE 005CD) 10.00
2004 release. Third release in the Intone unreleased project series. Chilled beats, ambient funk and low-flying dub brings together nine previously-unreleased cuts, written, arranged and produced by Richard H. Kirk, known for his work as the architect of the Cabaret Voltaire sound. Recorded between 1995-1997 and edited, post-produced and sonically overhauled, URP Vol. 3 has all the elements that are needed to create good chill-out, and draws as its sources soundtrack/cinematic elements, classical music, dub and some lazy, funky grooves. Bringing together Kirk identities old and new, including some early Orchestra Terrestrial tracks alongside the more well-known Sandoz project. With design by The Designers Republic, this is a must-have for anyone who has the two previous pieces in the collection. Other aliases include: The Third Man, Dark Magus, Destructive Impact, Extended Family, and Nine Mile Dub.



PARKER, TERRENCE: Why After All This 12" (JDR 004EP) 15.50
Three classic cuts from one of Detroit's finest house producers of all time: Mr. Terrence Parker. This EP features two brand-new 2013 versions of "Somethin' Here" and "Your Love." Don't miss out.


KI 004CD

ME SUCCEEDS: Rongorongo Remixed CD (KI 004CD) 17.00
For the first part of Ki Records' split series Hamburg, the Hamburg-based band Me Succeeds did a remake of Arp Aubert's "Actress." In return, Arp Aubert, consisting of Mirau label-founder Stephan Lorenz, made a beautiful, dreamy remix for Me Succeeds' "Riemerling." Now the remixing goes on for a full-length album. After their last album Rongorongo from 2011, which Me Succeeds released on their own imprint isawmusic, the band return to Ki Records with a remix album. Eleven friends were invited to put their hands on the album's tracks and lend their own interpretations. Besides a whole lot of danceable tracks, you will also find some broken beats and spherical electronica here, which makes this release fit perfectly into the Ki catalog. Of course, Arp Aubert once again got his hands on one of the tracks, turning "Rongorongo" into a driving techno track which is underlined by the emotional vocals of lead-singer Mohna and beautiful melodies, making this remix perfect for the early hours of the dancefloor. The Berlin based producer and DJ Iron Curtis gives the original of "Seventeen" a dubby note that is definitely special, as he uses many vintage synthesizers-sounds and broken pieces of the original vocals to make this remix one of the strongest on this album. The last remix on the album was done by Greek musician Chronik, who turns "Books" into a hymn with twisted rhythms and broken beats. Apart from that, a few more great producers such as Tilmann Tausendfreund, Showing Off The Bling Bling, Christian Löffler, On:Stop:Off, My First Trumpet, Iron Curtis, Lorin Sylvester Strohm, Bug Lover, My First Trumpet, and Suburb contributed to this Rongosium.


KIS 4040CD

SANDY COAST: From the Stereo Workshop CD (KIS 4040CD) 17.00
Having formed in Voorburg, Holland in 1961, Sandy Coast released numerous singles over the ensuing years. Towards the end of the decade, they started to become more experimental, and this rare album (originally issued in early 1969) finds them adding funk, psychedelic and progressive edges to their sound, making its long-awaited return to CD here.

KIS 4041CD

MYSTIC NUMBER NATIONAL BANK: Mystic Number National Bank CD (KIS 4041CD) 17.00
Consisting of Dave Lorenz (vocals, rhythm guitar), Bob Sebbo (lead guitar), Russ Booth (bass) and Glenn Walters (drums), this quartet formed in Kansas City. Specializing in hard-edged psychedelic blues and propelled by Sebbo's fine guitar work, their sole album was taped in New York and appeared in 1969, but promptly sank without trace, upon which Walters joined The Hoodoo Rhythm Devils. It makes its long overdue CD debut here.



COMA: In Technicolor Remixe 12" (KOM 287EP) 14.00
Having released their debut full-length In Technicolor (KOMP 106CD/KOM 279LP) to universal acclaim, Coma's Marius Bubat and Georg Conrad are pleased to present In Technicolor Remixe, featuring the considerable talents of Terranova, Roosevelt, and Zombies In Miami, who each deliver powerful reworks of their favorite tracks. Starting with angular stomper "Out of Control," masters of horizontal thrust Terranova deliver a suspenseful remix of the brightly-colored original, engaging the listener in an enthralling game of cat-and-mouse between the percussion and its melodic counterparts. Roosevelt's revamp of "Les Dilettantes" pushes back its free-form properties for a heavily disco-infused work-out driven by exquisite hooks and a deliberately jam-like mentality. The 12" closes with Zombies In Miami's take on "Cycle," turning it on its head with a blend of sun-bleached guitar licks, heavy-duty beats and a well-dosed serving of peyote-laced synths. A perfect conclusion to an enticingly polymorph collection of reworks.


FIELD, THE: Cupid's Head 2LP+CD (KOM 290LP) 25.50
Double LP version on heavy weight vinyl in gorgeous black on black packaging. Includes a free CD of the entire album.


FIELD, THE: Cupid's Head CD (KOMP 110CD) 15.50
Hailed as his "most diverse and satisfying statement to date" (Resident Advisor) and a "victory lap for the power of the loop" (XLR8R), The Field's Looping State of Mind (KOMP 094CD/(KOM 241LP) -- Axel Willner's third full-length under his most prevalent moniker -- ranked high in those 2011 charts, being featured on virtually every "best albums" list known to man and reaching well into 2012 with sold-out concerts and its universally-acclaimed remixes. Now, the Berlin-based Swede presents Cupid's Head, the first album recorded solo since his debut From Here We Go Sublime (KOMP 057CD) and a powerful touch-up of his landmark hypnotism, but also a departure for new shores both personal and musical. A first glance at the black cover already signals the profound changes entering the well-defined artistic framework of The Field, where the tools may remain the same, but the outcome significantly differs from what has gone before. The Field's multi-layered approach to sound now transcends its technicalities and reaches far beyond mere production values, entering a phase where its original message has become the medium for wildly differing emotions that also draw from Axel's many side-projects: ubiquitous traces of his alter egos -- like Loops Of Your Heart's ambient bliss or Black Fog's dark disco inspired by classic horror movie soundtracks -- can be found all over Cupid's Head. From opening epic "They Won't See Me" to the more upbeat (and very "Field-ish") title-track, the gauzy softcore of "A Guided Tour" or the intriguing ambient ornamentation of "20 Seconds of Affection," Cupid's Head invites the listener to a highly immersive experience that feels as comfortable on the dancefloor as it does in private. Continuously wandering off into the woods of its very unique sound world, the album finds not one, but many rabbit holes to bravely explore, basically rewriting the love letter to the loop that lies at the center of The Field's quasi techno to include more than that one recipient. More open than hermetic, Cupid's Head presents itself as tremendously accessible work, whose focus lies well beyond the tunnel vision of studio-bound antics or sophisticated navel-gazing.



VA: The Palace EP 12" (MEANDYOU 001EP) 15.00
"An imperious opening gambit from the Manchester collective's new label: a multi-pronged, vigorous, top-notch, house-techno showcase. The EP chugs straight off to the dance-floor, courtesy of the Juniper duo at its darkest yet (after sides for Ominira, Underground Quality, and Smallville), with jamming, filtered synths, echoing claps and vocals, and a B-line stealth attack. A regular at Meandyou club nights, Sul makes his recording debut here with a craftily delinquent and unhinged synth-pop gone quite wrong. True to form, none other than Kassem Mosse - who played a night back in 2009 - turns in an instant classic, audacious and grimy; before collective mainstay Heron rounds up proceedings with some deep 'n' bleak, spectral techno, bathed in best Basic Channel traditions."



TREKKA, TARON: Alfy Kreisel 12" (MMR 022EP) 12.00
Taron Trekka's Alfy Kreisel EP is already the third release having to do with deepness and biceps on Milnormodern. The duo focuses on peaks and howls here, where the genius of hypnotic composition and exhilaration is contrasted with a subliminal drive. The title-track is an almost 10-minute repetitive monster where scoops are heaped in without overflowing the pot. Bongos are also thrown into the mix to boot -- not your everyday ditty. "Knarfes" steps elegantly with a dub pricking without breaking the surface. "Porf" is a dose of select hazy-house funk. It's a lot of fun when Taron Trekka's head banger house is grounded with techno. Somehow their sounds have some kind of healing power.



WEISEMANN, SVEN: Inner Motions CD (MOJUBA 003CD) 17.00
The modern classic and piano centred album Xine marked the debut by the talented Sven Weisemann in 2009 and remains relevant today. With his new and second album Inner Motions he is focusing more on emotional, club compatible tracks but does not lose sight of the demanding home listener at all. Over the course of 12 songs Sven excels with his very own trademark sound, the sound that became a big and important part of the unique Mojuba universe since it beginning in 2005 and was so inspiring for many people in the years to follow. Inner Motions tells a beautiful and adventurous story and makes you feel welcome right away. The plot of the album is inspired by electronic music's classic and timeless albums of the early and mid '90s, so every little track plays an important role in the listening experience. Even the other musical explorations by Sven Weisemann under various pseudonyms like Desolate, Phidias, and Jouem can be found reverberating in this oeuvre.



GUT, GUDRUN: Going Up the Country 7" (MONIKA 078EP) 8.00
Monika label founder and long-term ambassador of the Berlin scene Gudrun Gut now presents a brand-new 7" single with two exclusive tracks to make you leave the city and go wild. Side A explodes open with GG's very own cover version of Canned Heat's classic "Goin' Up the Country." Gut has taken the blues-rock hit and given it her very own punk twist. With her roots in '80s bands such as Malaria! and Einstürzende Neubauten, needless to say, Gudrun knows how to give the song that extra edge. Turn the record over for an equally astonishing B-side in the form of the Brandt Brauer Frick Ensemble remix of the track "Tiger," taken from the Wildlife (MONIKA 077CD/LP) album.


LP version. Following her previous albums, Baden-Baden (MONIKA 039CD/LP) and Los Angeles (MONIKA 059CD) on Monika, F.S.K. bassist Michaela Melián now continues the theme of geographically-titled albums with Monaco. Again, the record is rich in hypnotically-woven sounds with a resolute mood reminiscent of film music. In keeping with the previous two albums, the instrumentation is made up of largely classical acoustic instruments which are layered in loops to create mesmerizing soundscapes. In addition to the traditional instruments such as violoncello, Spanish and electric guitar, and banjo all played by Melián herself, the album also features synthesizer and even a mellophonium played by guest instrumentalist Ching Ying Hsieh. Once again, Michaela has been assisted on the production by fellow Freiwillige Selbskontrolle band member (namely the drummer) Carl Oesterhelt. And as with her former albums on Monika, Melián plays tribute to a musical hero -- this time David Bowie, in the form of a cover song with her rendition of "Scary Monsters." This rendition at the end of side one is the only lyrical relief on an otherwise instrumental album. Otherwise, the compositions explore the realm of sound art and ambience, drifting pieces with a dark and melancholy beauty. The music is atmospheric, brooding, and contemplative -- such are the conceptual similarities between this and Melián's work. In any case, Monaco now takes its place with the earlier LPs to form a powerful trilogy.



Tetuzi Akiyama: guitar, electronics, viola, and self-made instrument player. Born in Tokyo, April 13, 1964. Tetuzi Akiyama is a highly unique and experimental guitarist heavily applying free improvisation and noise. Besides guitar, he also plays electronics, viola, and self-made instruments. Akiyama became an enthusiastic hard rock fan when he was 11 years-old, and started playing electric guitar at the age of 13. Later, he also came to be very interested in free improvisation and classical music. Tom Carter: born barely south of the Mason-Dixon line, and just in time for the Summer of Love, Tom Carter led a decidedly non-hippy existence being shuffled around various farm and mining towns in Maryland and Ohio by his newspaperman father, before finally making his way to Texas in 1985, just in time to watch all the good hardcore bands die. Already obsessed with American pre-punk and British post-punk, Carter dove into the lysergically spiked musical waters of Texas with both feet, augmenting rudimentary guitar skills with unreliable instruments, cranky analog electronics, and disintegrating practice amps. Over the ensuing decades, he managed to forge his evolving ideas of complete tonal immersion (and the quest for the perfect fuzz tone) into a layered sonic toolkit of rough beauty and unrefined proficiency. Best known for his work with acclaimed iconoclasts Charalambides, which he co-founded with Christina Carter in 1991. Christian Kiefer: began his life in the arts through a fascination with the written word. This fascination is reflected in a long line of publications. His poetry and fiction have appeared in many of America's most prestigious literary journals. He is the author of three novels, the most recent of which is Out of Iron.


STRIKE: Wood, Wire & Sparks LP (MONO 014LP) 21.00
Australian string trio Strike combine pure energy, dynamic sensibilities and a bombastic approach to percussive attack, diving head-first into the chamber: a rare combination of thrash energy, sophisticated listening, and unbridled enthusiasm. Led by the pioneering experimentalist Jon Rose, the trio takes full advantage of the myriad possibilities of the string, the bow and the box. Jon Rose is Australia's most consistently challenging and groundbreaking improviser, instrument builder and conceptualist. He has performed for over 20 years around the world, recording with everybody from Derek Bailey to KK Null. His radio plays have been presented in France, Germany, Holland, and the U.S. His Great Fences project has taken him across the fields of Australia, Europe and the U.S. and very nearly behind bars in Israel. Clayton Thomas landed on the European improvising scene in 2007, quickly finding like-minded musicians across the continent. He combines a focused exploration of electronic sonic references with a transformative energy usually associated with free jazz. Since arriving he has played with many inspiring and groundbreaking improvisers, including Peter Brötzmann, Paul Lovens, Peter Evans, and John Butcher, to name a few. Mike Majkowski is a ferociously-gifted bassist, moving with unique style through the traditions of jazz -- working with Australia's leading exponents -- including Chris Abrahams and Mike Nock. During his first forays into Europe he has performed with luminaries Han Bennink, Paul Lovens, and Tobias Delius.


LOOPER: Matter LP (MONO 015LP) 21.00
Ingar Zach: Norwegian improviser, percussionist. Ingar Zach is known for the wide range of sounds in his instrument. He plays his percussion in a very dynamic, but still energetic way. He uses homemade percussion, gongs and devices like propellers, bows, sruti-box, and tabla machine as parts of his extended drum kit. He is dedicated to improvised/contemporary music and is regularly touring and recording with his fixed ensembles, as well as in different ad-hoc projects in Europe, Canada, and the USA. Martin Kuchen: born 1966, Sweden. Plays alto, tenor, soprano, and baritone saxophone. Tours internationally within the fields of jazz and improv-related music. Makes music for theater, film, poetry, and sound installations. Composes for Trespass Trio, Angles, and Exploding Customer. Nikos Veliotis: born in Athens, Greece. Active since the late '80s, initially through the Greek electronic band In Trance 95, later shifting towards the experimental field in both audio and video. Since the late '90s, he has pushed the boundaries of sound and image using unorthodox cello techniques, floating, long, sustained sounds or silences and multilateral abstract visuals, overlays of digital trash and other digital found material. He has extensively performed in international festivals.


Blurring the lines between electronic and acoustic music, as well as composition versus improvisation, NCAT is a unique quartet consisting of an improvising trio whose music has been mutated and structured in post-production by its fourth member. The bulk of the musical material on this LP was recorded at STEIM in Amsterdam, during a residency of cellist/vocalist Audrey Chen, violinist/vocalist C. Spencer Yeh, and trumpet player Nate Wooley. After sifting through the collected recordings from the week, the trio sent selected pieces off to Todd Carter of TV Pow for mixing and mastering. What they received a few weeks later was a music totally transformed, as Carter had taken the piece and reconfigured them into stunning works of electro-acoustic composition.


MR 338LP

FUZZ, THE: The Fuzz LP (MR 338LP) 19.50
LP version. This record by Memphis-based The Fuzz is the result of a long-standing conflict between two brothers. Basically, after a heated argument, Hector Bobo told his brother Harlan T: "You think you're so great, well you're not the only one who can make a record!" Although no one in Memphis has ever even seen these two together in one place, no one seems to doubt this actually happened. Hector gathered up his two friends, Tom Jones and Jeff "Bunny" Dutton, and went out to prove his boast. These two had a long history of terrorizing the good folk of the USA. In bands like Action Family and Dog, the two had proven that they could drunkenly play anywhere. Somehow these three miscreants talked local guitar virtuoso Steve Selvidge into playing bass. They then rebuilt a Teac four-track, bought some tape and recorded this record. Steve did a great job of holding the band together, Hector yelled out the songs like he meant it, and Doug Easely mixed it and mastered it. You will find some fine examples of American rock 'n' roll on this record. A few of them, "Teen Rex," "Somebody Like You," and "Merry-Go-Round," could even be played on the radio. A big thanks goes to The Hold Steady for allowing Steve Selvidge the time to work on this project (Bassist Sweet Jean holds down the bass line for live shows).


MVD 5927LP

MEAT PUPPETS: Huevos LP (MVD 5927LP) 21.00
"Vinyl edition of the Meat Puppets' fifth full length, includes download card. Hard driving riff rock, Meat Puppets style. Huevos was recorded in four days and released less than six months after Mirage. But where that album was spacey and lush, Huevos is rough and spontaneous."


CR 103EP

NEW BOMB TURKS: Tapeworm Blues (The 1992 Demos) 10" (CR 103EP) 18.00
"Vinyl only 10" release. Six song crude, rude, and loud punk rock blort recorded four months prior to the epic Destroy Oh-Boy!! sessions in Columbus. Two never-heard originals - 'Tapeworm Blues,' and 'Drug Chicks' plus four cuts later re-recorded for D-O-B. Liner notes by Irving Azlik, Jr., much-renowned industry head."



"The recordings on this double LP are taken from the first night of Roscoe Mitchell's inaugural two day residency at Cafe OTO in 2012, and his first time playing with drummer Tony Marsh and double bassist John Edwards. It was one of those nights where the music electrifies the room. Everyone on edge. Everything alive with the possibilities. Although there was much talk after the concert of the group playing together again, this would sadly be the first and last time the trio would play. Tony passed away unexpectedly just a few weeks later, making this his last documented performance and a fitting tribute to a truly great drummer and percussionist. The LPs are house in two color screen-print sleeve designed by Oliver Pitt and screen-printed on archival quality card stock. High quality 180 gram vinyl pressing at Record Industry, The Netherlands. Recorded by James Dunn and John Chantler at Cafe OTO, 9th March 2012. Mixed by John Chantler. Mastered by Andreas [LUPO] Lubich at Dubplates & Mastering, Berlin."


PT 8008LP

AMAZING BLONDEL, THE: And a Few Faces LP (PT 8008LP) 22.00
Pressed on 180 gram vinyl. This renowned UK folk band are known for playing a multitude of medieval and Elizabethan instruments, but their rare debut features a more stripped-down sound. Made by the duo of John Gladwin and Terry Wincott shortly after heavy rockers Methuselah disintegrated in 1969, it appeared in the UK only in April 1970, and makes its long-awaited return to vinyl here, together with background notes.

PT 8013CD

BYZANTIUM: Seasons Changing CD (PT 8013CD) 17.00
This renowned British progressive rock band formed in 1970, and featured the talents of singer-guitarist-keyboardist Chas Jankel (later to find fame with Ian Dury & The Blockheads). Originally issued in 1973, Seasons was their third and final album release, and found them blending concise pop-rock songs and ballads with a lengthy three-part suite. Dreamy and atmospheric, and featuring some notable early use of synthesizer as well as guest appearances from BJ Cole on pedal steel, and Frank Ricotti on percussion, it's a lost classic that makes its long-awaited return to CD here.



ROSKA: Shocking EP 12" (RINSE 033EP) 11.00
Roska's Shocking EP is the latest release from the long-running Rinse producer and his first for the label since Rinse Presents: Roska2 LP. It finds the UK innovator in his usual fiery form, drawing for his characteristic, deftly-swung percussion and grime-infused sub-bass pressure. The explosive title-track is the most overtly grimey Roska's sounded for some time -- a slow-building intro giving way to a pulsating bass line and caustic laser blasts. As with all his best work, it toes a tense line between visceral impact and house's perpetual motion groove, switching between the two to exhilarating effect. Features vocals from Birmingham's MC C4 and Vanya.



MAINLINER: Mellow Out LP (REPOSE 038LP) 26.50
Mellow Out is, perhaps, THE classic Japanese underground album. Since it was first released in 1996 on the now-defunct Charnel Music label, its legend has grown and grown, and is still talked about by lovers of all things loud, noisy, and Japanese as the definitive Japanese noise-rock statement. Upon release it was instantly dubbed "the pinnacle of achievement for guitar-driven, brain-crushing madness," and with good reason. Rarely has an album contained such fierce/brutal battering, and speaker-shredding, in-the-red levels. Mainliner were a Japanese trio consisting of Asahito Nanjo (High Rise), Makoto Kawabata (Acid Mothers Temple), and Hajime Koizumi. Originally released on CD back in '96 on Charnel, the pressing quickly disappeared and had been unavailable until Riot Season re-released it in 2003 in a limited CD and vinyl run, both of which sold out quickly. With the 2013 rebirth of Mainliner, now dubbed Kawabata Makoto's Mainliner, the time felt right for a re-release of the much sought-after vinyl. So here it is, on the back of excellent press on their Revelation Space (REPOSE 036CD/LP) comeback album. This vinyl pressing is limited to 500 copies for the world and comes in two (250 of each) translucent colored vinyl editions. The music has been remastered and the sleeve artwork has been tweaked from the original vinyl pressing, too -- now with 350gsm card sleeve with metallic silver ink print.



RIPATTI: Ripatti01 12" (RIPATTI 001EP) 14.50
Ripatti is a new label from Sasu Ripatti (Vladislav Delay) envisaged as a studio diary of sorts, cataloguing ongoing experiments made by Sasu in his studio on his own and alongside various collaborators. Ripatti01 features the first two productions from Ripatti under his own name, feeding into the emergent techno/footwork nexus. These percussive experiments continue ideas explored on 2012's Kuopio album for Raster Noton and his recent collaboration with Mark Fell for Sensate Focus (1.6666666), but with a more extreme and propulsive endpoint.


RCD 2146CD

FIRE!: Without Noticing CD (RCD 2146CD) 17.00
Rune Grammofon presents (without noticing), the fifth album from Swedish trio Fire!, comprised of Mats Gustafsson (The Thing), Johan Berthling (Tape) and drummer Andreas Werliin (Wildbirds & Peacedrums). This album follows collaborations with Jim O'Rourke, Oren Ambarchi and the gargantuan 30 piece Fire! Orchestra band. Fire!'s latest burnt offering features the trio alone with themselves, lighting up a sonic blaze which smolders, then catches alight under their careful attention. Recorded in Stockholm over the long, harsh winter of 2012-13, and as far from noodling instrumentals as it's possible to get, the tracks are spontaneously combusting rituals with a clear sense of purpose. Each of the three members is gifted with a formidable technique and arsenal of tricks and effects on their respective instruments, but they use these to feed the flames of rock based riffs and rhythms. The album also sees acclaimed saxophonist Mats Gustafsson boosting his already versatile skills, by swapping to keyboards and electronics on selected tracks. Note, for instance, the heavily distorted organ on "Tonight. More. Much more. (without noticing)," and the guttural grunts of a Fender Rhodes electric piano on "Molting Slowly (without noticing)" and "I Mostly Stare (without noticing)." The oddly cut-up titles on (without noticing) are lifted and inspired by Smog founder Bill Callahan's letters to Emma Bowlcut, published in a volume by Chicago label Drag City. The strategy gives an insight into the broadminded frame of reference of this eclectic trio. With all three members pulling in elements from free jazz, ambient improvisation and electronic pop/rock, their music has reached a new confidence and intensity on (without noticing).

RCD 2147CD

HENRIKSEN, ARVE: Places of Worship CD (RCD 2147CD) 17.00
Worship can come in many forms, and can happen in many different kinds of place. Music can make its church anywhere. With Places Of Worship, Arve Henriksen moves into the front rank of world class musicians. The Norwegian trumpet player has made his mark over many years, not only as the horn player with the consistently challenging and long lived group Supersilent, but also as the purveyor of exquisite and distinctive solo work that stretches to four solo albums since 2001, which Rune Grammofon repackaged as a career-spanning box set, Solidification (RLP 2137LP). Deeply rooted in the sublime geology of his Norwegian homeland, Henriksen's music has developed into something beautifully at one with natural habitats and reflecting the hybrid, cosmopolitan environments of the twenty-first century. On Places Of Worship, he inhabits the space between these two worlds, in a series of tone poems and mood pieces located around religious buildings and ruins. These still, silent quarters and abandoned houses of the holy can be where we experience our deepest moments of reflection, silence and occasionally fear. Making the aura of these places audible, Henriksen's haunted horn and idiosyncratic treble vocals carry an air of treading on forbidden territory, stirring up the dust of forgotten spirits. As well as suggesting the creaking timbers and salty tang of North African ports ("Alhambra") and the whiff of Gallic scirocco ("Le Cimitière Marin"), it stirs fond memories of fellow musical souls, both alive and dead: the Miles Davis of Sketches Of Spain and Aura; the Fourth World exotica of Jon Hassell. Henriksen's music has reached a new intensity on Places Of Worship. It will leave you becalmed, bewildered, bewitched...And full of praise.


RB 043EP

DJ NORI: We Don't Know EP 12" (RB 043EP) 12.50
Teamed up with Running Back for a vinyl release, Bubbletease Communications' releases are defiantly infrequent, reflecting boss-man Maurice Fulton's desire to only release personal projects and those he's somehow had a hand in. This four-tracker from Tokyo-based DJ Nori, co-produced by Fulton, is predictably impressive. There's a touch of melancholic, acid-flecked stargazing in the shape of "Spaceg" (all heady synth melodies, fuzzy bass, and 808 cowbells), some out-there, beatless space calypso (the unwieldy "We Don't Know"), and a mighty chunk of Syclops-ish wonk-jack ("80's Drugs"). Oh, and a moody, Detroit-influenced Fulton remix of "Happy Sunday" that breaks into a space disco jam near the end.



VA: Free Angela LP (SSR 030LP) 18.00
LP version with download code and an insert with detailed liner notes and photos. "Amidst the socially and politically tumultuous 1960s and 1970s, Angela Davis emerged as one of the era's most controversial figures. In the early 1970s, her arrest, incarceration, and trial made international headlines and inspired a movement to free her. In April of 2013 Free Angela & All Political Prisoners, an independent film about Davis was released to much critical acclaim, fetching awards at the Toronto International Film Festival Gala World Premiere, the London International Film Festival, as well as the Stockholm International Film Festival. Originally released in 1971, the album Free Angela was sold to raise money for the National United Committee to Free Angela Davis. It was put together by Alexander Randolph - a singer, promoter, and record label owner from Virginia. The first half of the album was recorded in Muscle Shoals, beginning with the title track by Larry Saunders. On his songs, Saunders' vocals float above and transcend the ethereal backing of the Muscle Shoals Rhythm Section. His voice can be compared to singers like Donny Hathaway and Curtis Mayfield, but Saunders is his own man, with his own style. His work on this album is essential listening in the realm of socially conscious soul music. The second half of the album continues with solid mid-1960s rarities from Randolph's Sound of Soul label. Sound of Soul has long been known to record collectors, with singles routinely fetching hundreds of dollars."



OLD MAN & THE SEA, THE: The Old Man & The Sea CD (SHAD 153CD) 17.00
This rare and sophisticated heavy rock album from 1972 was released in a limited run of 500 copies by Sonet in Denmark. Heavy organ and guitars, with rough English vocals, great songs, very well composed and performed with a bluesy feel and influenced by the "Vertigo" UK sound with a great mix of heavy guitar and Hammond organ. Only a very few albums from Scandinavia are produced that well, recorded at Rosenberg Studios, Copenhagen. The Old Man & The Sea is one of the best underground albums from Scandinavia and among Moses, Culpeper's Orchard and Terje, Jesper & Joachim, the top-wanted album from Denmark. Shadoks releases this album with two long bonus tracks.


FARM: Farm CD (SHAD 154CD) 17.00
Farm recorded this wonderful album in 1971 in Southern Illinois, USA and the band is: Del Herbert (guitars), Gary Gordon (guitars & vocals), Jim Elwyn (bass & vocals), Steve Evanchik (percussion & harp), Roger Greenwalt (organ & piano), and Mike Young (drums). Of course, there are many good albums from that time that need to be released again, but this album really stands out. Shadoks would vote this album as one of the best U.S. releases on their label right next to jewels like Brigade (also from 1971). Killer dual fuzz guitar in every track, fantastic underground rock songs with an Allman Brothers vibe and Canned Heat boogie and speed-driven rhythm, with music roots in West Coast & blues rock with guitar-propelled numbers á la Santana. This record is reissued in cooperation with the band.


LOS SPEAKERS: En El Maravilloso Mundo De Ingeson CD (SHAD 155CD) 17.00
Before Los Speakers from Columbia recorded this album in 1968 they had already released four other albums for a major label. This final album (trans. "In the Wonderful World of Ingeson" -- which was the name of the recording studio) was recorded and produced entirely by the band with no restrictions from major label producers. What they produced in 1968 was a musical statement and a piece of art, going in the same direction as early Mothers Of Invention but with a sweeter musical touch similar to bands like Kissing Spell or Embrujo. This masterpiece is loaded with psychedelic ideas, stoned effects, backwards loops, fuzz guitar, Latin beats, great vocals and amazing lyrics. Perhaps the first Os Mutantes album might be the best comparison. Here we have the rare stereo version with a 12-page LP-size book housed in a gatefold sleeve. A psychedelic masterpiece and one of the best albums from Latin America.



CHICALOYOH: Folie Sacree LP (SHELTER 030LP) 21.00
Folie Sacrée is the debut full-length record by Chicaloyoh, musical incarnation of Normandy resident Alice Dourlen. Creating music between soundscape exploration and intimate contemplation, Chicaloyoh is a mix of guitar, keyboards and percussion from distant and various horizons. The album has been recorded deep in the wood in the artist's very own Chaudelande studio during the spring of 2013. Attracting those who like the priestess singing of Grouper or French legend Catherine Ribiero, Folie Sacrée is a beautiful exploration in ambience and darkness recalling the mysticism of Popol Vuh and the late-night incantations of Nico. Singing with an almost pastoral verve, Chicaloyoh's minimalist and intimate soundscapes combined with her simultaneously tender and strong voice are the foundation for her avant-garde mantras. Mastered by James Plotkin and pressed on 180 gram black vinyl, Folie Sacrée stands as a stunning document of the celestial awakened nightmare from one of today's most exciting French musicians. Edition of 500 copies.



VALENTE, ANTONIO: Mandrake 12" (SINO 028EP) 12.50
Antonio Valente cites Richie Hawtin, John Acquaviva, Laurent Garnier, Carl Craig, Derrick May, Juan Atkins, and Kevin Saunderson as his greatest inspirations. Roland tr909, 808, 707, TB-303, Korg MS-20, Prophet 5 are just some of the machinery used to pull Antonio out of his sound, and today he works with Ableton Live trying to create music that reflects his old-style input, not to mention what the market wants today. Includes a remix by Gel Abril.



HUERCO S.: Colonial Patterns 2LP (SFT 037LP) 27.00
"Brian Leeds produces electronic music under the name Huerco S. His debut album for Software is titled Colonial Patterns. Leeds treats his Kansas City region as a universe worthy of its own electronic music. To that end, he deconstructs Midwestern techno and house tropes. The pieces are corrugated, rough, and de-compositional. Working cheaply, Leeds conscientiously uses low-end software, synths, and cassettes so as to subvert the gloss of so much urban dance music, giving tracks an impressionistic, emotive feel. The result is uniquely Midwestern: there is an expansiveness to each piece that suits the open space and the storied past of its inhabitants. Colonial Patterns shares Jon Hassell's hybridized experiments in percussive ambience, as well as William Basinski's strobing melancholia. When tracks subtly veer into house/techno territories, they mirror the no frills dance mechanics of Midwest figureheads Ron Hardy, Omar S, and Theo Parrish. Includes a download code."



MUSLIMGAUZE: Souk Bou Saada CD (ARCHIVE 003CD) 18.00
2012 release. Another Muslimgauze discovery in Staalplaat's reissue series, with eight rare tracks from the mind of Bryn Jones. Hefty slabs of beefy beats are seasoned with spicy South Asian melodies while mouth numbingly hot bass lines are smothered in distortion chutney; Souk Bou Saada was broiled in Machester's finest tandoor and is now served by Staalplaat. If you love East Indian flavors with a neo-bhangra beat, this disc will not disappoint, equally at home on the dancefloors of Bradistan, UK or Mumbai, India. On a buffet, this sizzling dish ought to be placed somewhere between Silknoose and Lahore & Marseille, but with some unique takes on bhangra beats. The disc opens with the fading echoes of breaks before a woman's voice croons an old Punjabi song for several seconds; enter track two with its infectious stomp-beats, slices of sizzling distortion, masala violin with turmeric dulcimer and ghee-laden hand percussion bits. Muslimgauze fans will need to dance off this caloric intake. Tracks two through five can school even the likes of MIA on what grime-laden ethno-dance beats are really about, best for the more intensely choreographed moments of a Bollywood dance routine. Hovering throughout most of Souk Bou Saada, like dense smoke from a barbecue flame, is a layer of distortion as if from a not-quite-tuned-in radio. When the distortion crackles in time to the beats, the realization hits that this was just another texture the late Bryn Jones used, the way a sculptor works with sheet metal and a blowtorch to add a new dimension to abstract works. By track five, the album style veers into ambient-drone-radio-play territory as bass lines roll through agitated voices in North African dialects amidst urban environs, evocative of material from Veiled Sisters. Track six brings back the beat, this time in the same dusty North African villages while flute melodies, string instruments and gauzified slabs of distortion recall parts of Jebel Tariq. Track six returns to East Indian flavors with a variance from Hussein Mahmood Jeeb Tehar Gas, only with restrained beats culled from hand percussion but with menacing bass lines and distant Punjabi vocals. The final track book-ends the album on a South Asian bent with celebratory beats and ululating vocals with harmonium bits and lots of distortion, almost to the point of obscuring the music. Though Souk Bou Saada overall is decidedly East-Indian, it also acts as a bridge between the above-mentioned albums, great for Muslimgauze completists who want to hear all versions of previously-released works along with something new and essential to those who are slaves to the rhythm.


MUSLIMGAUZE: Beirut Transister CD (ARCHIVE 004CD) 18.00
2011 release. Fundamentally in the traditional ethno-percussive camp of the Muslimgauze oeuvre, the core style of Beirut Transister is raqs sharqi/baladi (traditional belly dancing) and is at home with titles like Observe with Sadiq Bey and especially Jebel Tariq. Though tracks can be recognized from parts of the latter, these are alternate versions and where Jebel is a continuous set, each track on Beirut stands alone. This album delves into raqs sharqi/baladi as tempo and density of rhythm shifts from simpler patterns to vigorous cascades of lush, layered tabla that varies from song to song to charm the listener. Few artists can deconstruct and reassemble centuries-old tradition, then edit it into near-seamless perfection while not falling into musical cliché. For instance, "Find Yugoslav Butcher of Muslims" arranges a percussive raqs sharqi ensemble into hip-hop-style beats with raunchy oud, that still sounds fresh and exciting. Another editing marvel is how field recording samples are choreographed with the obsessive detail of a radio drama and brings a strong sense of narrative. While the tablas bring kinetic energy, Arab voices intone religious recitation; call brusquely over megaphones while women and men sing or murmur dimly in the background. Not stopping there, additional ethno-instrumentation such as reeds, lute fragments and chorus' of other Mid-Eastern winds ornament the tracks. "Soufaf in Gulf" transports one into dusty Arab villages and markets (perhaps even in south Lebanon) as the ambient clop-clopping of passing horses and shrill play of children mingle with melodica loops and artfully-placed car horns and megaphone calls. A further detail is the infusion of roots reggae dub elements such as the occasional tight melodica loops, staggered echo-instrumental bits, and then the bass. It is the bass that deserves special mention as it is unlike most Muslimgauze releases. Whereas bass coils like an anaconda through albums like Remixs 1, 2 and 3 and Cobra Head Soup, it powerfully tremors through Beirut Transister like a force of nature. Few Muslimgauze recordings have the bass so powerfully pronounced; melodic, yet massively shifting like tectonic plates. A case in point is "Egyptian Song Contest," where a short Arabic phrase prefaces provocative metallic hand drum textures, relentless earthquake bass and screeching shortwave radio feedback. The masters for Beirut Transister were submitted in 1998, at the zenith of the late Bryn Jones' technical skill where he no longer was influenced by styles so much as "owning" and then and spawning his own. Abu Dub Step Bryn Jones, father of dubstep, is still the unparalleled master and this is one of the summits. Edition of 700 copies.


MUSLIMGAUZE: Lazhareem Ul Leper CD (ARCHIVE 015CD) 18.00
2010 release. "An attribute of a good work of art, besides craftsmanship and beauty, are revelations of new details with each experience. Lazhareem Ul Leper by Muslimgauze certainly qualifies for its range of percussion instruments, atypical electronics, and skillful de-construction of ethno-traditional music. In turn, said music is re-assembled with urban styling and a technical deftness akin to the way a Shao-Lin monk wields weapons. The Staalplaat crew think this among the more unusual of Muslimgauze works, and fans undoubtedly will think it both refreshing and as striking now as when first committed to DAT. Muslimgauze enthusiasts may recognize sounds from Izlamaphobia (1995) on the odd track as they were made roughly at the same time, only Lazhareem is arranged differently and with more unique elements to form a stand-alone album. Stylistically, Lazhareem straddles the line between ethno-electro releases like Silknoose for its pervasive use of Indo-Pak music melded with Persian and Mid-East; along with more industrial releases like Izlamaphobia and Blue Mosque for its occasionally tight, near-mechanical loops. Fans will be pleased to notice never-before-heard (to this listener, at least) percussive textures layered into lush, rhythmic harmonies punctuated by chimes on track five. Track ten is also singular for the way it opens with a clamor, not unlike a knocked-over box of tin cans one moment, the next, this seemingly dissonant noise is harnessed and re-edited into a well-crafted rhythm track. Track six flaunts music production standards by rolling three or four tracks into one continuous 20-minute piece, vintage Bryn Jones. Yet another stand-out work is track seven, a piece that is more than its assemblage of rhythms and counter-rhythms and fused together, an underlying pulse takes possession of the track and ultimately the listener. Since 1995, masters for Lazhareem Ul Leper languished in Staalplaat vaults when it should have been put out for immediate appreciation by fans. This work of art is now available on CD, and not a moment too soon." --Ibrahim Khider, author of Muslimgauze: Chasing the Shadow of Bryn Jones



AFRICANDO: Viva Africando CD (STCD 1120CD) 16.50
20 years after its historic debut, the international salsa super-group Africando still packs a punch. Africando's eighth studio album, this is the first not recorded primarily in New York. This time, the Africando masterminds, producer Ibrahima Sylla and arranger Boncana Maiga, bring New York's top Latin musicians -- led by pianist Oscar Hernandez -- to Paris. There they reunite with the group's vocal stars, Medoune Diallo, Sékouba Bambino, Amadou Ballaké and Shoubou, along with distinguished guest singers from diverse African and American countries, singing, all told, in 10 different languages. But whatever the language, with Africando it's always classic salsa -- salsa dura -- the hottest Afro-Latin style. That dedication to a golden sound is brought home on the album finale, a tribute to Africando by the great contemporary American champions of classic big-band salsa, the Spanish Harlem Orchestra, featuring Ray de la Paz.



TILL VON SEIN: Suol Mates CD (SUOL 007CD) 15.50
Since the release of the Suol Mates debut edition with Fritz Kalkbrenner (SUOL 004CD) at the controls, Suol has known for certain that this series has more to say than your plain vanilla DJ mix. So who better to man the helm for the Suol Mates method than Till von Sein? You know the guy, the one who treats genre parameters like poorly-guarded borders and laughs at the "speed police" sheep keeping a watchful eye out underneath the 115 BPM zone. He's the same guy whose DJ sets virtually embody what's happening on this CD. Till is that rare breed that can build things up by committing the cardinal sin of ignoring matching tempos and stylistic conformity, instead focusing on the emotion (read: "Soul") and color of a track over its alleged functionality. Till von Sein, who always celebrates the fringes of house music in his productions and sets anyway, has almost completely abolished the accustomed four-to-the floor dictate on this compilation. In its place, he has created a kind of fascinating song-stream limbo from which intoxicating dancefloor moments emerge from time to time, but where he ultimately has the bigger picture in view. We're into ethereal heights of mixing expertise when a compilation of tracks predominately from other artists bears an inimitable signature. And that's precisely what we have here. First, start with the field recording-based meditative waves from Noyce and throw in ingredients like Ayala's smooth D'n'B, Ripperton's feel-good after-hours vibrations and jazzed-up Latin space disco from Ackin'. Add the slow melancholy of El_Txef_A and the chillwave "grandeza" of Toro Y Moi and Blood Orange, then exhale slowly in an easy-going Sebastien Tellier jam. Finish up by mixing it all into a sunset synth-flooded, instantaneously relaxing and altogether cohesive vibe. All that's left is to sign your name: Suolmate Till von Sein. Other artists include: Different Marks, Ben Westbeech, Belleruche, Ross, Klaves, Christina Wheeler, Prins Thomas, Tigerskin, DJ Nature, Twit One, and Missing Soul.



Barely one year after the Rune Grammofon-release of critically-acclaimed Wild Dog (SONATA 004LP), Susanna returns with a new album, released on her own label SusannaSonata. Susanna is known for both her own songwriting, with songs such as "Believer" and her huge range of highly personal interpretations of other people's songs. She is an intensely arresting performer; holding audiences captive with her hypnotizing vocal timbre and the powerful, all-consuming sound of her band, her concerts are truly magical. Active for more than a decade, through eight albums so far as Susanna And The Magical Orchestra/Susanna/Susanna Wallumrød, the Oslo-based artist has recently been taking great steps towards greater independence and autonomy, while increasing the range of her considerable talents as a songwriter, vocal interpreter and producer. Combining the antique notes of the Baroque theorbo, woodwinds and strings, and Susanna's sparse piano, The Forester -- a co-production with the Norwegian Ensemble neoN -- features Susanna's strongest songwriting to date. The Forester began to take shape when composers Julian Skar and Jan Martin Smørdal requested some material from her to arrange for the Norwegian contemporary music group Ensemble neoN. Picking from new tracks and several already released songs, the composers made new arrangements suited to the eight-piece group, and extended the title-track into a 15-minute, three-part suite in which dark woods shroud a wanderer in a symbolic landscape of searching and loss. Being lost, or deliberately straying from the chosen path, are recurring themes on The Forester, whose subject matter ranges from disturbing natural environments to alien visitors, painted on an eerily exquisite canvas that recalls Mark Hollis, Tim Buckley, Kate Bush and Claude Debussy, while remaining uniquely Susanna's soundworld. Recorded entirely live in one single, emotionally-intense day at Oslo's legendary Rainbow Studio, produced by Deathprod and Susanna and engineered by Jan Erik Kongshaug.


LP version on 180 gram vinyl.


TR 268LP

GRAND OPENING, THE: Don't Look Back Into the Darkness LP+CD (TR 268LP) 22.00
LP version with CD. The one-man project The Grand Opening by the Stockholm multi-instrumentalist John Roger Olsson proves impressively on his fourth album that he is rightly counted among the finest representatives of beautiful and melancholy music. Being mentioned directly alongside American Music Club, Talk Talk, Red House Painters and The Blue Nile -- as happens in the British music press -- is certainly flattering. And these references are indeed helpful to give a rough impression. But their resemblance to The Grand Opening is mainly to do with the mood created by the music. Anyone familiar with the previous three albums will recognize the typical monotonous guitar structures, the sparse but always beautiful harmonic framework, and of course Olsson's unique melancholy and warm voice -- all perfectly arranged and recorded at the highest technical level with various guest musicians. What is missing from those references -- and here we come back to the initial question -- is, let's call it "the Swedish component." The Grand Opening sonically evokes the lonely and romantic image of the Swedish countryside and pairs this with lyrics questioning man's place in the world and personal memories of the past. So it was perfectly apt that a short time before he began recording the new album, Olsson found old photos at his grandmother's house that magically reflect the mood that he intended to create, and which he therefore chose for the album's artwork. The cover image especially appealed to him: it shows his family on a boating excursion, strangely paused, and at the center of the image, in a very spooky way, one family member has faded into a ghostly figure. The recordings for the album began in 2012 with sessions featuring a rotating cast, but the search for the right direction was difficult. Finally, John Roger Olsson locked himself up in his new studio in Stockholm and, inspired by ideas and chords that had occupied him for a long time, recorded the album in four days. The resulting songs were accompanied by Jens Pettersson (drums), Patric Thorman (bass) and Leo Svensson Sander (cello) and augmented by Johan Krantz and Anna Ödlund on backing vocals.



TRUTH: Chicks & Drugs/Empire 12" (TEMPA 082EP) 11.00
This is Truth's third release on Tempa. Featuring two tracks -- "Empire" and a collaboration with Stylust Beats titled "Chicks & Drugs." Both retain the cinematic, expansive aesthetic that the New Zealand duo has established on their previous releases for Tempa and labels such as Deep Medi and Disfigured Dubz. The chimes and industrial drones that open "Empire" rack up tension to a snapping point, before the track grinds to life in salvoes of intricate percussion, plunging sub-bass and the crunch of metal on metal. With its vaguely tongue-in-cheek opening chant, "Chicks & Drugs" seems a slight departure from the intense, dread sensations of "Empire." But when it drops in punctuated tidal waves of sub-bass and a sparse halfstep beat, it's just as intense and immersive as you'd expect from the duo.



LOS ANGELES FREE MUSIC SOCIETY: The Blorp Esette Gazette Vol. 1 CD (TRANS 382CD) 15.00
"This is the Blorp Esette Gazette. Thirteen years have gone by since this project was first imagined, but it is here now, the LAFMS quarterly audio magazine. This is the first issue, filled with many varied sounds from many varied sources. In 1977, Ace Farren Ford, one of the founding members of the Los Angeles Free Music Society released a various artists compilation album on the LAFMS label called Blorp Esette, a vinyl LP. In 1980 he released Blorp Esette Volume 2, a double LP. In 1999 his own label Ace & Duce teamed with the Transparency label to reissue these LPs on CD and added two CDs of previously unreleased contributions. In 2011 the four CD set was remastered by Ju Suk Reet Meate of Smegma and re-released. In 2000 Mr. Ford came up with the concept of an audio magazine which would feature contributions of various members of LAFMS, past and present and would be a way of keeping it active. Now some 13 years later it has become the Blorp Esette Gazette, a quarterly annual audio magazine, the first edition of this to be released this fall on the Ace & Duce/Transparency label. This first volume features contributions by Keith Mitchell (Moniter, Mazzy Star), Moris Tepper (Captain Beefheart), Kraig Grady, David Cotner, Smegma, Electric Bill Robinson, Michael Intriere and Anna Homler, the Tenses, Dennis Duck, Juan Gomez, the Mystery Band, Frank Bedal, Larry Easter (Linn County), and more. With cover art by Ace Farren Ford and Ju Suk Reet Meate."



DKV TRIO: Schl8hof LP (TROST 125LP) 22.00
LP version. Trost presents Chicago's premier live band, DKV Trio: Hamid Drake (drums), Kent Kessler (bass) and Ken Vandermark (clarinet and tenor sax), plus Mats Gustafsson (tenor and baritone sax), Paal Nilssen-Love (drums), and Massimo Pupillo (electric bass).



Tensnake proudly presents the next tracks in a series of great tunes to come: True Romance 002 -- Larse featuring Charlie Sputnik: The Sun EP. Larse from Dortmund is well known for his very own approach to slamming deep house anthems. Several tunes out of his hands entered the national charts in Germany, Belgium, and South Africa. His "Vocal Mix" for Candi Staton's "Hallelujah Anyway" reached #1 on the Beatport Deep House charts and gold status in Belgium. Charlie Sputnik shows an outstanding performance as a singer. Charlie is from L.A. and has recorded with house music producers Art Bleek, Manuel Tur, Trevor Loveys, Affie Yusuf, Round Table Knights, Hervé, and Jesse Rose, to name a few. Together with Larse he shows one of his best performances so far. A fascinating blend of Prince, Wham, a very modern version of Kool & The Gang, and classic vocal house.



WAYFARER: Reflections/Live from the Future 12" (UALPS 001-PIC) 14.50
Wayfarer is a one of the hottest new artists in the dubstep scene right now. "Reflections" is crafted with incredible groove and accompanied by reinforcing percussions, solidifying the rhythmic bliss which unfolds piece by piece. The catchy vocals in this track are spellbinding, commanding full-body goosebumps upon every listen. With support by Skream & Benga, Youngsta, J:Kenzo, Seven, Vivek, N-Type, Mala, Rinse FM and Radio 1, "Reflections" has already been tipped to be track of the year. Label CEO Seven lays down the title track of the album and delivers am incredible and innovative piece of music. This track infuses chords, atmospheric pads and stabs expected of films like Blade Runner; shortly followed by a heartbeat-like kick drum groove setting the pace and leading you towards the drop. Picture disc limited to 500 copies.



CARBONO, ABELARDO: El Maravilloso Mundo De... 2LP (VAMPI 141LP) 25.50
Double LP version. Abelardo Carbonó, the godfather of champeta, was born in 1948 in Ciénaga, a small town between Santa Marta and Cartagena, Colombia. He started playing guitar when he was eight or nine, just playing along with his father. His family moved to Barranquilla in 1959. Upon his arrival, he quickly went to become a police cadet as it was pretty much all the city had to offer him in terms of employment. At the turn of the '80s, Abelardo had almost two decades of being in the police, a job he "wasn't very good at." With his brothers Jafeth (bass) and Abel (solo guitar), he progressively formed what was to become the nucleus of the bands to come, developing their signature: a sharp guitar, a strong bass, and a choir. The tropical pop sound, the groaning voice, the drum kit, the mix of rock and tropical guitar that one would hear later in Abelardo's work, were already visible in his personal way of playing Caribbean music, such as on "A otro perro con ese hueso." The vallenato cajón drum, a traditional feature one would rarely consider beyond vallenato circles, was used here and would be used extensively by Abelardo in various contexts. With its childish voices drowned in reverb, the swinging electric bass contrasting with the acoustic guitar, and the funny lyrics about a man who promises a lot as the choir rejects his affirmations, the tune stood out on a 12-song compilation released by Sonolux and gained Abelardo's band attention from the music industry. Other tracks like "Quiero a mi gente" and "Schallcarri" seem to testify once again that Fela Kuti's Shakara had a huge impact on the musicians from the coast. In fact, the most decisive influence was the African and Afro Caribbean one: it ranged from the Super Negro Bantous to South African music, the 45s from Kenya, and of course, Congolese and Haitian music. Funk and pop were also important, as were vallenato, cumbia and porro. For several years, Abelardo enjoyed the savoir faire and experience of the best studios around and worked with producers such as the great Eduardo Dávila, some sort of costeño Lee Perry, out of which came memorable sessions with collaborations by legends such as Michi Sarmiento and several artists from the Dolcey Gutiérrez Orchestra. On his albums for Felito, Abelardo recorded such gems as "Negra Kulenge," "Palenque," and "Carolina," magnified by a great sound and a unique mix. The rest of the world is finally about to discover the talent of this kind of Colombian Tom Zé -- a man that represents the psychedelic yet groovy side of the Caribbean musical world, and one of the best-kept secrets of Colombian music. Compiled by Lucas Silva of Palenque Records and annotated by Etienne Sevet.



REFLECTIONS, THE: Slugs and Toads LP (MRSSS 524LP) 25.00
A much-needed reissue of this obscure gem of British post-punk from 1981. The Reflections were a sort of post-punk super-group formed by Mark Perry (Alternative TV, The Good Missionaries, The Door And The Window), Dennis Burns (Alternative TV), Karl Blake (The Lemon Kittens) and Nag (The Door And The Window). Perry and Nag share vocal duties on an album that opens with the disheveled pop nugget "Tightrope Walker" to go through more reflective moments such as "Demon of My Desires" and "Clamming Up," to outbursts of noisy experimentation and free-form passages that verge towards no wave ("Nag Takes a Ride," "The Parting"). The wonderful cover of Roky Erickson's "The Interpreter" deserves a mention as one of the highlights of a flawless LP.


VF 003EP

LOUIS, ENO: Move 12" (VF 003EP) 14.50
Eno Louis gained a solid background in traditional Edo music as a student at Edo College in Benin City, southeast Nigeria. He lived at Fela Kuti's Kalakuta Republic until the army raid in 1978, when he moved to the U.S. for a couple of years. On his return, he recorded with Edo funk powerhouse The Talents Of Benin, and quickly became a mainstay of the flourishing disco and boogie scene, in-demand as a guitarist and drummer, with credits including releases by Pogo Ltd, Amas Grill, Chris Okotie, Oby Onyioha, Chris Mba, Dizzy K Falola, Harry Mosco, Pat Finn and the Super Elcados, to name just a few. The two tracks here are from Louis' debut LP, Living in the USA.


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