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Forced Exposure New Releasses for 10/7/2013

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New music is due from Graham Lambkin and Jason Lescalleet, Madlib and Freddie Gibbs, Phase, Daren Ager, and Jon McMillion, while old music is due from The Feelies, Nigel Mazlyn Jones, Wakefield, Porter Wagoner, and Durutti Column.


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23FIVE 018CD

G*PARK: Sub 2CD (23FIVE 018CD) 16.00
"The most enigmatic of the Schimpfluch-Gruppe, Marc Zeier is the man behind G*Park; and here, he presents his first major album since the acclaimed 2008 album of cryptic electro-acoustics entitled Reuters. Many years in the making, Sub is a sprawling masterpiece of modern day musique concrete, reflecting the early pioneers' use of razor cut tape with a grandiose revelation of an existential horror. Zeier describes this album as the manifestation of amorphous conditions that lead to (or interfere with) representational forms or states of being. His examples of the shifting patterns from clouds of blackbirds or the clinging masses from algae blooms are rudimentary entry points for his rhizomatic, chimerical work. For every malignant drone and turgid thrumming, Zeier will puncture his fluttering, frozen methane surfaces with jagged incisions, pneumatic hammerings, and decompressed gasps. This fragmented punctuation is a signature to the G*Park aesthetic, used highly effectively in mapping his clinical situations turned septic. The titles to the tracks on Sub address the physical attributes of the source material that went into each track, with some decidedly specific ('Swine,' 'Wasp,' 'Stone') and others nebulously abstract ('Purge,' 'Glow,' 'Pulse'). For Zeier, the exact nature of the sound object is informed more by a shadowy deconstruction than by a direct representation, thrust into an absurd existence as an abomination, a violation, a monster. Sub locates itself near the psychological minefields of Luc Ferrari, Steven Stapleton's prediliction for windows, and the cruel x-ray visions from fellow Swiss aktionists Sudden Infant and Dave Phillips."


4M 127LP

GALE, EDDIE: Eddie Gale's Ghetto Music LP (4M 127LP) 19.00
2013 repress. "Having developed his skills amongst the cream of New York's hard bop players (jamming with John Coltrane and Jackie McLean), Eddie Gale helped ring in jazz's controversial new thing during the 1960s and 1970s on a series of influential releases. His inspired trumpet playing graced Cecil Taylor's Unit Structures, Larry Young's Of Peace And Love and a series of recordings and performances with Sun Ra's Arkestra. He also cut a pair of under-acknowledged soul-jazz influenced albums as a leader for Blue Note at the end of the '60s. The first Eddie Gale Blue Note LP Eddie Gale's Ghetto Music was released in 1968, produced by Blue Note founder Francis Wolff. A blend of funky grooves, a gospel street choir of singers, and late 60's free form freak outs. Recommended for fans of Sun Ra & Brother Ah, Coltrane's Love Supreme, and Max Roach's It's Time. The original vinyl LPs go for big bucks on eBay, this is the first time this Blue Note album has ever been reissued. Remastered from the original master tapes on 180 gram vinyl. All original artwork in a gatefold sleeve featuring detailed liner notes and an interview with Eddie Gale."

4M 128LP

GALE, EDDIE: Black Rhythm Happening LP (4M 128LP) 19.00
2013 repress. "Black Rhythm Happening (the second Blue Note album by Eddie Gale) was released in 1969 and includes jazz heavy weight Elvin Jones on drums and sax man Jimmy Lyons. Again the mix is a blend of soul jazz, free form freak outs, and a gospel influenced street choir. Suggested listening for fans of Sun Ra & Brother Ah, John Coltrane's late 60's LPs, and Ornette Coleman and Albert Ayler's more groove oriented recordings. The original vinyl LPs go for big bucks on Ebay, this is the first time this Blue Note album has ever been reissued. Remastered from the original master tapes on 180 gram vinyl. All original artwork in a gatefold sleeve featuring detailed liner notes."

4M 149LP

WALKER, SCOTT: Scott LP (4M 149LP) 19.00
2013 repress. "One of the most enigmatic figures in pop music history Scott Walker (nee Scott Engel) first saw massive success in England with his band The Walker Brothers in 1965. Not really brothers, nor were they British, the trio left Hollywood seeking fame in England, and they found it there for a time with their particular brand of orchestrated pop. Following the group's demise in 1967, Walker set out to pursue solo stardom in perhaps the most peculiar way possible, with over-the-top baroque pop songs owing more to his idol Jacques Brel, Tony Bennett and Frank Sinatra than they did to The Beatles or The Stones. This is his first solo LP from 1967 and features 3 of his own compositions along with covers of songs by Brel, Tim Hardin, and the Brill Building team of Cynthia Weil and Barry Mann. A true original."

4M 228LP

MCDOWELL, MISSISSIPPI FRED: I Do Not Play No Rock 'n' Roll LP (4M 228LP) 19.00
"This 1969 release by the legendary Mississippi Fred McDowell was his first to feature him playing the electric guitar. Although it was somewhat controversial at the time because of this fact, it is now considered a classic. Fred sounds like he has always been plugged in, playing with fiery passion, including some great bottleneck guitar. Featuring originals by Fred including, 'You Got to Move' (covered by the Rolling Stones on Sticky Fingers) and 'Kokomo Me Baby,' and a cover of Joe Williams 'Baby Please Don't Go.' This new reissue features the original nine tracks that were on the 1969 release. Pressed on 180 gram vinyl."

4M 516LP

FLIPPER: Sex Bomb Baby! LP (4M 516LP) 19.00
2013 repress. 180 gram vinyl, printed inner sleeve with lyrics. "Originally released in 1987, Sex Bomb Baby is actually a collection of Flipper material dated no later than 1982, comprised of singles, B-sides, and compilation tracks. The single version of 'Sex Bomb' is an all-out classic, a frenetic, yelping punk answer to 'Louie, Louie' and the rest is no slouch either -- outrageous, harsh, sludge-punk from San Francisco's finest."

4M 522LP

2013 repress. "The second Durutti Column album, originally released on Factory Records in 1981, marked the departure of producer Martin Hannett (Joy Division, Buzzcocks) and the addition of drummer Bruce Mitchell, who would remain a longtime collaborator with chief member, guitarist Vini Reilly. LC is as powerful as the debut, a fantastic collection of guitar excursions that transcend genre. This is also the first album to feature Reilly's speak-sing vocal style on a number of songs (including 'The Missing Boy' a tribute to the recently deceased leader of Joy Division, Ian Curtis). Another stellar album."



RUSSELL, ARTHUR: Another Thought 2LP (ALE 001LP) 25.50
Originally released on CD in 1994 and reissued in 2006, this is the first time Arthur Russell's Another Thought has been released on vinyl. Arthur Russell's Another Thought was first released posthumously in 1994, two years after his death. The tracks date from between 1982 to around 1990, catalogued from over 800 tape reels by Mikel Rouse for Point Music, and produced by Don Christensen. While it is a collection of tracks in various stages of completion, often sparse and direct, it is perhaps the most sonically coherent album ever released of Russell's material. Another Thought includes appearances by trombonist Peter Zummo, percussionist Mustafa Ahmed, additional vocals by composers Julius Eastman and Elodie Lauten, plus Joyce Bowden, Jennifer Warnes, and Steven Hall. Double vinyl in kraftliner sleeves printed in white litho, with art paper inners. Artwork by Jennifer Lucy Allan. This is the first release on Arc Light Editions, a label curated by Jennifer Allan in collaboration with Multiverse Music.



CADANS: Subdominant EP 12" (BALANS 012EP) 14.00
Cadans is the super-secret techno alter-ego of a very well-known and respected drum 'n' bass/dubstep producer. The Balans label has known and followed Cadans for many years and are very excited to release the first EP of his new endeavor. All three tracks have been road-tested extensively by label boss Darko Esser and now finally will be documented on precious wax. Basically, it's a triple A-side record -- "Fix," "Samsa," and "Millian" are all peak-time, stripped-down industrial machine-funk monsters -- a trio of bass-heavy battle weapons which will leave any dancefloor shattered.


BEC 5161640

BOSTON BUN: Flasher EP 12" (BEC 5161640) 14.00
Fascinated by the '90s Chicago illusion and 120 BPM tracks talking about pleasure and the future, Boston Bun offers up his own vision of house music. Steering clear of clichés and parodies, he's simply creating a new universe, a new story for this genre.



DEADBEAT: The Infinity Dubs Vol. 3 12" (BLKRTZ 009EP) 12.00
The third installment in Deadbeat's Infinity Dubs series sees him submerging his rhythms deep into the echo chamber, offering up two solid-state dubs with bass lines so low, only the largest systems will even register their presence. Enlightenment through stoic repetition is the order of the day here, and Deadbeat once again proves his unrivaled skills as a master hypnotist on both cuts. Don't sleep.


BS 2117CD

AIKEN & FUTURE 2000, TONY: Unity: Sing It, Shout It CD (BS 2117CD) 16.00
"Hailing from New York during the mid 1970s, Tony Aiken and Future 2000 was a musical group whose funky brand of R&B-meets-dance featured a distinct sound reminiscent of a combination of Carribbean music and Afrobeat. Their strong arrangements, pulsating beats, and unique orchestrations made them underground darlings for much of the mid-'70s. Their Kimsha Records release Unity: Sing It, Shout It was a joyous, booty-shaking pile of East Coast disco at its most raw. Aiken has since gone on to work with artists such as Dennis Brown, Frankie Paul, Chosen Few, and many more, but the original Unity album has largely been forgotten to the sands of history... until now. Boom Shot Records is proud to present this sterling CD reissue of the original Unity album, with additional bonus tracks. Features hard-hitting funk tracks like 'Better Days,' and soulful cuts like 'Time Tunnel,' with bouncing bass-lines and sinuous keyboards. Unity's crown jewel however is its' title track, a nine-plus minute stomper with hints of reggae and tastes of early-disco vibes. Unity's previously unavailable bonus tracks also showcase the band's Carribbean roots, with tracks like 'Jah Music' and 'Skanking on the A-Train,' which contain the air of traditional ska, rocksteady, and reggae. An obscure gem, and a classic for any fan of fine Afro-centric music."



MONOLOC: Try EP 12" (CLR 070EP) 14.00
CLR is back with an exciting EP by Monoloc. For more than a decade, Monoloc has been honing his skills in the studio and has at all times been a faithful ambassador for the complete abolition of genre-boundaries. His imaginative beat and sound-programming, as well as the ability to create dynamic and sometimes surprising arrangements, are qualities he shares with the Swedish duo Skudge who took on the duty to remix this outstanding track. Their unique remix does not only express their well-known, tasteful approach, but also their unpredictability and stylistic independence. The EP also includes a brand-new version by the man himself. While the mind-bending sound of his debut album Drift works for all kinds of occasions, the "Monoloc Edit" of "Try" almost demands to be played out loud on massive club speakers. But even in his more dancefloor-oriented productions, there is always a comforting warmth about Monoloc's sound.



MODE: Play the Game 12" (CRE 043EP) 12.50
Codek Records presents two excellent tracks from Mode, very melodic with a superb production. "Play the Game" is 12 minutes of Balearic bliss. Although the vibe is very mellow, at 115 bpm, it goes well with any of the current nu-disco/deep house releases. On the flip side is the track "You Don't Know" on which Mode exchanged all the plug-in synths with his beloved Juno 6, making it sound real smooth.



LAKE PEOPLE: Step Over, Trace Into Pt. 2 12" (CNS 061EP) 12.50
Connaisseur Recordings is more than happy to present the next Lake People EP. Four tracks, no remixes, and each one a pearl on its own. "Into" goes a bit in the direction of his hit "Point in Time" on Krakatau, while "Stepwise" and "Come Over Later" reminds of the timeless electronic approach of Acid Jesus or Soylent Green releases on Klang Elektonik. The soundscape-ish "Trace Missed Call" rounds up the release perfectly. Sophisticated electronic music situated between the stools.



HULA: Murmur LP (DESIRE 058LP) 23.50
Hula formed in November 1980 and hailed from Sheffield, home of such electronic luminaries as The Human League, Cabaret Voltaire, and Chakk, to name but a few. Hula members Ron Wright, Alan Fish, and Mark Albrow allegedly lived with Cabaret Voltaire in an apartment aptly named the "Hula Kula." Hula's second album Murmur was released in 1984, only a year after its predecessor Cut from the Inside, and what a tour de force it is. Taking in elements of found sounds, cut-up, primitive sampling and industrial paranoia, they sculpted an unsettling but rhythmic mélange of sound. In part industrial funk, elsewhere, an atmospheric stew of dissonance and rhythm. Murmur is now reissued for the first time in nearly 30 years on vinyl in a limited edition of 300 copies on clear blue vinyl.


PRIMITIVE CALCULATORS: Primitive Calculators LP (DESIRE 061LP) 23.50
The Holy Grail of the '70s punk/synth-punk Australian scene is now reissued in its original form for the first time on vinyl. Desire is proud to release the very first Primitive Calculators debut album. Originally out in 1982 in a very limited edition vinyl including a postcard, the eponymous album was recorded live in 1979 at Hearts, North Carlton, supporting the Boys Next Door. Often described as the "Australian Screamers," Primitive Calculators were one of the few Aussie bands to mix minimal synth, bass, scratchy guitars, repetitive drum machine beats reminiscent of their California cousins and also touches of Cabaret Voltaire. This impossibly hard-to-find item is now available on vinyl for the first time since 1982 and this second pressing includes an exact replica of the sleeve -- black vinyl with black labels, and a postcard. Limited edition of 210 copies. Last pressing with the postcard.


Industrial parks seem empty. There aren't many people and few buildings have windows. Some machines, no longer needed, are grown over with weeds while others rust. But these spaces are given life by hidden hands. They are loud and built of heavy parts that deliberately fit pieces together. They live for the lifeless. Nonetheless, their droning sounds are trapped in these structures, hidden in their remote confines and barred by looming walls, cold and white. After a 7'' for Toxic Pop Records, Industrial Park is releasing its debut 12'' on Desire. Industrial Park hails from Portland, Oregon, and plays Gothic death-rock/post-punk in the tradition of bands like Sisters Of Mercy and Bauhaus with a touch of shoegaze not dissimilar to Slowdive. Limited edition of 300 copies on black and white vinyl. Comes with a download card.



DON'T DJ: Drob 12" (DISK 006EP) 16.00
"Durian Brothers member DON'T DJ presents his first solo outing of experimental-polyrhythmic-club-musik. Presented, Diskant style, in a gatefold double-sided silkscreen printed cover designed by Lotte Effinger."



EMERALDS: Does It Look Like I'm Here? 2LP (EMEGO 101LP) 25.00
2013 repress, originally released 2010. Gatefold double vinyl version. This is the third official album by Emeralds (after Solar Bridge on Hanson, and the self-titled LP on their own Wagon and Gneiss Things imprints, as well as countless small edition tapes and CD-Rs on a host of labels) and once again, it presents another radical new direction for this Cleveland trio. It sees the group moving from playing single oscillator analog synthesizers to really complex analog and analog/digital hybrids as well as a great deal of guitar synthesizers, not to mention fine-tuning their skills as brilliant tunesmiths. Simply put, the results are outstanding. Comprising of a number of tracks from their ultra-limited 7" vinyl series on Wagon, as well as new compositions exclusive to this release, this fine selection of tunes surpasses anything they have achieved in their 5-year career. Perfect melodies intertwined with ripping sequences and a guitar sound that floats perfectly throughout. Although most tracks cover new ground in that they follow a shortened "pop format," more long-form cuts such as the towering "Genetic" and the title track will give fans of their earlier work something to grab onto, or totally let themselves go, depending on their state of mind. Having spent all their lives in the relative isolation of Cleveland means their music has developed into a vital, stunning unique hybrid that may not have been able to blossom in more active urban centers. Does It Look Like I'm Here? heralds a turning point for all those involved and is a perfect, vivid soundtrack to emerge out of a harsh, grey winter. Fresh, shiny and totally essential.



HANS BOUFFMYHRE: Catapult 12" (EDLX 032EP) 14.00
The young Glaswegian is back with more heavy-hitting slabs of his no-nonsense type of techno. Hans Bouffmyhre, real name Stephen Gorrie, has released a frightening number of records for labels like Perc Trax, Viva Music, Soma, and 8 Sided Dice; all the while keeping abreast of a busy gig schedule and manning his just as prolific Sleaze Records. On Catapult, Gorrie plays to his strengths, turning in four blends of tension-building techno crafted with poise and subtlety. "Catapult" is the EP's teasing opener before Gorrie plunges ever further into the aching, growling belly of the beast. "Mesmeric" is as its name suggests -- heady hypnotism in its wildest form. "Pulsing" slams Catapult into sweaty peak-time with pistons and alarm bells, leaving "Secret Strobe" to keep this dystopic party marching well past dawn.



NAGUAL: Nagual LP (ERG 005LP) 16.00
"Spawned in Oberlin, Ohio's proliferating experimental circles, the duo of Ian McColm and David Shapiro have since 2010 become adept at coaxing oblique shades of Frippertronic drone from their extended guitar rigs. Finally distilling their inspirations into three deliberate pieces, this 44-minute LP of structured improvisations marks the culmination of a string of cassettes on McColm's own Pidgin imprint and is Nagual's most accomplished statement to date. Loops comprise the phonetic basis of Nagual's sonic vocabulary but they feel meticulously crafted rather than brazenly manufactured, with clusters seamlessly shifting in and out of coherence while deep tones expand across the stereo field. The muscular splutter of side A's rich palette crescendos into a dexterous burst of McColm's machine-gun percussion (first showcased on a Feeding Tube cassette) worthy of his years studying under Pharoah Sanders drummer Billy Hart; and side B unfurls with the patient serenity of music's eternal theater."



"The work begins in very un-Wandelweiser fashion, with a strong note played on, I think, a harpsichord (prepared spinet?), quite forthrightly. After several identical notes, a recording of an interior space enters and a surprising sequence of chords occurs, four of them, very romantic in nature. Four more follow, belying the first quartet, somewhat sour, then three more, ambiguously between the first two sets in feeling. So begins This Place/Is Love, a kind of quiet epic (76 minutes in length) that, as with much or Pisaro's recent work, resists easy encapsulation or structural grasp. For listeners familiar with the work of either creator, especially Pisaro, the various sounds employed will be familiar: smoothly modulated sine tones, nondescript (but fascinating) field recordings, single, pristine guitar notes, extended silences; that harpsichord is the one that stands out as unusual. But of course it's not about audio novelty but the sequencing and layering of those sounds and, here especially, their resonance with [Beuger's] text. To my ears this is brilliantly accomplished, in a, for lack of a better term, poetic manner that's next to impossible to quantify." -- Brian Olewnick, Just Outside


"Graham Lambkin and Jason Lescalleet stand side by side in the vanguard of contemporary sound exploration. Since the initiation of their collaborative endeavors in 2006, the duo have crafted a nice combination of audio vérité and musique concrète, together building a highly personal body of work. 2008's critically acclaimed The Breadwinner illuminated the artistic potential found in mundane and commonplace circumstances. 2010's Air Supply showcased a darker side, nudging the civilian themes of its predecessor into fields of pure abstraction. Photographs brings Lambkin and Lescalleet back again to the questions of self and place. Photographs presents a monolithic reappraisal of heritage, both individual and shared, and reevaluates the geographic and societal influence inherent in formative memory. Recorded in Folkestone, England and Worcester, Massachusetts, Photographs invites the listener to journey through Lambkin and Lescalleet's historical registry, places of birth, childhood haunts, locations of enlightenment and kingdoms of despair. Photographs welcomes the listener into the houses and homes of Lambkin and Lescalleet's upbringing. It's a meet and greet with family and friends, a traipse through ever-changing street scenes, and a document of a fading static past. But Photographs is not just a memorial to a time long since spent. Lambkin and Lescalleet take you there and back in celebration of their ancestry, breathing new life into each chapter and event. As a survey of origin and a major artistic statement, Photographs proves itself to be a worthwhile investment, and one that brings Lambkin and Lescalleet's collaboration full circle. The beginning now knows its end, the final part has fallen into place, a plan has worked well and everything is perfect. Housed in a deluxe UV-varnished 12-panel fold-out digipak, boasting copious site-specific pictorial data, Photographs sets the new gold standard for CD design presentation, and provides the music with lavish adornment. Mastered by Jason Lescalleet at Glistening Labs with a running time of over 95 minutes, Photographs is an audio/visual treasure trove whose richness and detail will give pleasure enough to last a lifetime."


ESK 506132

BLENDE: Rikki 12" (ESK 506132) 14.00
Eskimo Recordings is proud to present the new single from London-based disco advocate, Blende. Following his breakthrough release Fake Love -- supported by A-Trak, Aeroplane, Yuksek, Dimitri From Paris and The Magician -- and a bunch of remixes for the likes of Lana Del Rey, Skrillex, Azari + III, and Two Door Cinema Club, he now returns with this unique effort of his own. "Rikki" is a top-of-the-line indie dance tune that once again serves up a generous dose of nu-disco, combining the old school with the new. This release includes a stellar line-up of remixers, with Moonlight Matters, Phonat, and Le Crayon, each giving a whole new twist to the original.



CHROME SPARKS: Sparks EP 12" (FCL 099EP) 14.00
Inspired by a background in classical percussion and an obsession with synthesizers, Jeremy Malvin creates music under the name Chrome Sparks. The project kicked off in mid-2012 with the release of "Marijuana," a thumping, fluttering piece of electronica that set the internet alight. "Marijuana" finally sees official release as part of Chrome Sparks' debut EP Sparks, a 6-track exhibition of future-funk. From contemplative opener "Your Planets" to the anthemic "Send the Pain On," this EP demonstrates Malvin's affinity for synthesizers, unusual sound combinations and sample manipulation.


GET 54058CD

BERRY, CHUCK: San Francisco Dues CD (GET 54058CD) 15.00
"Not much is talked about of rock 'n' roll legend Chuck Berry's work during the 1970s. Unless you count his novelty hit "My Ding-A-Ling." Though he would remain a prevalent live fixture for much of the decade, his studio work slowed to a crawl. It was during this time that Berry returned to Chess Records from his previous association with Mercury, to release the overlooked San Francisco Dues in 1971. The album remained obscure and largely unnoticed, but is a fascinating glimpse into Berry's musical mind, and is now looked upon by critics as a forgotten great. The album showcases a different side of Chuck Berry. His signature blend of pioneering rock 'n' roll music would give way to a more somber and contemporary (for the 1970s) sound. Berry's more serious side is on display on yearning tracks like 'Oh Louisiana,' and fragile numbers like 'My Dream (Poem),' which features Berry on piano. The album paints a solemn, never-before-seen portrait of Berry, and still finds room for traditionally rocking tracks like 'Viva Rock & Roll' and the title track 'San Francisco Dues.' Though San Francisco Dues has received newfound retrospective acclaim from critics, it has never been reissued on compact disc. Now in 2013, Get on Down is glad to change that, reissuing the oft-forgotten Chuck Berry gem in a deluxe digipak, painstakingly re-mastered and re-created with the same level of care and detail that have come to define the Boston label's reissues. A bygone classic from one of rock n' roll's great trailblazers."


GR 015EP

VOORN, JORIS: Ringo 12" (GR 015EP) 12.50
Joris Voorn returns with yet another masterpiece on Rejected's sister imprint Green. Not one to shy from experimenting, Joris turns it up a notch yet again with his latest release Ringo. Circulating on the Internet for almost a year as a mystery track, it finally sees its official release. The B-side includes an upbeat, reworked version of the original with added play on vocals. Without exception, this EP is a standout from the rest that will definitely be heard for many years to come.



MU: Mu LP (GUESS 118LP) 25.50
West Coast psychedelia/bluesy acid-rock by this true hippie band led by the legendary Merrell Fankhauser (Fapardokly, HMS Bounty) and genius guitar player Jeff Cotton (Captain Beefheart & His Magic Band). This is their classic and sought-after first album from 1971. Remastered sound, insert with lyrics, photos and extensive liner notes by Patrick Lundborg. "The mix of bluesy urban L.A. exhaust fume vibes and tribal desert mystique is as archetypal an early 1970s SoCal trip as you can find. With strong songwriting and a pro-level recording, the album is given a clear musical identity via the excellent slide guitar, harmony vocals, and occasional sax." --Patrick Lundborg (Acid Archives)



MIX MUP: After the Job EP 12" (HINF 8675EP) 19.00
"Four off-the-wall, housebound deviations in true Hinge Finger mode, from Liepzig's underdog. Fervently chopped-up beats, slicing percussion shots, and seductively deranged atmospherics. Blueprint experimentalism from one half of MikroDisko."



DJS PAREJA: Steps 10" (HUNTLEYS 007EP) 15.50
Glasgow-raised and London-based party outfit Huntleys + Palmers return with a slew of new bangers. First up, Argentinian duo DJs Pareja, who are best-known for their work on the Comeme label, deliver a pair of dancefloor destroyers. If lead track "Steps" doesn't get you dancing, nothing will, with one step in South African kwaito, the other in UK funky. On the flip, "La Risa" takes a different form in the shape of an odd-ball house belter.



DEEPA & BIRI: Emotions, Visions, Changes 12" (GIGOLO 302EP) 12.50
On Deepa & Biri: Derrick May: "These guys are from Tel Aviv but they have such an appreciation of the music of Detroit -- they're working hard to do some serious stuff." DJ Hell: "All the tracks are perfectly produced and sound like classic records: the love of Detroit and Basic Channel is everywhere, but with their special Israeli touch."



KARMIL, MATT: Reverse Peephole 12" (IRR 015EP) 12.50
When IRR track-hound Ada goes sniffing around the corners in Cologne, she means business. One can imagine her happy panting when she learned that she just intercepted unbelievably huge and simultaneously unreleased material from Matt Karmil. Here is the result of this strange event. Matt Karmil is letting us all inhale his scent.



HOULE & CLICK BOX, MARC: Razzamatazz 12" (ITEM 025EP) 12.00
Items & Things presents a five-track EP from label heavyweights Marc Houle and Click Box. Recorded in São Paulo, who better to describe the release than the trio themselves. "Our approach was to do everything quickly while having fun and not spending time on small details or the arrangement until after the session. We wanted each track to be slightly different but have the same overall feeling. We were having so much fun yelling ideas at each other and recording pretty much non-stop. The great thing about the project was the balance of us having a super-fun time with how seriously we take music. With the tracks on the EP, we feel that you can hear a little bit of all three of us: fat grooves, hypnotic synths, and funky bass-lines, all within a light context. Music for dancing, not thinking -- music to have some fun with."



Hailing from a Boy Scout camp deep in the jungle of late 1960s Guiné-Bissau, Super Mama Djombo's founding musicians have come a long way to display their wonderful music to the world. Drummer Zé, singer Herculano, and original guitar players Gonçalo and Taborda picked the name Mama Djombo as an homage to a local goddess revered by independence fighters. Tiny Guiné Bissau is located between Senegal at its northern border and Guinée Conakry on its eastern and southern border. A former part of the mighty Mali empire, it was then one of the last African countries not to have gained its freedom from Portugal, its colonial power. Hence, a fierce war for independence struck the country, until independence was eventually won over in 1974, after many years of suffering. In the early 1970s, the Mama Djombo underground orchestra played mostly for secret political rallies supporting the PAIGC, the major Independence Movement for Guiné and Cabo Verde. Adriano Atchutchi became the bandleader after independence, bringing a book full of his songs. Atchutchi recruited singer Dulce Neves, adding Creole sweetness to its already heady mix of juvenile enthusiasm, candid melodies and touches of Luso-tropicalism. Some of their early songs were roughly recorded when the band played live over Guiné Bissau's national radio, after the country won independence in 1975. Without a proper recording studio in Bissau, the orchestra took off for Lisbon in January 1979. For less than a month, Super Mama Djombo recorded hours of music from their vast repertoire at Valentim de Carvalho studios. The production gave the band new horizons to their music, if not for the use of the Echoplex effects on the drums which added width to the production. Following the first release Na Cambança, the Festival album stands as a tribute to that large Cuban event from 1978. On the 10-minute title-track, Super Mama Djombo despises imperialism of any kind. It praises Amilcar Cabral and Che Guevara while keeping the beat alive with an almost spacey echo. In the same vein, "Sociedade de malandros" condemns nepotism and a "thieves' society." Made from the same mould, "Mortos nega" showcases the collective talents of the orchestra and its exceptional players. Keeping an infectious beat, the hypnotic "Tamanco" is another winner. More laid back, "Alma beafada" displays the softer side of the orchestra, showcasing the vocal talents of Chico Karuca, backed by a strong sense of collectiveness. Super Mama Djombo's saudade is highlighted on "Julia," written by guitar player Miguelinho. Tundu's eerie playing, dreamy electric guitars, hints of a frail tape loop echo and Miguelinho's mellow singing, let alone the haunting melody, make this song one the band's masterpieces. Three more albums would follow before the demise of the band in the early 1980s, due to lack of political support. The new military power in Bissau deposed president Luis Cabral, who was a strong advocate of the orchestra. Now reunited, Super Mama Djombo make up for the lost time and stand as one of West Africa's greatest orchestras. Listening to Festival is truly the best way to enjoy the music of Guiné-Bissau's musical heroes. This deluxe collector's edition comes with a heavy tip-on sleeve and is pressed on 180 gram vinyl. Limited to 500 copies.



FEHLMANN, THOMAS: Eye/Tree 12" (KOM 282EP) 14.00
Eye/Tree sees Kompakt staple Thomas Fehlmann return to the floor. Neo-tribal thriller ride "Eye" kicks things off swiftly, with variform percussion intercepted by swelling pads, seriously stirring up the track's seemingly linear structure in the process. A truly headspinning experience. Fehlmann continues his excursions in high-definition percussion ranting with "Tree," an equally polynomial beast of a track that starts off with a stumbling downbeat feel, but soon finds its rousing groove, employing it to deadly effect in the course of its 9-minutes-plus running time.



DOPPLEREFFEKT: Tetrahymena EP 12" (LSR 007EP) 14.00
Detroit enigma Dopplereffekt has been resurrected, emerging from a grave of jagged detritus and techno trash for their first release since 2007. Dopplereffekt has always preferred mystery and myth, and the Tetrahymena EP on Leisure System is a scorching assertion of their capacity for hallucinogenic abrasion. Tetrahymena wanders through decommissioned factories and an omnipresent chemical haze, evasive and contemplative like the last man alive in a crumbling steel city. Whether in the ethereal voices and plunging bass of the title-track, the unidentified flying objects droning maliciously in the thunderous weapon "Gene Silencing," or the retch and hiss of arpeggiated bad trip "Zygote," it's a transportive journey of dread as only Dopplereffekt can create. Leisure System is proud to release the Tetrahymena EP, an essential vision of dancefloor dystopia from one of the most consistently compelling artists in electronic music.


LL 083EP

SUBS, THE: Collaborations 12" (LL 083EP) 12.50
"We should really work together one day." There's no bigger cliché to be heard in backstage areas, that mythical transit zone where producers and DJs meet, chat and then hop on their tour buses again. Belgian dance-act The Subs heroically plotted collaborations with fellow musicians in various dressing rooms across the globe. What is truly heroic is that in their case, those nightly encounters led up to actual music, and some damn fine music, too. Collaborations is an EP on which The Subs joined forces with both iconic names and underground producers like Etienne de Crécy, Alex Gopher, Zombie Nation, and John Roman.



NATIONAL WAKE: Walk in Africa 1979-81 CD (LITA 105CD) 15.00
"The South Africa of the late 1970s was neither the right place nor time to launch a mixed-race punk band. Yet, following the student-inspired Soweto Uprising of 1976, it was also exactly the right conditions to foster a band like National Wake, one formed in an underground commune, and one whose very name exists in protest at the divisive, racist apartheid regime. Never before collected together, Light in the Attic is set to release National Wake's full body of work as Walk in Africa 1979-81. Featured heavily in the Punk in Africa documentary, National Wake played punk, reggae and tropical funk, equally at home in the city's rock underground and the township nightclub circuit. Ivan Kadey started the band with two brothers, Gary and Punka Khoza. The three were from different worlds -- while Ivan was an outsider, a Jewish orphan born in the traditional Johannesburg immigrant neighborhood, Gary, Punka and their family were forcibly moved to the troubled township of Soweto under the apartheid regime. Later joined by guitarist Steve Moni, the whole band grew up against a backdrop of township unrest, social upheaval and suburban tedium that characterized apartheid-era South Africa. National Wake released just one album, in 1981. It sold approximately 700 copies before being withdrawn under government pressure. The band subsequently disintegrated, but their influence could be traced in the racially mixed post-punk underground centered around Rockey Street in Johannesburg throughout the 1980s, their legacy transmitted through fanzines and underground cassette trading. First ever anthology, remastered from original sources. CD housed in a deluxe gatefold tip-on jacket with a 48 page book with scholarly liner notes by Punk in Africa director Keith Jones. Includes unseen photos, flyers, and band ephemera."


NATIONAL WAKE: Walk in Africa 1979-81 2LP (LITA 105LP) 27.00
"2LP housed in a deluxe gatefold tip-on jacket with a 20 page book and download card. Vinyl cut by John Golden and pressed at RTI."



"Madlib and Freddie Gibbs return with a final EP launch before they release their long-awaited collaborative album, Piñata. The Deeper EP delivers on this promise, and more. Gibbs showcases the yin and yang of heartbreak and anger on the title track, in a lovelorn narrative that meshes perfectly with the weepy strings and insistent rhythm of Madlib's beat. We haven't heard something like this in rap music since Nas' 'One Love,' nearly twenty years ago. The B-side, 'Harolds' -- exclusive to this EP -- gives Gibbs a chance to ride some low down Beat Konducta-fueled funk in a nostalgic ode to the Chicago chicken-shack that served as the backdrop to many of his seminal life experiences."



SIBA: Avante CD (MAIS 009CD) 15.50
Mixing northeastern Brazilian rhythms, rock 'n' roll, and romantic Brazilian "brega" music with African influences such as '70s Senegalese guitar music and Congotronics, Siba is a man who joins the dots between his life, his culture and the rest of the world. Marrying his well-crafted and hard-earned lyricality with both new and old influences, Avante sees Siba's languorous vocal and sinuous guitar playing intertwine beautifully with tuba, vibraphone, and drums to create a dynamic album of experimental "alt-tropical" folk-rock. He was a pioneer in the mangue-beat revolution of the late '90s that took Chico Science and Siba's own band, Mestre Ambrosio -- previously signed to Sony Music Brazil -- across the globe; he's lived the life of a struggling Maracatu poet singing improvised verses long into the night in the harsh Brazilian interior of Zona da mata and redefined contemporary Brazilian roots music with his folk orchestra Siba e a Fuloresta, and now, turns a new page as a tropical rocker with a collection of songs hailed by Brazilian critics as one of the Brazilian albums of 2012. Avante documents a very personal journey -- "In Nazare da Mata I began to feel the need to connect other stuff that was in my mind. I could not see myself as only a poet there and I had to deal with other things happening in my life" -- so he left the interior to travel to the megalopolis of São Paulo and begin work on what would become Avante.



DAPAYK & PADBERG: Smoke 2LP (MFP 067LP) 20.00
Gatefold double LP version with download code. Change, transformation, development -- these have always been the motor behind Berlin electronic duo Dapayk & Padberg. On their fourth album, they have made, perhaps, the most uncompromising step during their 10-year career, in which they have become one of Europe's most fascinating club acts. Their magic formula? Looking for alternatives. With Smoke, they bid a temporary farewell to the dancefloor. They are taking new paths, searching, trying new, never-before-seen patterns. These paths led the duo from the golden hills of Provence to the dark, autumnal lowlands at the border between Scotland and England. The influence of those places is felt throughout the whole record with its atmospheric hybrid tracks. After their album Sweet Nothings (SVT 073CD), with its summery/ funky sound, Dapayk & Padberg now open the door to a gloomy, melancholic world. While Sweet Nothings was a balancing act between the club and home-listening electronic, the duo now turns their back on the dancefloor to take the listener on an acoustic tour through their personal Amber Room. With their chamber-electro mix, containing characteristics of dubstep, catchy pop-elements, classical string arrangements and a singer/songwriter-like intimacy, they create new sound-rooms. Dapayk & Padberg's albums have always been snapshots of their current emotional world -- with Smoke they created their most consistent and self-contained collection of songs to date. Against all expectations, sometimes even against their own natures as artists, they let go of all-too familiar and comfortable structures. Smoke is all about overcoming those lines between different genres, letting go, opening their mind to the new, without worrying about fitting into a certain niche or having to compromise. "Silent Fireworks," with its song-like structure, brings to mind the hymns of Lamb, Jamie Woon or James Blake. Eva's voice delivers a broken intimacy which is carried by Niklas' adventurous and sophisticated sound structures. The hypnotic "No Words" starts out with Eva's ethereal, fragile vocals spun around a dry, blurred electronic track which then explodes into a huge, unknown universe of sounds. "Headless Queen" was inspired by the imprisonment and execution of Mary Queen of Scots in 1587. The inspiration for the album title came not only from those cold days spent in Scotland but also has its historic routes in Niklas' family tree. "My grandmother is a true well of inspiration. She told me that she was faintly related to the Austrian painter Oskar Kokoschka, so I decided to name one of my projects Kokoschka. But also, that there was a blood relative on her side of the family who came from England by the name of Smoke. The name has been spooking around in my head for years and I always wanted to name an EP or track after it. We thought that it was an excellent title for the album."



WEISEMANN, SVEN: Inner Motions 3LP+CD (MOJUBA 003LP) 38.50
Triple LP version. Comes with a CD copy of the album. 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.



MODERAT: Gita 10" (MONKEY 037EP) 12.00
Second single taken from the album II, pressed on 10" vinyl in a picture sleeve -- playtime each side, 4:22 minutes. The album pre-single "Bad Kingdom" was named "an impressive piece of electronic pop music" and "their strongest production to date." The second single "Gita," in comparison, takes a much more introverted approach and reflects the more gentle and melancholic side of the project. You won't get it out of your head very easily. Hardly anybody has brought electronic music from Berlin to the farthest-flung corners of the world with more passion and enthusiasm than Modeselektor and Apparat. Individually or united as Moderat, they have continuously toured the world, grown a loyal and dedicated fan base and have continued to amaze with quality releases all the way.



DE LA CALLE, EDUARDO: Words of Forgiveness for Gray Car Girl 12" (MUSIQ 165EP) 14.00
Mule Musiq presents Spanish artist Eduardo de la Calle. Excellent releases on Superwax Rec, Cadenza, and Mentalgroove, to name just a couple. His music is hypnotic and minimal, but also quite musical -- reminiscent of early Villalobos. "The Ranchor's Time" is timeless, hypnotic techno. On the B-side, both tracks are rendered in a more Berlin-house style, for fans of Kink or Levon Vincent.


MM 039LP

DUNDOV, PETAR: Sailing Off the Grid 4LP+CD (MM 039LP) 47.50
4LP version comes in a beautiful, hand-drawn, heavyweight 4LP package, in a cross shape. Includes CD. Petar Dundov runs his own Neumatik studio in Zagreb where he works as a sound engineer as well as producing his own take on techno, ambient and electronica, much to the liking of respected artists such as Carl Craig, Sven Väth, and François K. The Croatian producer might be best-known as a producer of wondrous, melodically complex techno -- but as revealed on his first two albums Escapements (MM 031CD) and Ideas from the Pond (MM 037CD/LP), his ambitions and talents as a musician are considerably more expansive than simply servicing the dancefloor. Dundov's third LP, Sailing Off the Grid, expands on the lush, intricate synth explorations of his previous two releases, but sees him delve further still into those realms, invoking the spirit of classic ambient and synth-based music of decades gone by. While the album spans just eight tracks, each track clocks in at over seven minutes, and some almost double that length. Each is slow-burning, expansive, gradually unfolding to reveal more of itself and to develop its motifs and sentiments without the often hurried constraints of the dancefloor (or even more so, the radio). This is an album to be consumed in its entirety; not for those with short attention spans or iPod playlists on their mind. "Enter the Vortex" hypnotically seduces the listener into a hazy sort of submission as the album begins; a beat-less exercise in simplicity whose mood swells through a cascade of soaring pads and softly twinkling synths and whose tension never resolves itself. "Yesterday Is Tomorrow" revolves around an Italo-esque arpeggiated bassline, and is the album's first track to work around a simple 4/4 beat, a flurry of synths shining brightly and melting into oneness thanks to spacious reverbs and delays. "Moving" begins from a hushed, delicate melody to unfold into an expansive, rolling progressive number, spilling over with emotive flourishes and freestyles and incessant brooding bass. A solemn, slow '80s stadium rock style drum beat on "Spheres" brings the tempo down, allowing Dundov to explore more complex and intricate melodic interplay still, the acidic bassline and slowly morphing sorrowful melodies of "White Spring" making for a stark contrast next. The title-track is a throbbing, heady affair, which spares key changes and chord progression in favor of unrelenting, slow-burning arpeggios and tension over the course of a dreamy 13 minutes. "Sur la mer avec mon ami" drops the tempo once again to a sunset slumber, soaring pads and an array of soft keys and guitar licks gently caressing the laconic beat. It's left to "Cradle" to round off this engrossing collection with its sweeping soundscapes and almost Oriental undertones; a fittingly unhurried finale for an album that likes to take its time about things. As well as the glorious aesthetic of this record, it's clear that this third album is indebted to the greats of the synthesizer world. The album imparts a -- whisper it -- almost Balearic sensuality, with a real sense of humanity elicited from Dundov's array of machines by way of ever-changing melodies and patterns, giving the sense of a spontaneous, freestyle approach to synth playing and constructing tracks. If his first two albums unearthed his wider musical talents, Sailing Off the Grid is the one that sees him blossom into an incredibly accomplished and ever-more-intriguing producer.



MCMILLION, JON: Flier EP 2x12" (NEK 004EP) 20.00
After having debuted on Nuearth Kitchen with his critically-acclaimed Jon McMillion LP, Jon McMillion now returns to the label on a provocative six-track sound cloud. For those who know McMillion's musical prowess, they won't be surprised to find late-night musings lathered in left-field sensibilities, comedic soundscapes with dancefloor leanings, exquisite sound design, and an ongoing exchange of darkness unto light. McMillion is an aural frontiersman with a passion for free-form composition, complicated sonic layering, and a particular nostalgia for retro ephemera. On the Flier EP, McMillion returns to these elements, perpetually rendering what dance music is and could be.



WAGONER, PORTER: The Bottom of the Bottle/Confessions of a Broken Man CD (OMNI 173CD) 20.00
"Not only does it sport one of the greatest album covers of all time, but 1968's The Bottom of the Bottle is also one of the very finest of Porter Wagoner's legendary string of concept LPs. Alcoholic cautionary-tales fashioned from pedal steel, string bass and pure pathos -- Porter's cast of inebriates shuffle from barstool to gutter to grave. The Confessions of a Broken Man LP is another highlight from Porter's deep catalog. It chronicles destitute men and women, drifters, and those abandoned to the rats (by the rat race). 'Men with Broken Hearts' laments those fallen beyond repair while 1966 chart hit 'Skid Row Joe' personifies the misunderstood and forgotten. Deluxe remastered edition with exclusive liner notes, rare photos and a clutch of excellent extra tracks. A distillery of pickled wastrels, a flophouse of flotsam, and more tales of life's dark underbelly from the florid mind of one Porter Wayne Wagoner."


OT 002EP

MVDV: RE-DSCVRD 12" (OT 002EP) 12.00
All four tracks on this 12" were recorded in 1992 -- staples of JD Twitch's DJ sets at the time, and all tracks he still plays to this day. Recent '90s revivalism trends are a major turn-off at Optimo towers, especially when they almost always fail to deliver anything as good as was made at the time. These four tracks are proof of that and sound as great today as when they were made, over 20 years ago by the supremely-talented Maarten Van Der Vleuten, who should be a far more well-known name than he is as he's responsible for oodles of marvelous 12"s. All tracks here have been remastered. "Summer Love," has been slightly edited by JD Twitch. The tracks are attributed to different artists, but all are aliases of MVDV. Other aliases include Integrity, Flux, DJ Dusk, and G.S.G.



VA: Various 2x12" (OSTGUT 070LP) 23.50
After the critically-acclaimed five-year anniversary compilation Fünf (OSTGUT 015CD/007LP) in 2011, influential Berlin-based electronic label Ostgut Ton presents a collection of exclusive tracks. With Various Ostgut Ton offers a space for the artists to release tracks a little off-center from their known production styles. The result is a double 12 inch release on which eight different Ostgut Ton artists create a journey through ambient electro styles to mellow techno grooves. The carefully compiled Various all comes together with mastering that creates a unified whole, spread over 4 sides of vinyl, and housed in a luscious gatefold sleeve. Barker & Baumecker make the start with "Meiose," a paradoxically fast ambient track that breaks all the rules, with a slow diving sub bass to boost. Picking up the heavy bass theme is Berghain resident Fiedel (of MMM), "Grunewald2" is wrapped in sweet melodies reminiscent of early Rephlex. Turning into darker alleys is Tobias. with "Dark & Troubling Things," a deep, cinematic soundworld, at once disturbing and comforting, but overall uniquely Tobias. Veteran producer Rolando reaches into much more experimental territories, as the brooding atmospheres of "Neglected" build slowly into a shuffling rhythm, only to break down again inside the track's twilight zone. As DIN, Marcel Fengler and Efdemin pick up the beat with "You Are," a minimal tech beast covered in abstract sound architecture. After a critically-acclaimed debut 12" for the label, Virginia extends the groove, sounding genuinely classic inside deep techno territory that lifts the spirits with the sweetest acid line. It remains to be seen who records under the secret moniker Crushed Soul, although you might hazard a rough guess, but the electro-jacked bass line complemented by a lush string arrangement on "Shades" is yet another welcome branching out towards an updated, almost lost, yet classic sound as yet unheard in this form on Ostgut Ton. The last track on the compilation mirrors this extended EP like a résumé with its slow building melodies, atmospheres and final kick attack. Function puts you in the mood, builds up your desire and gives you exactly what you want, complemented by the beautiful vocals of Stefanie Parnow.



T KAIL: Somewhere, Sometime LP (OSR 010LP) 25.50
First-ever vinyl reissue of this lost-in-time U.S. private press album from 1980. Male-female vocals, fuzz guitar, and synths. Echoes of the '60s San Francisco sound (Tripsichord, Airplane, or Quicksilver) mix with FM pop-rock and even jazz-funk. Considered by many collectors the best USA '80s psych LP along with Bobb Trimble. Unbeatable 24-bit remastered sound, insert with detailed liner notes by Aaron Milenski and unseen pictures. "There aren't very many private press records that show off so much legitimate vocal and instrumental talent, not to mention such lyrical intelligence, and this fine album should be celebrated for everything it is." --Aaron Milenski (Acid Archives); "They sound like a cross between Anonymous and Titus Oates" --Patrick Lundborg (


CHIRCO: Visitation LP (OSR 011LP) 25.50
U.S. 1972 private press psychedelic-progressive conceptual album from Chirco: two long suites featuring fuzzed-out guitars, spacey vocals, effects, complex vocal harmonies and heavy organs. Top-level recording and musicianship with Barry Tashian from The Remains assisting and writing one of the tracks. Newly remastered sound, repro of the original insert with newly added liner-notes.


PUGSLEY MUNION: Just Like You LP (OSR 012LP) 25.50
U.S. private pressing from 1970. Pugsley Munion was a bluesy hard-rock/psychedelic power trio in the Cream and Mountain vein. Raw, in-your-face sound with crude guitar/organ battles and some drifting, mellow moments. First-ever vinyl reissue. Remastered sound, including an insert with liner-notes. "Excellent local power-trio sound with a ballsy Cream vibe, psych residuals, good guitar-playing." --Patrick Lundborg (Acid Archives)


MERKIN: Music from Merkin Manor LP (OSR 013LP) 25.50
Fabulous and ultra-rare U.S. West Coast psychedelic album from Merkin. Released in 1973 on Windy Records (same label as Creation Of Sunlight) but sounding more 1967-1968 with fuzzed-out/jangly guitars and melodic, floating harmony vocals. Newly remastered sound, including an insert with liner-notes.


MOUNTAIN BUS: Sundance LP (OSR 014LP) 25.50
U.S. 1971 West Coast/psychedelic monster with long, flowing guitar jams and melodic vocals. Listen to Mountain Bus' 10-minute cover of "I Know You Rider" or the acid guitar spacey-jam of "Hexaedron" and prepare to melt away. Highly recommended to fans of Grateful Dead, Quicksilver, and Mighty Baby. Mastertape sound, including an insert with liner-notes.


MAGIC: Enclosed LP (OSR 015LP) 25.50
Hideously rare 1969 album by U.S. band Magic. Psychedelic and bluesy West Coast sound with ripping fuzz guitar much in the vein of Crazy Horse, Quicksilver, Vindicator-era Arthur Lee and the likes. The 12-minute long "I'll Just Play" is full of endless dual guitar attacks and effects, and is the ultimate acid-rock jam. Mastertape sound, insert with liner notes.


WAKEFIELD: The Lost Warthog Tapes 2LP (OSR 016LP) 33.00
First-ever vinyl release of 1970-1971 recordings by Colorado's Wakefield. A blend of hard-rock, psychedelia, and acid-rock with a powerful, jamming sound, long tracks, stunning lead guitar, organ, Latin percussion, and dreamy/bluesy vocals. Fans of Leslie's Motel, don't miss this one. Remastered sound from the original tapes, including insert with liner-notes and rare pictures.


TANGERINE: The Peeling of Tangerine LP (OSR 017LP) 25.50
The great long-lost album from U.S. hard psychedelic '60s band Tangerine, released in 1971. Musically in the style of Iron Butterfly or Banchee, with great fuzzed-out guitars, booming bass and screaming vocals, including "My Main Woman," a 14-minute long spaced-out track. Remastered sound from the original tapes.



UMBERTO: From The Grave... LP (PERM 012LP) 15.00
2013 repress. "Expo '70 bass/synth player Matt Hill has gone solo. His debut LP under the Umberto moniker is an analog masterpiece heavily influenced by the classic film score work of Goblin, except arguably better. From the moment you drop the needle, you'll be transported to Italy as an extra in a vintage horror flick directed by Dario Argento. This is some of the most accessible, yet totally authentic sounding music of the 'giallo' genre we've ever heard. It was previously only available as a hyper limited edition CD-R and cassette tape via Sonic Meditations."


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



MIDNIGHT MAGIC: Midnight Creepers LP (PERMVAC 109LP) 17.00
Midnight Magic: an ensemble bonded by the unwavering desire to make you, the listener, and the rhythm become one; the secret love children of Donna Summer and George Clinton serving up an orgasmic feast of funk, disco, electro and soul. Anchored by alumni of various DFA bands and powered by the enormous vocals of chanteuse Tiffany Roth, Midnight Magic teleported the masses to the dancefloor in 2010 with their interstellar 12" Beam Me Up on Permanent Vacation. Spring 2011 saw their long-awaited follow-up single Drop Me a Line on Permanent Vacation. Mixed by former DFA house engineer and Sticky Disc founder Eric Broucek and featuring remixes by the likes of Juan Maclean and Holy Ghost!, this fiery banger became the anthem of the love. Since 2012, the band has been on tour in support of their debut album Walking the Midnight Streets and now releases the Midnight Creepers compilation on Permanent Vacation. Eight track vinyl LP; includes a download code with nine extra tracks.



FLAMING LIPS, THE: Hear It Is LP (PLAIN 111LP) 13.00
2013 repress. "A reissue of the first full-length album by one of the most well-loved and influential bands of the past 25 years. Following in the grand tradition of other great Southwestern psych bands such 13th Floor Elevators and The Red Krayola, The Flaming Lips first act mixed punk, country & western, psychedelia, goth, and pure bar-band rock and roll into their own curious creation on classics such 'Jesus Shootin' Heroin,' 'Trains, Brains, & Rain,' and 'Charlie Manson Blues.' Sharing the weird, slanted pop sensibility of contemporaries like Meat Puppets and Butthole Surfers, this early masterpiece continues to influence bands to this day. Indeed, the punk rockers were finally taking acid."


MAZZY STAR: She Hangs Brightly LP (PLAIN 117LP) 19.00
2013 repress. "Mazzy Star, essentially the duo of David Roback (Rain Parade) and Hope Sandoval, formed in 1989 out of the ashes of Opal, Roback's previous band with former Dream Syndicate member Kendra Smith. She Hangs Brightly, their debut album was originally released on Rough Trade in 1990. A dreamy, psychedelic affair every bit as good as their sophomore breakout LP."



DE MOOR, WOUTER: Lectures EP 12" (PFR 142EP) 14.00
Dutch DJ and producer Wouter de Moor drops an essential release for Steve Bug's ever-important imprint. The Lectures EP features the words and wisdom of the ultimate DJ's DJ and king of the underground -- Theo Parrish. Wouter de Moor's original mix intertwines a driving house groove and insistent synth riff around Mr. Parrish waxing lyrical about the art of DJing, producing and life in general. The vocal track is also provided as an a capella for DJs looking to spice up their own sets or productions, while a pair of remixes come courtesy of scene stalwart Kirk Degiorgio. The Brit delivers a vocal and dub that hit hard -- toughening up the groove and taking the track further in the realm of late-night main room vibes. The EP is rounded off with "8 Voice," a knowing nod to the old school with firing percussion, tight snares and a filthy, warehouse-ready bass line.



MOULAY, JAMAL: Radio Telepathy EP 12" (PROTEZ 032EP) 12.50
Jamal Moulay's Radio Telepathy EP is a rolling, swooning piece of dub house with an expansive, deep and head-swimming effect. While "Sanski Most" on side A is an irresistible dancefloor cut with endless dub chords stretching into the distance over squared house percussion and "Rain Shadow" continues with a brilliant Rhythm & Sound-influenced vibe, "Hypnotized" on the flip rounds it up with another dub tune par excellence. All around, a killer record with deep-end dub house cuts and melodic shimmer. A must-have for all dub heads. Limited to 300 copies.



GATELY, KATIE: Katie Gately LP (PUBINF 011EP) 24.00
"Public Information search the West Coast skies to Los Angeles, to find Katie Gately, still in the throes of academe, playing at new pop forms. This record in July bloom is a bold and exciting taster of what is in store, around the corner. Six tracks of frightening ambition. A prime distillation in computer-music-pop. More alarming - this is her debut release, she has been making organized sound for just over a year. Screech, crumble, gurgle, crack: the opening track 'Ice' a storm of cluster tones and sequenced-bursts sets the standard. Then, to a potential Top ten smasher gone mutant. 'Last Day' is the first time we hear Katie's voice, first looped and torn, then glowing, euphoric and beaming from deep inside a crashing-banging-beat system. Similar patterns follow across this half-dozen. Fractured vocalizations, bittersweet harmonies, freaked alien voices all living, breathing in deep fried motherboards of acute computer programming and field sound."


SS 072LP

SATAN PANONSKI: Hard Blood Shock LP (SS 072LP) 15.00
"Of all the former Eastern Bloc countries, Yugoslavia (and Croatia in particular) had one of the most exciting and innovative punk/underground, rock 'n' roll scenes. And the legend among Yugo/Croat punk legends is Satan Panonski (nee Ivica Culjak). Starting with pioneering, late-'70s, Yugo punk band Pogreb X, through incarceration, a solo career, and an untimely death by a mysterious bullet during the Croatian War of Independence, Satan Panonski literally cut his way into Eastern Euro punk history. His stage act was an extreme blend of punk shock and auto-destructiv performance. His music is a vivid mix of KBD-style punk, Serbo-Croatian folk melodies, and jags into abstract avant punk. Three cassettes were released during his life (and shortly after his death), one of which made it to vinyl. The vinyl is now very collectible. SS has culled through dozens of songs and come up with the creme de la punk, all transferred from the original tapes. Vinyl mastering by John Golden makes Satan Panonski sound the best he has ever sounded. This also includes much of Ivica Culjak's art, new lyric translations, a long biographical essay, and plenty of photos, all in a 16 page booklet."

SS 073LP

FOTTUTISSIMA PELLICCERIA ELSA: Fottutissima Pellicceria Elsa LP (SS 073LP) 15.00
"Fottutissima Pellicceria Elsa were a short-lived Italian hardcore band from the city of Gorizia. I was tipped to them by a 1983 review in Maximum Rock 'n' Roll which compared them to 'the Meat Puppets met M.D.C. in a Chilean secret police torture chamber.' I wrote on Crud Crud: 'Fast bursts of rage segue into sludge and then into total confusion. It is like the Italian hardcore version of Tampax's "UFO Dictator" over a full LP, but it makes sense.' WFMU's Fatty Jubbo once described it: 'wow... stumbles along like a drunken horse with its feet cut off. Sorta reminds of Destroy NYC or Upside Down Cross.' The music comes from their one and only demo tape released in 1983, a rarity itself. Transferred from tape, not MP3. Mastered to vinyl by John Golden. Includes insert with original demo tape art work."


SS 011LP

SANI ET SON ORGUE, MAMMANE: La Musique Electronique du Niger LP (SS 011LP) 17.00
"Mammane Sani Abdullaye is a legendary name in Niger's avant garde. A pioneer of early West African electronic music, for over 30 years his instrumentals have filled the airwaves. The instrumental background drones of radio broadcasts and instrumental segue of TV intermissions borrow heavily from his repertoire. The dreamy organ instrumentals drifts by sans comment, yet are known to all. New pressing with printed covers of 1000, reissue of his 1978 cassette. Co-release with Mississippi Records."

SS 018EP

AMANAR/CELESTINO: Tenere/Kidal 7" (SS 018EP) 14.00
"Split 7" from Sahel Sounds and Love All Day. Features the Northern Malian Amanar with their desert ballad 'Tenere' along with 'Kidal' by Pacific Northwest-based artist Celestino, who holds the Amanar track in suspension, filtering it through a fever dream. Limited to 200."


SHIN 035

SHINDIG: Shindig! No. 35 MAG (SHIN 035) 9.00
"Beatleisms: How the Fab Four cast a shadow over the 1970s; Paul McCartney: Ramming It Home In The Early 1970s: Depression, paranoia and creative rebirth; Nilsson: The theme to Midnight Cowboy, a madcap film about an LSD-fuelled prison break and an animated feature led him into a new era. Neil Innes: Bonzo, Rutle, Python. A genius speaks; Stackridge: West Country art-pop boffins tell their story; Klaatu: So good that people thought they were The Beatles!"



JONES, NIGEL MAZLYN: Ship to Shore LP (SOMM 013LP) 25.50
Stunning debut album from 1976 by legendary/cult UK folk musician Nigel Mazlyn Jones. Originally issued as a private pressing, Ship to Shore combines 6 and 12-string acoustic guitars with electric textures, effects and unusual soundscapes, culminating in the haunting progressive-folk 11-minute title-track. A folk-rock/acid-folk masterpiece highly recommended to anyone into John Martyn, Nick Drake, Michael Chapman, Bob Theil, or Pink Floyd. Mastertape sound, including an insert with photos and extensive liner-notes by Richard Allen. "... A pure, simple, thought-provoking, frightening and uplifting collection, it evoked timeless themes of environmental concern, spiritual surrender, natural wonderment, doubt and love all woven into a sparse yet entirely original acoustic folk sound." --Richard Allen (Freak Emporium)



ALEXANDER, TED: XXX EP 12" (STR 003EP) 12.00
Ted Alexander has taken the step into producing, which has led to releases for the likes of Life & Death, Mood Music, and now Stem. This single opens with the original version of title track "XXX," a brooding, mood-driven cut, employing dark and eerie synth tones, shuffling drum programming, and dubbed out vocal lines. Visionquest's Ultrasone steps up to remix "XXX" next, reshaping things with a natural feel, achieved through stripped, organic percussion, warm piano tones and boomy sub-bass hits. On "Love Walls," Alexander drops the tempo slightly and opts for simplistic 4/4 drums, allowing the melodic elements to take control, as ethereal, atmospheric synths, gritty saw-wave bass hits and heavily-processed vocal snippets complement one another. Lastly, Philip Priebe reworks "Love Walls," again creating a brilliantly unique remix, keeping things understated and intelligently crafted with raw, acidic bass licks, classic 909 drums, dreamy pads and jazzy pianos.



The Big Joe LP is the next album in a series of re-releases of rare and hard-to-find 1970s roots vocal, DJ, and instrumental albums produced and arranged by Bunny "Striker" Lee. This release features Big Joe (Joseph Spaulding). The LP was originally released on the UK Live & Love label in 1977. All 12 tracks are in the same track running order as the original release and are the original mixes. The album was recorded and mixed in Kingston, Jamaica. The album features many popular Bunny "Striker" Lee-produced mid-1970s rhythms. Featured musicians: drums: Sly Dunbar, Carlton "Santa" Davis, bass: Robbie Shakespeare, Lloyd Parks, lead guitar: Earl "Chinna" Smith, rhythm guitar: Booffa, Tony Chinn, organ: Ansel Collins, Bernard "Touter" Harvey, piano: Aussie "Nogo" Herbert, Tarzan (alias Cripple), Johnnie Clarke, percussion: Barnabas and Skullie. Album features original mixes and revised original artwork. All rhythms by Aggrovators & Revolutionaries. Recorded at Channel One (JA), Randy's (JA) and King Tubby's Studio (JA). Mixed at Channel One (JA). Produced by Bunny "Striker" Lee. LP-only, limited initial press, 180 gram vinyl in a heavy card picture sleeve.


This album by Jackie Mittoo & The Aggrovators is the next in a series of re-releases of rare and hard-to-find original release format 1970s roots vocal, DJ and instrumental albums produced and arranged by Bunny "Striker" Lee. This instrumental release features the legendary and acclaimed "Keyboard King," Jackie Mittoo, best known for his works at Studio One, Jamaica for C.S. Dodd. The LP was originally released on the UK Third World label in 1977. All 10 tracks are in the same track running order as the original release and are the original mixes. The album was recorded and mixed in Kingston, Jamaica. The album features many popular Bunny "Striker Lee"-produced Jamaican mid-1970s rhythms. Featured musicians: drums: Sly Dunbar, bass: Robbie Shakespeare, organ: Jackie Mittoo and Winston Wright, piano: Jackie Mittoo & Keith Sterling, strings machine: Jackie Mittoo, lead guitar: Earl "Chinna" Smith, rhythm guitar: Carl Harvey, Geoffrey Chung, horns: Tommy McCook and Bobby Ellis, percussion: Skullie. Album features original mixes and revised original and new artwork. All rhythms by The Aggrovators. Recorded at Channel One, Jamaica. Mixed at King Tubby's Studio (JA) by King Tubby. Produced by Bunny "Striker" Lee. LP-only in a limited initial press, 180 gram vinyl LP in a heavy card picture sleeve.



BABA STILTZ: Our Girls 12" (BARN 016EP) 14.00
People get ready, here's the first of several Studio Barnhus releases to come from Stockholm native Baba. Despite his youth, this former ballet dancer has an impressive discography under his belt, having been one of the strongest forces of the elusive skweee scene since 2008, while also releasing two albums of dreamy folk-pop under his Bethlehem Beard Corporation alias. Our Girls is a raw, bouncy house jam recorded to cassette in three different tempos and arrangements.



AGER, DAREN: Summer in Detroit/Halcyon Days 12" (SUBWAXEXC 1202) 12.50
Subwax Excursions presents Daren Ager's debut vinyl release. Daren is a very well-known and respected analog synth/modul teacher on the Internet. Having his own YouTube channel with 2.5 million clicks, the label thought it was time to introduce this genius to the vinyl-lovers as well. Influenced by the likes of Drexciya, Model 500, Derrick May and Carl Craig, there is a warm and beautiful Detroit flavor on "Summer in Detroit" and "Halcyon Days" is an acid-house track that harkens The Warehouse in Chicago or The Hacienda in Manchester.



DJ SPIDER AND MARSHALLITO: Deadly Structures EP 12" (TRILOGY 011EP) 19.00
"The NY duo land on TTT with four chapters of toxic, virus-ridden techno-house amalgamations for the bravest of heart. Taking the boundaries of the genre to their very limits and further - another installment of wacked-out electronics from the London institution."



PHASE: Frames of Reference 2LP+CD (TOKEN 033LP) 27.50
Double LP version. Comes with a CD of the album. Frames of Reference is the some-12-years in the making debut album from UK-based techno producer Ø [Phase]. Best-known by his work on the Belgium-based Token Records, his style ranges from gritty minimal techno to Detroit-influenced material. His debut Module Overload was released on London's Lost/Cosmic records in 2000 and was followed by a string of productions for London's Surface/Inceptive Records and Ben Sims' Ingoma imprint. The move to Token came in 2007, and he shortly after began DJing professionally and has since performed at parties across the globe while becoming a regular guest at Berlin's techno Mecca, Berghain, performing alongside esteemed peers and supporters such as Marcel Dettmann, Len Faki, and Ben Klock. His continued works have seen constant support throughout the techno world and have featured in CD mixes by Dave Clarke, François Kevorkian, and Fumiya Tanaka, amongst others. Alongside his production work, Ø [Phase] is also a mastering engineer and on/off artwork designer. Starting out at London's prestigious Sony Music/Whitfield Street Studios, he has cut records for numerous underground dance acts as well as working on projects for mainstream artists. Now after a string of acclaimed releases on Token and a selection of remixes for the likes of Robert Hood, Mark Broom and Peter Van Hoesen comes Ø [Phase]'s debut album. Opening with the brooding and building swirl of "Binary Opposition (Process 3)," Ø [Phase] sets out his template of evolving, richly-textured atmospheres underpinned by shards of dark and light. "The Bwiti Initiate" revolves around a bouncing techno rhythm that could most certainly traverse the house/techno divide, while "Distracted" and "Misaligned" are the kind of unadulterated, pummeling, cavernous techno tracks that have made Lost such a party institution. Then we have tracks like the soft-beating "Just Another Dance," providing a lighter edge, embellished with warmth and strings and the thick, densely-woven tapestry of "Shadow Caster," which goes from experimental to dancefloor and back again with consummate ease. The off-kilter lilt of "Perplexed" drags us further into the dark before keys and a hint of a melody draw us back upwards for air while the fat, driving bass of "Dirtro II" and funkier-edged menace of "On the Edge" show a virtuoso producer at the top of his game. The closing introspection of "Self Deceit" wallows in subtle nuances before a mid-section synth and string intervention pulls us back from the brink before finally descending into the void.



EXTRAWELT: The Inkling 12" (TRAUM 168EP) 12.50
Extrawelt are back with a brand-new three-track EP for Traum. The opener is "Breedle," a track that works in a spirit similar to "Doch Doch." It starts with a sequential melody leveling the path for manipulated vocals and strings in an FX box. Enough simmering energy collected along the way, Extrawelt manage to disperse an undercurrent of tension throughout the track. "In Shape to Escape" is a funky and twisted bass line monster of a clubby electro track and "The Inkling" is a bit of a daring sound punisher -- this harsh, contrasting, pounding track will freak people out in a big way.



FEELIES, THE: Only Life CD (WATER 225CD) 15.00
2013 repress. "The third album, originally released in 1988, from one of New Jersey's most influential and beguiling bands. Featuring nine originals and a stellar cover of VU's classic 'What Goes On,' this is first rate jangle-pop that is equal parts loosely-structured and tightly wound. Avoiding all the shortcomings of '80s recordings, Only Life remains a timeless piece of trance-like guitar rock, indebted to the Velvets, but with a sound that is all their own. The last great Feelies record: classic!"


MCDOWELL, MISSISSIPPI FRED: I Do Not Play No Rock 'n' Roll CD (WATER 257CD) 15.00
"This 1969 release by the legendary Mississippi Fred McDowell was his first to feature him playing the electric guitar. Although it was somewhat controversial at the time because of this fact, it is now considered a classic. Fred sounds like he has always been plugged in, playing with fiery passion, including some great bottleneck guitar. Featuring originals by Fred including, 'You Got to Move' (covered by the Rolling Stones on Sticky Fingers) and 'Kokomo Me Baby,' and a cover of Joe Williams 'Baby Please Don't Go.' This new reissue features the original nine tracks that were on the 1969 release."


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