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Forced Exposure New Releases for 10/28/2013

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New music is due from The Stranger, Mika Vainio and Joachim Nordwall, Ulrich Schnauss and Mark Peters, The Grand Opening, Philip Glass, and Burkhard Stangl, while old music is due from Charlemagne Palestine, Leroy Smart, François Bayle, Abelardo Carbonó, and Conrad Schnitzler.


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I AM HALO: Garden E.P. 12" (ACKER 042EP) 12.00
Dan Morrow, singer of Funkwerkstatt, goes his own way, to a world of music with a high atmospheric density that oscillates between uplifting elements from pop, electronics, and profound melancholy. These are classic songs which he delivers under the name I Am Halo. Rhythms and melodies crystallize around the brilliant texture of his expressive voice. The dynamic of his music is sometimes danceable, sometimes laid-back, sometimes supported by orchestral motives, sometimes by electronic beats and samples, but always, there is an incredible emotional intensity. The Micronaut presents a remix of "Little Planet" that comes with his signature jazzy style, its beats rumbling and shuffling before hitting the sweet spot just in time. Gluid mixes the floating melancholy of "Not Invented" with straight beats and boosts the symphonic atmosphere of the original straight onto the dancefloor by doing so. Finally, Mollono.Bass carefully extracts the sunniest, most friendly aspects of "Queen of Queens" and creates a relaxed party track.



BASIC HOUSE: Oats LP (ALT 012LP) 23.00
LP version. Basic House is the solo electronics project of Stephen Bishop, a mainstay of the DIY scene in the UK's North East and the brain behind the label Opal Tapes. Bishop works with equipment both rudimentary and highly technical which become aligned together without bias to create a singular sound that focuses on decay, stagnation and apathy towards clichés within the current climate of electronic music. Oats is his new full-length record with six deep compositions woven together to create seamless transitions between them. "AR II" opens the record with fragile and haunted electronics before developing into something almost melodic with an imposing 4/4 kick. "Child Confession" follows with dead electronic hums, whispered samples and a sluggish half-speed techno thud which gives way to a collage of cruddy noise and scalpel-sharp bursts of clatter and a crude non-rhythmic bass pulse before ending in the buzzing maelstrom of "Interiors," which is equal parts Florian Hecker and Andy Stott at his most visceral. "Est Oan" begins the second half of the record ominously with slightly absurd farmyard groans that eventually melt into hypnotic machine music. The industrial lurch of "B.G. Feathers" is the closest Bishop comes on this side to hitting anything resembling a groove and instead evokes the grinding power of Maurizio Bianchi's best '80s material. Mastered by Stephen Bishop with vinyl cut by Grammy Greg at Masterpiece. Photography by Traianos Pakioufakis.


AD 235CD

D'ARCANGELO: Audiovisual Designs 2CD (AD 235CD) 19.50
This is the fifth album by the D'Arcangelo twins (Fabrizio & Marco aka Monomorph) in a career stretching back nearly two decades, on a new electronic music imprint, Audiovisual Designs. The brothers present two CDs here, 26 tracks in total but sorted into two distinct and separate parts. The first 14 tracks evoke many thoughts, moods and traditions of classic synth pop and electronica made between the late '70s and early '90s, while managing to stay current or even futuristic. The second CD reveals a darker, colder, more industrial and upbeat selection. The sentiments behind all the music are widely experienced and positive throughout. The moods range from smooth, deep and relaxed to strong and taut; the natural talent and individuality of the music shining throughout. It is quite a braindance coincidence that a D'Arcangelo album always seems to appear around the time of new releases from Autechre, Boards Of Canada, and Daft Punk, even. Recent appearances at the Moog in Barcelona to Bangface 2012 in Cornwall, and at the Free Field Festival in Turania, Italy, with artists such as Leo Anibaldi, DJ Rephlex Records and Buzz Goree (UR). The D'Arcangelo story is thoroughly entwined in the roots of Rephlex -- with the two brothers Fabrizio and Marco coming together through a love of the British new wave, leading to a hard techno venture alongside DJ Max Durante at the dawn of the '90s before things settled down with their eponymous EP for Rephlex in 1996. Since then they've been at the gut of Rephlex, casting melodic fibers around a techno core that gives a nod to their favorite decade without ever dipping into the kind of ugly neon sloganeering that has come to pass as nostalgia in some parts. With the duo back on a roll, the full-length Eksel (REPH 188CD/LP) landed in 2007, followed by some remixes, an EP for 030303 Records Cradle and GO! and their Rephlex album The Album. They have gelled aspects of electronica, techno, and electro to create a distinctive sound. Vintage synthesizers are accompanied by computerized snares, PC melodies are coupled with 808 drum beats. This gives the album a rounded and reflective tone -- electronic music produced with past electro knowledge while looking forward.


AX 062LP

MILLS, JEFF: The Jungle Planet 2LP (AX 062LP) 28.00
Double LP with a color jacket/innersleeve containing a story by Jeff Mills. "After aliens agriculturally recondition Earth and purposely cause the end of the human species, with no home or place he can return to, Earth's only survivor known as The Messenger embarks on a search to find the residue of human dreams in an attempt to re-create his species once again. He desperately travels to a place where the concept of human animal were designed. A place in another dimension in space to a planet that is beyond belief. A super planet, 300 times the size of Jupiter with thee Suns, two solar and one of an unknown source. With four hour days and a near constant cover of darkness, growth is constant. The planet supports trillions upon trillions of life forms. It was here that the concept of human life and dreams for commercial reasons was created. In a last ditched effort to restore his race, The Messenger travels to and searches the planet, through its bizarre and obscure landscape with fragile hopes. This planet is called the Jungle Planet."


BEC 5161470

VA: Cosmic Machine: A Voyage Across French Cosmic & Electronic Avantgarde (1970-1980) CD (BEC 5161470) 19.50
At the start of the '70s, France had no petrol, but it had ideas and artists that managed to tip them into the 21st century a full 30 years in advance. Cosmic Machine compiles 20 rare tracks put together with passion and erudition by Uncle O (who previously did the Shaolin Soul compilations) and throws together a collection of stars, a few free-spirits, and also shooting stars. This group of people don't form a scene per se, they're more like a collection of individuals who, through sheer ingenuity and with all their singularity, managed to break down the barriers between pop and experimental to give birth to a mutant variety of electronic music that owes as much to mobile discos as sound illustration, to the GRM, to the Bogdanoff brothers, to Métal Hurlant, and the European Space Program. Cosmic Machine is a panoramic dive into this epic era when the synthesizer was man's best friend and when the future had a future: our present time. Daft Punk, Air, Justice, Zombie Zombie, or Add N To (X), Stereolab, and Broadcast weren't born in incubators. The electric fairy stood above their cradle and they're all the children of these French pioneers who were among the first to celebrate the union of flesh and circuits. Androids, robots, humans and other celestial creatures, now board the Cosmic Machine. CD comes in a gatefold sleeve with a 20-page booklet. Artists include: Patrick Juvet, Didier Marouani, Droids, François De Roubaix, Space, Universal Energy, Pierre Bachelet, Space Art, The Atomic Crocus, Jean Michel Jarre, Bernard Fevre, Cerrone, Frederic Mercier, Quartz, Rene Roussel, Serge Gainsbourg, Dvwb, Alain Goraguer, Jean-Jacques Perrey, and Rockets.

BEC 5161605

CHAO, MANU: Clandestino 2LP+CD (BEC 5161605) 26.50
Originally released in 1998. Gatefold double LP with a CD copy of the album. "The first solo album released by the former frontman of Mano Negra, Clandestino is an enchanting trip through Latin-flavored worldbeat rock, reliant on a potpourri of musical styles from traditional Latin and salsa to dub to rock 'n' roll to French pop to experimental rock to techno... Just about every track has odd sampled bits from what sound like pirate radio-station broadcasts (a possible link to the title). There are so many great ideas on this record that it's difficult to digest in one listen, but multiple plays reveal the great depth of Manu Chao's artistry." --All Music Guide

BEC 5161607

CHAO, MANU: Proxima Estacion: Esperenza 2LP+CD (BEC 5161607) 26.50
Originally released in 2001. Gatefold double LP with a CD copy of the album. "The French-raised Spaniard distilled the scattershot Europop-rock of Mano Negra into 1998's DIY, polyglot Clandestino, a word-of-mouth smash throughout Latin Europe and then Latin America. Clandestino was warm, sprightly, melancholy, palpably humane. This is all that with magic on top, reprising and varying a small store of infectious tunes into a motley suite segued and differentiated with sound effects, funny voices, surprise guest instruments, and spoken-word samples. The pulse is Marley sans Africa-reggae, whiter than the Bellamy Brothers, ska liter than polka. The mood is festive in the urbane, liberal, and internationalist manner of Chao's new home, the pan-European haven Barcelona, a city that resisted Franco so vivaciously for so long that it assumes entertainment coexists with dread. Just in time -- Euroworld! Never thought I'd hear it done right. A" --Robert Christgau

BEC 5161609

CHAO, MANU: La Radiolina 2LP+CD (BEC 5161609) 26.50
Originally released in 2007. "Manu Chao makes music that cuts across cultural lines. As though singing in seven languages (French, Spanish, Galician, Arabic, English, Portuguese, and Wolof) wasn't enough, he brings aspects of music from across Western Europe, North Africa, and the Americas into his sound. You could say he was destined to live a life between cultures from the start. He was born in Paris to Spanish parents who had fled Franco's regime. His mother was from Bilbao, in Basque country, while his father was a journalist from Galicia, a region in far northwestern Spain that, like Basque country, has its own unique language... The most immediately noticeable thing about La Radiolina is how relatively rocked-up it is relative to its two predecessors. It's as though his old affiliation with the Latin Alternative movement and punk decided to reassert themselves. Mind you, it's not the kind of rock that's going to smack you around with its riffs and stomping drums -- this is more measured than that, and cut with so many global influences that it can't help sounding unique... Manu Chao is living proof that you don't have to be big in the U.S. to be one of the world's most important and influential musicians, and La Radiolina provides a healthy reminder it's a big world out there beyond our borders." --Pitchfork. Gatefold sleeve; comes with a CD copy of the album.

BEC 5161611

CHAO, MANU: Radio Bemba Sound System 2LP+CD (BEC 5161611) 26.50
Originally released in 2002. "Radio Bemba Sound System captures a 2001 live performance featuring songs from Esperanza, Clandestino, and the albums of Mano Negra. The recording, a blend of two performances, never lets up, packing all or part of 29 songs into an hour, and I think it captures the inclusive spirit of Chao's music even better than his studio work. The cheers at the end of 'Bienvenida a Tijuana' -- when the final line offers a ringing endorsement of sex and marijuana -- are amazing, and the transformation of punky Mano Negra songs such as 'Peligro,' 'The Monkey,' 'Mala Vida,' and 'Machine Gun' into multi-genred beasts is something to hear... Chao's 10-piece band is extremely versatile, augmenting a standard rock set-up with horns, accordion, and extra percussion. They leap from reggae to funky merengue to punk to flamenco with flourishes of surf, blues, North African rai, Central African rumba, mariachi, and rock'n'roll while also switching languages, sometimes in mid-song. Esperanza's subdued reggae track 'Mr. Bobby' is much funkier live, with a great psychedelic guitar solo and second, dancehall-ish vocal from Bidji. Because it samples two shows, a few songs appear twice but that feels like an appropriate side effect of the collage approach." --Pitchfork; Comes with a CD copy of the album.

BEC 5161613

CHAO, MANU: Siberie M'Etait Conteee 2LP+CD (BEC 5161613) 26.50
Originally released in 2004. First time on vinyl, includes a CD copy of the album and housed in a gatefold sleeve. Manu Chao's first all-French language album, released in 2004. Features 23 tracks celebrating Parisian life. Includes the hit single "Petite blonde du bld brune."

BEC 5161614

CHAO, MANU: Baionarena 3LP+2CD (BEC 5161614) 30.50
Originally released in 2009. "Manu Chao's second live album, Baionarena, is a frenetic 33-song, two-disc set... This is a lively concert featuring songs from Chao's three solo albums, as well as from his former band, Mano Negra, and a selection of covers in which Chao and his band Radio Bemba Sound System give their all and ask for the audience's all in return." --All Music Guide; Triple LP set housed in a gatefold sleeve, includes a double-disc copy of the album.

BEC 5161626

AVERY, DANIEL: Drone Logic CD (BEC 5161626) 17.00
This 12-track album by Daniel Avery was written and produced since the turn of 2013 and mixed with Erol Alkan at The Phantasy Sound studio in London. Like Carl Craig's More Songs About Food and Revolutionary Art, Plastikman's Consumed or more recently, the work of Four Tet, this album works as a cohesive whole rather than a disparate collection of tracks. Innovative and forward-thinking, Drone Logic manages to draw influences from beyond the dancefloor via My Bloody Valentine, NEU!, and Chris Carter, while still having the techno pulse to scale the walls of any club. The wide array of plaudits and early adopters of Avery's music is proof of this, ranging from acid house legends like The Chemical Brothers, Andrew Weatherall and Richie Hawtin to the best of the new breed in Maya Jane Coles, James Holden, and Factory Floor. Firmly established as one of the UK's most exciting new DJ/producers, having cut his teeth in Weatherall's Shoreditch studio bunker, Drone Logic follows up Avery's universally-acclaimed mix CD for London clubbing institution Fabric where he remains a resident, recent remixes for Primal Scream, The Horrors, and Django Django and 2012's Need Electric and Water Jump EPs on Alkan's Phantasy label.



VA: Paink: French Punk Anthems 1975-1982 LP (BORNBAD 055LP) 19.50
LP version. Best of the best of French punk tracks. Only French KBD killer tracks. Released for the forthcoming exhibition "Europunk" at Cite de la Musique (Paris - October 2013/January 2014). The first French incarnations of "Le Punk" (pronounced "paink" in numerous locales) were not carbon copies of their foreign exemplars. Babbling, swarming, morphing, genuinely disorganized anarchy, bad intentions transformed into good ones: that's how punk rock (or at least a close approximation) was initially adapted to fit our peculiar French perspective. There was not the slightest network to distribute records or organize concert tours. Older generations were hostile (or worse, compassionate or even paternalistic). There was nothing and no one to forge a connection between the handful of small, isolated groups, fundamentally motivated by a passion for what they deemed true rock 'n' roll (the desire to terrorize the neighborhood arrived soon afterward), each in their own little world, trying to provoke their backwater village or their lame metropolis, and meeting, of course, with total indifference. Artists include: Les Nouveaux Riches, Strychnine, Electrochoc, Gasoline, Sexe A Pile, Soggy, Marie France, Ruth Elyeri, Les Olivensteins, Coronados, Dogs, Warm Gun, Gloires Locales, and Guilty Razors.


MAGNETIX: De Pire En Pire 7" (BORNBAD 056EP) 8.00
Born Bad Records presents a 7" by Magnetix. For 15 years we've been exploring space. For 15 years we've been shaping the oracle. For 15 years there's been no weary war. Spirited and blazing, rough and bitter, wrapped up by the sun that disappears behind a column in the sky, cut with a stone, half opened by his isosceles look. In the disorganized folklore, a dehumanized dance, the heating of the riff riding the coldness of the beat. An orchestrated blackout that defies the limits of your heart that beats ten times too fast.



SNUFF CREW: Behind the Masks CD (BPC 274CD) 14.50
BPitch Control presents the third album from mysterious German collective Snuff Crew. For this album they chose to work more conceptually than they had on their previous releases (their eponymous first album Snuff Crew in 2009, and Jack 2 in 2010) on labels such as Killekill, International Deejay Gigolo, Playhouse, SCI+TEC, Rush Hour, and Skylax. Different methods were employed to create this record. They scored their songs and arrangements, and new influences took hold. It became more about writing songs than producing tracks. The whole process of shaping the album took far longer than expected, especially as it grew to include such world-class guests as Tyree Cooper, Rachel Row, Kim Ann Foxman, and Hard Ton. Snuff Crew had already released remixes for Ellen Allien and Dance Disorder with BPitch Control, and they knew they were the right label for this project. Chicago house and acid house remain important to the creative work of Snuff Crew. Yet, on this third album, piano-driven '90s U.S. house, dark, old school electro and hip-house are strong influences as well. It was easy for the duo to agree on the title Behind the Masks -- it is important for the Crew to give deeper insights into their work and vision of their music, even if the masks will remain an essential trademark in their popular live shows. The Crew previously revealed a love for creating melodies that stay with you in their remix for the "Fantasy Girl" cover by Billie Ray Martin and Hard Ton, in collaboration with Robert Owens (released on their own label Snuff Trax). This influence can also be felt on this third Snuff Crew album.


BB 145CD

SCHNEIDER TM: Guitar Sounds CD (BB 145CD) 17.00
"Sounds" series part two: electric guitar explorations. Dirk Dresselhaus aka Schneider TM turned building-site noise into music on Construction Sounds (BB 117CD/LP). On his latest offering, he explores the full potential of the electric guitar and an array of effects. Dresselhaus is no stranger to the instrument, it is fair to say. He played guitar in the 1990s for several experimental indie combos and has made liberal, idiosyncratic use of the instrument over the past couple of decades as Schneider TM in electronic music, film, radio plays, and various other sound projects. Technical perfection is not paramount on Guitar Sounds. The focus is on spontaneity, improvisation -- if the result is flawed in the classic sense of the word, this concerns him not one iota. Dresselhaus is interested in atmosphere, in the intensity and magic of the initial moment when decisions are made and played without knowing which direction they will take or where they might end -- music without a safety net, so to speak. Unleashed, the guitar sound takes on its own life, in the spirit of generative music. At the decisive moment, Dresselhaus reins it back, like a dog-owner tugging on the lead, thereby creating an energy field between tension and relief, harmony and disharmony, control and loss of control, construction and deconstruction, positivity and negativity, sobriety, and humor. Or to use a more striking image: surf-sound dualism. All tracks are improvised ("Instant Composition"), none composed in advance. Some pieces were inspired by films or were improvised to film (e. g. "Teilhard" by Christoph Ischinger). The basic "Überzahl" track and elements of "Landslide" were used in Carsten Ludwig's film In der Überzahl and completed with overdubs for this album. The equipment list runs as follows: various electric guitars and bass guitars, lap steel guitar, travel guitar, line amplifiers and combo tube amplifiers, reverbs, echoes, delays, looper pedals, octave effect boxes, pitch shifters, isolation cabinets, filters, cello bows and bottlenecks.

BB 148CD

SCHNAUSS & MARK PETERS, ULRICH: Tomorrow Is Another Day CD (BB 148CD) 15.50
"Electronic duo Ulrich Schnauss and Mark Peters (of the band Engineers) return with a second collaborative album titled Tomorrow Is Another Day, released by Bureau B. This second project offers a sublime exploration into their signature expressionistic landscapes while exploring the potential of a collaborative model in which Schnauss' keyboards and Peters' guitar work together in juxtaposition. Ulrich Schnauss, born in the industrial port town of Kiel in northern Germany in 1977, emerged in Berlin's drum 'n bass scene in the mid-1990s. Mark Peters was born in Liverpool in 1975 and embraced a deeply euphonic pop aesthetic that incorporated intricate formal structures. The two musicians met years ago when both were making shoegaze music and formed a close friendship. Schnauss joined Peters' band Engineers as a keyboardist in 2010. After the collapse of the second-wave shoegaze movement in the early 2000s, both musicians drifted away from the genre's dreamy, shimmering aesthetic and returned solidly to their own musical roots. Peters has subsequently explored classic, guitar-based music and Schnauss has returned to his origins as an electronica producer. Tomorrow Is Another Day represents a maturing of the pair's creative process. Following their first collaborative album titled Underrated Silence (BB 094CD/LP, 2012), which seamlessly blends the two instrumental voices into an integrated sonic landscape that delivers surprisingly intense emotion beneath the surface of its delicate composition, Schnauss and Peters subsequently began to craft a musical exchange in which each musician's contribution was emphasized in contrast to the other's voice. The differences in Schnauss' and Peters' musical backgrounds are highlighted and embraced as their two voices emerge in dialogue. Here, the synths are drier, the guitars more discrete. The shifting tonality of the music's richly-layered patterning defines its composition with punctuated gestures as melodic lines emerge in sharper relief. With neither musical style overpowering the other, the effect is that of two equally masterful voices in coherent conversation, celebrating the dynamic nature of instrumental combination and exploring a new method of creative approach -- one that allows for concurrence and dissent, in turn." --Lauren DiGiulio

BB 148LP

SCHNAUSS & MARK PETERS, ULRICH: Tomorrow Is Another Day LP+CD (BB 148LP) 22.00
180 gram LP version with CD.

BB 149LP

SCHNITZLER, CONRAD: Silber LP (BB 149LP) 21.00
LP version on 180 gram vinyl. A collection from Conrad Schnitzler's archive, recorded between 1974 and 1975, originally released on LP only in 2009. Contains the complete original material (three more tracks than the 2009 release) on CD for the first time (with original running order). Just when you think you have grasped Conrad Schnitzler's master plan, every time you kid yourself into predicting what you are about to hear, the next record comes along to prove you wrong. Motorik is writ large throughout. Even the less rhythmic passages remain grounded, never drifting into absolute abstraction. A more or less distinct ostinato runs through each track, condensed into a complex tapestry of electronic surprises amidst Schnitzler's typical cascades of sound and flashes of noise. And so the journey to the most distant corner of Schnitzler's world begins. Majestic drones and tricky melodies fly past the listener. Is this still the music of Schnitzler, the conceptual artist? Yes, undoubtedly. His view or concept of art allowed him the freedom to experiment in all directions, a stroke of luck for the listener. The Silber (trans. Silver) album offers up a form of pop music preempting nothing, unrelated to anything else. Far more, it represents Schnitzler's unique and inimitable blueprint for a music of the future, music which still astounds when we hear it today, almost 40 years later -- and it poses the almost philosophical question, whether this future has already happened or is yet to happen? Schnitzler was not alone in daring to create future music in the 1970s; yet many visions of that era were short-lived and appear rather dusty today, even a little embarrassing. The "precious metal" albums, in contrast, escape the zeitgeist and are patently resistant to retromaniac constraints. Schnitzler's artistic and -- let us spell it out -- aesthetic autonomy celebrates a veritable victory here. Liner notes by Asmus Tietchens.

BB 150LP

LP version on 180 gram vinyl. Bureau B presents a song collection from Conrad Schnitzler's archive, recorded between 1976 and 1978, originally released by the small German label Marginal Talent in 2003. In the comprehensive canon of Schnitzler releases, the music on the Gold album stands out a mile in every respect. Judged on the sound alone, there is little to suggest that the material was recorded as long ago as the 1976 to 1978 period. There is more at play here than two tape recorders, analog synthesizers and sequencers. Digital keyboards and computer-aided musical progressions are in evidence. With its multi-channel complexity, perfect equalizing, a translucent depth of focus and the brilliance of its signals, Gold could easily have been recorded today, some 35 years later. Alas, Schnitzler can no longer let us in on the secret of his recording process, nor which equipment he deployed in achieving this feat. It is fair to surmise that this sound owed much to the fact that Schnitzler was often in the company of his friends from Tangerine Dream. Their equipment was always state-of-the-art -- and Schnitzler's technical expertise allowed him to take full advantage thereof. As if the tonal quality is not astounding enough, the compositions are guaranteed to dumbfound even the most enlightened Schnitzler listeners. Stuctured like a symphony in various movements, utterly abstract atonal passages are followed by solid sequences of rhythm and harmony, as energetic as Cluster, yet equally evocative of 1980s electronic pop music. Once again, his execution bordering on perfection, Schnitzler has pulled off the ultimate balancing trick between pop and so-called serious music. Liner notes by Asmus Tietchens.



FLAVA D: Home/Hold On (VIP) 12" (BRVIP 003EP) 11.00
The VIP series on Butterz is all about the artist taking two of their popular tracks and exploring the ideas further than the original versions. For Flava D's edition, she reworked "Home" and "Hold On" from her first outing earlier in 2012 on Butterz at the Red Bull Studios in London alongside the Butterz crew. "Hold On" takes an aggressive turn with P Jam throwing down the breaks and Royal-T lending a hand with the bass. Flava's new take on "Home" showcases how much she has developed since joining the Butterz stable. Made with the whole crew, you can get a sense of a willingness to wow the room, especially in the second half, where it takes a darker turn. This marks the start of a slew of releases from Flava D and the rest of the Buttterz camp to close 2013 following the announcement of their new residency at Fabric.



BEISSPONY: Brush Your Teeth CD (COSR 046CD) 17.00
Slow-motion-piano-punk with open stitches. One-third piano, one-third converted drums, one-third singing sewing machines, talking skirts, buzzing laser guns, and clacking typewriters. The Munich-based duo Beißpony reveal what it sounds like when a singer-songwriter and textile artist with roots in the riot-grrrl and feminist DIY-movement join forces. Laura hails from the singer-songwriter and antifolk-scene. "I'm more interested in experiments and accidents," says Steffi. Both girls got to know each other in 2006 at the infamous Kafe Kult in Munich, where they also had their first stage appearance. They used the facilities to record the first couple of songs for their debut album Brush Your Teeth in a one-week kamikaze-recording session with a lot of ice cream. The final part of the album was recorded with the Zork Free Arts Lab in an abandoned police training building. Over the years, Beißpony have played live shows in Italy, Austria and Germany, at festivals and in art galleries. They combine their shows with imaginative fashion and art performances and surprise their audience time and again. Deluxe oversized packaging with postcards.



SANO: Sano CD (COMEME 004CD) 17.00
Cómeme presents a 10-track epic from Sano. Sano is a devoted underworld utopian having realized his night-world fantasies with clandestine parties at Medellin's ghost-club Perro Negro where resides strangers, hustlers, tricksters doing their mischievous business while luring curious youngsters. It has been since Chupa! that Sano turned out to be a masterly conductor of such delicate mischievous spirits, and we all love to let them deceive us, as he transforms them into sounds as full of sweet malice as they are of sweet love. Just listen to "Matasanos": bad medicine. And then listen to "Me Without You": an international airport heart-crash jam. And then listen to "Paquidermos": ripped off from Juanito Alimaña's iPod. What else? "I Don't": Back to adolescence. "Contonéate": learned at Julita & Odile's palace in Paris. A James White & The Blacks enlightenment. "Anestesia": late-night painkiller jam. "Transilvania No Mercy" (feat. Los Malos): an asynchronous jam by the black river crew. Diegors is the keyboard slave, and Sano is on drums.



ROBINN: Multiphonia CD (COMP 425CD) 15.50
Compost presents the exciting debut album from Robinn, a native Frenchmen now based in London. Multiphonia delivers a bass-heavy sound that sits somewhere between Four Tet, Bonobo, Mount Kimbie, post-dubstep, and electronic reggae. Featuring the vocals of Nathaniel Pearn aka Natural Self. The artist's childhood had two superstructures, a very difficult childhood with divorced parents, distant friends, rough French hip hop culture, and the more beautiful, sunny reggae and dub culture. This diversity, split in soul, mind, and thrill-seeking society influence his production, while such broken arrangements and deep sounds are a typical post-dubstep phenomenon. Working with Nathaniel Pearn has forced Robinn to add more structure to the instrumentals, because Nathaniel is a songwriter with deep lyrics and a futuristic, graceful, broken voice. Multiphonia is inspired by "multiphonics," an extended technique in instrumental music in which a monophonic instrument (one which generally produces only one note at a time) is made to produce several notes at once. Robinn took a similar approach with Nathaniel Pearn's voice on the album -- his vocals are used as lyrics but also as material, re-sampling it to create loops, pitch, chords, etc. Some instrumental tracks like "Syntax Error" and "Talk to Me" are produced with Pearn's voice used as the main component, but also as abstract texture, too.



Ahead of the release of his debut full-length, Brazilian producer, club owner, businessman and DJ Renato Ratier releases a first single from Pillow Talk. First up, "Home Boys" is a lucid but deep house cut with molten melodies and thick synth lines jangling around the firm kick drums as thin pads add a celestial vibe. The kicks and percussion engage nicely and rotate in inviting cycles as the seductive vocals of Pillow Talk add an infectious human element to the track. The track gets a fine remix from foremost Brazilian producer Dubshape, who makes the track even deeper and more stripped with a wavy kick clap combo and warm neon chords interacting with the original's spritely vocals. "Sweet Home" is the other original and features finger clicks, glowing chords, percussive shakers and rich, organ-like stabs, which altogether craft a beautifully melancholic vibe.


DV 9072CD

YANCEY BOYS: Sunset Blvd. 2CD (DV 9072CD) 18.00
"Delicious Vinyl proudly releases Sunset Blvd., the new album from Yancey Boys, the group piloted by John 'Illa J' Yancey and Frank Nitt. The dynamic new collection is built around previously unheard tracks created by Illa J's brother: the late, great J Dilla (James Yancey). With Frank Nitt's standing as J Dilla music catalog curator and the official approval of Yancey Media Group, all productions on Sunset Blvd. originate from The Lost Scrolls -- the stunning cache of beats Dilla left behind. With its rapturous single 'Quicksand' featuring Common, Sunset Blvd. also teams Yancey Boys with De La Soul's Posdnuos ('Beautiful'), The Pharcyde's SlimKid3 ('Rock My World'), and T3 of Slum Village ('Jeep Volume'), making it clear that the Dilla legacy is being represented by those who knew and collaborated with Dilla in his lifetime. Additional guests include DJs Rhettmatic, C-Minus, and J Rocc (Beat Junkies) as well as rap roughneck Guilty Simpson and R&B strongman Eric Roberson. As a special bonus the CD release contains a second disc featuring the J Dilla instrumentals for the full album."



TIGERSKIN: All Those Goodbyes CD (DIRT 005CD) 17.00
After being the main artist on Dirt Crew Recordings for over seven years and with a staggering 13 EPs in that period either solo or with his buddy Till von Sein, the Berlin-based Alexander Krüger has finally concluded a full album for Dirt Crew. He is one of Germany's most consistent producers and has a huge release list on Discogs, ranging from the mid-'90s when he started out as Korsakow and Dub Taylor on classic labels such as Force Tracks, Müller, and Raum Musik, to date. It has also been nine years since his last real album on Resopal Schallware back in 2004. Dirt Crew has always wanted to complete a full album with Tigerskin, as most of his EPs were already small albums with track listings of an average six to seven tracks per EP. The output of this man is enormous, not only solo under his three monikers but also with fellow producers he works with, most prominent, the stuff he does with DJ Phonique. On this album you will find 14 tracks that reflect a broad variety of styles -- from the first few tracks that are more in the deep house direction, to the electro-esque and ambient middle part, to the banging techno ending of the last few tracks. Alexander Krüger shows us his universe of music and his love for many styles in electronic music. He also teamed up with some of his best friends and musical companions, such as Till von Sein, Ulrich Schnauss, and Eddie Richards, who all have been in the game for a long time and each of them stand respectively for a different sound in house, electronica, and techno. The Lazarusman, Sebastian Oehlschlegel, and Uffe are from the new breed of producers and vocalists with whom Tigerskin has been working in the last years. Enjoy what Tigerskin and his friends came up with.


TIGERSKIN: All Those Goodbyes 2LP (DIRT 005LP) 22.00
This is the vinyl edition of Tigerskin's album All Those Goodbyes. This special double LP features three exclusive tracks that are not on the CD version of the album. "The Essence," "Out of Breath" and "The King Always Stays the King" are three club bangers that will destroy your floor. As part of this 2LP Dirt Crew also added the strongest dancefloor titles from the CD.



ADRIATIQUE: Lophobia EP 12" (DIYNAMIC 068EP) 14.00
After quite some time being in search of new inspiration, Adriatique, the two guys from Zurich, Switzerland come up with Lophobia, a record that is full of deepness, melancholy, light and darkness. After some lack of ideas and creativity, several feelings about music in general came together: phobia or fear mixed with the love for music and daily business. With absolutely no vocals on the record, all tracks are mostly carried by several instruments and melodies. The outcome is well-balanced between recorded sounds and programmed beats and percussion.



DESHPANDE, ASHWINI BHIDE: Arghyam - The Offering CD (EMWM 1010CD) 22.00
"On this recording, Ashwini Bhide Deshpande, world-renowned classical Hindustani vocalist in the Jaipur-Atrauli Gharana tradition, pays loving tribute to the maestro, Ravi Shankar. This recording features four Ravi Shankar ragas, performed by Deshpande and overlaid with her lyrical bandishes, as well as one original raga. The selections, both intricate and soaring, feature the talents of Deshpande, who Shankar recognized during his lifetime as a vocalist blessed with both a beautiful voice and the scholarship to retain the spirit of the tradition. The album includes a bonus track: an archival recording of Shankar performing 'Utsav Mishra Gara.'"


"Barry Phillips, Linda Burman-Hall and the Lux Musica Ensemble (with guest Debopriyo Sarkar) present a selection of daring, experimental compositions that reflect and re-imagine the musical encounters between North Indian and British traditions during the late 1780s. Though very different creative languages -- Indian music communicates emotion through pitch nuance and elaborate metric foundations, whereas European music relies on simpler meters and melodies in order to convey emotion through harmonic progressions -- these two traditions have diversified each other significantly ever since the British Raj, with results that are as complicated as they are beautiful."



RIVAL CONSOLES: Odyssey 12" (ERATP 052EP) 17.50
Ryan Lee West aka Rival Consoles spent his early years experimenting with IDM, glitch and dance, but one consistent element in his musical journey has been his desire to create a more organic, humanized sound. Odyssey is a reflection of West's quest to create atmosphere and space from minimal arrangements. "'Odyssey' and 'Voyager' are both incredibly stripped-down ? A lot of these ingredients are short recordings, such as ice cracking, mechanical clicks, clicks from synth errors, sounds of debris, guitar plucks, etc., which interact with the simple arrangements and create little hints of rhythm ... when I first got the synth to swell in and out with the opening chords of 'Philip,' it was a great moment ... I think it will influence how I make music in the future." One track features Peter Broderick. Mastered by Naweed. Includes download code.


BRODERICK, PETER: Float 2013 CD (ERATP 054CD) 15.50
Erased Tapes presents the reissue of 26-year old American composer Peter Broderick's 2008 debut album Float. Returning to his home in Oregon, where his musical journey began, Peter completes the circle with the release of Float 2013. Remastered by the gifted hands of Nils Frahm, Float 2013 also includes two additional bonus tracks with each album download and is reissued on CD and vinyl. Brought up in a musical household in Oregon, Peter quickly became a popular session musician for the likes of M. Ward in the Portland area. Later discovered by the Danish band Efterklang, he joined their live band and spent the next six years based in Europe where he collaborated with many like-minded contemporaries. Through relentless touring, multiple album recordings and film scores, Peter has established himself as a solo artist, known for his innate gift as a musical medium to picking up any instrument, turning his musings into poignant songs. "A dialogue was started with Robert, about the idea of one day giving Float a second chance. And a bit later I found myself in the studio of my dear friend Nils, remastering these songs which on one hand felt so far away, but on the other felt right at the core of my musical heart, the foundation of my aspirations as a musician. And what Nils did to the sound, how he worked his magic as he always does, filled me with the conviction that this project had not previously reached its potential. In so many ways I've found myself coming around the circle, back to the place I started, only perhaps the circle itself has moved. But the dream is the same. And my little baby has a new pair of shoes: Float 2013." --Peter Broderick


ESK 506139

BRYNJOLFUR/MAJESTIQUE: I Love You/Must Get There 10" (ESK 506139) 20.00
"I Love You" marks the debut for Brynjolfur on Eskimo. Supported by Agoria, Justus Köhncke, DJ Harvey, diskJokke, Low Motion Disco, Tensnake, Kasper Bjørke, and more. On the flip-side, you'll find the amazing Dubka remix of Majestique's "Must Get There." Played by Aeroplane, Dimitri From Paris, Alex Metric, Kidnap Kid, Zimmer, C90's, and Pete Herbert. Now available as a limited edition 10".


FD 085CD

YOUNGS, RICHARD: Calmont Breakdown CD (FD 085CD) 17.00
New solo album by the highly prolific yet always captivating Richard Youngs, whose music can waver healthily between new forms of singer-songwriter material, lo-fi drones, and all manner of avant-garde forms/non-forms. Here, his music sways towards the difficult and embraces organ drones and swells, frazzled electronics, a voice that is at once unnerving and unnerved, and more besides. Anybody expecting a comfortable listen should be prepared. This is challenging music at its best; something Richard Youngs has been adept at since the very beginning. Limited to 300 digipaks.


4TH 011EP

READ, GERRY: U Got No God Damn Groove 12" (4TH 011EP) 16.50
Gerry Read returns with his second 12" of 2013 -- what else do you need to know? Limited copies, blink and you'll miss 'em.



BODHI: Imperfection/No More 12" (FCL 096EP) 14.00
One listen to the crystal-clear rapture of Bodhi's sound (Cardiff, Olly Howells and Luke Welsby) shows a heavily funk-influenced take on dance music, akin to many of the UK's current crop of genre-owning electronic artists (see Disclosure, Blawan, Bondax). The response to their enchanting, dancefloor-ready vibe is already demanding considerable attention, with a Bondax tour support underway and the likes of XLR8R already tipping these boys for big things.


GR 2130CD

ESPLENDOR GEOMETRICO: Ultraphoon CD (GR 2130CD) 18.00
Recorded in Madrid and Rome during 2013, this is the new album by the influential Spanish cult electronic duo ranked as industrial music pioneers, Esplendor Geométrico. Ultraphoon is a leap ahead in production and sound quality, with a stunning and brutal outcome, richly detailed nonetheless. Rhythms, noises and processed voices from different sources come together in hypnotic -- bordering on trance -- soundscapes along the lines of previous releases such as Pulsión (2009) and Desarrollos Geométricos (GR 2123CD/LP, 2011). Most of the meticulous mastering process on the CD version was carried out by Francisco López, internationally renowned as one of the top sound art and experimental music personalities, giving a new twist to the usual E.G. sound. The double vinyl version master also sees the collaboration of Teho Teardo, the prestigious Italian musician, composer and sound designer. The double vinyl is comprised of 13 tracks, three of them exclusive for this format.



M.A.N.D.Y.: Get Physical on Ibiza CD (GPM 074CD) 15.50
Get Physical celebrates their first year on Ibiza with 100% exclusive material. A special compilation with exclusive tracks from some of the biggest names to drop by this season. With a diverse selection from Steve Bug to Fabio Giannelli, Booka Shade to False Image, from DJ T. to Wankelmut and many more, there is something for everybody in this limited edition debut-season selection. On the platform of their aptly-titled Get Physical label, M.A.N.D.Y. has achieved massive success in colluding to create music that simply makes bodies move. Their foot-stamping, hair-flying passion has been the ultimate expression of a dance music phenomenon for many years. When M.A.N.D.Y. and Booka Shade joined as musical soul mates with DJ T., first in Frankfurt, then in Berlin, Get Physical produced a caliber of electricity that rippled throughout the EDM community and into the relative mainstream. Philipp's charm and savvy, Patrick's allusive artistry, DJ T.'s killer entrepreneurial sense and Booka Shade's collaborative genius combined to form a masterpiece of intelligent design that reflects romantic sensibility and technical virtuosity. Together, they push the boundaries of dance music to compile an enviable arsenal of electro kissing house while caressing disco and flirting with techno. Philipp and Patrick know exactly which buttons to press to make that bass jiggle up your spine and seduce your body free. In addition to a single release that will be the first Booka Shade vs. M.A.N.D.Y. cooperation to be heard in years, the boys have closed on a revolutionary touring show that utilizes infrared technology and a new mapping technique to project inverted video effects onto their physical form as they perform. It is no doubt that their plans for this never-before-seen live visual component will conjure the kind of visceral excitement that only this duo can. Artists include: Anja Schneider, LOPAZZ & Miguel Rendeiro, Kate Simko, Adultnapper, DJ T. vs. Sergej Gorn, Boris Werner, Franck Roger, Booka Shade, M.A.N.D.Y. & Julian Ganzer, Catz 'N Dogz, Jack Dixon, Steve Lawler, Damian Lazarus, Mr. C, Paolo Rocco, Ultrasone, Smash TV, and SIOPIS & Kiki.



MARGOT: Trentaseitrenta EP 12" (HOLGER 001EP) 14.00
A few words by Steffen Bennemann: "When I heard Margot for the first time, I instantly fell in love with their synth-driven free-form Kraut-techno. Strong melodies, insanely well-shaped beats, sometimes driving, sometimes bravely bending the rules. After great releases on James Holden's Border Community, Ivan Smagghe's Kill The DJ, and their own label, we were more than happy to welcome them in our Holger family. Here they can show their more experimental side, far beyond common floor/listening conventions and full of synapse-tickling synth magic. Plus a secret pop hit ('Trentaseitrenta'), perfect for closing any exceptional club night."



VATICAN SHADOW: Remember Your Black Day CD (HOS 399CD) 14.50
Remember Your Black Day is the debut album proper from Vatican Shadow, the first material conceived and produced as a full-length by Dominick Fernow for the project following almost a dozen tapes (mostly released on Hospital Productions) and vinyl editions (released by the likes of Blackest Ever Black, Modern Love, and Type) over the last three years. None of the eight tracks included have been released before on any other format. At a time when the scene is saturated with "noise techno," the album is almost celebratory by contrast, balancing caustic licks of distortion and oppressive bass with cleanly mixed synth tones and ricocheting claps in a shell-shocked, surreal soundsphere. With production assistance from Juan Mendez (Silent Servant), the album includes the most direct and propulsive Vatican Shadow material yet, continuing an evolutionary shift away from the complex, collage-based narrative of those cassette releases into more visibly direct contact with the listener. There is a functional connection to dance music here, honing in on the human element embedded within a subject matter so fraught with inhumanity.


VATICAN SHADOW: Remember Your Black Day LP (HOS 399LP) 22.00
Gatefold LP version.



KAIJOKA, RAY: Shaking Trees 12" (INTAC 048EP) 14.00
Ray Kaijoka has a distinct and striking style, with a warm, spheric and impulsive sound. His live performances and productions encompass all elements of modern techno/nu-house sound, but have its feet firmly planted in the roots of Detroit techno. The typical Ray-sound, as some call it, is appreciated all around the globe and it has taken him worldwide. Now he's on Intacto Records for his debut 12". Shaking Trees is a warm, deep and delicious EP that is another notch in Ray's techno glory belt.



CHROME: Half Machine from the Sun: The Lost Tracks '79-80 CD (KOS 400CD) 12.00
"Tracks recorded by Helios Creed and Damon Edge in '79 and '80, during the Half Machine Lip Moves and Third from the Sun period, but never released. About this era Helios recently wrote: 'We were into Iggy and the Stooges, and punk shows started happening at the Mabuhay Gardens in 1976 which was right there in North Beach too, at the end of the Broadway strip. It was the most fun era of my life. The punk scene had an incredible energy and fire. Then the Sex Pistols came out with Never Mind the Bullocks in 1977 and we released Chrome's second album Alien Soundtracks the same year and the whole punk thing exploded. Next we released Half Machine Lip Moves in 1979 and it and Alien Soundtracks took over in the punk world. Our record covers filled the windows of record stores and I was in awe. We weren't really a traditional punk band. Nobody else sounded like us. We were more of a psychedelic band, but a punk version of psychedelia, acid-punk. But I was influenced by the punk scene, because the music was experimental and free, but still hard and solid. punk's guitar was fucked up and without rules. So it was a great scene to keep developing my sound and my approach to guitar. Damon and I were both into expanding the possibilities. We fed off of each other in our experimentation and as we created we'd both like the same things. There was this thing that Damon and I called 'the Chill Factor' where if its really good you get goose bumps, and we used to get the 'Chill Factor' at the same time. We shared concepts about how to approach music and we pushed the limits and that is how I guess we became known as proto-industrial, because we expanded the possibilities of what music at the time could sound like and people were influenced from there. Damon's and my meeting had become a catalyst for the birth of a whole new sound.'"


CHROME: Half Machine from the Sun: The Lost Tracks '79-80 2LP (KOS 400LP) 29.00
Double LP version.



SMART, LEROY: The Don Tells It Like It Is... CD (KSCD 045CD) 14.00
Reggae singer and producer Leroy Smart, the self-proclaimed Don, carries much respect in the Jamaican musical community. He came through the Alpha Boys School in Kingston that produced the cream of Jamaican artistic talent -- such legends as Don Drummond, Tommy McCook, and Johnny Dizzy Moore, to name but a few. Leroy Smart's talent lay in his vocal attacking style that gives his lyrics and tune that extra meaning. His best work came in the heady mid '70s, working with "The Hitmaker from Jamaica" Mr. Bunny Striker Lee. Bunny put Leroy Smart on some of his best rhythms, starting in 1973 with "God Helps the Man" and "Wreck Up My Life." Other killer hits were to follow such as "Mr. Smart," "Pride and Ambition," "Bad Minded People" and "Mr. Richman." All tracks tell it like it is. Kingston Sounds has compiled all these cuts together, every song a story in itself, told only as Leroy Smart could.



VA: Kitsuné Maison Compilation 15 2LP (KITSUNE 052LP) 25.50
Kitsuné, the label that doesn't always show up where you expect it to, presents the 15th volume in its Kitsuné Maison compilation series. A compilation jam-packed with interesting fresh faces, irresistible choruses and inspired melodies, these are songs you'll want to take care of for a long time. You might have thought Kitsuné had found its balance as electro's eclectic, reigning label, yet by casually launching the career of Two Door Cinema Club, one of the most endearing indie bands, the Franco-Japanese fox has proven to the world that it is an important player in the music arena. In-house bands Is Tropical and Citizens! are nothing but other convincing examples. But the Parisian imprint's always been about originality and quality, regularly outbidding its previous offerings. As it were, Maison 15 -- possibly even more than previous issues -- firmly cements Kitsuné's tastemaker reputation by embracing an exciting vision of pop music in its ever-changing forms and delivers a solid collection of songs owed to a flock of arresting outfits and charismatic characters: Portland, Years & Years, Jonny Pierce, Techniques, The Swiss, Chela; and that's not all -- the Maison artwork, famously including quirky illustrations of Kitsuné artists and friends' faces, is getting a make-over for its 15th edition. Other artists include: Antimatter People, Go Wolf, Jake Bullit, Denitia and Sene, Amtrac, Adelaide, Oliver Nelson, Nonono, Dillon Cooper, Horixon, Robert Owens, David Harks, Kilo Kish, and The Wytches. Full-color gatefold double LP with printed innersleeves.



KAITO: Until the End of Time CD (KOMP 111CD) 15.50
Kompakt proudly presents a new full-length from Hiroshi Watanabe aka Kaito called Until the End of Time that sees the artist crafting a deeply personal narrative in line with his earlier works while carving out the timeless qualities of his trademark sound to interlock with today's floor gusto. Kaito's work always had a dreamy quality to it that set the producer apart from his contemporaries, but it certainly would be wrong to assume the new material to be a living room experience only. Since his very first Kompakt release Beautiful Day from 2001, Hiroshi Watanabe's tectonic trance antics featured a strong beat foundation that keeps those swirling soundscapes firmly floor-bound. The tracks from Until the End of Time are no different, starting with "Sky Is the Limit," an enticingly grooving trip to heady heights revealing an ethereal landscape. The doors of perception are further opened with "I'm Leaving Home," "Will to Live," and "Run Through the Road in the Fog," which establish a heartfelt coming-of-age story already by their titles. Private everyday life has always been a major source of inspiration for Hiroshi, who used to showcase pictures of his son on his record covers, thus creating a deeply personal timeline of human growth. This has changed, however, with the cover of the new album, delving into the abstract imagery of meshing clouds, therefore reinforcing the universal, soul-dilating qualities of tracks like "Behind My Life," "Inner Space," and "Star of Snow." The album's closing chapter, an alluringly intimate triplet of pieces featuring "Dear Friends," title-track "Until the End of Time," and "Smile," goes for a more introspective mood by curbing the overall tempo to a meditative jog, wrapping the listener in cozy pads and twinkling fragments of an acoustic guitar. It is a perfectly befitting victory lap for a uniquely wholesome and profoundly life-affirming body of work that leaves you in a state of merry meditation. There's always asking for more, sure, but rarely has an album delivered on so many levels, providing an experience that is highly satisfying both spiritually and physically. Kaito might just have outdone himself this time around.



VA: I Am the Center: Private Issue New Age in America, 1950-1990 2CD (LITA 107CD) 19.00
"Forget everything you know, or think you know, about new age, a genre that has become one of the defining musical-archaeological explorations of the past decade. I Am the Center: Private Issue New Age In America, 1950-1990 is the first major anthology to survey the golden age of new age and reveal the unbelievable truth about the genre. For new age, at its best, is a reverberation of psychedelic music, and great by any standard. This is analog, handmade music communicating soul and spirit, often done on limited means and without commercial potential, self-published and self-distributed. Before it became big business and devolved into the spaced out elevator music we know and loathe today, this was the real thing. From mathematical musical algorithms to airport murder mysteries to Henry Mancini and Bugs Bunny, the connections to mainstream culture run in curious directions. (Did you know, for instance, that a track from the first modern private press new age album is featured on the Blade Runner soundtrack? It's called 'Pompeii, 76 A.D.' and we've got it here.) I Am the Center is a knowing, but never cynical overview that invites listeners at last to the mainspring of a misunderstood genre's greatest lights. Many of the biggest names are present -- Iasos, inter-dimentional channeler of 'paradise music'; Laraaji, discovered by Brian Eno playing for spare change in Washington Square Park; and the recently famous JD Emmanuel, icon to a new generation of drone, ambient, noise musicians. Call it what you will -- before it was anything else, it was new age. Lovingly conceived and lavishly presented, I Am the Center features stunning paintings by the legendary visual artist Gilbert Williams, and liner notes by producer Douglas Mcgowan, who weaves the words and images of the wizards and sorceresses of new age into a prismatic portrait of music that can finally be recognized for what it is: great American folk art. Double CD housed in deluxe tip-on gatefold jacket with 44-page book. Notes by Douglas McGowan featuring interviews with artists. Includes rare archive photos. Remastered from original sources at 24 bit/96 kHz."



STEINHOFF, JULIUS: You Collect Secrets 12" (PLAYRJC 027EP) 14.00
Dear youngsters, Julius Steinhoff's debut for Ramona and her Live At Robert Johnson audio enterprise couldn't be any better. A leading member of Hamburg's Smallville Records and one-half of the critically-acclaimed and party-proof Smallpeople, Steinhoff delivers three tracks that nicely bend the rules of deep house, meander the maze of trance-hypnotism, and cold-forge metallic drums and push bass lines into the abyss. A record that owes as much to Larry Heard's way of thinking, as it does to white rooms and probably subconsciously to James Holden's art of playing records. Built for eternity. Dancing is the salt of life.



VA: Livity Sound 2CD (LIVITY 001CD) 21.00
Livity Sound, the Bristol-based label trio of Tom Ford (Peverelist), Joe Cowton (Kowton), and Craig Stennett (Asusu), announce the release of CD compilation Livity Sound. Since late 2010, their Livity Sound label has released a series of vital 12"s by all three producers. Low-key, hand-stamped white labels, with tracks cut loud for optimal sound system use, they contain some of the most exciting and visceral UK dance music of recent years -- placing Pev's exquisitely balanced rhythm science alongside Kowton's grime-infused techno and Asusu's atmospheric, percussive club tracks. Livity Sound gathers together all six Livity Sound 12"s released to date alongside Pev and Kowton's "Raw Code" and "Junked," which were released in early 2013 on Hessle Audio. These are joined by four brand-new tracks by Pev and Kowton and Pev and Asusu, which are due for release on two additional 12"s. It will be the first time the Livity Sound label output is available on a digital format. The seeds of Livity Sound were planted in 2009 and 2010 as the dubstep community, both in Bristol and further afield, began to splinter.



When Michel Banabila and Rutger Zuydervelt (Machinefabriek) finished their first collaborative album, it felt like they were just getting started. Surprised by how fluent and natural their collaboration went, it was obvious that this wasn't over yet. Banabila & Machinefabriek was quite an abstract affair. It's successor, Travelog, is lighter, more playful, and rhythmic. Some moments recall the mighty Tape, while others showcase motorik Krautrock influences and subtle hints of African rhythms. All in all, this album clearly radiates the joy of its creative process and sees Banabila and Machinefabriek on top of their game. Travelog comes housed in a full-color digipak, graced with photography by Michel Banabila, designed by Rutger Zuydervelt. It's released by Tapu Records, in collaboration with Lumberton Trading Company.



FLOORPLAN: Paradise 2LP+CD (MPM 016LP) 34.00
Repressed; double LP version. Comes with a CD of the album. Paradise is Robert Hood's debut album release as Floorplan, a dancefloor alias he has used since he announced his Drama imprint with the highly sought-after Funky Souls EP in 1996. Taking Hood's minimal techno approach and embellishing it with elements of house, disco, funk, and gospel, Floorplan now realizes its full-length potential some 17 years since its inception. Good things, indeed, come to those who wait. The last five years have seen Robert Hood in astonishingly prolific form with an album release every year since the 2009 re-issue of the genre defining Minimal Nation. This was swiftly followed a year later by new artist album Omega, then Robert's first live album Omega:Alive in 2011 and 2012's highly-lauded Nighttime World 3 which graced end-of-year charts across the world. Now Robert Hood focuses his attention firmly on the dancefloor. Since the 2010 Funky Souls re-press on Rush Hour re-introduced the hibernating project, Hood has since released three Floorplan EPs including Living It Up, the Sanctified EP, and 2012's Altered Ego EP. The three EPs subsequently spawned the massive club hits "Baby Baby," "We Magnify His Name," "Altered Ego," and "Living it Up," taking Robert Hood's name across the techno/house divide. You could even say that Robert Hood could be a victim of his own success: Floorplan, which started off as a side-project, is starting to sound as vital as the searing minimal techno he releases under his own name. Paradise takes us through a heavenly mixture of house, soul, funk and gospel -- all underpinned by Hood's trademark driving minimal techno approach. "Altered Ego" is a perfect example of Hood's tough view of house music; over an insistent groove a building chord sweeps in, taking with it a repetitive vocal sample. But it's the nagging, relentless filtering of these elements, coupled with the deep resonance of the backing rhythm that make "Ego" so memorable. Tracks like the opening "Let's Ride" take a handful of elements such as a skittering drum pattern, vocal snippet and again that driving and relentless groove that drags you by the throat to the dancefloor. There is no break, there is no respite -- make no mistake, Floorplan is here to make you dance. "Never Grow Old" is pure and simply glorious gospel from the Deep South, a hair-raising vocal hook baptized at the altar of minimalism. Then there is "Confess," which is an entirely different proposition; the groove chugs along and the percussion is dry and steely but the keys are positively uplifting and wide-eyed, like they were borrowed from a long-lost rave track and reapplied to Hood's functional take on house. There are nods to Hood's minimal techno roots with "Change" and "Chord Principle," sounding like they could have been lifted from the Minimal Nation cutting room while "Higher" and "Above the Clouds" appear to be pointing to something new, as if Hood's take on house is as unique and essential as the techno sound he has pioneered for over 20 years. In a world full of generic dancefloor music, Floorplan could well be seen as Robert Hood's vision as seen through a house music prism. But there is never any doubt as to the music's creator.



OKUYAMA, SHU: Rotkappchen EP 12" (MMR 023EP) 12.50
That the Japanese Shu Okuyama has an affinity for German-language titles has been made clear in the past already. This time, he comes with "Rotkäppchen"'s (trans. "Red-Riding Hood") best -- "Trockenfleisch" (trans. "beef-jerky") and "Rotwein" (trans. "red wine"). "Trockenfleisch" features Rejtek with bass and piano lines, diminutive vocals, and refined melodies. The piano rules on "Rotwein," perfect for the early morning.



STRANGER, THE: Watching Dead Empires in Decay CD (LOVE 088CD) 18.00
Polymath James Leyland Kirby must surely have one of the most confounding CVs in the business: he spent years taking the piss out of the music industry with anthems rallying against the (VV)MCPS, he notoriously fell out with various well-known record labels for reasons you'll just have to Google, goaded Aphex Twin with a series of "tributes" and channeled his love of everything from Falco ("Rock Me Amadeus"), Chris De Burgh, Frankie Goes To Hollywood, and Stockport karaoke nights into a stream of increasingly bizarre 7"s back in the early noughties. But at the same time, he was responsible for releasing some of the very earliest material from Boards Of Canada (Hell Interface: 1997), made a ruck of frankly groundbreaking industrial electronic records, brought new beat to the world's attention and, in 1999, made his first album as The Caretaker, a project that would go on to release some of the most loved ambient/Lynchian albums of recent times. Since then, he's also produced an incredible suite of releases under his own name, scored various film projects and released three EPs under the Intrigue & Stuff banner which are so ahead of their time, they might just start sinking in properly by the end of the decade. All of which brings us to Watching Dead Empires in Decay, a new album recorded under another of Kirby's pseudonyms, The Stranger, and released on Modern Love, a label that has been close to Kirby through these last eventful 15 years. It's a dream album for the label: perhaps the most ambitious of Kirby's career so far. It's complex, singular, enigmatic, percussive, dark, and you just can't work out how it was constructed. Gone are the sampled 78s of The Caretaker, but it also doesn't exactly sound electronic -- you just can't quite fathom how any of it was put together: Field recordings? Found sounds? Sheets of metal scraped and hammered? Drum machines re-wired? It's stark and unsettling, haunted, even troubling -- but often just beautiful. It starts with the sharp clang of opener "We Are Enemies but Not Here" before the woozy percussive crawl "So Pale It Shone in the Night" sucks you into a bare landscape: somewhere between Eraserhead and Fumio Hayasaka's music for Akira Kurosawa. And then there are moments that break through the tension with clarity and familiarity, nostalgia even: "Where Are Our Monsters Now, Where Are Our Friends?" could have been made by Boards Of Canada if they had taken a turn into more noxious terrain back in 1998, while "Spiral of Decline" offsets the drum programming you'd most likely associate with a Powell record with an oblique sense of timing and space. It all ends with "About to Enter a Strange New Period," an unusual, vaporous coda that offers no resolution -- it just shuts proceedings down with nothing settled. Mastered and cut by Matt Colton; artwork by Guy Denning.



MOOLAH: Woe Ye Demons Possessed LP (MOOLAH 001LP) 12.00
2013 repress. Self-described as "...a cosmic rock relaxation creation to elevate sensory awareness to include the aura of intuitive perception of higher realm of human/divine consciousness using the astral body projection experience vehicle to pierce time/space/logic dimension barriers on the return voyage to the ultimate concept." Exact replica reissue of this classic 1974 private press LP. Previously reissued on CD via Em Records in Japan. On Stapleton's NWW list, of course. Moolah were a duo of Walter Burns and Maurice Roberson. "The [kozumitsuku] psychedelic album where 1974, two youths of New York are identified [mura] and announce. The piano, the keyboard and the percussion musical instrument electric set and electronic sound, esoteric Buddhism vocal sound, drawn, concrete sound, the delay effect, it is the work which is formed with tape opposite revolution."



Luke Slater's most well-known pseudonym Planetary Assault Systems is back in the fullest swing with No Exit, a standalone EP following his famed Deep Heat installment series. No Exit unmistakably bears all the hallmarks of Planetary Assault System, from mind-tripping and floor-stirring hypnotic energy to the theme of pushing the outer limits of unknown territories. It shows the most distinctive core DNA of Planetary Assault Systems and much like his seminal album The Messenger, it's a deadly unique, dazzling, and powerfully effective work that will stand the test of time.


MR 338CD

FUZZ, THE: The Fuzz CD (MR 338CD) 17.50
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).


MM 040CD

DEETRON: Music Over Matter CD (MM 040CD) 17.00
Deetron's second album finds the artist in a unique, transitional phase. The vocal element of his music coming to the fore, with Music Over Matter he proves that there is no substitute for substance and skill, putting music firmly back in the frame is the message. A prismatic mosaic of vocal textures and expertly-crafted grooves, Music Over Matter takes flight through the bounds of Deetron's musical persona, working vocals in unexpected ways through the deepest, most colorful and penetrating moments. From cranked-up four-to-the-floor and voluminous deep house grooves, to dream-sequence synths, elegant drum-programming and powerful melodic signatures, there is not a single moment of this album that won't thrill those craving a hefty interjection. Yet as motley and satisfyingly eclectic as they come, each track of the album is connected through a deep vein of soulful musicality. Joining Deetron for the trip are old friends such as Ripperton and Cooly G, who lay the foundations for the album with their opening track "Thinking" -- glitchy, scratchy techno, which blends in perfectly with Deetron's collaboration with the inimitable, cosmic surfer Seth Troxler, with whom he throws down a golden gauntlet of pitch-bent synths and heightening fervor with their hypnotic "Love Song." Deetron's hit single with Hercules & Love Affair also features. Flipping genres so elegantly, Deetron teams up with Belgian vocalist Delvis for an old-school Motor City-influenced vocal number, which is followed by the beautifully smooth vocal talents of Ben Westbeech, who produce a perfect, melody-drenched house track, which will also be Deetron's forthcoming single. Deetron's collaboration with Fritz Kalkbrenner adds a seriously unique twist to the album, with rich vocals resonating over Deetron's orchestral soundtrack. Teaming up with Justin Chapman again for "Strange Things" with Simbad along for the ride results in a gorgeous slab of deep electronic. George Maple provides the perfect vocals for "Rescue" with her ethereal vocals washing over you in pure delight. Music Over Matter also features pure instrumental tracks by Deetron. From a producer, whose unrelenting passion is the mark of his music, Music Over Matter is a reflection of the vibrant landscape upon which he so fearlessly treads. A bold, panoramic stroke that will appeal to so many more than just the intrepid nomads of the underground.

MM 040LP

DEETRON: Music Over Matter 3LP+CD (MM 040LP) 36.00
3LP version with CD.

MM 169EP

DEETRON (FEAT. BEN WESTBEECH): Rhythm 12" (MM 169EP) 12.50
Deetron's second album Music Over Matter, which will be released on Music Man Records, finds the artist in a unique, transitional phase. The vocal element of his music coming to the fore, with his new album he proves that there is no substitute for substance and skill, putting music firmly back in the frame is the message. For the first single, Deetron calls on the beautifully smooth vocal talents of Ben Westbeech, which produces the perfect melody-drenched house track. Will Saul & October and Karizma bring their own different flavors to the table and make this an irresistible package for any house DJ.


NEOS 10937CD

MADERNA, BRUNO: Complete Works for Orchestra Vol. 5 CD/SACD (NEOS 10937CD) 15.50
Stereo/5.1 multichannel hybrid CD/SACD release that can be played on any CD player. The "Concerto for Piano and Orchestra" was composed by Bruno Maderna in 1958 and 1959 and was first performed in September 1959 at the Ferienkurse für Neue Musik, Darmstadt. The Frankfurt Radio Symphony Orchestra was conducted by Bruno Maderna, and the soloist was the work's dedicatee, the American pianist David Tudor. The "Concerto for Violin and Orchestra" was composed a decade after the "Piano Concerto," 10 years that were rich in both human and artistic experiences for Maderna. It had its first performance in September 1969 at the Venice Contemporary Music Festival, once again with Maderna conducting, and Theo Olof as the solo violinist. Markus Bellheim has been attracting attention as one of the most interesting and versatile pianists of his generation since winning the International Messiaen Competition 2000 in Paris. His extensive concert activities have led him through all of Europe, to Asia and America. Thomas Zehetmair is one of the outstanding artistic personalities of the present day, enjoying great worldwide prestige as a violinist, conductor and chamber musician. He has recorded most of his violin repertoire, including Mozart's "Violin Concertos" with the Orchestra Of The Eighteenth Century under Frans Brüggen, which is considered a reference recording, Beethoven's "Violin Concerto" with the same orchestra, Elgar's "Violin Concerto" with the Hallé Orchestra Of Manchester under Mark Elder (Gramophone Award 2010) and the "24 Paganini Caprices" (Midem Classic Award 2010). Performed by: Thomas Zehetmair (violin), Mark Bellheim (piano), hr-Sinfonieorchester, Frankfurt Radio Symphony Orchestra, conducted by Arturo Tamayo.

NEOS 11049CD

HIND, ROLF: Orchestra and Chamber Music CD (NEOS 11049CD) 15.50
Featured works: "Maya-Sesha," "The Eye of Fire," and "The City of Love." Rolf Hind's career has blossomed over 25 years in a multitude of directions -- establishing him now as a major force as soloist, composer, recording artist, chamber musician, pedagogue, collaborator and concert planner. Rolf Hind has been inspired not only by his performing contacts with a wealth of contemporary composers (he feels a special kinship with Carter, Ligeti, Per Nørgård, and Messiaen, among others) but more particularly by his many visits to India and, in recent years, by the disciplines of Ashtanga yoga and Vipassana meditation. Foremost among his fascinations is the concept of moving from an illusion of chaos to a pared-down essence of the material, from obscurity to transparency. There is plentiful evidence of his acute ear for blending the conventional and the unconventional in the three works on this CD. Performed by: BBC Scottish Symphony Orchestra conducted by Martyn Brabbins, David Alberman (violin), James Crabb (accordion), Rolf Hind (piano), Sarah Leonard (voice), and the Duke Quartet.

NEOS 11112CD

BRASS, NIKOLAUS: Zeit im Grund/Von Wachsender Gegenwart CD (NEOS 11112CD) 15.50
"There is music which one cannot hear enough. Nikolaus Brass writes music of this kind." The music journalist Reinhard Schulz, who died in 2009 and was one of the most sensitive observers of contemporary music, encountered few composers with the enthusiasm and empathy that he showed for Nikolaus Brass. "It is certainly not possible to establish, by decree, which composers are indispensible for a certain period. At the same time, one believes to directly sense, of certain composers, that they are essential. Nikolaus Brass, born in Lindau on Lake Constance in 1949, is such a composer." The Munich Chamber Orchestra (Münchener Kammerorchester/MKO). has presented over 60 world premieres, since former Artistic Director Christoph Poppen established its unmistakably dynamic profile in the '90s. Since the 2006/2007 season, Alexander Liebreich has been the principal conductor and artistic director of the MKO. Since 2011 he has been the artistic director of the Tongyeong International Music Festival (TIMF) in South Korea. Since the beginning of the 2012/2013 season, Liebreich has been artistic director and principle conductor of the National Symphony Orchestra of the Polish Broadcasting Company (NOSPR) with headquarters in Katowice, and is thus the first German principal conductor in Poland since 1945.

NEOS 11303-5CD

VA: Donaueschinger Musiktage 2012 3CD/SACD (NEOS 11303-5CD) 34.50
Stereo/5.1 multichannel hybrid CD/SACD release that can be played on any CD player. Each year in October, NEOS presents the essence of the previous year's Donaueschinger festival. The works from 2012 featured on this three disc set include: Martin Smolka's "My My Country," Stefan Prins' "Generation Kill," Clemens Gadenstatter's "Sad Songs," Arnulf Herrmann's "Durchbrochene Arbeit," Yoav Pasovsky's "Mimshak," Malin Bang's "Kobushi Burui," and other artists including: Bernhard Gander, Franck Bedrossian, Johanne Kreidler, Klaus Schedl, Georg Katzer, and Beat Furrer. Performed by: SWR Sinfonieorhcester Baden-Baden and Freiburg, Rupert Huber and Francois-Xavier Roth (conductors), Ensemble Asamisimasa, Ensemble Ascolta, Ensemble Nikel, Nadar Ensemble, and Johannes Kalitzke (conductor).

NEOS 21305CD

BRAHMS/MARTIN SCHLUMPF/MATTHIAS MULLER, JOHANNES: Clarinet Quintet Op. 115/The Five Points/In 23 Teilen CD (NEOS 21305CD) 15.50
Martin Schlumpf: "The Five Points" - In the film Gangs of New York, made in 2002, Martin Scorsese describes the constant confrontations between the natives and the Irish immigrants in the New York of the 1860s. The scene of the bloody fights is the area in central lower Manhattan known as the "Five Points." These finger-shaped street intersections form a true melting pot of the different cultures that settled there. The entire work can be conceived as a promenade between the five corners of the "Five Points," where the different gangs had their habitats. Matthias Müller: The "String Quartet In 23 Teilen" consists of one movement and is subdivided into 23 parts by tutti rests of different lengths. These, in turn, are summed up in four main sections: exposition -- development -- recapitulation -- conclusion. The piece was modeled after Alban Berg; his music always lives from its great expressive power despite compositional strictness. The number 23 was a fateful number of this Viennese master who died early. Johannes Brahms: "Clarinet Quintet Op. 115" - Brahms' late work for clarinet and string quartet is an example of the perfected art of composition. Performed by: Matthias Müller (clarinet), Galatea Quartet.



MERKY ACE: Play Your Position CD (NHNH 1007CD) 12.50
South East London's Merky ACE returns with Play Your Position, the second of his two-part mixtape, released on No Hats No Hoods. Merky's brought go-to producers (Faze Miyake, Rude Kid, Splurt Diablo and Deeco) as well as some new faces (Columbia signee Shift K3Y, Smurf Beatz, Jack Mason, Mr V, Jammin) to make a focused yet energetic set of tracks. The production team combines genres effortlessly, with the trap leanings of tracks like "Strawberry Rain," "Don't Know," and "Naughty" merging with Merky's idiosyncratic flow and lyrical content to construct sinister urban soundscapes. There's a fair share of experimentation, too, with the maddening 8-bit arpeggios of title-track Play Your Position building up over three minutes to create something frighteningly intense and the warped vocals of "My Lady" constructing an eerie, disjointed background for Merky to exhibit his flow. Recognized for his intelligent wordplay and catchy adlibs, Merky ACE has been MCing both by himself and with his collective Family Tree (other members include Ego, MIK, TKO and Shif Man, along with producers Splurt Diablo and Faze Miyake), for nearly 10 years. His notable appearances on Logan Sama's KISS FM UK show "After Hours" alongside P Money, Blacks and Footsie have shown off his variety of flows while proving that he can consistently hold his own amongst some of grime's biggest names.


MVD 5918CD

JUNZO, SUZUKI: Sings II CD (MVD 5918CD) 15.00
"Brand new release from psychedelic Japanese guitarist Suzuki Junzo (Overhang Party, Miminokoto, 20 Guilders). From Jandek-style weird folk to beautiful crystalline guitar passages, this melancholy masterpiece covers all the bases. Acid Mothers Temple guitarist Kawabata Makoto guests on three tracks. Recommended if you like Loren Mazzacane Conners, Acid Mothers Temple, Syd Barrett."


OS 004CD

AIMLESS DEVICE: Coats of Many Colours CD (OS 004CD) 16.50
2010 release. Aimless Device was mainly Bart Azijn (electronics, words; also in A Blaze Colour) and Patrick Meulemans (guitars) from Belgium, produced by no other than Ludo Camberlin (A Blaze Colour), and later also TB Frank (of The Neon Judgement fame). They released four 12" EPs on Ludo's Anything But Records label: Hard to Be Nice (1985), World of Coats (1986), Dog Days (1987) and Mud in the Eye (1987) as well as a few tracks on various compilations. Their sound was typical mid-'80s dark wave (or something in between gothic rock and synth-pop) with a Roland TR-707 drum machine along with lots of synthesizers, guitars and basses -- think of Weimar Gesang, They Fade In Silence, Moloko +, Belfegore, Die Unbekannten, or Days Of Sorrow, for example. This CD compiles all tracks from their vinyl releases, thus including their hit "Hyena," plus adding two more tracks to the list.

OS 005CD

DE BRASSERS: 1979-1982 CD+DVD (OS 005CD) 29.00
2010 release. De Brassers are one of the most notorious bands in Belgian new wave/punk history. With their no-nonsense attitude, they scared the shit out of the local Catholic community of Hamont. De Brassers were a local mixture of the Sex Pistols (in the lowest gear) and Joy Division (they always performed a cover version of Joy Division's "Shadowplay"), combining a criticism of bureaucracy and politics with experiences of psychological and existential tensions. The doomed sound they produced tells a lot about the dark atmosphere of the late '70s and early '80s: the fear of atomic bombs, Cold War pessimism, police violence against squatters, the first cases of AIDS, and the grim years of Reagan & Thatcher. The CD and DVD presented here take you back to that time. All tracks from En Toen Was Er Niets Meer, their first 7", and the self-titled 12" are here, as well as rare and unreleased tracks taken from live performances and the cassette Levend. If you're in for a raw slice of Belgian history, let De Brassers immerse you in a cold wave of punk. This release also contains a documentary about De Brassers. Shot in black and white, plus color by Chromasoom (Jan Weynants). Over 50 minutes of live footage and a great amount of interviews with (ex-) band members and other people who were involved. English subtitles included.

OS 008CD

SNOWY RED: The Ultimate Edition 1980-1984 5CD BOX (OS 008CD) 62.00
2011 release. Tremendous 5CD box by one of the most highly-acclaimed minimal synth bands active during the 1980s. The Snowy Red project started as a one-man band by Micky Mike. With a few synthesizers, a 12/2 mixing desk and a two-track reel-to-reel recorder he created repetitive synth masterpieces in the vein of Suicide and Polyphonic Size. These black synthetic pearls were spread over two albums: the self-titled Snowy Red (1981) and The Right to Die (1982) -- both are included in this box, officially remastered, and with original artwork. When the project was nearing completion, Michael Thiel (the son of Micky) made the discovery we were all waiting for, demo tracks of the first album. Besides proto-versions of "Blood Blood Blood," "Maud Is Dead," and Deep Desire," the main discovery is the 22-minute version of "The Wild Boys": an electronic trip you do not want to end. And there's more. Underground club hit "Breakdown" was released throughout the '80s in several different versions. Included in this box are the 12" and the 7" versions, both featuring the beautiful Carol on vocals. Further down the line on disc four we find Micky Mike's solo version of the track which was first released on Walking After Midnight in 1980. This is an absolutely raw and honest version. Also included are the unreleased tracks "Lies in Your Eyes" and "Red Skies," both excellent additions to the Snowy Red puzzle, and three stripped-down demos made for the Vision album. Very different from the first two releases, the Vision album was Micky's most ambitious effort. With the help of friends (Niki Mono) and the addition of saxophone and Eastern instruments, Micky Mike's talent as a producer was pushed to the limit. Vision conceptualized a total spectacle: there was a video to accompany the album and the live shows were truly theatrical. But even without these visionary additions, the album has a certain grandeur, almost like an electronic opera. In short, this 5CD box is essential stuff for anyone interested in the history of the Belgian minimal synth-god Snowy Red. Digipak CDs are housed in a glossy cardboard box. Includes a 24-page booklet with unseen photos and extensive background information.



GLASS, PHILIP: Concert of the Sixth Sun CD (OMM 090CD) 20.00
"Philip Glass's passion to unravel the mystery of what music really is has been present throughout his entire career. He has expressed this passion through his travels around the world, engaging with musicians of different ethnic and cultural backgrounds and creating new music with them. In 2012, Glass journeyed into the mountains of Mexico to interact with the Wixarika people. Concert of the Sixth Sun gives us a glimpse into this culture's unique world of mystery and spiritual beauty. Guitarist Roberto Carillo Cocío and violinist Daniel Medina de la Rosa are joined by the composer at the piano."

OMM 7008CD

RAYBEATS, THE: The Lost Philip Glass Sessions CD (OMM 7008CD) 20.00
"'The Raybeats went into Green St. Recording on June 4, 1982 with Philip Glass, Michael Riesman, and Kurt Munkacsi without really knowing what to expect. We wouldn't know what we had until thirty years later.' So begins the liner notes to The Lost Philip Glass Sessions, a set of seven songs by the instrumental neo-surf rock combo from New York City that arose from the no wave musical scene. The Raybeats' original line-up consisted of Don Christensen (drums), Jody Harris (guitar), Pat Irwin (guitar, saxophone, organ) and George Scott III (bass). New York City in the late-1970s and early 1980s was a place where the cross pollination of very different artistic streams was limitless. Three of these tracks feature keyboard arranged and performed by Philip Glass, and performances by Michael Riesman and the rest of the production team. The songs include 'Black Beach,' 'And I Do Just What I Want,' 'Pack of Camels' and a cover of the band's classic track 'Jack the Ripper.'"



ABER, SHLOMI: Slack Tide EP 12" (OVM 234EP) 14.00
Shlomi Aber returns to Ovum in fine form with the Slack Tide EP. Shlomi has stayed busy the past two years focusing on releases for his own Be As One imprint as well as big releases on Desolat and Cadenza Lab. He returns to Ovum coming off strength after strength with his releases. For his Ovum return, Shlomi has come back with a bang. The title-track is a rolling ball of energy. The track ebbs and flows, delivering builds that should drive the dancefloor crazy. For the B-side, Shlomi returns to his techno roots with "Warehouse." You can see this being played in a dark, sweaty warehouse space and driving the crowd insane. Both tracks will rock any crowd and show Shlomi's diversity.



VA: Piccadilly Sunshine Part Fourteen: British Pop Psych and Other Flavours 1965-1969 CD (PART 4031CD) 17.00
Serving to embrace the floral heavens of British pop from a time that was and never shall be again. This latest installment celebrates the obscured artefacts of illustrious noise that emerged from the Great British psychedelic era and beyond. Piccadilly Sunshine Volume Fourteen presents a healthy dose of hocus pocus with 20 long-forgotten pearls of magical pop for your listening pleasure. Artists include: Finders Keepers, Sight And Sound, Mud, Guy Darrell, The Spectrum, Barry Lee Show, The Checkmates, The Haystack, Pop Workshop, The Mirage, Bernard Sharpe, Studio Six, Warren Davis Monday Band, Jon, Shades Of Morley Brown, Oscar, Alex Harvey, Brendan Phillips, West Point Supernatural, Lion Tamers.


VA: Piccadilly Sunshine Part Fifteen: British Pop Psych and Other Flavours 1967-1971 CD (PART 4032CD) 17.00
Serving to embrace the floral heavens of British pop from a time that was and never shall be again. This 15th installment of Particles' Piccadilly Sunshine series celebrates the obscured artefacts of illustrious noise that emerged from the Great British psychedelic era and beyond. A flower-powered trip through a momentary place where kaftans, beads and painted faces meet technicolor sounds. Piccadilly Sunshine Part Fifteen presents a healthy dose of hocus pocus with 20 long-forgotten pearls of magical pop for your listening pleasure. Artists include: Vic Richards, Lionel Bart, The Executives, Walham Green, Paul Jones, The Staccatos, New York Public Library, The Koobas, March Hare, Ashton, Gardner And Dyke, Playground, Hazzard, The Whales, 1984, Springfield Park, The Kydds, Fresh Air, Madrigal, Troy, and Tony Cole.


PV 007LP

WINANT, WILLIAM: Five American Percussion Pieces LP (PV 007LP) 32.00
The percussionist William Winant's first-ever artist release, this is the first of a vinyl-only two volume series of contemporary classical solo percussion music. Features works by all American composers: Lou Harrison, Michael Byron, Alvin Curran, and James Tenney. Recorded from 1976 through 2013. Limited edition -- 350 copies available for sale for the whole world. Pressed on 200 gram vinyl. Gallery edition-style packaging, in hand-crafted 10 plate screen printed jackets with mitred-corner wood spines."When Mr. William Winant first came over to visit Kim Gordon and myself at her parents' house in West Los Angeles sometime in the mid-1980s, I half expected another droll, affected muso from the Oingo Boingo camp that Kim had associated with in the mid-1970s before she hightailed it to NYC with the artist Mike Kelley to not only dive into the mysterious world of post-conceptual minimalism, but to ride reckless amongst the no wave music scene of downtown Manhattan -- which is pretty much where we two met and began dating. Willie came as a surprise. He basically talked a mile a minute about anything/anyone but continually drummed his fingers on the table top, creating and exercising rhythm patterns which, to some, may have been hyper-annoying, but to me were seriously obsessed brain-to-hand compositions. I knew right away this guy was no pretendo Hollywood ring-grabber but a completely engaged lover of experimental structure and aesthetic magiks inherent in the history of percussion discussion. His history was weird, coming out of an L.A. family of television production where commercial success was how many $$ were made by dog food ads and gravitating towards the margins of creativity informed by the philosophical enlightenments of John Cage, Lou Harrison and Iannis Xenakis, all composers he had worked with. When I visited him shortly thereafter at his pad in Oakland CA, near where he taught at Mills College, he showed me scores written and inscribed to him by Xenakis! This was his world, an academic outrider zone I had mythologized as a street rat musicologist and record collector. He was very curious about who was doing what in the experimental rock 'n' roll world and I introduced him to Tom Surgal, a drummer from the Elvin Jones meets Milford Graves school of NYC free-thought drumming. We established a trio and played some amazing gigs in the early 1990s, releasing our first live document on the Victo label from Victoriaville, Canada (Piece for Jetsun Dolma, 1996). Winant's wild nature and finely-honed sense of percussive dynamism landed him neat work with John Zorn, Cecil Taylor, Anthony Braxton and the Faith No More outlier band Mr. Bungle. When we went to hear WW play with John Cage in Central Park, Willie had shaved his head into a Mohawk and wore some sick death core t-shirt. Cage must've known Willie was a man of humor, honesty and integrity -- as well as understanding the intention of the composer and delivering the goods. I always wanted him to record solo music through these years but he always would claim he wasn't ready. Is he ready now? He is seriously beyond ready and thankfully Poon Village, the only label with enough poon-power to engage this master sticksman, has come through. Big time."--Thurston Moore, Pozna?, Poland, August 2013


PRD 250299CD

SATIE, ERIK: Piano Works, Parade CD/SACD (PRD 250299CD) 24.00
"On this SACD from Praga, pianist Christoph Deluze is featured in a selection of the eclectic solo piano music of Erik Satie. The pairing is the composer's ballet Parade in a recording from 1959 featuring Manuel Rosenthal. The work, premièred in May of 1917, brought together the painter Picasso, the dancer/choreographer Massine and composer Satie. It provoked a scandal comparable to that caused by The Rite of Spring four years earlier." Stereo/multichannel hybrid SACD that can be played on any CD player.



TELLIER, SEBASTIEN: Narco Original Motion Picture Soundtrack LP (REC 042LP) 25.50
2013 repress, originally released in 2007. French electronic artist Sébastien Tellier recorded this 40-minute long score in 2004, for French feature Narco, a film by Gilles Lellouche and Tristan Aurouet, with Guillaume Canet, Benoit Poolevoorde, Zabou Breitman and François Berléand. It features epic orchestral music and vintage electronics; tender music and lush arrangements in the great tradition of French composers from the '70s. Includes mp3 download code.


TELLIER, SEBASTIEN: Confection LP (REC 109LP) 29.00
Confection is an album from the talented composer Sebastien Tellier. Apart from one song, Confection is an entirely instrumental piece that Sebastien conceived like a motion picture score. Several romantic musical themes are showcased in different versions, orchestral and acoustic. Their sequence brings the listener on a succession of subtle climaxes, creating powerful emotions and leaving room for fantasized images. The very team that helped Tellier create his cult classic song "La Ritournelle" was reunited for the occasion: Tony Allen of Fela Kuti fame on drums, Robin Coudert, keyboardist for Phoenix, Emmanuel d'Orlando on string arrangements, and Philippe Zdar, who mixed the record. He is also responsible for mixing albums for Phoenix, Cat Power, Beastie Boys, and Kindness. The album artwork and "L'amour naissant" video are from Jean-Baptiste Mondino. Confection is an album as close as possible to Tellier's soul, a testimony of his deep musical skills. It showcases his outstanding composer talent as rarely before. Confection is a love letter for a film that doesn't exist yet. Housed in a gatefold sleeve; includes mp3 download.



ASTER: Things That Just Happen LP (REL 021LP) 18.00
"The second full length release by the duo of Ashley Paul and Eli Keszler. A longstanding collaboration, this record encapsulates a merging of the off kilter, quiet, and fragile song based work of Ashley with the decisive and material based sound which can be seen in the duos live performances. The album begins with and is framed by a multi-part suite of pieces based around bowed crotales and saxophone. Simple in materials, with no electronic processing, the overtone and harmonics produced by the duo is isolating, rich, alien and challenging. Meanwhile, songs creep in throughout the record, featuring Ashley and Eli's guitar duos and responsive and dynamic saxophone and drum set accompanying Ashley's singing. Things That Just Happen is a powerful take on the unusual complex of song based melody, and psycho acoustic experimentation. Released in a limited pressing on heavy 200 gram vinyl with insert and printed drawings."



TEETH OF THE SEA: Master CD (LAUNCH 059CD) 18.00
Master, the long-awaited and devastating third album from Teeth Of The Sea, is an unprecedented junket into mind-melting abstraction and neon-drenched revelation. Nearly three years have passed since the band released Your Mercury (LAUNCH 040CD/LP), their transcendent second album, and the four-piece have kept very busy during this period -- they've gigged constantly, sharing stages with the likes of Goat, Circle, British Sea Power, Trans Am, and Parts And Labor, collaborating live with Wire and Esben & The Witch, and taking their incendiary barrage to festivals like Roadburn, Green Man, Supersonic, Supernormal, and Standon Calling. Yet the evolution of their third album was most dramatically affected by two specially-commissioned soundtrack projects they embarked on -- at Branchage Film Festival in Jersey, the band performed "Reaper," a new live score to a re-interpretation of Neil Marshall's film Doomsday, and a year later, at Bestival on the Isle Of Wight, they unveiled Beyond the Transfinite, a tribute to Kubrick's 2001. In this period, the band's experimental instincts have continued to extend in a myriad directions, and while Master nods to the established Teeth of the Sea touchstones of Throbbing Gristle, Goblin, Heldon, Angelo Badalamenti, and Slayer, recent work by the likes of Byetone, Pete Swanson, Raime, Powell and Prurient, alongside a long-standing fixation on the disco stylings of Patrick Cowley and Giorgio Moroder, have helped to mark out a gritty, confrontational path whereby abrasive and sparkling electronic textures do battle with waves of incandescent noise and a merciless beat-driven imperative to form a powerful alchemical charge.



DUBLESS, THE: Icarus EP 12" (RFOR 006EP) 18.00
The Dubless, originally from Tokyo, return to Room Full Of Records with a brand-new song, "Icarus." The release of the original version of "Icarus" has been long-awaited, with a symbolic '80s bass-line in the vein of Giorgio Moroder. The remix by world-famous DJ Max Essa changes things up with a raw groove and live drumming reminiscent of newer Daft Punk.



EPROM: Halflife LP (RWINA 003LP) 23.00
West Coast producer and sound system-murderer Eprom is back on Rwina for a second album, Halflife, which continues the producer's mad scientist approach to what makes a dancefloor move: synthesizing the warmth of vintage computer sounds, the energy of African rhythmic traditions (including modern evolutions such as Kwaito and Shangaan electro), the swagger of southern rap and the intricacy of pioneering electronic music from the likes of Richard Devine or Curtis Roads. The result is a heady melting pot, a unique sound that has some of the best DJs in the world -- Gaslamp Killer, Kutmah, D-Styles -- and the crowds -- always wanting more. Wasting no time, Eprom opens the album with a volley of tracks built to blow up sound systems and take heads off. "Center of the Sun," "Beasts of Babylon" and "Hurricane" all display the sheer brilliance of Eprom's mad scientist streak: a minimalist blend of low-slung rhythmic alchemy, ten-ton heavy bass and dark melodies more powerful than the soulless, over-the-top showboating that characterizes much of today's dance music. On the bouncy "Vogel," he revisits some of the melodic elements from the first album while "Super FX" and "Lost Levels" come across like 2013 dancefloor versions of a Final Fantasy soundtrack, introducing a focus on brighter melodies and variations. "Screwface" opens the second half of the album with more in-your-face brilliance as drums pound the bass bins into submission before "Machine Skin" rolls in with its hypnotic arpeggio to lead dancers around like a demented Pied Piper. "Pentatonic Dust" then provides a brief and blurry interlude before another trio of short tracks -- "Moisture," "Turtle Ride" and "Subroc" -- deliver a perfect blend of what's come before: mesmerizing melodies, energetic rhythms and chest-pounding sub-frequencies. The album closes with "Cloud Leanmixx," bringing the journey to an end by stripping back some of the energy and enveloping the listener in a warm blanket of synths and rolling drums.


SPE: Single Point Edge LP (RWINA 004LP) 23.00
The third album from Rwina Records is unlike previous releases on the Dutch label: bleak, stripped-down techno for paranoid humans and robots. Across its 10 tracks Single Point Edge carefully balances the physicality of techno with a fine attention to sonic detail and melodic progression. There are clear reference points alongside which SPE pulls in more subtle influences and references to other genres. The result is an album that needs to be heard loud: booming kicks, piercing hats and oppressive melodies washing over you in the middle of a darkened dancefloor, surrounded by strangers each lost in their own universe. Tracks like "Carex," "Snap Gun," "Aporia" and "Lost Summer" are clearly made to be heard in the hallowed halls of techno, from Berlin to Detroit. Yet it's also an album that will work in a private setting, on headphones or at home, with enough detail, enough variation to provide an immersive experience that is every part as engaging as it is in a live context. Opening track "The Overview Effect" is the perfect soundtrack to a night time ride home, the city's darkened corners streaming past your eyesight as the snare's echo reverberates in your ears. "Surface Tension" comes across like the bastard child of techno and cloud rap, an almost beatless mood enhancer.



ROBO BASS HIFI: 16 Bit Skanks CD (SELEC 2027CD) 14.00
Together with Mü, Andy D and Markus Kammann aka Fluxer M DJ, the legendary music club the Beatbox was started in Wuppertal, Germany in 1988. Fluxer M, as the "musical head" of the club, developed the musical spectrum as well as the booking of DJs and artists, which filled the immense gap in Germany's club culture at that time with a great range of "Black Music." Due to the arrival of the Beatbox, hundreds of DJs and artists were promoted: from Gang Starr to A Tribe Quest, from Lou Donaldson to Cassandra Wilson, from Jamiroquai to the Propellerheads, from Giles Peterson to Norman Jay and LTJ Bukem to the Stanton Warriors, just to name a few in a long row of accomplished artists. In 1990, Mü, Jo Jo and Fluxer M decided to open up a record shop and wholesale to make these artist's products available. Groove Attack was born and started in Wuppertal but moved to Cologne in 1993. Fluxer M. split from the Beatbox in 1995 but started another club in 1999, the 45rpm, which worked in the same tradition as the Beatbox until 2002. Throughout all these activities, Fluxer M produced music for the Dope on Plastic 6 compilation series, made trailers for Wilkinson shavers and Konami games, assembled tracks for the Yaziko lounge music compilation and released a 12" under the Mack & MKB project name. Robo Bass Hifi celebrates current electro-reggae sounds of all kinds. Commencing with roots and dub and continuing with dubstep/drumstep, future jungle, and UK digital as well as D'n'B, all styles are represented. Supplied by the striking productions of Fluxer M emerges a floor-filling sound. Performed by the producer Fluxer M and additional DJs, meeting each other through their love of bass music and roots for a very special mixture. Featuring artists such as Bounty Killa, Cutty Ranks, Dubmatrix & Linval Thompson, Ragga Twins, Groove Corporation, Big Youth, Dubblestandart & Marcia Griffith, Ken Boothe, Horace Andy, and Martha & The Muffins.



From the opening bars of "Bright Lights," it's clear that Lisbon brothers Bruno and Leo aka Octa Push have redrawn the parameters of their sound. They've developed the elements that defined their breakthrough releases and expanded them to develop a broad, exciting palette of new sonic textures and colors. Their early releases on Soul Jazz, Fabric, Enchufada, and others expertly balanced UK bass and African influences to catch the attention of high-profile fans such as Thom Yorke, SBTRKT, and Gilles Peterson. An undeniable ear for melody and a percussive sensibility drawing on the polyrhythms of African music set them apart from the crowd and on Oito, their debut LP, they've taken those two elements and worked them into 12 compelling tracks that marry the organic and the electronic as well as underground music from Europe and the African continent. The album takes the sub-bass and syncopated rhythms of UK genres like garage as its starting point but once again filters that through a kaleidoscope of influences, mainly stemming from Portugal's unique cultural ties to Africa. Unlike previous work, they've worked to infuse the album with musical references to music like Nigerian Afrobeat or funana from Cape Verde without overtly sounding like the music itself. Re-contextualizing instruments like kalimbas or xylophones and playing with complex rhythms gives their music a richness without them ever sounding like copyists. The album also marks an expansion of their work with vocalists, starting with Alex Klimovitsky from the Portuguese/U.S. group, Youthless. He's now a mainstay of the Octa Push live show, lending his skills as a vocalist, programmer and multi-instrumentalist. Elsewhere, we find Sasha from Berlin's pioneering Jahcoozi, London-based Catarina Moreno, and Braima Galissa -- one of the best kora players in Guine Bissau. The complex melody of that traditional instrument is woven into "Ali Dom," along with Galissa's powerful vocals, conjuring up perhaps the most vivid non-European image on the album.



YOUNG BAND, OSCAR: Damp Circuits: The Golden Era of Synthesizers in East Asia - Volume 1 7" (SHAM 005EP) 8.00
This special limited edition 7" EP showcases the fantastic and underrated synthesizer sounds of Hong Kong's Oscar Young. These four instrumental cuts from 1976 see the prolific musician and producer modernizing Chinese folk melodies and rocketing them into the space-age. Solid synth leads are backed with fuzz and wah-wah guitars, tight funk bass lines and haunting organs -- integrating shades of surf, soul, rock, and disco into his unique sound. Multifaceted rhythms feature punchy electronic beats peppered with hand-drums and other natural percussion, while synths of all shapes and textures pan throughout the spacious mixes. Young's adventurous and unpredictable technique and production never missed a beat -- unless it was intended. Oscar Young -- known also as Yang Road Fire, or Yang Daohuo -- worked prolifically in the East Asian rock and pop music scene between the 1960s and 1980s. He first gained acclaim as an arranger, working with singers such as Teresa Teng, Xiao-Jun Huang and go-go bands like the Apollo, as well as creating scores for movies. His classical background allowed him to create a perfect hybrid of traditional Chinese music and new electronic sounds and instruments of the time. Young released multiple volumes of albums: his own series spans over 30 volumes, while his collaborations with the Apollo Band yielded an equal amount. His music can be compared to the likes of Martin Denny or Dick Hyman's synthesizer-infused exotica, or the high-profile Moog pioneers, Perry & Kingsley. The tracks featured on this EP are from his booming period of electronic experimentation during the early-to-mid 1970s, and represent a mere sliver of his giant catalog and immeasurable talent -- a short-but-sweet introduction to the wondrous synthesizer world of Oscar Young.


STCD 3058-59CD

KABASELE, JOSEPH: Le Grand Kalle: His Life, His Music 2CD/BOOK (STCD 3058-59CD) 19.50
Joseph Kabasele -- "The Grand Kallé" as he was known to colleagues, fans, and even heads of state -- lies at the very center of the great mosaic that is African popular music. Without him, the picture would be unrecognizable. In the turbulent and euphoric times that surrounded Congo's independence in 1960, Kallé and his rumba band, Orchestre African Jazz (which included musicians such as Manu Dibango, Dr. Nico and Tabu Ley Rochereau) was the most influential in Africa. Their sound has rung around the world ever since. Le Grand Kallé is the latest in Sterns Africa's acclaimed series of boxed sets devoted to the greatest Congolese stars (previous titles include Francophonic, The Voice of Lightness, and Bel Canto). Featuring recordings that have been out-of-print for decades as well as Kabasele's most famous and enduring works, this double album features a keenly researched and illustrated 108-page book that reveals the man, his music and its context as never before.



JONES, CHARLIE: Love Form CD (STRCD 016CD) 15.50
From the opening tendrils of "The Messenger" to the blaze of distortion, intimately conversational piano and persistent snare keeping things tight that follow, the debut album by Charlie Jones immediately puts you in the mood. Charlie Jones is a musician's musician. His bass playing has been called upon by the likes of Robert Plant, Page & Plant, Siouxsie Sioux and, latterly, Goldfrapp. His talents as a composer saw him win a Grammy for co-writing on the Robert Plant and Alison Krauss album Raising Sand. On Love Form, Charlie finds his own métier, stretching out to two sides of instrumental languor and tension that only a well-seasoned writer and player could conjure. Stylish, intellectual and sensuous noir of this ilk is at best hinted at or sampled these days but here we are blessed with the talents of a composer able to fully immerse himself in the depths of such kaleidoscopic dimensions. Each successive track on Love Form offers evidence of a muscular and musical brain that crackles with invention. Conceived as an account of his adventures in rock 'n' roll, the squalling drone and driving jazz drums of "Big Hair" channels the Master Musicians Of Joujouka and Jack DeJohnette jamming in a Moroccan souk, evoking an inner landscape redolent with meaning. Elsewhere, such as on "Silver," the presence of jazz percussion, strings and a soaring soul voice -- generated entirely by electronic distortion -- momentarily suggests different eras before taking you somewhere else entirely. The choice of musicians he has assembled says much about the care with which Charlie approached the making of this remarkable album. They include leading harpist Ruth Wall, Portishead and Massive Attack-collaborator Johnny Baggot on piano, Alison Goldfrapp on whistling duties and no fewer than four top-tier percussionists in Rob Brian, Chris Hughes, Clive Deamer and Tony Orrell.


SR 297CD

PALESTINE, CHARLEMAGNE: Strumming Music 3CD (SR 297CD) 20.00
2013 repress. Subtitled: For Piano, Harpsichord And Strings Ensemble. 2012 repress. Sub Rosa presents mostly unpublished works by minimalist composer/vocalist/performer Charlemagne Palestine. Charlemagne Palestine wrote intense, ritualistic music in the 1970s, intended by the composer to rub against audiences' expectations of what is beautiful and meaningful in music. A composer-performer, he always performed his own works as soloist. His earliest works were compositions for carillon and electronic drones, and he is best known for his intensely performed piano works. These unpublished pieces from the mid-'70s are works built on the same principles that he developed and established over the years for the piano. This is a unique variation on composition that introduces a perpetual rise inside a continuum of sound. "All of the Strumming Music manifestations seem to have originated from Charlemagne's physical relationship with the colossal carillon bells in the tower of St. Thomas Church on Fifth Avenue in New York. I met Charlemagne Palestine in 1968. The intensity of his listening impressed me as the intensity of his playing would later, when I heard him play on the carillon and the bells to 'his church.' I realized later, when Charlemagne had started to develop his series of piano pieces called Strumming, that he was assaulting that concrete ceiling and literally pushing through its three feet to release the sonic energy in the piano, much as he had with the carillon. Charlemagne's interest and work in electronic music increased in the late '60s, and in 1970, he decamped to southern California where he became a graduate student working with Morton Subotnick. It was during this year at CalArts (1970-71) that Charlemagne developed an approach to the piano that was not only extremely repetitive and physical, but predicated on the theory that, given the right stimulus, the instrument had a voice of its own and could produce a whole array of high overtones that seem to jump out on their own as if by magic. Over the next few years, he developed and polished the music that came to be known simply as 'Strumming.' The rapid alternation between single notes and chords and different registers became a technique that he seemed to own, and it really only worked with this magic piano. 'Strumming' was the physical technique; the melodies and harmonies that resulted made the music breathe and feel alive. After a while, the ear doesn't distinguish between notes that are sounded by hammers and those which are." --extract from the liner notes by Ingram Marshall. Housed in an 8-page digipak including a 16-page book. Please note that disc 1 is the original recording of "Strumming", as originally issued by Shandar on LP (and later, New Tone on CD). Discs 2 and 3 are previously unreleased in any form.

SR 335LP

KUPPER, LEO: Electronic Works & Voices 1961-1979 2LP (SR 335LP) 23.50
This record highlights Léo Kupper's earliest unique compositions produced during the 1960s when he was ardently seeking out structures distinctly applicable to purely electronic sounds. Originally released on CD in 2003 as part of Sub Rosa's Early Electronic series, and now containing an additional track. Léo Kupper was born in Nidrum, Hautes Fagnes (Eastern Belgium) on the 16th of April, 1935. He studied musicology at the Liège Conservatory then became assistant to Henri Pousseur who, in 1958, had just founded the Apelac Studio in Brussels. Kupper started to work on his first pieces there, but he would finalize them only upon putting together his own studio in 1967: the Studio de Recherches et de Structurations Electroniques Auditives (which means "Studio of Audio Electronic Research and Structuring"). That is where he would compose, to this day, over 40 works, most of them on instruments of his own design. In the '70s and '80s, he built a series of sound domes (briefly established in Rome, Linz, Venice, and Avignon), places where every sound, every phoneme uttered by the listening audience was transformed by hundreds of loudspeakers of various sizes organized in a dome shape. This device transformed sounds through space and time: something said could be morphed into another sound hours, days, perhaps years later. Léo had envisioned that a device like his, a place for contemplation, would be much-needed in cities where nature had been evacuated. In the late '70s, after discovering Iranian music master Hussein Malek, Kupper became one of the very few Western virtuosos of the santur. His first pieces were released by Deutsche Grammophon and, later, Igloo. His latest works have been released by the New York-based label Pogus. In 1961, having terminated his musicology studies, Léo Kupper left Liège for Brussels. By that time, centers for music research such as those in Cologne, Paris, and Milan had already produced works of experimental music, where pioneers were forging new and diverse routes in electronic music, musique concrète, and electro-vocal music. The GAME machine -- Générateur Automatique de Musique Electronique (Automatic Generator of Electronic Music) -- was constructed during this period in the spirit of renewal and technical exploration. The GAME consisted of a collection of variable "sonic cells" sensitive to modulations of positive and negative voltages and programmable manually through the aid of color-coded cables. Complex electronic loops and sound from loudspeakers and from microphone pick-ups were then either recorded by tape-machines or performed and interpreted by musicians who opened automatic channels, thus triggering automatic sound to exit the speakers. This in turn penetrated the machines by means of microphones and was replayed. Here, then, was an entirely new way of playing a musical instrument and how the works were composed and performed. Double LP set comes in a gatefold sleeve and is limited to 300 copies on solid silver vinyl.

SR 371CD

BAYLE, FRANCOIS: Les Couleurs de la Nuit CD (SR 371CD) 15.50
Sub Rosa presents the complete version of Les Couleurs de la Nuit, as premiered in 1982, and one of François Bayle's masterpieces. François Bayle studied with Stockhausen and Messiaen. He joined the ORTF Groupe de Musique Concrète in 1960. He later led the group when it became the Groupe de Recherches Musicales in 1966. Most of his compositions are electronic, and his first important work, "Espaces inhabitables" (1967) is suggestive of an imaginary world in which nature is distorted in a dream-like fashion. He later utilized natural and synthetic sounds in his compositions, such as the recorded sounds made in a Lebanese cave. He has stated that his purpose as a composer is to enable the listener to feel the motion and vibration of energy in the universe. François Bayle characterizes his art like this: " purpose was always the same: to compose with only 'images-de-sons' (sound images); to show how, through pure listening in an acousmatic situation, these sound images move like butterflies through audible space and project a colored twinkling on the listener. Out of frame, this is a world proved by itself..." Les Couleurs de la Nuit was created for "tapes and computer."

SR 371LP

BAYLE, FRANCOIS: Les Couleurs de la Nuit LP (SR 371LP) 15.50
LP version. Pressed on limited edition silver clear vinyl. Sub Rosa presents the complete version of Les Couleurs de la Nuit, as premiered in 1982, and one of François Bayle's masterpieces. François Bayle studied with Stockhausen and Messiaen. He joined the ORTF Groupe de Musique Concrète in 1960. He later led the group when it became the Groupe de Recherches Musicales in 1966. Most of his compositions are electronic, and his first important work, "Espaces inhabitables" (1967) is suggestive of an imaginary world in which nature is distorted in a dream-like fashion. He later utilized natural and synthetic sounds in his compositions, such as the recorded sounds made in a Lebanese cave. He has stated that his purpose as a composer is to enable the listener to feel the motion and vibration of energy in the universe. François Bayle characterizes his art like this: " purpose was always the same: to compose with only 'images-de-sons' (sound images); to show how, through pure listening in an acousmatic situation, these sound images move like butterflies through audible space and project a colored twinkling on the listener. Out of frame, this is a world proved by itself..." Les Couleurs de la Nuit was created for "tapes and computer."


SF 083LP

VA: Hassaniya Music from the Western Sahara and Mauritania LP (SF 083LP) 22.00
In 2006, Hisham Mayet returned to West Africa to continue his search for an unknown musician he had heard six months earlier on the radio in a Morocco hotel room. Knowing only that it was Sahrawi music -- music of the south -- he headed down through the vast and remote desert landscape of the Western Sahara and Mauritania in hopes of finding someone who could identify these revelatory recordings. The story of how he finally found this elusive artist is the stuff of ethnomusicological legend. But he also found much, much more as he wandered from Laâyoune, Western Sahara, to Mauritania's capital city of Nouakchott. From intimate, sinuous home recordings by Group Marwani, to a sublimely devastating track by the enigmatic Abdul Rahman Al-Gheid, to the inimitable tidinit artistry of Sadoum Ouled Aida, the performers on this album exemplify the haunting and intoxicating qualities of Sahrawi music. Featuring Mayet's first recordings of the electrifying Group Doueh, as well as dizzying field recordings from Nouakchott's Marché Capitale -- where relentless traffic noise swirls together with fragments of melody from countless cassette vendors' PA speakers -- Hass?n?ya Music from the Western Sahara and Mauritania is the evocative soundtrack to a chimerical journey that is also documented visually in Sublime Frequencies' breathtaking film Palace of the Winds (SF 047DVD). It not only traces Mayet's own passage through these barren and beautiful lands, but also charts the evolution of Sahrawi music from sung poetry accompanied by traditional acoustic instruments to electrifying modern grooves drenched in reverb and phase effects. Limited edition pressing with Stoughton tip-on full-color gatefold jacket.



NEW ALCHEMY, THE: On the Other Side of Light CD (SUBL 101CD) 14.50
The New Alchemy is all about Swedish artists Per Svensson and Ebbot Lundberg making dark, intricate, swirling rock psychedelia. Ebbot Lundberg and Per Svensson had started their careers as artists at the legendary Radium 226.05 in Gothenburg during the swinging 1980s. Per was releasing sound art and poetry and Ebbot was the lead singer of Union Carbide Productions at that time. During the following decades, both guys have been developing their art; Per continuing on as a solo artist and Ebbot as the well-known lead singer of TSOOL -- The Soundtrack Of Our Lives. Now the time has finally come for them to join forces in the New Alchemy. The band is made complete with an all-star cast of Mats Gustafsson (highly-renowned musician with Sonic Youth and myriads of other bands) and Patrik Caganis (Union Carbide Productions). "We've been living parallel lives for a while and sometimes we've bumped into each other during the last decades. And now finally we have decided to collaborate and put our ideas, our density and our gravity together." --Ebbot Lundberg; "It feels like a groovy alchemic trip. The songs are created in the eggs of the cosmic serpent that uncoils into the year of the snake." --Per Svensson; The concept of the New Alchemy is to mix and deliver new psychedelia. This will be done with the constellation of cunning artists/musicians followed by more psychedelic live alchemy, a worldwide release and live shows. The new album is being released by Stefan Kéry's wayward music company Subliminal Sounds, that has worked with making Swedish psychedelia a universal concern. Sessions were executed at Northern Europe's largest megalithic monument; Ale's Stones (Ale Stenar) at Kåseberga in the South of Sweden and at the new secret space observatory at Råö situated by the sea on the Swedish west coast south, amongst other places and studios.



PORTER, ROLY: Life Cycle of a Massive Star LP (SUB 009LP) 23.50
LP version. Comes in a gatefold sleeve. Two years after his landmark debut Aftertime, former Vex'd member Roly Porter presents his second full-length LP, Life Cycle of a Massive Star. The piece explores expansive scale and macroscopic processes through the thematic framework of the birth and death of a cosmic star system. The album is underpinned by a parallel investigation into the human response to this vast celestial order and its overarching dialogue with the infinitesimal lives we lead. The material considers the crucible of space as a poignant symbol of the brevity of existence and highlights humanity's part as both observers and participants in an endless cosmic cycle of creation and destruction. While the album continues on from Porter's previous work, through fractured eruptions and volcanic textures, it equally invokes a more historical mode of reflection, enacting a distant remembrance of the history of electronic music and a dream-like recollection of a Wagnerian landscape.



Paul and Fritz Kalbrenner and Florian Appl play music with the Babelsberg Film Orchestra to living pictures by Hannes Stöhr. Fritz Kalkbrenner sings the title-track for the movie once again with "Willing" (just like he did on the track "Sky & Sand" for Berlin Calling). Global Player is already the fourth collaboration between Florian Appl and screenwriter/director Hannes Stöhr (Berlin Is in Germany [2001], Tatort-Odins Rache [2003] and One Day in Europe [2005]). For his contribution to the movie Berlin Is in Germany Florian Appl even won the Rolf-Hans-Müller Award for the best movie score. Paul Kalkbrenner and Hannes Stöhr aren't strangers to each other, either. In 2008 Kalkbrenner starred in Stöhr's movie Berlin Calling and wrote the soundtrack of the same name, which won platinum status in 2012. For Global Player, Hannes Stöhr took the opportunity of a collaboration between Florian Appl and the Kalkbrenner brothers Paul and Fritz, and out came a soundtrack which impressively and elegantly compounds classical music, melancholia and dancefloor inclinations. On this soundtrack you will find already well-known compositions by Fritz and Paul -- newly interpreted with assistance from the Babelsberg Film Orchestra -- as well as parts of the movie score remixed by the two brothers.



PIEPER & KAPPETIJN: Book of Ra EP 12" (SUPDUB 032EP) 14.00
The first vinyl disc on Supdub Records comes from Frankfurter's Pieper & Kappetijn. The Book of Ra EP features two impressive tracks, that come across more warm and almost poppy but are decorated impressively by the mixed duo. Well batched and placed vocals make both of these tracks dynamic, striking and emotional. The disc is rounded off with a remix of the track "Goldify" by Alfred Henrichs, the label owner. Supported by the charming voice of Viviana Alvarez.


TR 268CD

GRAND OPENING, THE: Don't Look Back Into the Darkness CD (TR 268CD) 17.00
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.

TR 272CD

HILL, CLARA: Walk the Distance CD (TR 272CD) 17.00
After a four-year break from recording, Clara Hill returns with Walk the Distance, which takes her back to her early youth. The un-self-conscious sound experiments that have always accompanied her are met here with new inspirations, leading to an album that sounds intimate and incredibly familiar, yet otherworldly. As a young girl, an East German Triola, a Bulgarian plastic guitar and a small plastic piano formed the basis of her musical world. Throughout her youth, Clara Hill was influenced by music, but her focus was on sound experiments rather than the quest for the perfect composition. Walk the Distance is not about the pursuit of a smoothly-produced album, but about open experimentation, authenticity and the free development of ideas. With that in mind, Clara created song sketches on her own at home and deliberately left room for small inaccuracies. These little errors lend the album an endearing atmosphere that makes it special. A new environment was also important. Hanno Leichtmann was immediately inspired by the song sketches and produced a large part of the album. Schneider TM plays a characteristic guitar on one piece and Thomas Bücker (Bersarin Quartett) developed the opening track of the album from one of the sketches. YoggyOne, aus, Kalle Kalima and Simon Whetham were also involved. The result is enchanting, magical and sometimes even hallucinogenic, in some places intimate, otherworldly in others -- Clara Hill undergoes this journey through abstract soundscapes, thus newly challenging both her audience and herself.


WIRE 357

WIRE, THE: #357 November 2013 MAG/CD (WIRE 357) 9.50
"On the cover: Laurel Halo: The Michigan born producer talks to Jennifer Lucy Allan about techno utopias, digital identity and making electronic music in the surveillance age. Inside the issue: Invisible Jukebox: Archie Shepp (Nine for Shepp taken from The Wire's mystery record selection); Sam Shalabi (Marcus Boon meets the Montreal improviser who has relocated to a turbulent Cairo in search of his Egyptian heritage and new ways of imagining music); David Dunn (The work of this Californian sound ecologist and composer combines art and science using field recordings and generative music); Jar Moff (The Athens collagist wages war on austerity); David Medalla (The story of a lost 1960s psychedelic ballet); Magik Markers (New beginnings for the US noise rock trio); A Spell To Ward Off Darkness (Ben Rivers and Ben Russell's film explores music, community and ritual); Global Ear: Dangriga; Cross Platform: Hannah Sawtell (The London artist's industrial installations are shaped by her history in Detroit techno). Plus: over 150 albums, films, books and exhibitions reviewed. Plus: our latest 20 track CD, free to all readers with The Wire."



PHASE: Frames of Reference CD (TOKEN 033CD) 17.00
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.


CTRLS: Shifting States EP 12" (TOKEN 034EP) 12.50
After two EPs, one remix, one track licensed to Norman Nodge's Ostgut compilation, support from Blawan, Luke Slater, Marcel Dettmann, Untold, and others, gigs at Fabric, Berghain and other clubs across Europe, Ctrls delivers his third EP on Token. On the A-side he ups the intensity once again with pure, squealing machine-funk in the form of "Modular Framework" and "Displacer." The flip contains two menacing remixes of "Displacer" by Sleeparchive, an inspiration to both Ctrls and Token.


TO 088LP

Mika Vainio was a member of the legendary minimal electronic duo Pan Sonic. Emerging from the Finnish industrial and rave music scene in the early '90s, they became one of the most important electronic music acts. Vainio's solo work goes from abstract drone to minimal and experimental techno, under his own name or as Ø for labels like Touch, Raster Noton, Sähkö, and Editions Mego. He has worked with Alan Vega, Keiji Haino, and many others. His music is always extremely physical and present. Mika Vainio lives and works in Berlin. Joachim Nordwall has run the iDEAL Recordings label since 1998, releasing intense electronic music of various kinds and organizing club nights and festivals around the globe. He started making electronic music as a teenager in the late '80s in the psychedelic drone duo Alvars Orkester (Ash International), drifted off to sweaty avant garde punk rock with Kid Commando in the late '90s and formed the ritual rock and electronic drone group The Skull Defekts in 2005. He is also recording solo works under his own name and works with Mats Gustafsson, The Gagmen (with Aaron Dilloway and Nate Young), Mark Wastell, and The Sons Of God. Nordwall is based in Stockholm. Monstrance is their first album together and consists of drone works and pulsating electronic minimalism, but also guitar, acoustic elements, organs, and metal percussion. It was recorded in Einstürzende Neubauten's Berlin studio during an intense session in early summer of 2010. Monstrance is a place where Vainio's and Nordwall's backgrounds as musicians and composers meet, and something new and extremely powerful is born. Something deep, raw, and direct. Mika Vainio (electric guitar, processing, metallic percussion) and Joachim Nordwall (electronics, electric bass guitar, metal objects, Hammond organ, vibraphone).

TO 091CD

NIBLOCK, PHILL: Touch Five 2CD (TO 091CD) 18.00
This is the fifth album on Touch from New York-based minimalist composer and multi-media musician and director of Experimental Intermedia, Phill Niblock. "These CDs have pieces made in two different ways. Traditionally (since 1968), I recorded tones played by an instrument (by an instrumentalist), arranging these single tones into multi-layered settings, making thick, textured drones, with many microtones. In the early days, I prescribed the microtones, tuning the instrumentalist, when I was using audio tape. Later, I used the software ProTools, and made the microtones as I made the pieces. 'FeedCorn Ear' and 'A Cage of Stars' were made this way. In 1998, Petr Kotik asked me to make a piece for orchestra, so, I began to make scores for the musicians to play from. The form of that piece, and the subsequent six scored works, were patterned after a piece in 1992-1994, where the musicians were tuned by hearing tones played from a tape through headphones. These are the instructions for the scored piece on the second CD, 'Two Lips.' The score was prepared by Bob Gilmore, from specific directions by me: 'Two Lips,' aka 'Nameless,' is conceived as two scores, A and B, to be played simultaneously, lasting 23 minutes. Each score consists of 10 instrumental parts. The 20 separate parts should be distributed randomly amongst the musicians of the ensemble; the 'A group' and the 'B group' are not separated spatially. In each part, one note changes to the next in a graded sequence of microtonal steps. In score A, G gradually goes to F#. In score B, G# gradually goes to A. The piece calls for very subtle gradations of tuning in order to achieve a richness of ensemble sound, full of beatings of near-unison pitches, and with clouds of overtones and difference tones...'Two Lips' is interpreted via three different guitar quartets; Zwerm (of Belgium), Dither (of New York) and an assembled group of world-widers, Coh Da (ad hoc spelled backwards). Each quartet recorded 40 tracks from the score, each playing the 23-minute piece 10 times in one day. 'FeedCorn Ear': This is the third piece that I have made with the Belgian cellist, Arne Deforce. The title, 'FeedCorn Ear,' is an anagram of his name, and it was suggested by the composer Tom Johnson. We recorded the material that I used to construct the piece (in a multi-track, computer environment) in the studios of Marcus Schmickler (Piethopraxis) in Cologne, using a fantastic Brauner microphone. I work with a laptop Macintosh computer, so I progressed with the piece almost anywhere, constructing the score in a 32-track file, in a very tactile fashion. I began the work on this piece in my studios in New York (Experimental Intermedia), but I finished it in a tenth floor apartment in East London, looking out of a window to the west, over all of central London." --Phill Niblock

TO 092CD

STANGL, BURKHARD: Unfinished. For William Turner, Painter CD (TO 092CD) 14.50
"The sun is God." --The last words of painter JMW Turner; "Which side of the picture should be hung uppermost?"; "2003, London: the first time I visited Tate Britain, Tate Gallery, and the first time I saw and really experienced the paintings of JMW Turner (1775-1851). Overwhelmed, especially by his late and unfinished works, I was stunned by the power of the stillness of his work. Twenty-five years before that something similar; me, as a young man in Madrid; Prado, Goya paintings and etchings -- for me an initiation which opened up the door to earlier art and its pioneers. Like Goya one generation before him, Turner is one of those artists whose language was becoming radicalized in the high age. (In the field of music he is the contemporary of Beethoven.) His later paintings transcend light, full of poetic imagination, exquisite, liquid calm. Free pure painting -- nothing as light, air, and water. When I left the exhibition, it was clear to me that this visit was the starting point for my musical approach to his paintings. Over the years, it was a pleasant challenge to get closer and closer to the painter's complex simplicity, transforming the enigmatic atmospheres of his late and unfinished works into personal tempting musical soundscapes." --Burkhard Stangl, September 2013; Burkhard Stangl has been collaborating with Fennesz for many years. They first met at musicology and ethnology courses and lectures at the University of Vienna in the 1980s. In 2000, they composed, arranged and recorded music for several Gustav Deutsch films (Film ist. 7-12.; Welt.Spiegel.Kino; Film ist: a Girl and a Gun) and they released Polwechsel/Fennesz on Erstwhile in 2002. Stangl also contributed to Fennesz's Venice in 2004 ("Circassian" and "Laguna") which led to his first direct contact with Touch. On this album, track two was recorded live at Amann Studios and took one take. Fennesz also premastered the entire album before it was sent to Denis Blackham at Skye for mastering. Burkhard Stangl: electric guitar and tapes (electronics and field recordings). "Unfinished 1 (mellow)" is based on Stangl's composition for three zithers "Mellow (My Feldman)," dedicated to and played by Trio Greifer. Photography by Jon Wozencroft.


TEG 75502LP

DEL THA FUNKY HOMOSAPIEN: I Wish My Brother George Was Here 2LP (TEG 75502LP) 21.00
"In the early '90s hip hop took a turn and gangsta-style rap dominated, making waves off the West Coast that rattled throughout the world. The East Coast's dominance was descending despite the success and positivity of Native Tongues acts like De La Soul and A Tribe Called Quest, who favored thought-provoking humor and cleverness over gangsta rap's grittiness and grim outlook. It was in this landscape that Oakland, CA's Del the Funky Homosapien emerged in 1991, with his debut release I Wish My Brother George Was Here. Cribbing equally from the East Coast's irreverence and wit, and the West Coast's P-Funk inspired production, (the album was produced by Del's cousin Ice Cube) Del's debut has rightly been heralded as a benchmark album for underground hip hop. I Wish My Brother George Was Here not only produced the underground classics 'Dr. Bombay' and 'Mistadobalina' (#9 on the 1992 Hot Rap Tracks Charts), but also set the scene for the success of the other less gangsta West Coast artists like The Pharcyde, Digable Planets, and of course Del's compatriots in Souls of Mischief. Above all else, Del is credited with injecting some much needed light-heartedness at a moment when it was truly needed. Traffic Entertainment now presents I Wish My Brother George Was Here as a special double LP reissue, featuring the original artwork, and all of The Funky Homosapien's witty and innovative rhymes intact."



J-PATH/ALPHA STEPPA: Threshing Ground 10" (TRIGRAM 001EP) 12.50
Steppas Records introduce the first of eight Trigrams, a brand-new 10" release series showcasing the deeper and darker side of Steppas. This 12" introduces the raw talents of South Korean producer J-Path. From the school of the self-taught, where many masters rise up from, J-Path's inception into the beat-making multiverse has been a cool decade in the making. Growing up in various South and Central American cultures, speaking multiple languages and collaborating with numerous demographics, J-Path quickly developed a strong sense of adaptability, allowing him to bring a very unique and personal depth to his music. Etched into his sound is the love for deep, soulful, textured landscapes, reminding us that creativity is never limited to one category and can always take us on a journey if we so choose it.



TRIPEO: Fourth Trip 12" (TRIP 004EP) 15.50
Tripeo is feeling a bit more angry on his Fourth Trip, probably due to massive lay-overs and delays. "Untitled #7" and "#8" are two industrial cuts with extreme synth and FX-programming to maximize dancefloor devastation. Only meant to be played out loud. This series is vinyl-only, and yes: that really means no digital release.



GESAFFELSTEIN: Conspiracy Remixes 12" (TURBO 119EP) 12.00
2013 repress. Gesaffelstein presents his first Turbo remix package. Dave Clarke as Unsubscribe summons the demons of an evil warehouse exorcism on his remix of "Aufstand." Brodinski pushes "Viol" into straight-up party-zone material, adding vocal samples, festival breakdowns and a BPM upgrade. Milano's remix of "Opr" is a raw chunk of heavyweight 909-driven techno. The Hacker delivers space-probing techno that climaxes in oxygen-deprived bass madness on his remix of "Conspiracy Origins."



VA: Live from the Future 2x12"+CD (UALP 001LP) 21.00
Uprise Audio has made a phenomenal impact since it first appeared in October 2012 and has exploded onto the scene with a multitude of chart-topping hits. Raising the bar ever higher, Uprise Audio team up with WeSC (The popular Swedish fashion and headphone retailer) to deliver their first 12-track compilation album titled Live from the Future. Each label's elite roster of well-accounted artists have contributed their finest tracks to the project, including the CEO himself, Seven. There are 500 limited edition 12" vinyl double packs, with a full art-covered sleeve featuring six tracks from the compilation. The vinyl packs also come bundled with the full album on CD. So far, this compilation has received maximum support from all of dubstep's A-list DJs and also includes album sampler, UALPS 001-PIC. This features title-track "Live from the Future" by Seven (feat. Joe Raygun) and "Reflections" by Wayfarer, both of which have stormed the sales charts, gaining massive exposure worldwide. Features music by Seven & Youngsta, Asylum, Chewie (feat. Michael Rose), Klax, Seven & Dubtek, Stealth & Altair, TRUTH, Nanobyte, and Taiko.



CARBONO, ABELARDO: El Maravilloso Mundo De... CD (VAMPI 141CD) 16.50
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.


WER 4043

SULTAN, GRETE: Piano Seasons 4CD (WER 4043) 60.00
"Pianist Grete Sultan is one of the most extraordinary artists of the 20th century. Raised in a Jewish upper-class household in Berlin, she escaped Germany in 1941 after being banned from the concert stage. In New York, she met John Cage with whom she maintained an artistic collaboration for her whole life. Piano Seasons contains her solo recordings, some of them released for the first time." Featured works: CD 1: Johann Sebastian Bach: Goldberg Variations, BWV 988; CD 2: Ludwig van Beethoven: Diabelli Variations, op. 120 (1819?1823) / Six Bagatelles for piano, Op. 126 (1823); CD 3: Franz Schubert: Sonata in A minor for piano, Op. 42 (D 845) (1825) / Robert Schumann: Fantasy in C Major, Op. 17 (1836); CD 4: Arnold Schönberg: Fünf Klavierstücke, Op. 23 (1923) / Aaron Copland: Piano Sonata (1941) / Ben Weber: Episodes for piano solo, Op. 26a (1957) / Stefan Wolpe: Form for Piano (1959) / Alan Hovhaness: Yenovk. Partita for piano, Op. 176/2 (1951) / John Cage: The Perilous Night for prepared piano (1944) / Toshi Ichiyanagi: In Memory of John Cage (1992).

WER 6587

NEWSKI, SERGEJ: Alles CD (WER 6587) 25.00
"Wergo's disc of music by composer Sergej Newski focuses on the primordial element of the voice. This recording includes a selection of his works performed by the Ensemble Mosaik, musikFabrik, VocalConsort Berlin, and Titus Engel."

WER 6765

ZENDER, HANS: Logos-Fragmente (Canto IX) CD/SACD (WER 6765) 25.00
"Hans Zender's Logos-Fragmente deals with the origins of humanity, its suffering, and its fate. This CD presents the first complete recording of these works." Stereo/multichannel hybrid SACD that can be played on any CD player. Performed by: SWR Vokalensemble Stuttgart, SWR Sinfonieorchester Baden-Baden, Emilio Pomarico.



BRAEMER, SASCHA: Muy Caliente 12" (WIP 001EP) 14.00
Sascha Braemer presents "Muy Caliente," the first song on his new label Whatiplay. "Muy Caliente" is timeless and fits perfectly with the philosophy of the new label.



SHACKLETON: Music for the Quiet Hour/The Drawbar Organ EPs 2CD (SEPTIC 001CD) 19.50
2013 repress. "For those who want to know the background, it is something like this. I bought an Italian drawbar organ module around two years ago. Apparently Italian organs from that period had a bad reputation, but I was so happy with it that it appeared on most of the tracks I had been working on. I thought I had an album together and was supposed to get it mastered on the day after the mastering session for the Pinch and Shackleton release on Honest Jon's. I had also been working on a 12" of more spacious music to go with that album as a limited vinyl 12". By the time that I finished the music, though, the tracks for that 12" became so long for that I couldn't contain them to two sides of a vinyl. This is what became Music for the Quiet Hour album. In the end, we didn't get time to finish the mastering on that day in late summer 2011 and for one reason or another, the date got pushed back three months." --Shackleton; 2CD in a gatefold sleeve.

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