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Forced Exposure New Releases for 11/11/13

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New music is due from Four Tet, Jim O'Rourke, James Plotkin & Paal Nilssen, Emptyset, Wymond Miles, and Tindersticks, while old music is due from Goodiepal, Rudimentary Peni, Asmus Tietchens, The Neon Judgement, Jimmie Driftwood, Alvin Lucier, Odyssey, and Tronics.


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4M 1611LP

FUNKADELIC: Maggot Brain (Limited Edition) LP (4M 1611LP) 20.00
"1971's Maggot Brain is the all-out Funkadelic masterpiece. Absolutely no one working in soul and funk at the time had the scope, or vision, to pull off the kind of record that George Clinton and his collaborators have made here. Eccentric funk jams are book ended by two of the heaviest tracks ('Maggot Brain' and 'Wars of Armageddon') ever committed to tape. The title track, and album opener, is nothing short of mindblowing, Eddie Hazel's guitar is a revolution brought on by Clinton asking him to play 'as if your mother just died.' Maggot Brain is an essential classic and the deepest album to come out of the Parliament-Funkadelic camp. A limited edition of 1,000 translucent orange vinyl in a deluxe classic style gatefold sleeve."

4M 180LP

FUNKADELIC: Standing On The Verge Of Getting It On LP (4M 180LP) 19.00
2013 repress. Originally released in 1974, Standing On The Verge Of Getting It On, is the 6th album from George Clinton's pioneering, funk-rock outfit. After a brief hiatus this album features the return of the blistering guitar work of Eddie Hazel, along with the consistently brilliant keyboards of future Talking Head Bernie Worrell. Another feather in the increasingly bizarre and brilliant cap of Mr. Clinton." Deluxe gatefold sleeve; 180 gram vinyl.

4M 237LP

BLUNSTONE, COLIN: One Year LP (4M 237LP) 21.00
"One Year is the debut solo album from Colin Blunstone, lead singer of legendary psych/pop group The Zombies, originally released in 1971. Produced by fellow Zombies Rod Argent and Chris White, One Year is classic Baroque pop with lush string arrangements and Argent's unique keyboard sound. One Year features the hit 'Say You Don't Mind,' plus a number of Blunstone originals, and a beautiful cover of Tim Hardin's 'Misty Roses.' Pressed on 180 gram vinyl."

4M 502LP

SAINTS, THE: (I'm) Stranded LP (4M 502LP) 19.00
2013 repress. "The Saints were to Australia what the Sex Pistols were to Britain, and the Ramones to America. Moreover, the Saints were blitzing the unsuspecting in their home of Brisbane in 1973, long before the Sex Pistols or the Ramones had even begun. Even today's punk fans are amazed at the sheer tenacity and outright fire of the title cut, 'Nights in Venice,' 'One Way Street,' and 'Erotic Neurotic.' Hear history burning. Original artwork, gatefold sleeve, 180 gram vinyl."


50 029EP

UNTOLD: Targa/Glare 12" (50 029EP) 14.00
50 Weapons welcomes a new guest: Untold, the founder of Hemlock Recordings and one of the most unique artists in the world of bass music. Untold's recent productions shift away from his pop experiments with Dreadnaught and his earlier grime appropriations to follow the course of his house and techno issues on R&S, Clone's Basement series, and now also 50 Weapons. The two quite long and epic tunes share a similar passion for deep and functional techno.



T2: It'll All Work Out In Boomland CD (ACLN 1010CD) 15.00
2013 repress. "The rise of power trio T2 in 1970 was rapid: important open-air festivals; headlining residencies at the Marquee Club; appearances at virtually every major venue in London. Then their debut album was released; they seemed poised for a breakthrough. As the band recalled, they were playing the Marquee club with John Lennon and Jimi Hendrix hanging out backstage, which was all to the good. But people were coming forward saying, 'we can't find your album anywhere.' In short order, the band fell apart. Still, their sole Decca album has become well established as an all-time classic amongst progressive and psychedelic music collectors -- even the techno and DJ crowds. The fact that it has done so without hype is a testament to the innate quality of the music. The album is packed with melodic acoustic passages and frenzied fuzz guitar workouts, not to mention acid-trip induced lyrical and musical content. It is, in every way, an extraordinary album, one of rock music's best-kept secrets, on a par with all the other major works that form the rock music canon of the time. A hefty booklet contains extensive musicological analysis by composer and musician Andrew Keeling, which includes illuminating interviews with band members Peter Dunton and Keith Cross, as well as detailed illustrations. Included as a bonus are three tracks from BBC Sessions recorded in October 1970. Licensed from Decca/Universal, UK."


T2: 1971-72 CD (ACLN 1017CD) 15.00
"The rise of power trio T2 was rapid: important open-air festivals; headlining at the Marquee Club; appearances at virtually every major venue in London. Their debut album (It'll All Work Out in Boomland) was released; they seemed poised for a breakthrough. They were playing the Marquee club, with John Lennon and Jimi Hendrix hanging out backstage, which was all to the good. But people were saying, 'we can't find your album anywhere.' In short order, the band fell apart. Still, their sole Decca label album has become well established as an all-time classic amongst progressive and psychedelic music collectors -- even the techno and DJ crowds. The fact that it has done so without hype is a testament to the innate quality of the music. Following the departures of Keith Cross and Bernard Jinks, Peter Dunton put a new version of T2 together; in this manner, T2 toured the UK continuously throughout 1971 and 1972. The UK music scene was changing with great rapidity. T2 recorded a group of great tracks along the lines of what Free, Deep Purple, and Atomic Rooster were doing; but they were also being pressured to compromise their very-personal sound. These musical difficulties (and possibly some contractual troubles) stopped T2's material of that period from being released -- until now. The sound of the band is virtually unchanged from the dense, hard-driving excellence of their previous recordings. It's amazing that a band could produce so much quality music and still be confined to the fringes of UK rock history. Happily, we're in a position to redress the balance a bit by letting a third great sampling of T2's excellence be heard."



BASIC HOUSE: Oats CD (ALT 012CD) 16.50
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. CD version contains 40 minutes of bonus material, re-worked from previous cassette releases. Photography by Traianos Pakioufakis.



PARKER, WILLIAM: Wood Flute Songs: Anthology/Live 2006-2012 8CD BOX (AUM 080CD) 60.00
"An 8CD box set of all previously unissued recordings by world-renowned bassist-composer-bandleader William Parker, a 2013 recipient of the Doris Duke Foundation's Artist Award. Parker is a wonderfully prolific composer, and over half of the compositions will make their debut on record here as well, including CDs six, seven, and eight which feature entirely new work. The deluxe eight CD box contains nine hours of fully lit performances captured in high fidelity, and a 24 page booklet with extensive notes and key images. It is printed in a limited edition of 1500 copies. At the center of Wood Flute Songs is the 13 years long-standing William Parker Quartet, featuring drummer Hamid Drake, alto saxophonist Rob Brown, and trumpeter Lewis Barnes. These four musicians appear on each album, in both core and expanded form together with special guests Billy Bang, Bobby Bradford, James Spaulding, Cooper-Moore, Eri Yamamoto, Leena Conquest, and members of the Association for the Encouragement of Improvised Music (AMR) based in Geneva, Switzerland."


BAM 7005CD

REIKO, IKE: Kokotsu No Sekai CD (BAM 7005CD) 17.00
2013 repress, jewel case edition. Although Ike Reiko was a mere 17 years of age when she recorded 1971's Kokotsu No Sekai, she was already a star in the world of Japanese erotic movies. Despite the tough-gal image, the music is pretty darn life-affirming, so don't think for a second you're getting an easy listening album here -- this is about as sexual as music can get. Throw "French Kiss" out of the window and give a kiss goodbye to your Serge Gainsbourg records, Ike Reiko is more sizzling than a branding iron as it makes its mark on the farmer's herd. The sex is literally dripping from every note on this record -- the style is "Iroke Kayôkyoku" or erotic kayôkyoku (kayôkyoku being a style of Japanese pop) but the sort of naïve jazz and pseudo spy theme movie music is all draped in a shroud of sexual shouts, screams and coos from the clearly excited Reiko. One must assume that she was in some kind of state of euphoria in the recording studio from the evidence on offer here, either that or she's a pretty realistic faker -- it's a smouldering collision, and that's about all that needs to be said. Kokotsu No Sekai has to be one of the finest gifts for the music fan in search of that killer oddity. Digitally remastered.


BEC 5161653

MOORE, DENAI: The Lake EP 12" (BEC 5161653) 14.00
Denai Moore's The Lake EP was recorded in London and Paris with producers Ben Drew (aka Plan B) and Renaud Letang (Feist, Gonzales, Manu Chao). Lead track "The Lake," produced by Drew, has a soulful, melancholic beauty that is profoundly moving, illustrating why Denai's peers are getting so excited about the 19 year-old from East London. Denai Moore's immense talent was obvious from the moment she posted the sparse, haunting "Flaws" online at the end of 2012. Picked up by a host of influential blogs, the track also brought Denai to the attention of Tom Odell, who invited her to support him on his headline tour. Her love of artists like Bon Iver, Feist, and James Blake has led her to write the kind of soul-searching, heart-on-sleeve, disarmingly honest songs that have been known to make grown men cry. Includes free download code.


BW 235CD

BOCHUM WELT: Good Programs (To be Coloured in Yellow) CD (BW 235CD) 15.50
Following 2008's epic and highly-acclaimed R.O.B. Robotic Operating Buddy project, the new album (a concise 30-minute selection) by Bochum Welt Good Programs is a collection of cool, melodic tracks. Mastered at Capitol Studios Hollywood, "Gauloise Scented" starts the album with a suspended and dreamy mood, influenced by Aphex Twin and Air. "Marylebone," a beautiful solo piano track, follows and keeps the listener in a suspended meditative state. "Crescent Heights'" custom-built sounds make the track sound original, definitely recorded using vintage synthesizers and sound manglers. "The Garden (And the Chateau)" is a sentimental tune, which shows Bochum Welt's sensibility for melodies and feelings. Other very emotional tunes follow: "Suddenly Spring" and "Hills on Fire." "Laurel Canyon" is a charming vintage synthesizer-pad composition. Gianluigi Di Costanzo aka Bochum Welt has been releasing music on Aphex Twin's label Rephlex for many years in addition to Sony Music Japan and Universal. Aside from his recording commitments, he has been working for Thomas Dolby's Hollywood-based Headspace and Beatnik Inc.; companies that completed productions for Stephen Spielberg, David Bowie, and many more. Gianluigi has managed musical projects for Vodafone and Nokia and is focusing on music and multimedia for Apple. Endorsed by Moog Music, he also joined Rephlex Records' Australian and European tours and recently opened for Thomas Dolby. The original logo was designed by architect Matteo Thun.



VA: Paink: French Punk Anthems 1975-1982 CD (BORNBAD 055CD) 15.50
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.



TMSV: Theory EP 2x10" (BOXCL 018EP) 19.50
Dutchman Tomas Roels aka TMSV has progressed from relative newcomer to mainstay of the scene, and he is now ready to deliver a more substantial record in the shape of this four-track EP, which is the perfect showcase for the different aspects of his sound. Throughout the whole EP, common sonic threads run through which are the characteristics of TMSV's music -- mystikal vibes, ethnic flavors from Afro and Asian palettes, and deep dub foundations -- from the doom-laden "Crashing" featuring lyrical input from Rinse resident MC Beezy, to the tough-swung dancefloor leanings of "Too Much" and "Explain," via the spacious melodies of Widowmaker collab "Persei." Includes a download voucher for the full digital release.



VA: BPC Vinyl Only Edits 2 12" (BPC 279EP) 12.00
BPitch presents the second volume of tech-house all-stars delivering new edits of their favorite tracks from their most recent digital singles. Kiki's "Sinister 3" leads off as a formidable groover for neverending party nights. Featuring laid-back piano, swishing sounds and tight beats. "The Alphabet" by Skinnerbox and Area Negrot follows in a slick raw acid edit. Hypnotizing, with sounds from the TB-303 and in-your-face vocals. Mr. Statik's contribution works true to the slogan "Bitchin Not Snitchin," and sends out pulsing signals into the strobe light. Finally, "Romantique" by Shinedoe together with Christina Wheeler dramatically closes this EP with an excitingly fresh arrangement and a charismatic arc of suspense.


BB 144LP

TIETCHENS, ASMUS: Litia LP (BB 144LP) 21.00
LP version, on 180 gram vinyl. Released in 1983, the Litia album concluded Asmus Tietchens' études phase and bid a farewell to rhythmic synths -- well, almost. All the signs of "pseudo pop" as heard on Biotop (BB 141CD/LP), Spät-Europa (BB 142CD/LP), and In die Nacht resurfaced: squeaky sounds and protracted, rattling rhythms grouped into abstract forms through their accentuated artificiality. Sporadic noisiness is as much a part of it as is a winking gesture, which should not detract from the basic sobriety of the work, however. Musik aus dem Aroma Club (1998) is Tietchens' first openly-parodic work, not that he had ever lacked humor. Take the plays on words in his titles, with "Unterhaltungsmusik" mutating to "Unterhaltsmusik" ("light" music becomes "livelihood" music) or the appropriation of terminology from respiratory medicine ("Nebulizer" is another word for an atomizer). The banality of everyday life proves itself to be unconquerable: "Auf Elf" ("On Eleven") refers to the fact that the piece is archived on a tape with the number 11 -- nothing more profound than that. What sets Litia apart from its three predecessors is the wider pool of instruments at Tietchens' disposal. For the first time, he had a digital rhythm machine which could play samples; then there was the Korg Polysix synthesizer, a hybrid of analog and digital technology. The polyphonic transition piece could not actually create samples, but could at least simulate the sounds of instruments. As the Korg Polysix and rhythm machine could be synchronized, "a whole new world of sound" beckoned. Günter Körber of Sky Records exited the scene after Litia, as Tietchens turned his attention to "rhythmic-harmonic set pieces." It was not until 1996 that Rattenheu was issued, featuring material which dated back to 1984 and now -- augmented by further tracks from this period -- representing the fifth "Zeitzeichen" album to be reissued by Bureau B.


CT 188CD

HEAVENLY BEAT: Prominence CD (CT 188CD) 13.50
"Prominence is the second full length in as many years from Texas transplant John Pena. It was recorded/mixed in the same apartment (after a failed attempt to mix in a 'real' studio) as last year's Talent, over the first few months of 2013 - that's after shelving a full length's worth of songs for not being sonically or emotionally interesting enough. Using Primitive Radio Gods' 'Standing Outside a Broken Telephone Booth with Money in My Hand' as a sonic touch point John built a new album from the ground up utilizing chopped/sampled drum breaks and, for the first time, some non laptop based keyed instruments(piano, mellotron) along with H.B. main stays classical guitar and steel drums. Live member Christian Barsi and Daniel Schlett of Strange Weather Studio both contributed keys to a few songs but the outcome is still a very solo sounding project."

CT 188LP

HEAVENLY BEAT: Prominence LP (CT 188LP) 16.00
LP version.



WYATT, ROBERT: The End of an Ear LP (CRP 201LP) 35.00
"Featuring significant contributions from his Soft Machine band mate Elton Dean, amongst others, The End of an Ear is one of the more adventurous titles in Robert Wyatt's catalog. It's an album much more in line with the electronic jazz experimentation of Miles Davis, and the avant-garde, than the singer-songwriter material Wyatt would later be known for. Despite being a very serious record, Wyatt's playful nature and sense of humor still shine through. The End of an Ear is an absolutely essential piece of the Canterbury progressive scene and Wyatt's canon, lovingly reissued here on LP by Cherry Red Phonograph."


SHADOWS OF KNIGHT: Shadows of Knight LP (CRP 202LP) 35.00
"Three years gone from their massive hit, 'Gloria,' only one original member remained in the band; lead singer Jim Sohns. Thinking the world wasn't done with him yet, he assembled a band and inked a deal with the hit-makers Jerry Kasenetz and Jeff Katz and cut a record, which produced one final hit for the group in 'Shake' and this self-titled LP. A bit of a hit chasing LP, it's all over the map stylistically, from the expected snotty R&B to psychedelic excursions to hard rock to pop. Although this might sound off-putting at first, the album rewards with later listens as the record has some of the best songs of the Shadows of Knight's brief career. Reissued here on LP by Cherry Red Phonograph."


GILES, GILES AND FRIPP: The Cheerful Insanity Of... LP (CRP 203LP) 35.00
"Originally released in 1968, and selling less than 500 copies according to Robert Fripp's royalty statements, The Cheerful Insanity of Giles, Giles & Fripp is, of course, the pre-cursor to King Crimson. Drawing its influence from folk, pop, classical, and religious music, the album is a masterpiece on par with the greatest records that the British psychedelic and progressive movements had to offer. Reissued on LP by Cherry Red Phonograph."



TARTIT WITH IMHARHAN: Live from the Sahara CD (CLE 006CD) 12.00
The Kel Tamasheq people of the Sahara respect an ancient social order of noble families supported by lesser nobles, craftsmen and former slaves. Noble princes never would pick up a musical instrument -- that was for the craftsman, the griot, the professional bard, or the lesser nobles. But all that has changed during the droughts and rebellions of the past 50 years. The whole social order has been challenged. In the 1970s, electric guitars appeared in the desert. Everything began to change during long periods in refugee camps. What the West has come to know as desert blues, the Kel Tamasheq refer to simply as "musique guitar." Tartit and Imharhan are unique in Kel Tamasheq society because the group is made up of members from all levels of society. All class levels sing, dance and play music alongside each other. They are exceptions to the old rules. They speak directly to social change, not with guns and violence but through Democracy and their own example. The group's name means "union," coming together, creating a new cultural space. Tartit's musical style up-ends traditional norms. Tehardent, the Tamasheq name for the stringed instrument heard throughout many West African countries, is traditionally played only by men. The tinde, a traditional hand-drum, and the imzad, a violin, are both played traditionally by women. They were not played in the same ensembles. Yet, Tartit brings them together to represent a transformation of the very music and culture of the Kel Tamasheq. They represent a union of tradition and culture while embracing the modern. The music of the desert is not static. It has evolved and been influenced by the many cultures who have traveled the caravan routes over millenia. Imharhan incorporates today's influence into their music -- electric guitars and modern sounds. A popular dance band at home, Imharhan speaks directly to today's young Tamashek audience. The group's trajectory forcefully demonstrates the complexity, the relevance, and the force of today's Sahara.



NEW SOUND OF NUMBERS, THE: Invisible Magnetic LP (CLD 020LP) 14.00
"The New Sound of Numbers is an experimental post-punk band based in Athens, GA. It is fronted by Hannah Jones on 12-string electric guitar and features members of Pylon and The Olivia Tremor Control. Their album Invisible Magnetic is the follow up to their debut album Liberty Seeds which was released in 2006 by Cloud Recordings. The new album has a more celebratory feel than the first, and the driving rhythms and layered percussion lend themselves to both a sense of urgency and instant danceability. Violin, clarinet, melodica, synth, and trumpet beautifully interplay throughout the songs, and occasionally take a turn towards musique concrete while also bolstering the upbeat feel of the songs. The rhythms of Invisible Magnetic are even more tribal, with an African influence, than those of Liberty Seeds, whose songs were described by Electrelane's Mia Clarke in a review for Wire Magazine as 'giving a nod to the Slits and Lizzie Mercier Descloux' The New Sound of Numbers can be placed categorically next to fellow Athenians Pylon and the B-52s."



SANO: Sano 2LP (COMEME 004LP) 21.00
Double LP version. 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.



DO MAKE SAY THINK: Do Make Say Think 2LP (CST 005LP) 25.00
"Do Make Say Think self-recorded its self-titled debut album in Toronto in 1996-1997 and self-released the record on CD. It made its way to Constellation's stereo in spring 1998, just as the label was getting off the ground. Constellation re-released the album in more elaborate bespoke CD packaging in 1999 and Do Make Say Think became the label's fifth release. This terrific debut remained one of the very few titles on Constellation that was never issued on vinyl, as the label's limited resources in the early years conspired against a 2xLP pressing at the time. This historical aberration is now being remedied by a lovely deluxe double 180 gram edition of the album, with the CD's unique window-cut artwork and packaging translated to glorious 12" dimensions. One of the first groups to define the newly genre-blending aesthetics and collective/collaborative ethics of (post) rock experimentation in the Toronto scene, Do Make Say Think has released a superb, dynamic and continually inventive series of instrumental rock albums since their auspicious debut."


PERRI, SANDRO: Spaced Out 12" (CST 101EP) 11.00
"The final set of remixes from Perri's critically acclaimed Impossible Spaces album, following previous EPs on DFA and Phonica. Featuring remixes by Larry Gus (DFA, Lefse), Le Révélateur (Root Strata), and Imugem Orihasam (FRAGIL). While Sandro Perri's acclaimed and meticulously constructed album Impossible Spaces was a decidedly avant-rock affair conjured from guitar, bass, drums, synth and voice (with flourishes of woodwinds and brass), longtime fans of Perri will also be familiar with his deep roots in electronic music, chiefly via his Polmo Polpo project from the early 2000s."



TOBAR, RICARDO: Treillis CD (DESIRE 095CD) 15.50
Ricardo Tobar releases his long-awaited debut album Treillis on established French label Desire (Ike Yard, Monoton, Live Skull, Keluar, Deathday, Egyptology). Inspired by mysticism and noise, Ricardo uses old drum machines, analog equipment and also samples he's been storing away for years to create dirty-sounding drums and modulated synth sounds, keeping far away from the more expected and polished sounds most artists are using. In a way, his music develops the punk side of electronic music. His other inspiration on Treillis is definitely esotericism, in the way that music can profoundly touch you and transport you to another dimension. Inspired by the deepness of electronic music, his music is very intuitive, the same way Nirvana, Sonic Youth, or My Bloody Valentine were with guitars. Ricardo Tobar was born in a city called Viña Del Mar in Chile nearly 30 years ago. After two acclaimed 12"s on Border Community, James Holden's label (the beautiful El Sunset in 2007 and Boy Love Girl in 2008) followed two EPs on Traum Schallplatten (With You in 2008 and Mi Pieza Esta Llena De Cosas in 2009). In 2012 he unleashed one EP on In Paradisum (French underground label run by Mondkopf), the more experimental and highly addictive Esoteric.



DONOSO, RICARDO: As Iron Sharpens Iron 12" (DIGI 061LP) 16.50
The first part in a two-part 12" treatise that together will be entitled As Iron Sharpens Iron, One Verse Sharpens Another. Over the past five years, Ricardo Donoso has sharpened his vision and craft into a diamond point. Opener "Affirmation" references Assimilating the Shadow (DIGI 046CD/LP) while still pulling the listener deeper into the darkened pyramid that Iron/Verse occupies. Bleeding into "The Sphinx," the focus is further dialed in. As the geometry that's graced the covers of each album has become more acute, so has the music contained therein. "Diagonal Environment" features a relentless pummeling of heady bass sequences and subtle leads while the "The Old Straight Track" mixes elements of blackened dub and burnt-out goa into something new and addictive.



VA: Goodbye, Babylon 6CD BOX (DTD 001CD) 98.00
Restocked, on the 10th anniversary of its original release from 2003. Debut release on this label, an incredible package of early gospel music, in a deluxe handcrafted wooden box (designed by Susan Archie, who was previously responsible for the Grammy-winning Charley Patton boxset on Revenant). 5 CDs featuring 135 songs (1902-1960), 1 CD featuring 25 sermons (1926-1941). Notes and essays by musicologists and scholars. Contributors include Lynn Abbott, David Evans, Ray Funk, Anthony Heilbut, Kip Lornell, Luigi Monge, Paul Oliver, Opal Louis Nations, Bruce Nemerov, Guido van Rijn, Ken Romanowski, Tony Russell, Doug Seroff, Dick Spottswood, Warren Steel, David Tibet, Gayle Dean Wardlow, and Charles Wolfe. 200 page book with Bible verses, complete lyric transcriptions, and notes for each recording, plus over 200 illustrations. Reverently packed in raw cotton and housed in a deluxe 8" x 11" x 2.5" cedar box. "If you're not sure where you'll stand on judgement morning, we have five CDs of guitar evangelists, holiness string bands, jubilee gospel quartets, sacred harp choirs and sanctified jug music to rock your soul plus one CD of shouting sisters and powerful preachers to deliver the message about your starry crown." According to Greil Marcus: "The best country-religious music collection I have ever heard."



GOODIEPAL: Red Man K's Bedrifter - Goodiepal Live, Chapel Hill 2002 2LP (EMEGO 179LP) 27.50
In 2001, Peter Rehberg (then of Mego) asked Parl Kristian Bjørn Vester aka Goodiepal if he would be interested in doing something for the label. Despite meeting on numerous occasions at various events and happenings around Europe, nothing was delivered. One hot August day in 2013, a large package arrived containing lacquers for a double vinyl LP. Here it was: the Goodiepal Mego album delivered as lacquers and not a WeTransfer link. The lacquers were sent to plant and made into test-pressings, which revealed three long sides of audio from a concert in Chapel Hill, NC in 2002. Not exactly 11 years in the making but more like 11 years in the waiting. The fourth side is made up of a letter to Peter Rehberg etched onto the vinyl explaining, amongst other things, "the longer a message has to travel over time the more importance you can add to it." With this in mind, this release has no digital footprint and is made available only as a physical vinyl LP in a gatefold cover. PLEASE NOTE: In the long journey to get this music to you the lacquers got knocked about a bit. This means there will be some surface noise and/or pops and clicks!



A SAGITTARIUN: Dream Ritual 2LP (EDREAMS 001LP) 23.00
Double LP version. The shadowy UK techno artist A Sagittariun releases his debut album. Dream Ritual comes off the back of a steady stream of well-received EPs from The Archer on his own Elastic Dreams label, releases that have captured the imaginations of the electronic community for their depth and diversity, where old techno breaks collide with Detroit techno aesthetics, ambient dub sits alongside industrially-charged electro, and many more sound palettes in between. Dream Ritual is a journey through moods and tempos, each track sprinkled with a stargazing quality. Opening track "Sundial" sets the tone, the percussive elements teasing in and out of a melodious, thick analog cloud. "Crystallization" sees A Sagittariun collaborate with veteran guitarist Skip McDonald (Sugarhill Gang/Tackhead/On-U Sound), whose guitar licks have graced Sugarhill classics like "The Message" and "White Lines," as well as working with the likes of James Brown, Afrika Bambaataa, George Clinton, and more. The sprawling, dub-tinged piece evokes shades of Boards Of Canada, spacey guitar licks meet downtown with A Sagittariun's take on ambient dub. The album weaves its way through a heady mix of sounds, be it the old skool breakbeats of "Conquering Lions" and "A Lucid Dream," the driving classic techno sounds of "V4641 Sgr," "The South Node," and "Network Restoration," industrial slabs of dub funk and concentrated jazzy electronica. Dream Ritual represents the versatility of A Sagittariun, and presents a collection of music for the listening experience as opposed to a dancefloor record, hopefully following the lineage of some of the classic techno and electronic albums that have paved the way and most definitely influenced A Sagittariun on this record.



MOORYC: Roofs CD (FREUDE 010CD) 17.00
With the EP All Those Moments, Maurycy Zimmermann alias Mooryc has fascinated both critics and fans alike. Gentle electronica meets up with melancholy and his voice reconciles relentless straight tact with quixotic ballads. Unforgettably, he made his mark on a bittersweet song on KRL, the strong first album by Douglas Greed. From that arose their collaborative project Eating Snow, and in the words of Douglas Greed "a bipolar friendship" and the wonderfully beautiful downtempo track "Siamese Twins by Choice" that appeared on BPitch Control. There was also Dapayk, who recognized Mooryc's qualities and released the limited 10" Simply on his Fenou label. And now there is Roofs, the debut from Mooryc. It is an organic continuation of his work heretofore, that unites everything from then and takes it one step further. Mooryc experiments strongly with new rhythms, explores new tone worlds and adapts them carefully for his own dancefloor ideal -- both imaginary and in reality. On all ten titles from Roofs, it is abundantly clear who is behind the haunting signature, and that is Mooryc. With his voice he moves constantly between painful despondency, courageous expectation and a muscular courage. This album doesn't merely satisfy expectations -- it is a gift for all the finely-tuned ears of the world.


FUNK45 039EP

BAINES, ROBERT: Let's Start/Pirana 7" (FUNK45 039EP) 8.00
Previously known only as a one-off acetate that fetched a four-figure sum at auction, Funk45 is proud to present both sides of this unique funk monster rarity in its entirety, and in the 7" format as originally intended. Robert Baines cut this acetate during his one and only recording session at Mastertone Studios in New York in 1970. Side A showcases his vocals while Side B is punctuated by a fiery Hammond. It's a travesty that this heavy funk bomb has remained unissued and unheard for so long -- until now.



AZARI & III: Body Language 13 CD (GPM 073CD) 17.00
Azari & III make their Get Physical label debut in the best way possible: compiling and mixing the latest edition of the highly-regarded taste-maker series, Body Language. Vol. 13 features two mixes, one from Dinamo Azari and the other from Alixander III. Together the two produce a techno-driven soundscape that shows a different side of Azari & III and a fresh sound on Get Physical. Hailing from Toronto, Azari & III have been plugging away independently for many years. It was in 2008 that they came together and officially formed the act we know today. One year later, their first single, "Hungry for the Power" struck a chord with dance patrons everywhere. They would follow up with "Reckless (With Your Love)" to confirm the hype, drawing even more attention to their unique sound and throwing the Canadian quartet under the spotlight and into the international tour circuit where they would set the stage for their debut album. First up is Dinamo with his mix that is, in his own words, "Too hard for the day, too soft for the night." The intro sets a thick ambience for the mix while gliding gracefully into the first track. Featuring two new, exclusive tracks from Dinamo himself, the mix spans over 38 minutes and utilizes pre-teen mixes and arranging methods to create a modern day mix tape with a new wave approach. Alixander III says: "My mix was born from memories of cassette mix tapes from my early '90s industrial/rave days. I'd get copies of mixes recorded from the radio in Detroit where cousins were going to school. These mixes featured classic Chicago and Detroit techno from the '80s, current jams from the day and also some genre-bending inclusions tossed in, stuff by Depeche Mode, Cabaret Voltaire, and I'll never forgot the first time I heard Cocteau Twins' 'Cherry Colored Funk.' With my side of the Body Language mix, I tried to recapture the flow and freedom of those seminal mixes, deep, dark technoid excursions punctuated by the occasional moment of cathartic departure." Artists include: Shed, Locked Groove, Locussolus, Streetwalker, Barnt, Daphni, Acid Jesus, Tommy Four Seven, Robert Hood, Perspects, Moir, Samo DJ, Acid Junkies, Jahiliyya Fields, Blood Diamond (feat. Grimes), Origami Suicide, Teste, Electric Mistress, Planetary Assault Systems, Gazelle Twin, Plastikman, Scuba, Hugues St. Amour, and Gazelle Twin.



ACDA, CHANTAL: Let Your Hands Be My Guide CD (GZH 046CD) 17.00
Currently based in Belgium, Chantal Acda (b. 1978) has worked under the Sleepingdog moniker since 2006, making three acclaimed albums that closed on the With Our Heads in the Clouds and Our Hearts in the Fields (2010) album for which she collaborated with Adam Wiltzie (Stars Of The Lid, A Winged Victory For The Sullen). They toured the UK and Benelux with Low in 2011. After all this, it was time for her first real solo record. Playing in various formations had made her conscious of the patterns that we all, as humans, share in. So, she sought out kindred spirits with whom she might record an album filled with freedom and intensity, and who were conscious of the patterns we so often fall back on. Nils Frahm was the first of these to cross her path. The inventive German pianist and producer is an intense and adventurous performer and was a perfect match for this project. Acda also experienced a direct bond with Peter Broderick, a multi-instrumentalist known from his solo work (on labels such as Bella Union and Erased Tapes) and from his work with, among others, Efterklang. Cellist extraordinaire Gyda Valtysdottir from Icelandic group múm had previously worked with Chantal as a member of the Sleepingdog live band. And lastly, Shahzad Ismaily stumbled into this picture by chance, but when Acda and he found themselves in the same room, they formed an instant rapport. The circle completed, Acda had found the four worlds that would enable her to record the album in full freedom. Power revealed through vulnerability. Nils Frahm, who plays throughout the record, also took on the role of producer. What began as a journey ended as this wonderful record -- one wherein the five musicians were able to find their place and, together, and with great warmth, tell their nine-song story.



LUCKY STRIKES, THE: The Exile and the Sea CD (HSR 002CD) 15.50
The Lucky Strikes formed in 2006 in Southend-on-Sea, Essex. The Exile and the Sea is their fourth album release and explores the folk tales and oral traditions, both historical and in the more recent past, of their hometown. Songs explore the burning down of Southend pier to tales of shady characters who used to drink in their local pub. The band has formerly garnered praise from national and international press including Q Magazine who referred to them as "The Waterboys on trucker pills" and the Irish Times who described their music as "muscular Americana and rustic if somewhat wired folk." The Lucky Strikes receive regular national radio plays on BBC 6 Music (Chris Hawkins and Gideon Coe). The group's previous music has been featured on a variety of major TV shows including Life, Would I Lie to You? and Harbour Lights. The album is being released on new label Harbour Song Records, which is based on the Thames Delta in Essex.


MCSWEENEY, NEIL: Cargo CD (HSR 004CD) 15.50
This is the third solo album release from Neil McSweeney following Remember to Smile (2006) and Shoreline (2009). Neil has also released singles though London-based Kids Records and earlier in 2013 he released The Seventeen EP through his own January Records label. This album features a range of musicians, including BBC Folk award-winners Sam Sweeney (Bellowhead) and Lucy Farrell, label-mate Matt Boulter, as well as double-bass master and ace producer Andy Seward (Kate Rusby, Phil Selway of Radiohead). McSweeney has garnered previously good reviews for his work, including four-star reviews in The Guardian and Q Magazine as well as recent praise for The Seventeen EP from online magazines such as Fatea. His songs have been featured on mainstream and specialist BBC Radio across Radio 1, Radio 2 and Radio 6 Music.



ABSTRAXION: Moon 12" (HAKT 007EP) 14.00
French DJ/producer and Biologic Records founder Harold Boué aka Abstraxion delivers his Moon EP with tracks from his Break of Lights album, complete with remix duties by Factory Floor, Death In Vegas, and PVT. "Moon" is a captivating, celestial gem, ripe with flickering, twinkling synths. Factory Floor quicken and intensify the single's pulse while exuding a raw sense of urgency, resulting in a dancefloor banger. Death In Vegas offers a slowed-down, dusky take, transforming the original into a moody, subdued after-hours gem. PVT's dynamic, bubbling bass line and amplified, stuttered synths make for an irresistible closing remix.



MORELLI, RON: Spit CD (HOS 407CD) 16.50
There's so much that could be said about Ron Morelli, his L.I.E.S. label, or the fact that his debut album comes to you via Hospital Productions, but instead, here are some words from the man himself. "I'm a regular guy, enjoy a good steak, drinking beer, and occasionally a game of pro basketball, Republican talk radio... you know... all the good stuff. The music on this record is about immediacy, pressure, monotony, and stress. A great deal of the feelings conveyed within come from the fear and repulsion of basic human interaction, like if someone sitting behind you on the plane sneezes on you or being forced to shake the clammy hand of a stranger and the intimate paranoia of the mind and dealing with it or not. Not to make some deep intellectual fuck show of this, as it is not, it's just stress music jammed out quick and recorded. Last year, I was staying in an area where all the hookers did their work. All they would do is smoke cigarettes, read the paper, talk on their cell phones, and spit. They would spit a lot. I would step in that hooker spit on the way home, often tracking it into the apartment building as I entered. This is where the title of the record comes from." The album features eight electronic variants; from house and industrial tape experiments to saturated metallic beat tracks. Mastered and cut by Matt Colton at Alchemy.


MORELLI, RON: Spit LP (HOS 407LP) 22.00
LP version.



HUNTSVILLE: Past Increasing, Future Receding CD (HUBRO 2521CD) 17.00
The distinctive trio Huntsville continues to impress on their fourth album, Past Increasing, Future Receding. This is clearly the group's most atmospheric and monumental release so far. The excursion into an ever-darker landscape that began with the critically-acclaimed LP For Flowers, Cars and Merry Wars (HUBRO 2505LP) continues here. Past Increasing, Future Receding was recorded in Emanuel Vigeland's Mausoleum at Slemdal in Oslo, a dimly-lit, almost entirely dark barrel-vaulted room completely covered with frescos painted by Emanuel Vigeland (1875-1948). The artist himself erected the building in 1926, with a view to housing his sculptures and paintings there in the future. He later decided that the museum would also serve as his burial chamber. All the windows were bricked up, and his ashes were meant to rest in an urn above the door. Inspired by Italian influences, he named his building Tomba Emmanuelle. The impression made by the dimly-lit frescos, portraying hundreds of naked figures, is heightened by exceptional acoustic properties and a long-lasting echo. This unique room has gradually become a popular concert and recording venue for artists such as Stian Westerhus, Susanne Sundfør, Diamanda Galas and Nils Økland. Even the most tentative sound evokes an enormous acoustic response in the Mausoleum. For the members of Huntsville, the overwhelming acoustics of the room became a sort of fourth member of the band while they were recording this new album. The music feels more hypnotic and visually evocative than on earlier albums, and demands the full attention of the listener. The album was the result of three intense working days with sound technician Thomas Hukkelberg. This time, too, the band mixed the album at Propeller Studio together with Kåre Chr Vestrheim (Motorpsycho, Jaga Jazzist).



"Alessandro Cortini's second release in his Forse trilogy is full of thick analog brightness and deep analog warmpth. Despite also being fully composed on a Buchla Music Easel, the feeling of Forse 2 is quite different from Forse 1 and this deluxe double vinyl release is the ultimate way to experience this engaging work. Pressed in an edition of 500. 'All pieces were written and performed live on a Buchla Music Easel, in the span of one month. I found that the limited array of modules that the instrument offers sparked my creativity. Most pieces consist of a repeating chord progression, where the real change happens at a spectral/dynamic level, as opposed to the harmonic/chordal one. I believe that the former are just as effective as the latter, in the sense that the sonic presentation (distortion, filtering, wave shaping, etc) are just as expressive as a chord change or chord type, and often reinforce said chord progressions. Of all the years with Nine Inch Nails the period spent writing and recording the instrumental record Ghosts I-IV is probably the one which changed my approach to music making the most. After that record I started getting more into instrumental composition, although I tried to approach it in a different way. While we had a vast array of tools and instruments at our disposal then, I decided to approach my pieces limiting myself to one instrument only, as I found myself being more decisive when faced with a limited creative environment.'"


NOVELLER: No Dreams CD (IMPREC 389CD) 14.00
"Sarah Lipstate is Noveller and No Dreams, her sixth full-length release, welcomes in an era of expanded instrumentation for the Brooklyn-based guitarist and composer. Acclaimed for her previous guitar-only albums, Lipstate tightens her grasp on 'An Orchestra of One' while boldly exploring the sonic possibilities of supplementing her signature lush, loop-based guitar soundscapes with textural washes of synth, haunting piano, and pulsing throbs of electronic beats. Aided by her experiences collaborating with renowned film-composer Nathan Larson on original music for several feature film scores, Lipstate expertly blends these new elements with her guitar finally realizing the richness and density that her previous guitar-based albums reached for while still undeniably sounding like Noveller."



TRENTEMOLLER: Lost (Instrumental Version) 2LP (IMR 015LP) 22.00
An instrumental vinyl version of Lost, the new Trentemøller album -- for those who want to explore the sound of Lost even further. This 2LP instrumental version comes in a black (instead of white sleeve) with white (instead of black) vinyl. Includes an MP3 download code.


JBJ 1049EP

GIBSON, STEVE: Big Game Hunter/Why Don't You Love Me 7" (JBJ 1049EP) 11.00
Risque R&B from the well-traveled bandleader Steve Gibson. Over a catchy but minimal, syncopated and snappy drum, bass and guitar and piano backing, the baritone vocal runs through various double entendres with a hunting theme as backing vocal group the Red Caps egg him along. He's a big game hunter, with a big game hunter's gun. You get the picture. And if not, Gibson's wife Damita Jo LeBlanc joins the party as the song fades, "Great Big ol' game hunter" she purrs. Just how did they get away with this kind of thing back in '53?!?


VA: Jukebox Jam Volume 2 CD (JMAN 062CD) 17.00
The original Jukebox Jam!: Blues & Rhythm Revue (JMAN 045CD) compilation album was released in 2011, a collection which brought together the dynamic and varied R&B sounds of Liam Large's London-based club night and reissue label. With an action-packed, all-killer set, it quickly became an instant classic, a comp of vintage sounds which truly stood out in an ever-saturated market. Two years on, and we are proud to unleash the second volume of Jukebox Jam, another collection of 23 obscure masterpieces from mid-century America. Perhaps even more ambitious than the first volume, the follow-up broadens the scope of investigation by digging both deeper back into the 1940s, with a couple of jazzy blues numbers, and further into the 1960s, with gritty rock and roll and early Detroit soul both featuring prominently. In between these sounds, there's of course a healthy fill of dirty '50s blues, jumping R&B and swinging popcorn, but it's safe to say that on this set, the surprises come a little more frequently. Jukebox Jam Volume 2 is another essential classic in waiting. CD includes a 16-page full-color booklet with extensive liner notes and artist pics.


K 242CD

NEO BOYS: Sooner or Later 2CD (K 242CD) 16.00
"In Portland, OR, in 1978, a radical form of artistic expression some refer to as 'punk' or 'new wave' was beginning to take shape, and at the heart of this legendary movement was the powerful all-girl punk group the Neo Boys. Though they were an active band for just five years (1978-82), teenage sisters Kt (bass) and Kim Kincaid (vocals), Pat Baum (drums) and guitarists Jennifer Labianco and Megan Hengtes forged a place for women in the growing punk rock scene, and redefined gender roles in the '80s movement of rock and roll. They regularly shared bills with The Wipers, opened for Nico, and played their first show with Television. Calvin Johnson has been working with the band members to track down the missing tapes of their recordings through a rabbit hole of Northwest basements and closets, and after twenty years of effort, the result is Sooner or Later."



KOHNCKE, JUSTUS: Justus Kohncke & The Wonderful Frequency Band CD (KOMP 112CD) 15.50
Justus Köhncke & The Wonderful Frequency Band -- his first major release in five years after Safe and Sound (KOMP 063CD) -- is Justus Köhncke & The Wonderful Frequency Band's long-awaited return to the full-length format: neatly coinciding with Kompakt's exuberant 20th anniversary activities, the leftfield house virtuoso, former Whirlpool Productions member (see From: Disco To: Disco) and producer of seminal cuts such as "Was Ist Musik," "2 After 909," and "Timecode," hits the floors with an entirely new set of future classics, remedying desolate crowds in dire need of a party to remember. A format the artist evidently feels most comfortable with, albums prove especially well-suited for the quirky detours and iconoclast tropes that one-man-band Justus Köhncke & The Wonderful Frequency Band likes to weave into his disco narrative. It's with Justus Köhncke & The Wonderful Frequency Band, however, that Kompakt's leading dance music troubadour might just have trumped himself: over the course of 10 lushly twinkling tracks, he plots a perfect party scenario full of bright starbursts and crisp optimism. "Hello, come on in," says a voice at the beginning of opener "Flitter Und Tand" (trans. "Frippery and Kitsch"), and it happens to be accompanied by one of the slickest bass lines to ever come out of Justus' studio, making this an offer you simply can't refuse. Once inside, you'll find the party in full swing with the opener's bleepy boogie ingenuity giving way to the sensual thrust of disco bait "Tell Me" (featuring Whirpool Productions buddy Eric D. Clark), the introspective vocal cut "Das Selbstgespräch" (trans. "The Soliloquy") and sparkling house manifesto "New Direction." Emotional (and numerical) centerpiece is "Wonderful Frequency Band," a love-struck tribute to Burt Bacharach and the golden age of songwriting. This immensely infatuating pop operetta, a collaboration with Mouse On Mars' Andi Toma, finds Justus Köhncke & The Wonderful Frequency Band's composing prowess peaking yet again, a veritable paradigm shift in the album's dramaturgy that allows for successor "Idee, Prozess, Ergebnis" (trans. "Idea, Process, Result") to break into a different gallop and boost its lyrical dancefloor musings with fusionist techno. A stroke of utter club genius comes in the form of uptempo acid ballad "Loop," that bolsters its hopelessly romantic vocals with raw Chicago beats and an achingly beautiful melody. Hot on the heels of love, it's another massive showstopper before the album's final triptych is introduced with sonic trompe-l'oeil "Unaufmerksamkeitsblindheit" (trans. "Inattentional Blindness"), an uncanny cross-breed from the master of interspecific hybridization. Manic banger "Nucleus Accumbens" -- also a region in the human brain that plays an important role in reward, pleasure, addiction and impulsivity -- torches the last car of the night, followed by vocoder aria "Now That I Found You," the cover of a cover (the original inspiration being Nashville country star Allison Krauss covering Northern Soul legends The Foundations) and an appropriately dreamy conclusion to a genre-bending record full of magic and wonder.



VA: I Am the Center: Private Issue New Age in America, 1950-1990 3LP BOX (LITA 107LP) 42.00
"Triple LP version housed in slip case with three tip-on jackets, 20-page book, and download card. Notes by Douglas McGowan featuring interviews with artists and includes rare archive photos. Vinyl cut by John Golden. Pressed at RTI. Remastered from original sources at 24 bit/96 kHz. 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."



ODYSSEY: Setting Forth 2CD (LION 601CD) 17.00
"Once upon a time, when the music business was more music than business (but only just), there was a lean, mean, and super tight band who created a quintessential dose of New York sixties psychedelia: one perfect album, loaded with heavy swirling organ, ferocious fuzz guitar, and powerhouse vocals. That band was Odyssey. Their album, Setting Forth, did not take them from support slots in their native Long Island to the major label heights of other local bands like Vanilla Fudge. But it is that same Odyssey Setting Forth album that is one of the greatest guitar-heavy psych records in the world, and as a result one of the most sought after (and expensive) psychedelic rarities ever pressed on wax. Now it has been painstakingly remastered, repackaged for this 2CD deluxe edition, ready for true psych fans to devour. This is truly one of the pinnacles of underground psychedelic music, recorded in 1969, released in an edition of fewer than 100 copies, and impossible to find as it only came in a plain white cardboard sleeve; an incredible, musically accomplished, hard rocking album of originals that jumps right out of the speakers and grabs you, from it's opening 'In-A-Gadda-Da-Vida'-esque riffs right to the grooving end. The 24-page booklet that accompanies this two-disc set has the complete band history by Odyssey leader Vinny Kusy, as well as rare photos from his own archive. Bonus tracks on disc one are three 'basement recordings' from the Setting Forth era. The second disc contains Odyssey Live at Levittown Memorial Auditorium: 1974, a live recording that was never really meant to be, recorded by Odyssey's sound engineer on a portable cassette recorder. It is the only document of Odyssey in their progressive rock phase, just before sometime Odyssey keyboardist Tom Doncourt and band-member Fred Callan recorded their legendary Cathedral Stained Glass Stories album."


SKORNIK, GUY: Pour Pauwels CD (LION 676CD) 15.00
"Between 1970 and 1973, EMI/Pathé released several ambitious and progressive pop albums: La Mort D'Orion (Gérard Manset), Puzzle (Michel Berger), Hathor (Igor Wakévitch), and Pour Pauwels by Guy Skornik. Skornik was a mystic explorer, psychonaut, and gifted musician who was immersed in the metaphysical revolutions of his time. He presented television reports on LSD experiences laced with elements of Eastern mysticism. And then there was Skornik's album, Pour Pauwels, inspired by the revolutionary writings of Louis Pauwells, one-time counterculture hero and disciple of esoteric spiritualist G. I. Gurdjieff."



TINDERSTICKS: Across Six Leap Years CD (LUCKYDOG 015CD) 15.50
2013 is a landmark year for Tindersticks, who turn 21. In this time they have recorded nine studio albums, composed music for films, museums, fashion shows and installations, have toured the world, played with various orchestras, collaborated with many great singers and musicians, lost their desire, split up, rearranged, reformed, re-kindled their musical passion and in 2012 made what they, and many critics consider to be one of their finest albums, The Something Rain. Tindersticks wanted to mark this special anniversary year in some way, to connect this history with what they have become. After much discussion, they entered the legendary Studio 2 at Abbey Road and between the 6th and 9th of April 2013 recorded Across Six Leap Years, their 10th studio album; 10 new versions of songs from throughout their history. Across the years some songs were "lost along the way." For one reason or another, they never became how they were imagined to be in their recorded form, until now. Across Six Leap Years brings together these previously-unrealized tracks as part-celebration, part-reinvention. "Recording these songs again was not so much about righting past mistakes or inadequacies, but more about the power of now. It's something that's been growing since the film shows, something that made us recognize how we feel now, and connecting that to our past feels important. Walking up to Abbey Road, it could easily have overcome us. But it had nothing to do with its past. We weren't there to take photos on the crossing. I didn't think about playing the 'Lady Madonna' piano. I'd like to say it was just another studio, but sadly, that's not true anymore. It's one of the only studios of its kind left. And it wasn't about our past either. These songs feel like cover versions. Someone else's music we feel we had something new to bring to." --David Boulter, 2013


MT 024CD

GRASS HOUSE: A Sun Full and Drowning CD (MT 024CD) 15.50
A Sun Full and Drowning is the stunning debut album from London four-piece Grass House. The album was recorded at Monnow Valley Studios in Wales with producer Jim Anderson -- best known for his work with Cold Specks, The Twilight Sad, and 2:54. Featuring 10 tracks, the album includes new versions of the band's critically-acclaimed and sold-out singles "Spinning as We Turn" and "And Now for the Wild," plus their current single "I Was a Streetlight." With a sonic interest in the sound explorations of Brian Eno, and the more freaked-out Velvet Underground jams, as well as more contemporary influences such as The Walkmen, Crystal Stilts, Deerhunter, and Ducktails, yet through an unerring wish to create something progressive, the band have developed these influences into something unique and captivating. Taking inspiration from a wide breadth of places; including art, nature, society and the boundaries that cross between each, their self-titled brand of outsider pop refers back in part to the somewhat untrained outsider artists, who, working from their own tenets, were able to create something much more personal. The Grass House line-up of Liam Palmer (vocals), Steven Dove (guitar), Ross Hall (drums), and Nicholas Jones (guitar) recently played successful shows at East End Live, Green Man Festival, and were invited by Radio 1's Huw Stephens to play The Social in London. The band is now set to perform at The Lexington, London for the launch of their single "I Was a Streetlight" with more dates set to be announced in the very near future.



HAPPY JAWBONE FAMILY BAND: Happy Jawbone Family Band LP (MEX 150LP) 21.00
"Freewheeling Brattleboro, VT rock/folk wonderments the Happy Jawbone Family Band bring their latest full-length to Mexican Summer. What they've entrusted us to give to you represents their finest and most directly fulfilling effort to date. The energy and humor of early releases remains; that band you may have loved before has grown even stronger and more potent, its songs now monuments to individualism, to longing, to happier endings resulting from imperfect circumstances. Binding folk, indie rock and pop forms together is easy enough; it's what this band does with them, how it builds its sentiments and bursts preconceptions, that put them in a place where these musicians can rest, comfortably above and apart from almost every band working in this same terrain today. We're hearing the trippiest moments of the Beatles, Lindsey Buckingham at the peaks he reached on Tusk, and both poles of American post-punk songwriting royalty, Camper Van Beethoven at one end and Thinking Fellers Union Local 282 at the other."


FRESH & ONLYS, THE: Soothsayer 12" (MEX 170EP) 16.50
"San Francisco's Fresh & Onlys are back, following up 2012's stunning Long Slow Dance with Soothsayer, a special digital and 12" vinyl installment release. Featuring six brand new tracks that are heavy on the pop-side, the Onlys reconfirm their effortless songwriting panache and renowned stylistic flexibility - shifting from driving, anthemic choruses to down-home folk with absolute comfort and ease. From the opening title-track, with its jaunty bridge and studied '60s pop sensibility, it's clear that the band are still masters of the (deceptively) simple melody. 'God of Suez' is a swaying, beach-ready boogie, with a charming Mamas & Papas guitar lick, whilst 'Forest Down Annie's' slow, reverent pace and psychedelic guitar flourishes harken back to the group's gloomier earlier releases. Closer 'Deluge of War' boasts a soaring, harmonic chorus - finishing up Soothsayer on a high. 'Strong,' 'solid,' and 'dependable' might not be the most buzz-worthy words in the current musical zeitgeist, but in an age where so many bands are masking songs with muddied production and studio trickery, it's refreshing to hear some truly great songwriting and musicianship shine through."



SALOMAN, GABRIEL: Soldier's Requiem LP (MIA 026LP) 18.00
LP version with download code. Gabriel Saloman furthers his dive into the dynamics of sound and delivers four pieces of intense yet restrained requiems set to piano, guitar, and drums with Soldier's Requiem, his follow-up to last year's highly-emotive record Adhere. Although touching on his past in Yellow Swans (with Pete Swanson), Saloman continues to explore the noises within rather than the purely physical component of his former collaborator. That's not saying this is lighthearted material. Quite the contrary. This is an album that needs to be experienced on proper volume for potential heart-stopping effect. Sounding as if you may be the last person left on earth, Soldier's Requiem guides you through rain-filled open spaces, epic showdowns and abandoned cities. The debris is floating and in the shadow lurks a guitar-picking Vincent Gallo. Meanwhile, there seems to be marching bands closing in on all fronts while a punk band playing Tim Hecker tracks can be heard from the horizon. Soldier's Requiem confirms Saloman as a man able to further his own musicality while regaining the key elements to his recipe. This is music for modern decay and melancholy.



TRONICS: What's The Hubub Bub CD (MLADYS 009CD) 14.00
"What's The Hubub Bub originally appeared in 1980/1981, and was so far ahead in its approach to songwriting, performance, recording, and presentation that we're just now catching up. Issued at the height of the British post-punk renaissance, on cassette only, it presaged the DIY underground movement in this country by several years, and until now, has been more rumored than heard. Recorded mostly live to cassette, the album has an astonishing breadth, taking in and transmuting savage rock'n' roll, tender ballads, tape experiments, and in the case of 'The Shark Fucks', bona fide anthems. Ziro Baby (now known to comrades as Zarjaz Baby and fronting the incredible group FREAKAPUSS) and his songs have held sway with hundreds of the underground cognoscenti for decades now, cassettes of Tronics albums being passed around like secret handshakes. It remains a singular example of true self-expression, whilst at the same time rocking harder than (fill in almost any band's name here)."


TRONICS: Say! What Is This? CD (MLADYS 010CD) 14.00
"Say! What Is This? is a collection of early, previously unreleased and rare Tronics recordings from between 1978 and 1983. Tronics, led by Ziro Baby, who issued records between 1979 and 1983 are a musical rarity as things go. The releases brought Tronics and Ziro Baby, then and since, great acclaim being noted in the music press as 'a swamp God'(1), 'the essence of Rock n Roll'(2), 'arguably, a pre-cursor for English Post Punk and Indie music'(3) and being credited for issuing the first independent cassette album in 1980 that started the cassette music boom that continues today(4). Despite the successes of the Tronics releases, being continually highly sought after and loved by so many, Tronics and Zarjaz Baby -- the name that Ziro works under today with his group Freakapuss -- remain rare, mysterious and enigmatic underground phenomena. Perhaps it was with this in mind that brought Brett Lyman, co-owner of M'lady's Records, to remark that the recordings on this album were like finding a hidden room in the back of Tutankhamen's tomb."



SUPER FLU: Halle Saale CD (MONA 020CD) 17.00
Feliks Thielemann and Mathias Schwarz are Super Flu. Welcome to a world where crispy-baked bass drums give the keynote, where Momratzn twitch to tweaking hi-hats and speech bubbles wave engaging basses at you. Do you falter at making a tough decision? Super Flu recommends garlic bread rolls and six-minute-boiled eggs. Is your equipment rubbish? Trust your intuition, tickle the max out of the old stuff and squeeze inspiration out of everything you can lay your hands on. Are you lacking ideas? Take your cockatoo's advice: go on vacation and have some beer. Try (you know, doing something you'd never do otherwise). Listen to jazz. Tinker whatever comes to your mind using funny snack bar names, exotic instruments and kid's toys. Now with your best mate and at least one mutual favorite bakery, lots of Herzblut and a great Traum behind, nothing can harm you anymore.



ALOA INPUT: Anysome CD (MORR 125CD) 15.50
This is the debut full-length album from Aloa Input -- Cico Beck (aka Joasihno), Marcus Grassl (formerly part of Missent To Denmark) and Florian Kreier (aka Angela Aux) Anysome essentially resembles a huge map that covers most of the musical worlds and sonic landscapes we know. Drawing from a long list of influences all three members agree upon (e.g. Animal Collective, Eno, Beck, The Beatles, Morricone, Can, The Notwist), Aloa Input are well aware of the album's world-spanning approach, mentioning "guitars from Cape Town to Portland, beats from Berlin to Chicago, and vocals from NYC to Düsseldorf." And yet there's more to Anysome: the exotic detours, the band's willingness to experiment and to go that extra mile for a good hook, the hypnotic singing and electrified horizons, all neatly placed on top of minimalist bass lines. With the album's "Prelude" we enter a world that seems to be coming at us, rolling up like the flickering images of a Laterna Magika: mellow birdsong, paired with hazy strawberry field sounds. Some of the other stops include world pop in search of greater truths, burning bushes (and Kraut references) in Africa, a mirage reminiscent of cLOUDDEAD, all kinds of euphoric choruses with melancholy hatches underneath, plus the recurring sense that people get older.



BRECHT, JOHANNES: Freedom Walks 12" (MUSIQ 166EP) 14.50
Mule Musiq announces the debut release of the brightest hope in the German deep house scene, Johannes Brecht. His real debut 12" on Henrik Schwarz's Sunday Music was highly-acclaimed and he is a member of the Henrik Schwarz Band. Here, Johannes delivers a killer vocal tune. It was a secret weapon on the Mule summer 2012 tour, and when this track was dropped, people went crazy even though nobody knew what it was. The original version is definitely a peak-time tune and the dub version is a cool DJ tool.


NEOS 11313CD

KELLER, HERMANN: Solo, Duo, and Trio Improvisations CD (NEOS 11313CD) 15.50
Featured works: "Ex tempore 4," "Solo für Klaxylovier und kochende Planeten Berührung 1," "Anrufung," Hab zwei Flügel und kann nicht fliegen Kleine Ballade," "Molto Secco," "33 Jahre später." Hermann Keller: "I improvised in public for the first time in 1962, which was still during my school years. Ever since that time, improvisation has been a part of my life. The oldest recording was made in 1976. Manfred Schulze, although repeatedly selected as Europe's best baritone saxophonist, unfortunately did not become very well known outside the GDR. I played music with him until his serious illness made playing impossible (in 1991, irrevocably), and I learned an incredible amount from him. He especially maintained that one should not try to arrive at a credible imitation of American jazz or West European avant-garde, but should search for one's own expressive possibilities." Performed by: Hermann Keller, Uwe Kropinski, Jurgen Kupke, Antje Messerschmidt, Dietrich Petzold, and Manfred Schulze.


NW 80752CD

EHRLICH, MARTY: A Trumpet in the Morning CD (NW 80752CD) 15.00
"This is the first program devoted entirely to the orchestral music of Marty Ehrlich. It displays the characteristics that have marked his success as an instrumentalist, composer, and bandleader: strong melodic invention and a keen ear for instrumental color, creative curiosity embracing disciplines beyond music, extreme sensitivity to those with whom he collaborates, formal inventiveness that enhances rather than obscures expressive intent, and an unblinking yet ultimately affirmative insistence on connecting his music with realities both historic and contemporary."

NW 80755CD

LUCIER, ALVIN: Orchestra Works CD (NW 80755CD) 15.00
Featured works: Diamonds for 1, 2, or 3 Orchestras (for three orchestras, 1999), Slices (for cello and orchestra, 2007), Exploration of the House (2005). "For nearly fifty years the work of Alvin Lucier (b. 1931) has marked off a space unlike any other in American music. By now a hero to three generations of experimentalists, Lucier continues to make work at a brisk pace, finding new, surprising and radical approaches to the same artistic concerns. His subject is the human as listener, and his music can be understood as a detailed, exhaustive investigation into the complexities of the act of listening. The results are often uncanny, but the approach is through the familiar and the ordinary; and the production is invariably of rare composerly discipline and exactness of execution. The three works presented on this album set forth three perspectives on the orchestra, monument of the European concert tradition. In each work we hear unmistakable echoes of the familiar iconography of the orchestra, associations with the past that are the bearers of complex meanings. Yet in a kind of tandem reality, sound itself pushes forward, bringing us back to the present, to our immediate presence as listeners, and to meanings independent of association. The world construed as what is known, as a set of received notions, is gently put in question; another world, the one we live in moment to moment, is briefly illuminated." Performed by: Janá?ek Philharmonic Orchestra; Christian Arming, Petr Kotik, and Zsolt Nagy (conductors); Charles Curtis (cello solo); members of the San Diego Symphony.

NW 80756CD

TEITELBAUM, RICHARD: Piano Plus CD (NW 80756CD) 15.00
"Piano Plus is a collection of six piano pieces written by Richard Teitelbaum (b. 1939), a pioneer of interactive electronic and computer music, between 1963 and 1998. Piano Plus illustrates the use of cuttingedge technology to extend the range of the traditional acoustic piano. Three of the pieces are played by the composer himself, and the other three are performed by some of the leading interpreters of contemporary piano music. The first piece, Intersections (1963) is a strict twelve-tone piece performed here by composer/pianist Frederic Rzewski. ...dal niente... (1997) for piano and computer, was commissioned by pianist Aki Takahashi and is performed by her and the composer using both acoustic and sampled piano sounds. SEQ TRANSIT PARAMMERS (1998), for solo pianist and two Yamaha Disklaviers, is played by Ursula Oppens using special interactive software created for this piece. The other three pieces, In the Accumulate Mode, Interlude in Pelog, and Solo for Three Pianos (all 1982), are played by Teitelbaum on a computerized interactive three-piano system he created employing Marantz Pianocorders that make it possible to perform simultaneously on three pianos in real time. The textural complexities the system enables often exceed normal human performance levels."



HUBBLE: Hubble Eagle LP (NNA 066LP) 18.00
"The latest full-length from Ben Greenberg's Hubble project. Having cut his teeth in numerous bands such as Pygmy Shrews, Zs, and most recently with The Men, Greenberg has been fostering and cultivating his own unique reexamination of the the guitar as an instrument, resulting in a minimalist and truly psychedelic whirlwind of notes, first displayed on his debut release Hubble Linger on NNA in 2011. Since then, the Hubble sound has matured and expanded, taking in new ideas and influences while still retaining the rock and roll hypnotism of its 'one man and his guitar' rawness. On Hubble Eagle we hear Greenberg launching his guitar mantra even further into uncharted territory. Opening with the side-long 'A Star or Two Beside,' Hubble trades in his trusted electric and opts for acoustic guitar, which when subjected to Greenberg's turbulent tapping chops, yields incredible and unexpected sonic results. Complex percussive patterns begin to emerge, creating a raw rhythmic backbone for a constantly shifting vortex of overtones and harmonic weavings. These dulcimer-like pluckings ping-pong back and forth across a vast stereo field, creating a whirlwind effect that sweeps over the listener like river rapids; bubbling, rushing, chaotic, and endlessly flowing. After some immersion, the barrage of notes can start to feel automated or even electronic, until brief pauses and subtle flourishes break the hypnotic spell, reminding the listener of the human nature of this music. Side B opens with the breaking of more new ground on the track 'A Long Way from Home' originally by The Kinks, Hubble's first cover song. Inspired by Greenberg's rigorous touring schedule on the open road, Hubble meditates on the feelings of isolation and melancholy set forth in the original song. By deconstructing the riffs and rebuilding them in the Hubble framework, the track turns into an electro-acoustic hybrid that is entirely new in sound, employing alternate tunings and adding vocals for the first time in the project's history. The result opens newharmonic gateways for the notes to flow through a psych-rock atmosphere. Closing off with the title track 'Hubble Eagle,' Hubble is in its truest form with a powerful electric guitar exercise. The playing is mechanical in its relentless repetition, creating guitar fractals that seem to crystallize around themselves like the formation of a galaxy." Includes an mp3 download card.



TOHUWABOHU: Tohuwabohu 12" (NON 036EP) 20.00
Tohuwabohu are Saam Schlamminger (aka Chronomad) and Burnt Friedman. The first joint four-track EP was produced in Friedman's studio in summer 2013. Saam Schlamminger (aka Chronomad) learned to play numerous instruments such as frame drums and lutes in various regions of the world. He is an expert in rhythms and tunings and repetitive contemporary electronic dance music and in styles that are disappearing from the cultural sonic memory. Burnt Friedman -- Nonplace owner, producer, sound and drum machinist -- is fascinated by rhythm and meter, by straight and odd time signatures. Together, Schlamminger and Friedman create spaces of resonance and dissect takes of sonic memory with origins lying in drums and flutes.



O'ROURKE, JIM: Old News #9 2LP (OLDNEWS 009LP) 27.50
Jim O'Rourke's Old News series continues with this, the ninth installment. This new release is unique in the series in that it is the first to feature an all-new composition. The work here showcases the kind of experimental concrete drift which O'Rourke has been exploring for a number of years, resulting in a magical blend of musical abstraction. Whistling drones morph into crystallized rain, shortwave chaos folds into haunting organ landscapes, and the intimacy of this particular journey is witnessed through the ebbing tides of sound that emanate throughout this monumental release. Available only in this format.



DRIFTWOOD, JIMMIE: Sings Newly Discovered Early American Folk Songs/The Wilderness Road CD (OMNI 174CD) 20.00
"Folklorist, teacher and performer Jimmie Driftwood wrote over 6000 songs during his extraordinary life. Presented here are his first 2 LPs for RCA Victor Records: Sings Newly Discovered Early American Folk Songs (1958) and The Wilderness Road (1959). Over-brimming with vernacular charm, tall tales and boundless spirit, Jimmie captures the traditional songs of the Ozark Mountains and presents them in authentic and enlightening renditions. Doubtless the best known song here would be 'Battle of New Orleans' closely followed by 'Tennessee Stud.' But beyond these numerous highlights await."


OS 016CD

NEON JUDGEMENT, THE: Early Tapes CD (OS 016CD) 18.00
2011 release. Early Tapes comprises the first recordings of the duo of Dirk Da Davo and TB Frank and is now, for the first time, available on CD. The Neon Judgement was formed in 1980/1981. Instantly, they self-released two cassettes. With a limited amount of electronic instruments, they recorded their debut: Suffering. The first version of their classic track "Factory Walk" is on this tape, a much rawer version than the one which would later become an underground club hit. "Sweet Revenge" and "Schyzophrenic Freddy" remind of Suicide and the almost claustrophobic-sounding tracks "Harem" and "Army Green (WOIII)" are in the vein of the industrial music of Cabaret Voltaire or even Throbbing Gristle. Their second cassette "TV Treated" is also as good. "Sister Sue" and "On My Own" are ready-to-eat tracks for fans of Front 242 with Luc Van Acker. The remastered versions of these rare cassettes are now compiled on Early Tapes, an overview of TNJ 1980/1981. The first two bonus tracks, recorded live at Arno's in Leuven, give us an insight into the live performances of The Neon Judgement and the third extra track lets us meet Dirk Da Davo's solo project with the track "Sexhead." This CD is limited to 1,000 copies. The accompanying booklet includes song lyrics and rare photos from the TNJ archive. Mastering by Dancedelic. Includes an 8-page booklet. Housed in a digipak CD.

OS 020CD

AROMA DI AMORE: Samizdat CD (OS 020CD) 18.00
Belgian new wave/post-punk band Aroma Di Amore returns with new material since their last album Koudvuur 25 years ago. The group still has so much to say, about the essence of music, about the world -- a tough world which is relentless and idealizes the individual. On Samizdat, AdA shows us a raw and blunt reality, sharp, without compromises. With the maturity of artists who know what's for sale and with their unstoppable energy, this band is as relevant as ever. Aroma Di Amore has once again made a contemporary soundtrack to this era and Elvis Peeters proves himself as one of the best writers in the Dutch language arena. Ignored by the masses, loved by the underground, never simple, always unique. Housed in a digipak CD. Artwork by Gilbert Lens. Limited to 1,000 copies.



L.B. DUB CORP: Unknown Origin 2LP (OSTGUT 015LP) 23.50
Double LP version, featuring 8 of the 10 tracks from the CD.


L.B. DUB CORP: Unknown Origin CD (OSTGUT 029CD) 17.00
Ostgut Ton presents Unknown Origin, the debut album from Luke Slater's L.B. Dub Corp moniker. The ten tracks recorded at Spacestation Ø form a hymnal intent on transporting you back to the roots. Digging deep into the history of dance music, Unknown Origin dares to ask the big questions and offers no easy answers. Instead, deep spiritual dubs are side-by-side with slices of piano house, and handsome slabs of techno contrast with the words of the silver-tongued poet Benjamin Zephaniah. In L.B. Dub Corp's capable hands this examination of what has gone before is in absolutely no way nostalgic. These are tracks informed by the past and rooted firmly in the present. The euphoric early days of house make themselves apparent on "Turner's House" and the jubilant "Nearly Africa." They are also the key to the building piano line on "Ever and Forever." But house's ability to soothe a mournful soul is far from forgotten and "No Trouble in Paradise" should be kept close when everything's far from blissful. Through Unknown Origin L.B. Dub Corp makes it clear that his dub influences don't stop at its rhythms, but extend right into dub poetry. Benjamin Zephaniah, arguably the UK's premier wordsmith, makes two appearances on the record. He lends twisted turns of phrase to the swung, sensuous opener "Take a Ride," and returns at the album's mid-point to fill "I Have a Dream's" synthesized arcs with wit and word play. Zephaniah's words and L.B. Dub Corp's treatments catch you unawares, and this is why they're such a fantastic pairing. "I Have a Dream" undercuts the closed-down thinking that plagues politics and the us-and-them thoughts that can creep into rallying speeches. Together they create a surreal hymn for our pluralistic times. Equally there's just as much wisdom to be found in the smooth samples on "Generation to Generation" as there is humor. Amid the speculative, introspective moments on Unknown Origin there is no shortage of tracks to detonate dancefloors. "Anytime Will Be OK" is a grooved masterclass and "L.B's Dub" operates at jittery high-octane. The record draws to an almighty close with "Roller," featuring another formidable figure, Function. This pitch-black track provides the menacing last twist in the tale, a firm techno cut to end a record which traces dub to its roots and celebrates the heritage of house.



RUDIMENTARY PENI: Archaic CD (BOO 008CD) 14.00
"Remastered and reissued CD comes with 16 page art and lyrics booklet. Archaic deals more with personal experience than the majority of the bands previous releases. The twelve songs on the album cover a variety of, shall we say, darker topics including mortality, despair, cremation, and the closing of the British national health service. The brevity of the lyrics (often a single line) is matched by the pummeling harshness of the guitar riffs, which hammer away as if pouring salt into an open wound."


RUDIMENTARY PENI: Archaic LP (BOO 008LP) 29.00
180 gram vinyl in a gatefold sleeve with 6 full size lyric cards, bonus poster and a digital download code.



EXCITEMENTS, THE: Sometimes Too Much Ain't Enough CD (PENN 004CD) 16.50
The Excitements are a hardworking band, almost hyperactive, so when you are in a state of perpetual motion, things happen fast and time flies. Within six months of their first show in March 2010, the group was touring all over Europe, and recorded their first album. The album was a totally unexpected success, which led the band across the continent for a year and a half. It's sad to say, but Sometimes Too Much Ain't Enough, the second LP, surpasses its predecessor in all respects, and gives the impression that until now, the band was just warming up. The essence of their sound has not changed substantially over the debut: early soul, R&B, and a hint of '50s gospel, but now fully developed, sharpened and fine-tuned, thanks to two years of intense rehearsing and countless shows. It would be difficult to pick out a standout song from this album, because it contains 12 potential singles. Just listen to it, and see that everything is here -- great originals and covers arranged and performed with a nod to all that you love, and a repertoire that offers everything from sophisticated R&B, soul, gospel and Latin, to Stax-style instrumentals and tear-jerking, hypnotic ballads. Masterfully produced by Mike Mariconda, the band moves freely from a small combo to an orchestra with a sense of dynamics that few bands have today. The explosive voice of Koko Jean Davis demands that you jump, dance, and weep all at the same time, confirming that, indeed, there are times when too much simply ain't enough.


EXCITEMENTS, THE: Sometimes Too Much Ain't Enough LP (PENN 004LP) 18.00
LP version.



CANDYBLASTA: Hippocratic Oath EP 12" (PERMVAC 112EP) 12.00
Candyblasta are a synth-pop and electro project who record their music in the enchanted woods of the Isles of Man. They made their first appearance on the Selected Label Works No. 3 compilation with the new romantic track "Black Cloud." This 12" contains three remixes of their track "Hippocratic Oath." A cosmic re-interpretation by Dutch doom disco maestro Drvg Cvltvre, a rough, rugged techno version by Russian producer Gesloten Cirkel, and a synth-heavy and melodic journey by Japanese artist Gonno.



SPIRITUALIZED: Lazer Guided Melodies 2LP (PLAIN 159LP) 27.00
2013 repress. "The Jason Pierce-led space-rock group, Spiritualized, will take you on a voyage into the unknown with this aptly-titled 1992 debut. All the sounds on Lazer Guided Melodies are perfectly placed in space, making it a masterpiece of economy and expression. It is authentically emotional as silence and simplicity are as crucial as the more complex instrumentation. An album to be heard with a set of headphones in a dark room and, above all, in its entirety. A pinnacle of the dream pop albums genre: essential!" 180 gram vinyl with full-color printed innersleeves.


SAINT ETIENNE: Foxbase Alpha LP (PLAIN 178LP) 19.00
"Foxbase Alpha is the 1991 debut album by the British group Saint Etienne. It is a wonderful mix of both modern and retro influences with house music, ambient, samples and '60s pop coexisting easily for a unique sound not found anywhere else at the time. It is best known for their popular cover of Neil Young's 'Only Love Can Break Your Heart.' Foxbase Alpha had such an impact upon its release that it was nominated for t he Mercury Prize, eventually losing to Primal Scream's Screamadelica. This early '90s Britpop classic is now available on 180 gram vinyl from Plain Records."



POPNONAME: 50 Degrees CD (PNN 003CD) 17.00
Jens-Uwe Beyer lives in Cologne -- he founded the band Cologne Tape, the label Magazine and you know him under his moniker Popnoname. Most recently, he remixed the Eurythmics and Brian Eno & Cluster for the Conny Plank tribute compilation on Grönland. He is a frequent guest on Kompakt's Pop Ambient series and just released probably the longest album in the world -- the almost 80-minute ambient piece Red Book on Magazine. His third album 50° is an elegant, accommodating, direct hi-fi pop album which fears neither death nor pathos. It was produced in the Oneartist studio together with Bertil Mark. The journey takes us from pop ("Happens at Night" and the first single "Change") through ambient soundscapes ("Timenation"), to early '90s shoegaze moments ("Meteor" and "Passing By"), but at its core always remains the techno ideal, without promising club functionality. For the release of 50° Beyer specially founded the new label PNN with Kompakt's Gesine Schönrock. Accompanying the album, PNN presents four music videos, an app for the iPad and the fashion piece "Popnoshirt," and you can find them at or Bodo, who features on the cover of the album, used to live from the bottle recycling system in Germany but is now running a trust-based shop near the PNN offices. Jens-Uwe Beyer performs as both a solo act and with Beritl Mark on drums and the enigmatic Isis Lacé on vocals.



LIGHT, HARRY: Straight from the Heart 12" (PROTEZ 033EP) 12.50
Warm, hazy and driving deep house from Pro-Tez features a bright young hope, Harry Light. It is a vital bit of modern house magic with a blend of Detroit-influenced chords and neatly-padded kicks arranged with that cool, grooving finish. The vibe is deep and punchy, also taking in classic Chicago house elements from Mr. Fingers, disco from Loose Joints, and dub from Rhythm & Sound. Modern but vintage-sounding house from Harry Light. Limited to 300 vinyl copies.


R-N 151CD

EMPTYSET: Recur CD (R-N 151CD) 17.00
After successful EP Collapsed (R-N 116EP), the Bristol-based project Emptyset strikes back with a full-length album on Raster-Noton. Once more James Ginzburg and Paul Purgas challenge the perceptual boundaries between noise and music and the potential for both technology and architecture to embed and codify themselves within sound. Recur is presented as Emptyset's third studio album -- continuing on from their work with Demiurge (SUB 001CD/010LP), the material examines the central themes of time, structure and recursion, through the analysis of scale and the interaction of both formal and fractured sonics. The album furthers the project's exploration of rhythm, dislocation and feedback within the framework of full frequency sound, structural abstraction and analog processing. The work examines how notions of time interact with both experience and form, and the resulting modes through which this affects sound through compression and rarefaction and the forcing of signal thresholds to their critical point.

R-N 151LP

EMPTYSET: Recur LP (R-N 151LP) 17.00
LP version.



HEISENBERG: Ripatti02 12" (RIPATTI 002EP) 14.50
Ripatti is a new label from Sasu Ripatti (Vladislav Delay) envisaged as a studio diary of sorts, cataloging ongoing experiments made by Sasu in his studio on his own and alongside various collaborators. Ripatti02 features the first two productions from Heisenberg, a new collaboration between Sasu Ripatti and Max Loderbauer (NSI, Sun Electric, Moritz von Oswald Trio). Play at 45 RPM!


RCD 2148CD

Death Rattle is the noise of two forces of nature in collision. Like a pair of clashing typhoons, Philadelphia-based avant guitarist James Plotkin and Norwegian free-jazz drummer Paal Nilssen-Love generate chaos, disturbance and a terrifying beauty in their first-ever collaborative recording. Free-jazz and metal-edged rock never chimed so exhilaratingly together before. "Paal's precision and constant invention/reinvention is mind-blowing, only matched by its intensity," James enthuses. "There's a very fluid feel to what he's doing despite the ferocity. Instead of trying to match the chaos, I opted to build a more solid foundation of repetition and melody for him to launch from. I really appreciated the role-reversal of drummer and guitarist!" James had previously mastered some of Paal's CD releases and they finally met in April 2012 when the drummer was passing through Philly. In December, after Paal had just finished a 10-date U.S. tour with a Norwegian jazz trio, they got together for the four-hour session that resulted in Death Rattle. Plotkin: "My main memory of the session was that body parts started failing us. Fingers and arms began to give out. We had a small chunk of time left and I suggested we do a final 20 minute stretch... Paal just shook his head at the absurdity of my request. That track became 'Primateria," the second track on the album." Nilssen-Love: "I felt a relief taking the volume up and getting some immediate sweat going. What I enjoyed was the fullness of sound, layer upon layer... there wasn't always space for me in there, but that's OK, and his style invited me to lean towards metal drumming." Opening track "The Skin, The Colour" is an endless Niagara gush of splashy drumming and distortion. On "Cock Circus," Plotkin bombards his laser-guided guitar missiles through some brain-boggling digital effects. The pair improvise moment by moment, but there's a tangible, overarching arc that these two veterans instinctively understand -- a depth of vision that lifts them head and shoulders above their younger peers. James Plotkin's distinctively extreme, aggressive guitar sound has been a constant presence in underground music since the late 1980s, when he founded the metal/industrial band, OLD. As a solo artist and as a member of outfits such as Scorn, Khanate, Phantomsmasher, Khlyst, and most recently, Jodis, he has plotted a nomadic trail through new metal, dark ambient, industrial, noise, grindcore and drone-rock. Sought out by Michael Gira, John Zorn, Ikue Mori, Franz Treichler, Francisco López, and many more, he has also remixed a wide range of artists from KK Null and Sunn O))) to Pelican, Earth, Nadja and Neu!. "I've wanted to work with Paal for the better part of a decade," comments James. "Stephen O'Malley had played one of Scorch Trio's discs in the van during a Khanate tour and I could hardly believe it was only one drummer at work." Paal Nilssen-Love is one of the most intense drummers working on the planet right now. He grew up in Stavanger, west Norway, where his parents ran the city's thriving jazz club. In theory, he's now based in Oslo, but there's a huge global demand for his percussive threshing machine. He's often travelling on a relentless round of musical projects and festival appearances -- notably with Mats Gustafsson in The Thing, his Chicago trio with Ken Vandermark and Ab Baars, the Hairy Bones group with Peter Brötzmann and Toshinori Kondo, a trio with Massimo Pupillo and noise artist Lasse Marhaug, plus duos with Peter Brötzmann, Terrie Ex, John Butcher and others. James Plotkin: guitar, Paal Nilssen-Love: drums.

RCD 2149CD

PARKER & JOE MCPHEE, EVAN: What/If/They Both Could Fly CD (RCD 2149CD) 17.00
On a sultry July evening on an intimate stage at Kongsberg Jazz Festival, Norway, two elder statesmen of improvised music -- one wearing a grey shirt, the other sporting a Thunder Pussy T-shirt -- stepped up to the platform. What followed resembled an in-depth conversation between two old friends and sparring partners -- one that ranged from the amicable to the argumentative, from hush to harmony. Now, Norway's adventurous Rune Grammofon label is releasing a 40-minute recording of that event. What/If/They Both Could Fly is only the second time this titanic pair has appeared as a duo on record. Their paths have crossed sporadically over the years: Evan Parker has guested in Joe McPhee's Survival Unit III group, and they have frequently made up a trio with saxophonist Daunik Lazro. But their only release together was Chicago Tenor Duets, back in 2000, praised in Jazz Times for its mixture of lyricism and complexity. Evan Parker was 68 when this concert was recorded and by now, music just seems to beat within him, sure as his own heartbeat. McPhee, at 73, is the elder here, but his zaps of energy on the tiny pocket trumpet, and his thoughtful, exploratory lines and throbbing soprano sax overtones are played as vigorously as a man half his age. Listen to the amazing zigzags of interlocking sound about six minutes into opening track "What." Hear the microtonal mayhem swarming at the start of "They Both Could Fly." The duo never seeks to dazzle with virtuosity, but their total mastery of their instruments allows them to dance around each other and match each other's moves point-for-point and blow-for-blow. Joe has played in groups with Peter Brötzmann, Kent Kessler, Mats Gustafsson, Paal Nilssen-Love, Dominic Duval, and Joe Giardullo. He appeared with Evan Parker's trio on the legendary Redwood Session (1995). Since the early 1960s, there are few jazz and improv musicians Evan hasn't worked with; he has also cropped up unexpectedly on records by everyone from Scott Walker and Charlie Watts to Spring Heel Jack and British comedian Vic Reeves. A founder of independent free music label Incus, he now runs his own label Psi, releasing core recordings by himself and others. The duo improvises moment by moment, but there's a tangible, overarching arc that these two veterans instinctively understand -- a depth of vision that lifts them head and shoulders above their younger peers. Play this and you'll believe two men can fly.

RLP 3148LP

LP version. Includes CD version of the album.

RLP 3149LP

PARKER & JOE MCPHEE, EVAN: What/If/They Both Could Fly LP+CD (RLP 3149LP) 22.00
LP version. Includes CD version of the album.


RB 044EP

MARK E: Black Country Roots 12" (RB 044EP) 14.00
Running Back veteran Mark E returns with a tribute to the UK's Black Country and an ode to the Industrial Revolution. The images and histories of coal mines, steel mills and iron foundries north and west of Birmingham and south and east of Wolverhampton lay the foundation of this three-track EP (including a work-break siren). Being a product of his environment, Mark E delivers lots of sooty particle house music with a glimpse of sunshine.



MEN, THE: Campfire Songs 12" (SBR 095EP) 14.00
"While holed up in a house in upstate NY, The Men took full advantage of their rural surroundings, in-house studio, and lack of recording timelines and obligations. They tracked over twenty-five songs. On top of that they also managed to record five songs acoustically, while sitting around a campfire outside the house. Vinyl version comes with a 12-page photo book 11.5" × 11.5" insert featuring never before seen black & white photographs shot by their bassist/photographer Kevin Faulkner during the Big Indian sessions. Campfire Songs is the band's second release this year, and their fifth in the past four years. To say this band is prolific is an understatement; they are teeming, borderline prodigal even. Two of these acoustic jams are alternate takes from the album, 'I Saw Her Face' and 'The Seeds.' The plugged-in version of 'Water Babies' appeared on the B-side of their 7' from January, 'Patience' and 'Turn Your Color' are two entirely new beautiful tracks that highlight this band's ability to be as gentle as they are commanding."


MILES, WYMOND: Cut Yourself Free CD (SBR 106CD) 13.50
"On the heels of last year's critically acclaimed debut LP Under the Pale Moon and the Earth Has Doors EP comes the sophomore full length from Wymond Miles, guitarist of San Francisco garage-pop titans The Fresh & Onlys. Cut Yourself Free assembles another convergence of moon-lit romantic swagger and post-punk massacred urgency. Again self recorded and produced to tape, Miles' song-craft has emerged more refined and poignant, benefitting from the avalanche of his frenzied live shows, but also adhering to a more minimalistic fashion with crooning mid-era Nick Cave or Bowie/Roxy Music strains of pop-modernism. But what stands at the forefront is Miles' command of his textural guitar and vintage-synth sprawl that on his choosing can open dream-like vistas, or pierce with an engine's snarl. Turning to the narrative, Miles weaves each song with its own vignette of story line, often with a vaguely obscured protagonist/antagonist dialog. Relationships in Miles' sketches are always tangled, if not licentious affairs, but are presented more as lustrous gateways to mend and revitalize rather than squalor in."


MILES, WYMOND: Cut Yourself Free LP (SBR 106LP) 16.00
LP version.


SSR 1002EP

KNIGHT AND THE LAKERS, SONNY: Hey Girl/Sugar Man 7" (SSR 1002EP) 5.50
"In late 2012 Secret Stash released Twin Cities Funk & Soul. Upon assembling an all-star lineup of hometown musicians to perform at the release party they began working with Sonny Knight. An instant chemistry was discovered and they began developing new material together. Recorded live in one room, straight to tape (the way all your favorite soul records were done), the group's debut 45 displays serious amounts of versatility without sounding disjointed. 'Hey Girl' is an upbeat boogaloo that finds Knight singing from the gut as he tries to woo the ladies with the help of his relentlessly funky Lakers. 'Sugar Man' is a cover of the now infamous song by Rodriguez. Their slowed down interpretation of this haunting, psychedelic tune oozes soul."

SSR 1003EP

VALDONS, THE: Stop, Wait A Minute Girl/Whatcha Gonna Do 7" (SSR 1003EP) 5.50
"In late 2012 Secret Stash Records helped reform The Valdons to commemorate the release of the Twin Cities Funk & Soul compilation. In the spring of 2013 The Valdons hit the studio to finally make proper recordings of songs they'd written over 40 years ago. 'Stop, Wait A Minute Girl' B/W 'Whatcha Gonna Do' is the first release drawn from those sessions. The A side is an upbeat number that finds lead vocalist Clifton Curtis (with help of the fabulous Valdons) pleading with his lover to open her eyes and see that he's the one for her. The flip side sticks with the same theme, but this time it's found in the form of a slow burning soul number."


SA 003LP

VA: The Ecstasy of Gold: 25 Killer Bullets from the Spaghetti West Vol. 3 2LP (SA 003LP) 23.00
Volume three in this essential and peerless series. Selected from one of the most complete Spaghetti Western audio archives, this five volume series showcases the most inspired tracks in this legendary genre. Digging deep to excavate a treasure trove of obscure and rarely-heard tracks by some of the genre's greatest composers and vocalists, Ecstasy of Gold is the definitive series for aficionados of Euro-Western films and the music that they created. Loud gunshots with reverb and echo appear with the first image of a lawless killer riding a horse... a punchy & trebly bass guitar seeps into your brain as he draws his pistol, a hair-raising scream half-melodic, half-banshee spews forth from the speakers as blood splatters yet again onto the desert floor. The audio soundtrack to the Italian version of the American West is flamboyant, brutal, intense, and unforgiving. Songs composed for the Italian Westerns of the 1960s and 1970s have become a genre all unto themselves. There were hundreds of European Westerns during this period and the majority of them were made by Italian directors and scored by Italian composers. Crying trumpets, exploding surf guitars, thundering drums, droning organs, dramatic vocal performances, and innovative special effects were woven into a wild and violent desert backdrop, creating that undeniable Spaghetti Western sound heard on this record. The most famous of all the Italian soundtrack composers is Ennio Morricone and his music for the Italian Western is guaranteed to inspire and amaze until the end of time itself. But there were many other great and legendary maestros who scored their share of Westerns and this compilation presents transcendent, brilliant and challenging tracks from the likes of: Bruno Nicolai, Gianni Ferrio, Francesco De Masi, Marcello Giombini, Luis Bacalov, Stelvio Cipriani, Alessandro Alessandroni, Nora Orlandi, Nico Fidenco, Piero Umiliani, and many others. 2LP gatefold in a limited edition pressing of 750 copies.



LOS SIQUICOS LITORALENOS: Sonido Chipadelico LP (SHAM 004LP) 16.50
"Sham Palace (USA) and Annihaya (Lebanon) are pleased to present from the mystical locus of Curuzú Cuatiá, in Corrientes, rural northeastern Argentina, Los Siquicos Litoraleños, with their first international full-length release. The result: a unique triumph of homegrown rural psychedelia, standing alone on the edge of an unchartered vanguard. Los Siquicos have spent the past decade recording and performing mountains of material and distilling it into a rare form of ultra-cerebral roots music from the countryside; rich with strange passion, beauty, experimentation, horror and humor. Corrientes sits in the Argentine Mesopotamic region, in the area known as el Litoral. Inhabitants of this region are known as Litoraleños. Los Siquicos Litoraleños (The Psychics of el Litoral) aren't running from their musical heritage, they are staring straight at it -- spinning it around, refracting it, and transmuting it into something that is probably one of the most genuine things that has happened to folk, rock, experimental or psychedelic music in many years. Having met through various musical projects in the mid-2000s, Los Siquicos formed as a trio in 2004, determined to develop an unheard style of music. They created their own genre -- Chipadelia, (a reference to the traditional chipá bread, typical of northeast Argentina and Paraguay). It involves equalizational demolition therapy -- which they describe as 'using sound to change people's perceptions, and words to produce cognitive dissonance in order to free the masses from the prison of fixed ideas and prejudices.' Being a peripheral band living in a semi-rural town, Los Siquicos remained outsiders to the Argentinian rock circuit for quite a while, though their unpredictable live performances in Buenos Aires caused a stir amongst the local scene. Their shows often feature extended line-ups, with members cloaked in surreal gaucho costumes, playing segments of free-music and altered versions of chamamé and cumbia tunes influenced by the myriad regional gaucho dance bands. All the while, projections of cows, fractals, UFOs and their beloved countryside play out in the background. At home, they're affectionately referred to as 'El Pink Floyd de los pobres' -- the poor man's Pink Floyd. Over time, the group has gained underground acclaim both nationally and abroad after sending their signals out in the form of self-released CDs, internet presence, and a handful of European tours. This collection has been culled from multiple recordings made between 2005 and 2010. It showcases some of the finest compositional moments in the group's dense and damaged repertoire -- pitched-down cumbias soaked in dub brine, swirling solar instrumentals, and surrealist, shamanic lyrics laid across guitars, drums, tapes and electronics. Forty-four minutes of deep, multi-fidelity electric and acoustic psychic sound-forms for a better today. Los Siquicos Litoraleños are the contemporary group you keep hoping exist, but can never find. If you were to reach for spiritual comparisons, you wouldn't be forgetting the most spirited moments from Sun City Girls, Butthole Surfers, Faust, Os Mutantes, Captain Beefheart or The Residents. Sonido Chipadelico opens with the mind-melting psych-rocker 'Cinta Planeteria' -- like a Latin American time-travel experiment gone wrong. 'Cachaka Espejo,' 'Tenemos Semillas' and 'No Sabemos Nada' reinvent cumbia radio tunes as if heard from a distance of at least two blocks away on a dirt road in the barrio, then deconstructed, propelled into the outer ether, and beamed back into a burning dub transistor. 'El Chipa Chiriri' is a subverted chamamé-styled track -- revealing the recipe for the local Corrientes cheese bread. 'Necesita Ecualisacion' is a call for aural and mental equilibrium encouraging change rapidly from the present state of things to an improved and more complex, flexible state. The hypnotic 'Sirena Chunga y la Movida Solar' is perhaps one of the strangest folkloric songs ever committed to tape -- not unlike what light must hear when it travels inside of a vacuum. 'Si, Si, Si' is an uptempo, angular anthem in collaboration with Dutch experimental duo Static Tics. Also included is Los Siquicos' haunting acid-ballad cover of 'Quizás, Quizás,' and much more -- further into the greater depths of sound and surprise..." --Mark Gergis


SX 036CD

JAWORZYN, STEFAN: Eaten Away by Shadows CD (SX 036CD) 19.50
"It's flashback time at Shock. Everybody loves the '80s now innit, and everybody positively adores old tapes of bedroom noodling... So, always keen to exploit the latest trends, Shock has rummaged through the archives to come up with Eaten Away by Shadows, over 79 minutes ('value' for money!) of SJ archive stuff recorded between '82-'83, before editing Shock Xpress, playing in Whitehouse, Skullflower, etc. This was recorded mostly in Bristol, some in London while living in a squat up the road from M. Bower. (Mr. P. Best was crashing on my floor around then. Hilarious times were had by all.) It moves from 'guitar rock' to metal-banging, drone, and industrial, and ends with some major guitar 'deconstruction' and a positively uplifting organ/feedback orgy. Most of it doesn't sound too obviously like anyone else, so as far as influences go, the dedicated can ponder what I'd been listening to (other than the Satanic voices in my head) at any given point. Suggestions on a postcard, please. Many cheap instruments were abused in making this music. Guitars and mics were dropped, hit, beaten with pieces of metal and occasionally with an axe, and pretty much all of it (including a good old Dr. Rhythm) went through some sort of distortion and a dysfunctional tape echo unit. Various glitches and tape oddities may be discerned at various points, all part of the music's many charms. Tracks are ordered as they appear on the cassettes, the titles (some a tad uninspired or stemming from idiotic 'private' jokes, sorry) are off the inlays. One piece was previously heard on a Fusetron 7", another appeared as the Hydra track on the Melt/Dissolve compilation, and one was chopped up and used on Band Of Pain's Reculver CD. All are presented here in vastly superior sound quality. The album's mastered by Andrew Liles, so it sounds amazingly good (given the limitations of the source material), and we don't want to hear any moaning about the fact it's in a jewel case, not a repulsive digipak! " --Stefan Jaworzyn, 2013



SPRINGSTEEN, LEM: Tones 12" (CORE 094TU-EP) 11.00
"Dream states of lust and lucidity, Slow to Speak's latest reissue of house music's halcyon years comes courtesy of Mood II Swing's visionary Lem Springsteen. Originally released on the Eightball sublabel Empire State Records in 1994, these excursionary landmarks saw Springsteen bid farewell to his usual club-saturated exercises in queeny house euphoria for a hallucinatory breach into a secret realm of desire, where the whispers of a long-forgotten hunger meld with the floating synth-work of a true practitioner of the sacred art of club music. This is the soundtrack to the chill-out room of your unconscious's kaleidoscopic sex dream, the sweet synth lines of Springsteen's ritual music still floating in your mind as you awake, alas, a little too soon. Fear not: this Dyonisian masterpiece is once more available thanks to the good spirits at Dope Jams, who remind you, 'Whatever the eye sees and covets, let the hand grasp!' Not without asking (or paying) first, of course."



MUHAMMAD, ISHOLA: Open Up Your Heart/Stay Together 7" (SLSP 013EP) 11.00
This $6,000 banger is prized on the disco, modern, and Northern soul scenes, despite being only a recent yet very rare discovery. After the recent 12" audiophile repress sold out in a week or two, Soul Spectrum now issues the 7" version with the original label design.



DEBRUIT & ALSARAH: Aljawal LP (SNDW 052LP) 15.50
LP version. Comes with a download card. Soundway presents a unique record: a modern, haunting take on Sudanese music heard through the sonic lens of French artist/producer Débruit and the poetic, ethereal lyrics and melodies of Sudanese-born singer Alsarah. Aljawal (trans. "The Traveller") is a nomadic reflection for the 21st century. Each song reflects a new stop in the journey, with new cities and new people along the way. When Alsarah first heard Débruit's music, she sensed and recognized a fellow traveler through the space and geography of his influences, a sense of time and history coupled with a forward-thinking, futuristic outlook. Born in the capital city of Sudan, Khartoum, Alsarah spent the first eight years of her life here before she relocated to Taez, Yemen with her family to escape the ever-stifling regime in her native country. She abruptly moved to the U.S. in 1994, when a brief civil war broke out in Yemen, and has lived there to this day. Xavier Thomas revealed Débruit in 2008 with two sold-out 12"s for his and Fulgeance's Parisian Musique Large imprint. Three more EPs on Civil Music followed that included his hit "Nigeria What." Piquing interest from the likes of XLR8R, FACT, Benji B, and Gilles Peterson, his debut album From the Horizon came out in 2012. His dazzling live electronics show has taken him around the world, from Russia to New York, Glastonbury to Sónar. On Aljawal, he managed to capture and play with an analog sound that stretched the boundaries of the Sudanese rhythms and melodies that Alsarah had grown up with. A unique record was imagined and is finally presented here after a two-year interplay of ideas and interaction between France and Brooklyn, Alsarah's adopted home.



LEAVEN, KENNY: Trident/Perseus 12" (SOUVENIR 060EP) 14.00
Kenny Leaven's new EP for Souvenir keeps in line with his unique, interstellar sound; two quirky, eccentric cosmic cuts which stand unparalleled by other producers right now. Both tracks on the single recall something of the Balearic euphoria of Todd Terje's recent output as well as making humble references to the pumping analog bass of Italo and more rigid early '80s electronic explorations. Step on board and prepare yourself for an interplanetary, cosmic journey through music history, expertly examined through a modern lens.



FILTHY BOY: Smile That Won't Go Down CD (STR 014CD) 15.50
Smile That Won't Go Down is Filthy Boy's first album. Helmed by front-man Paraic Morrissey and his transportive baritone, Filthy Boy's debut is laced with romance, sweetness, and intrigue. The Peckham, Southeast London boys, their number made up by Paraic's bass-playing brother Michael, guitarist Harry Weskin, and drummer Ed Bernez, spent less than a week recording an opening statement that's as barbed as it is pleasant. Steeped in refreshing, classic-leaning guitar lines, melody and sticky, robust choruses, it acts as an imposing calling card for its creators' songwriting abilities. The album, recorded at Edwyn Collins' West Heath Studio, is a chronological journey. "We wanted to make a record that flows, we're happy with it, and we like the idea of creating a body of work that takes people somewhere," Paraic says. Guitars often shimmy towards the indie disco, although the first time the band came across their articulate forebears Arctic Monkeys and Franz Ferdinand was when journalists likened their music. There are echoes of Special Needs and Nick Cave, too. Filthy Boy's is a quintessentially British brand of songwriting -- humorous, flamboyant and cocksure, but also withdrawn, understated, even vulnerable.


SR 316LP

VA: The Orchestra of Futurist Noise Intoners 2LP (SR 316LP) 23.50
The famous intonarumori (or "noise intoners") of the Futurists could be considered the earliest techno music instruments of the 20th century. The first public performance of Luigi Russolo's intonarumori project took place in 1913 at Modena's Teatro Storchi, Italy. This 2LP is the first intonarumori complete reconstruction ever attempted. Some of the Russolo instruments have been reconstructed here for the first time. Luciano Chessa conducted this new orchestra of early Futurist pieces as well as specially-commissioned works from legendary contemporary musicians and composers from the experimental music world: Einstürzende Neubauten frontman and Nick Cave-collaborator Blixa Bargeld, deep listening pioneer Pauline Oliveros, Faith No More and Mr. Bungle vocalist Mike Patton, experimental saxophonist Ulrich Krieger, singer and composer Nick Hallett, contemporary classical and electronic musician James Fei, jazz singer and guitarist Margareth Kammerer, composer, instrument builder, and performer Ellen Fullman, and composer, musician and sound-designer Teho Tehardo. Luigi Russolo wrote in 1913, pointing out that the silence of earlier times was forever lost with the invention of the machine in the 19th century: "The variety of noises is infinite," he noted, predicting the exponential increase in volume in the 21st century. "If today, when we have perhaps a thousand different machines, we can distinguish a thousand different noises; tomorrow, as new machines multiply, we will be able to distinguish 10, 20, or 30,000 different noises, not merely in a simply imitative way, but to combine them according to our imagination." That's what Luciano Chessa and his big orchestra of very special guests/performers reproduced on this record. Featuring: Pauline Oliveros, Blixa Bargeld (Einstürzende Neubauten), Mike Patton (Faith No More), Luigi Russolo, Ulrich Krieger (Lou Reed Trio), Margareth Kammerer, Ellen Fullman, Luciano Chessa, Teho Tehardo, Nick Hallett, James Fei, Pablo Ortiz, and Sylvano Bussotti. Housed in a gatefold sleeve.

SR 350CD

DUBUFFET, JEAN: Coucou Bazar 2CD (SR 350CD) 21.00
CD1 features Ilhan Mimaroglu's soundtrack for Jean Dubuffet's articulated painting exhibition Coucou Bazar, which opened at the Guggenheim Museum in New York City on May 16, 1973. This was released on LP via Ilhan Mimaroglu's legendary avant-garde Finnadar label in 1973 -- and never reissued before. CD2 features Jean Dubuffet's soundtrack of the Coucou Bazar show presented in Turin from June 16 to July 15, 1978 (based on Dubuffet's music recordings from 1961 and 1973-1974). This music has previously only ever been released by the Foundation Dubuffet in a rare exhibition catalog from 2002.All music created for French painter and sculptor Jean Dubuffet's Coucou Bazar show. In 1965, Turkish composer Ilhan Mimaroglu, then residing in New York, sent a letter to Jean Dubuffet to explain his experiments, inspired by the series of the artist's drawings. In 1971, when Dubuffet started working on a new form of "show," Coucou Bazar, he decided to submit his project to Mimaroglu. Mimaroglu released his music for Coucou Bazar in 1973 under the title: Electronic Music for Jean Dubuffet's Coucou Bazar, accompanying the first version of the show presented at the Solomon R. Guggenheim Museum in New York, from the 16th of May to the 29th of July 1973, and the second version at the Grand Palais in Paris, from the 2nd of November to the 1st of December 1973. Following these first two versions of Coucou Bazar, Dubuffet quickly envisioned a third version. This third version was finally produced in Turin in 1978, thanks to the FIAT company. And this time, it was accompanied by Dubuffet's music. Anna Sagna, the choreographer of this third version, took care of editing the tapes from 1961 and 1973-1974 into a collage. Includes a 40-page booklet.


SF 049LP

SOULEYMAN, OMAR: Dabke 2020: Folk & Pop Sounds of Syria LP (SF 049LP) 18.50
LP version. Sublime Frequencies is pleased to present the second volume of Northeast Syrian dabke music from legendary vocalist Omar Souleyman and his group. This record was compiled by Mark Gergis to coincide with the Sublime Frequencies UK/European tour in May and June of 2009, featuring live performances by Omar Souleyman himself. Culled from dozens of cassettes recorded in Syria from 1999-2008, the music here is an extension of Omar's Highway to Hassake: Folk & Pop Sounds of Syria (SF 031CD) release, touching on some previously-unheard angles. Their trademark serpentine synthesizers, electrified bouzok (traditional stringed instrument) and driving rhythms forge a severe form of "new wave dabke" with a live energy and integrity that captures the essence of the Syrian Northeast; one-of-a-kind Syrian dabke party tunes, regional atabat-styled crooners, and unbelievable Iraqi party jams. This is the limited edition LP version packaged in a heavy-duty tip-on jacket.


HARRIS, DAVID: Small Path Music (with Laurent Jeanneau) DVD (SF 082DVD) 15.00
Small Path Music was shot on location in Southeast Asia in 2010 with Laurent Jeanneau on his relentless quest to capture audio recordings of vanishing indigenous music from ethnic groups of this vast region. The documentary (shot over a period of eight months) takes us travelling with Laurent in the field through remote northern Laos and Yunnan Province of Southwest China and invites us into the world of the folk artists he explores. From shamanic rituals to love songs, historical epics to lamentations, his microphones document what he discovers there. Laurent tells us of the state he finds these artists in today, how this music speaks to him, and we learn what drives the urgency of his work. As perhaps the most committed and accomplished procurer of rare and threatened music from this part of the world, Laurent recounts experiences from a decade of recording in Cambodia, Laos, Vietnam, and China, and we gauge his perspective on the musical traditions of the area. We see how he relates to them and how his work has led his life in new directions. Along this journey he met his wife, Tanding and together they established a recording label (Kink Gong) to release their field recordings. Sublime Frequencies is pleased to present this unique story shot by filmmaker David Harris about the man behind the Ethnic Minority Music album series. 56 minutes, 16:9 NTSC DVD all regions, English with Mandarin subtitles.

SF 085LP

VA: Choubi Choubi! Folk & Pop Sounds from Iraq Vol. 2 2LP (SF 085LP) 25.50
In 2005, Sublime Frequencies released Choubi Choubi: Folk and Pop Sounds from Iraq, and in the ensuing years it has become one of the most beloved and venerable titles in their catalog. Now almost 10 years later, this highly-anticipated second volume is finally here. Compiler and producer Mark Gergis has once again put forth a revelatory and poignant collection of Iraq's national folk music. What has happened to Iraq since the 2003 U.S. invasion and eventual occupation? Endless death, destruction and chaos, the complete take-down of a functional and sovereign secular government (regardless of your opinion on that government), puppet installations, contrived sectarian divisions, the wholesale looting of culture, rampant opportunism, and apparently no lessons learned -- all at the Iraqi people's expense. Naturally, music has continued to be produced in Iraq -- however, since 2003, musicians and artists have been consistently targeted and attacked by extremists, who have also bombed music shops and forced the closing of venues and music halls. The musical style most prominently focused on in this volume is the infamous Iraqi choubi, (pronounced choe-bee), with its distinct driving rhythm that feature fiddles, double-reed instruments, bass, keyboards, and oud over its signature beat. Choubi is Iraq's version of the regionally popular dabke, another celebratory Levantine folkloric style of rhythm and line dance. What really defines the Iraqi choubi sound are the crisp, rapid-fire machine-gun style percussive rhythms set atop the main beat. To the uninitiated, they sound almost electronic. Sometimes they are, but more often this is the work of the khishba -- a unique hand-drum of nomadic origin (aka the zanbour -- Arabic for wasp), which appears across the board in many styles of Iraqi music today, with extensions of it also heard in Syrian and Kuwaiti music. Among other styles featured in this volume are Iraq's legendary brand of mawal -- an ornamental vocal improvisation that sets the tone of a song, regardless of the style, and the outstanding Iraqi hecha, with its lumbering and determined rhythm pulsing beneath sad, antagonized vocals -- as heard on tracks A4 and B2. The tracks on this collection were produced during the Saddam era -- between the 1980s and early-2000s. An important goal within the Iraqi Baathist agenda was to promote its brand of secularism, which saw the establishment of cultural centers, and a fostering of the arts. Music was more encouraged, albeit more institutionalized than ever -- particularly folkloric and heritage music such as choubi. In an Iraqi army comprised of seven divisions, Saddam referred to singers as the eighth. Still, unless a rare level of stardom has been achieved, being a singer or musician isn't usually encouraged or viewed as a respectable lifestyle in much of the Arab world. It's often those deemed social outsiders that tend to find their niche in music -- particularly the "party music" heard on this collection. Among them are the Rom Gypsy Iraqis (known as Kawliya in Arabic). A number of female singers wear masks and adopt pseudonyms to protect their identities, as some are runaways or prostitutes making ends meet in the seedy nightclub scene. Occasionally, they end up with successful recording careers. Sajida Obeid, who has appeared on both volumes of Choubi Choubi! is an example of a talented Kawliya singer from the nightclub scene of the 1980s who rose to choubi infamy in Baghdad. Choubi inevitably invokes tawdry connotations within Iraqi society (cheap nightclubs for the lower classes, outcast gypsies and singing prostitutes), but in fact, many calibers of Iraqi singers and ensembles have recorded and performed the music. Unofficially, choubi can be called the national dance of Iraq. Though some may deny this claim (mostly due to its reputation and stigma), at most Iraqi weddings you'll find people from all walks flaunting their best choubi moves. Iraqi music has always had a way of transcending religious groups and ethnicity, collectively shared between Arabs, Kurds, Assyrians and myriad other Iraqi minorities. In 2013 sadly, this diversity and unity within Iraq is increasingly fragmented, but traditions continue throughout the internationally displaced diaspora. Limited edition 2LP set in a heavy gatefold jacket with beautiful artwork and liner notes by Mark Gergis.



BORTZ, DANIEL: Patchwork Memories CD (SUOL 008CD) 15.50
It was the mid-'90s, the heyday of techno in Munich-Riem, home to the Optimal and other legendary clubs, when Daniel Bortz stepped into the never-ending, untiring loop of the stoically pumping bass drum. He was born in Berlin in 1981, but for the last 13 years has been forging his deep beats, grooves and tracks for the club world from his base of operations in Augsburg. And it's precisely that club world that Bortz has been gracing with his releases, aiming right for its hype-craving g-spot. His sounds include crate-digging, house-nostalgia, dancefloor-transfer, sample insanity and a healthy dose of eclecticism. But Daniel Bortz is no friend of excess. Anyone familiar with his previous work is aware of the clear contours that permeate and define his tracks. Overkill, in any case, is not in his repertoire. What Daniel Bortz does instead is pack compatible sounds together from all the drawers in the "beat" cabinet and arrange them into a system bearing his own inimitable signature. And that's how this album works. Following diverse 12" singles, here's the debut album for Fritz Kalkbrenner's label, Suol. Bortz is unmatched in how he crafts his sounds, how he modulates reverb depths, how he opens spaces and inserts details between the tracks with the precision of a Swiss watchmaker. His nonchalance in turning apparently cool vibes into a fiery inferno is the definition of informed understatement. Patchwork Memories becomes tangible as an experience through the depth of these moods, through the immediacy he applies in portraying his memories. These are memories Daniel has scribbled down in sketches and arrangements over time. For the album he returned to them, carefully picking those to resuscitate. He's somehow managed to accomplish this audio self-revelation without stumbling into self-immolation and, most importantly, without losing sight of the laws of the dancefloor. Those suspicious that LP productions are for the head (phones) and not for the feet will be astonished at how Patchwork Memories brings both to life.


SP 1025LP

MCDOWELL & ANNIE MAE MCDOWELL, FRED: My Home Is in the Delta LP (SP 1025LP) 18.00
"These recordings, made in 1963-4, showcase Fred McDowell in his prime. As recorded by Peter Welding, My Home Is in the Delta finds Fred and his wife basking in the blues and gospel. Unlike Amazing Grace, which was also originally released by Testament and reissued by Sutro Park, this album is barer, a little more raw and personal. As if Fred is in a room right next to you playing the blues with his slide style that set the pace for everyone who came after. Fred McDowell is the king of the hill country blues, and My Home Is in the Delta is the crown. Includes classics such as 'Going Down South' and 'Waiting for My Baby.' A true treasure, remastered for this release by sound-mastermind Gary Hobish. Pressed on 180 gram vinyl with a beautiful tip-on jacket. Note: this is the original ultra-rare cover."


TR 273CD

The Pitcher is Christian Kjellvander's fifth solo record since the 2002 debut Songs from a Two-Room Chapel. Recorded in an old church in the Swedish countryside, this massive piece of work is perhaps his most elegant and well-crafted album to date. We see Christian driving his car across the back roads of Sweden. The road is as straight and as minimalistic as can be. To the left, an ancient forest. To the right, a canyon. Between the lines -- eloquence. In the back seat is the cornerstone of his new album. A guitar with associations to Leonard Cohen, an amplifier that once belonged to Neil Young and a voice as deep as the honesty it spells. We often glorify, romanticize, and mystify the laborious, but we tend to forget that they are among us now. In an old church in the Swedish countryside -- that is both home to Christian's family and his work -- with help from friends, family and players from the Gothenburg Symphony Orchestra -- The Pitcher has evolved. Carved from words, notes and memories, starting with the opening chord progression of "The Mariner" -- the sweet documentary ballad of cutting your past away for the sake of another's future -- via the midlife interruptions of "The Zenith Sunset" towards the truthful hymn "The Bloodline," the clarity is mesmerizing. After the reawakening of Loosegoats and three years since the release of The Rough and Rynge (2010), from the reality of a man who since then has lost a brother and gained a son, Tapete gives you The Pitcher. Long-time friend and associate Craig Schumacher (Wavelab Studio) engineered the recording during 10 days in early June 2013. It was mixed by Craig at Wavelab and mastered by JJ Golden at Golden Mastering.

TR 274CD

ASTROM, KRISTOFER: An Introduction To CD (TR 274CD) 17.00
Kristofer Åström is Sweden's most creative, diverse, and inspirational singer/songwriter, with a career spanning a decade and a half of rock, pop, punk, folk, and country, always with personal, melancholic, and interesting stories as the glue that holds his musical matchstick house together. After eight albums and four EPs, it's about time to sum up his first 15 years in the dirty pond that is the music business. To call it a "best of" would be to mislead people, as there really are no bad eggs in his back catalog, so we'll just call it an Introduction. Enjoy, people. "It all started in 1996. Fireside were on tour in the U.S. and we stopped by our tour manager Chris Gibson's house in Hoboken, NJ. I told him I was thinking about writing songs for a solo album and he picked up an acoustic guitar, a Fender, and gave it to me. On the back of the guitar he wrote 'May the vibe continue through.' Once I was back home in Sweden, I started writing songs. A lot of them! I figured this was something I had to do. To get it out of my system. Once I had more than enough songs for an album I called my record label and said I needed money for a studio session. Without even hearing a single note, Fredrik, the label boss, gave me some money and sent me to the Bauhaus Studio in Gothenburg. Ok, so now I was supposed to do this! Record a solo album. But how do I pull it off? I knew I wanted Paul Bothén to record it and co-produce it. And I knew I wanted my good friend Per Nordmark to play the drums. And I pretty much knew what kind of sound I wanted for the songs. I knew I wanted and needed someone to play the piano because I wasn't good enough at that. I just didn't know anybody. Luckily Per had an old friend that he said was a pretty good piano player. So he called Peter Hermansson and asked if he wanted to tag along, and I sent him some demos of the songs. I had never met him before. He just showed up at the studio and started playing. I was stunned! I had never heard anybody play like that. Everything fell into place. A week later the Go, Went, Gone (1998) album was recorded and mixed. I never thought it was going to be more than a one-off thing. One album and be done with it. I guess I was wrong. One album became eight, with more to come. I feel really blessed that people still listen to my songs and come to my shows. You all rule! Thank you! This is not supposed to be a 'Best Of' compilation. Like it says, it's an introduction to my music. My world. It's my party and you are all invited. Hope you enjoy it. And may the vibe continue through!" --Kristofer

TR 275CD

ASTROM, KRISTOFER: An Introduction To 2CD (TR 275CD) 20.00
Special 2CD edition, featuring a bonus CD with 16 bonus tracks. Limited to 2000 copies.



KEGNE, BAHRU: The Legendary Bahru Kegne (1929-2000) CD (TERPAS 023CD) 15.00
"Deep, hypnotic, trance-like music from Bahru Kegne, a legendary Azmari, who was even a private court player under Haile Selassie, the 'free newspaper' of Ethiopia in the communist days. He recorded some amazing modern cassettes in the last years of his life. CD comes with 44 page booklet with interviews, photos, lyrics, stories, histories, etc."


ASHENAFI & ILILTA BAND, CHALACHEW: The Legendary Gondar Azmari (1966-2012) CD (TERPAS 024CD) 15.00
"Last ever recordings from Chalachew Ashenafi (a tour mate of The Ex in recent years), backed by the Ililta Band. Azmaris are the voice of free speech in Ethiopian society. These tremendous improvisers comment on politics, religion, and everyday life in a particular style which is both provocative and very humorous. The double meaning in the language, 'semenawork' (wax n' gold) is an essential part of Ethiopian culture. CD comes with 40 page booklet with interviews, photos, lyrics, stories, histories, etc."



FOUR TET: Beautiful Rewind CD (TEXT 025CD) 13.50
"Beautiful Rewind. Shout out to Text Records. On LP and CD. No YouTube trailers, no streaming, no charts, no Amazon deal, no last minute Rick Rubin."


FOUR TET: Beautiful Rewind LP (TEXT 025LP) 18.00
LP version on 180 gram vinyl with download code.



VAN HOESEN, PETER: Life Performance CD (TRESOR 265CD) 15.50
Almost a year after the release of Peter Van Hoesen's highly-acclaimed album Perceiver on his Time To Express imprint, the Belgian producer returns with Life Performance -- a brand-new live recording which was captured into a single, long-form listening experience during a specially-curated Time To Express label night at Tresor on July 19, 2013. This new live album represents an important step forward for the producer. Since 2006, Peter has played live in a variety of different settings and situations, from festival circuits and dark, sweaty venues to working with dance and theater companies on stage. Each live performance brought with it a necessary evolution in approach, which led to a varying sense of real "live" interaction. At first, with a setup centered around a laptop, a drum machine was added, then slowly more and more machines entered into proceedings. Ultimately, it was the computer that was to hold central guard in the coordination of each disparate sonic element. Now, the laptop is being pushed aside, making way for the hardware to be brought fully to the fore, allowing for greater artistic freedom and expression. The focus is to be placed upon live improvisation in the creation of something wholly unique and ever-evolving. Sculpting this sound in real-time, allowing for the exploration of a multitude of possibilities and contorting parameters, in essence, a child-like approach to the idea of playing, of not being limited by the world around, is what drove this project forward. As Peter explains, "Making the tracks with the setup in mind as opposed to transposing tracks made in the studio into a live setting is much easier, and much more fun. You can improvise with it freely -- and for me that (improvisation) was most important -- then decide, in that specific moment, about its tonality and its synthesis. I'm a big fan of synthesis. I don't work with samples often. If you use samples, there's no way to really sculpt them -- not just from a technical perspective, but also from an artist viewpoint. There's a freshness and directness you get from being able to interact with the music and audience on a much deeper level than normal." Over the course of 60 minutes, the listener is exposed to a broad palette of sounds and patterns. Textural shifts, gentle rhythmic blends, dynamic synths, hooks and arpeggios coagulate into an exceptional aural experience, exemplifying an approach to music production in a live context that is both personal and unique.



UNTOUCHABLES/RICHIE MAYO & THE PARAMOURS, THE: Crawlin' (The Crawl)/Crawlin' (The Crawl) 7" (TTSHAKE 116EP) 8.00
TT Shaker offers up both super-rare versions of one of the raunchiest instrumental compositions ever conceived. On the flip-side, is the first incarnation of "Crawlin (The Crawl)" as released by Richie Mayo & The Paramours in 1957 in a seemingly misdirected attempt to follow the popularity of the dance craze The Stroll. Unperturbed, guitarist Frank Perry decided to give the song a second opportunity to capture the popular imagination a few years later in his next band, The Untouchables. If anything, the sleaze factor was somehow amplified via the scratchy guitar and rolling drum, and of course, that honking sax riff and solo.



FLUXION: Vibrant Forms CD (TYPE 117CD) 14.50
Kostas Soublis' productions under the Fluxion moniker helped define legendary Berlin imprint Chain Reaction, and with 1999's Vibrant Forms, the Greek producer released a milestone in the dub techno genre. Hazy and distant, there was still more than enough dancefloor push to propel Soublis into the (very short) list of genre legends, and make Vibrant Forms one of the very rare techno albums that works from beginning to end. Out of press for far too long, this new edition of Vibrant Forms has been remastered and will finally see the entire album released on vinyl for the first time. The most shocking thing hearing it almost 15 years after its original release, however, is how little it has dated. Soublis wisely avoided any cultural tropes, and the productions still sound fresh and deceptively alien. Through washes and waves of reverb and the faint thud of a kick drum, the all-analog productions contain a raw quality that is all too rare these days. Just head to the album's elegiac closing number "Opaque." Upbeat and propulsive, the track still maintains a deceptive calm, buoyed by swirling synthesizer washes and sizzling, tape-saturated percussion. This is the way dub techno should sound -- don't accept any imitations, Vibrant Forms is the real thing. Completely remastered by Matt Colton at Alchemy.


TTO 1301CD

COSMOLAB: Bi CDR (TTO 1301CD) 18.00
Cosmolab is the new name of Luis Carlos Esteban, historical character of the electronic pop landscape of Madrid who has been playing synthesizers since 1982 in mythical bands such as Tino Casal and Olé-Olé. For 20 years, he has been a producer and programmer of many of the great artists of the electronic pop of Spain and Latin American scene. From outsider artists like Astrud, Chico y Chica, and Ellos, to megastars like Thalia, they have passed through the hands of this producer and synth programmer. He has also impacted Mexican embryonic electronics groups such as Primer Nivel and La Siguiente Página, who today are the story of the music of that country. He has the best synthesizer collection in Spain with iconic pieces such as the Buchla, VCS3, CS80, 2600, etc. An artist of contrasts, and very interested in the pursuit of quality of sound textures, he worked for several years as a sound engineer for the Reina Sofía Chamber Orchestra and is professor of Electronic Music and Modular Synthesis in Fundación Autor. Cosmolab is a new mystic project that exists in a synthetic, textural ambient flow between noise and the harmony, created with analogue synths and without computers. Improvisation is the main maximum in the construction of his musical material. Bi is the perfect music for a look inside and outside at the stars at the same time. The Bi concept speaks of the polarity of the jail in the human , the self and the other, woman-man, truth-lie, internal-external, and all else that sets us free. [please note & sorry, this is a professionally duplicated CD-R product]



VA: Live from the Future CD (UACD 001CD) 15.50
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 of the label's elite roster of well-accounted artists have contributed their finest tracks to the project, including the CEO himself, Seven. Includes music by Joe Raygun, Wayfarer, Stealth & Altair, Youngsta, Asylum, Chewie, Mykal Rose, Taiko, Klax, Dubtek, and Nanobyte.



W/M is a double-solo CD by the two great Norwegian musicians Christian Winther (guitar) and Christian Meaas Svendsen (double bass). Both spinning out of the creative environment around the Music Academy in Oslo, the two musicians have been noticed in the world of improvised music from several of their other projects over the last few years, like Ich Bin Nintendo, Mopti, Mokey Plot, KNYST!, Karokh, Duplex, Mummu, Aksiom, Unbird, and others, making them some of the busiest musicians in the scene. M/W is the debut as solo artists for both musicians. It is a result of years of experimenting and finding their own sound, and it really shows what they are capable of with their instruments. Mesmerizing, repetitive sounds meet new ways of thinking about traditional instruments, leaving the listener with a feeling of experiencing something truly unique and new.


AS DEAFNESS INCREASES: As Deafness Increases CD (VAF 007CD) 14.50
The members of As Deafness Increases first got together in the Czech Republic in the summer of 2010 as a part of the Önczkekvist Improvising Orchestra. Educated in both classical and improvised music in the Music Academies in Oslo, Gothenburg and Berlin, As Deafness Increases plays music in the gray area between composition and improvisation, with clear structural frameworks realized through flexible instrumental roles and improvised solutions regarding content and timbre. Slow, haunting soundscapes alternate with rapid movements and semi-melodic passages, pushing forward while holding back at the same time. One of the most interesting names within Norwegian contemporary music in 2013. Inga Margrete Aas (double bass), Rudolf Terland Bjørnerem (electro-acoustic guitar), Henrik Munkeby Nørstebø (trombone).


AS DEAFNESS INCREASES: As Deafness Increases LP (VAF 007LP) 22.00
LP version.


LANA TRIO: Lana Trio CD (VAF 008CD) 14.50
Va Fongool have the great pleasure of bringing you the debut album by Lana Trio, an acoustic trio formed in 2007, which plays highly-intuitive free improvised music, sometimes with hints to both European and American free-jazz traditions, but more often searching for new, unheard sounds. After six years of collaboration, they have finally found a common understanding for sound, which gives them that little edge they need to get ready for releasing their music. The three musicians are known from other constellations like Skadedyr, Einer, Aksiom, Mopti, Knyst, and others. Members include: Kjetil Jerve (piano), Henrik Munkeby Nørstebø (trombone), and Andreas Wildhagen (drums).


LANA TRIO: Lana Trio LP (VAF 008LP) 22.00
LP version.


VA 006CD

AVATISM: Adamant CD (VA 006CD) 17.00
"For over 12 months Thomas Feriero aka Avatism has been staying at home and working on his album. He moved to Berlin to work on it and now sadly he is moving back to Milan. So what did this year entail, exactly? Well for some of us not much. We got to see him in his studio comfy pants a couple of times (he wears slippers), we heard his studio woes, ate pasta with him, drank beers and of course, got to hear his album at every juncture. While this self-imposed exile may have been a little worrisome, the result is fortunately spectacular. Adamant is a glimpse into how a city shapes a life and how intrinsically life then shapes music. It's less than two years since his first gig, yet in that time he's managed to craft killer EPs on Vakant and Dumb-Unit, collaborate with Clockwork and Mind Against (who both make appearances on the album) play diverse shows including Sónar by Night, and generally had a really good run at it all. While many would be content simply continuing on this already exciting path, Thomas decided that Adamant was a chance to explore other forms of writing, production and collaboration, and imposed strict conditions so that this album would evolve differently than his earlier works. 'I imposed mandates on myself while making it: the tracks (the music, at least) had to be written in a day. 'Written,' not mixed, arranged or produced, simply written, and even though I was convinced the album was going into a different/wrong direction approximately 292,829 times while making it, I decided to follow through on all the musical parts that I developed in these one-day cycles.' This is an album that exudes a depth and immediacy, the restrictions and exile only strengthening Thomas' depth and detailing. The uncertainty, the melancholy, the general studio stink now neatly wrapped into a glittering whole that we're pretty confident the world will enjoy." -- Jeremy P. Caulfield


VL 901431LP

MORRISON, VAN: The Complete New York Sessions '67 3LP BOX (VL 901431LP) 70.00
"Though the relationship was short and volatile, Van Morrison's post-Them tenure with Bert Berns' Bang Records produced what probably remains his most well known tune in 'Brown Eyed Girl' as well as one of his heaviest and headiest compositions, 'T.B. Sheets.' It also produced a jamming session that is now notorious and legendary, full of that well documented Van vitriol. All of that and more classic material from the Belfast Cowboy is compiled here in this deluxe triple LP box set complete with four page booklet. This is essential for all true Van Morrison fans."

VL 901462LP

WILLIAMSON/GILLI SMYTH/DAEVID ALLEN, HARRY: Stroking the Tail of the Bird LP + 7" (VL 901462LP) 31.00
"Compiling recordings that span the '70s through the '90s, Stroking the Tail of the Bird highlights the Gong co-founders Allen and Smyth, along with Mother Gong alumnus Williamson, at their enigmatic best. Glissando guitars and meditative synthesizers combine to make timeless and ethereal psychedelia on par with Allen's best work in Gong. Includes a bonus 7", pressed on 180 gram vinyl."


WER 6755CD

RIEHM, ROLF: Wer sind diese Kinder, Hamamuth - Stadt der Engel CD/SACD (WER 6755CD) 25.00
"Both the piano work Hamamuth -- Stadt der Engel and the piano concerto Wer sind diese Kinder are composer Rolf Riehm's attempts to broaden the spectrum of political music. Hamamuth -- Stadt der Engel focuses on the omnipresence of violence experienced during the Iraq War. Both works show that it would be insufficient to look for their political facets exclusively on a semantic level. The physical understanding of music appears to be almost equally important. These powerful works are performed by pianist Nicholas Hodges and the SWR Sinfonieorchester Baden-Baden conducted by Beat Furrer." Stereo/multichannel hybrid SACD that can be played on any CD player.



2013 repress; 180 gram vinyl. "This 1966 LP by Astatke (billed to Mulatu Astatke & His Ethiopian Quintet) isn't shaded by nearly as much African/Ethiopian influence as his later work, which was recorded between the late '60s and mid-'70s. As the title might lead you to believe, it is indeed more in the Latin soul-jazz bag than the later material, sometimes leaning toward the R&B-informed boogaloo sound of the mid-'60s. On his own compositions and arrangements (which comprise about half the LP), sometimes more exotic and African colors bubble closer to the surface, as on the eerie vibe parts he lays on 'Mascaram Setaba.'" -- Richie Unterberger, All Music Guide.


MULATU OF ETHIOPIA: Mulatu of Ethiopia LP (WORTHY 1020HLP) 14.00
2013 repress; 180 gram vinyl. "Mulatu Astatqé (also sometimes spelled Mulatu Astatke, as he is on the liner notes to this release) might be most known to international audiences through his tracks on the excellent Ethiopiques CD anthology series of Ethiopian music. Long before those tracks were compiled for that series, however, he had an American release with this 1972 instrumental album, on which he's billed as 'Mulatu of Ethiopia.' Like much of the best of the circa-early-'70s contemporary Ethiopian music on Ethiopiques, it's a fine, at times captivating blend of late-'60s American soul and jazz with Ethiopian music, resulting in something not quite comparable to anything else." -- Richie Unterberger, All Music Guide.

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