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Forced Exposure New Releases for 11/25/2013

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New music is due from Mick Turner, Shifted, Emily Jane White, The Thing, and AGF, while old music is due from Palmer Rockey, Son House, and Conrad Schnitzler.


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AGF: Kuuntele CD (AGF 017CD) 15.50
With the album Kuuntele, poem-producer AGF (Antye Greie-Ripatti) interprets the poetry of her new homeland, Finland, with a few well-chosen examples. Her method is the same as on Gedichterbe (AGF 015CD) for which she received an Honorary Mention at Ars Electronica in 2013 in Digital Music and Sound Art. In this collection, AGF has chosen examples of Finnish poetry from the last 327 years, including material from "An Orphan Child's Lament" by Maria Simointytär (1683) and from the Kalevala's second edition, 1849. The creation-story hero Väinämöinen suits the poetic beginning: he is a demiurge, creator of land and trees, who arises from the water. Among the chosen poets on this album is the Saami multi-artist Nils-Aslak "Ailu" Valkeapää (1943-2001), who, for his picture book Sun, My Father (original in Saami language, 1988), received the Nordic Council's literary prize in 1991. Out of 13 pieces of music, eight poems come from female writers, and six from male writers. Two of these texts have inspired AGF to give a purely instrumental interpretation; for example, Paavo Haavikko's "How to Address the Fog" and Tove Jansson's "Who Will Comfort Toffle?" (Jansson is the creator of the Moomin family of books and comic strips). Another Swedish/Finnish writer is Solveig von Schoultz (1907-1996). AGF transfers her poem "The Birds" into the sound poem "Diamantenstimmen," which refers to the representation of love crystallized into the hardest stone, the diamond. The tradition of the Kalevala can be heard in the selection of these texts. Eino Leino (1878-1926) is the most important poet in this sense, and included here is a fragment of the legend "Blue Cross," taken from the latter edition of the two collections of poems called "Helkavirsiä" (1916). In this context, the whole transforms into a magical chant, which is here performed by the Helsinki-based rapper, producer and spoken-word artist Matti P. The strong line of women writers continues with L. Onerva's (1882-1972; real name: Hilja Onerva Lehtinen) "I Rock the Echo" from the collection Mixed Tunes, 1904. (Finnish underground singer and musician Lau Nau lends her voice to this fragile creation, made entirely from an iPad app by AGF). Eeva-Liisa Manner (1921-1975) is the most important Finnish female modernist from the '50s. Her poem "Counterpoint" is just the first part of the poem, but it finishes with an allusion to another one of her classic compositions with the added phrase: "Drops of Mozart, zart, zart." Eila Kivikk'aho (1921- 2004) is the most lyrical of these poetesses, and she is represented with the poem "Generations" from the collection The Flock (1961). AGF has chosen the first part of Kivikk'aho's poem. Eeva Kilpi (1928-) is one of the most productive and beloved of the Finnish female writers. Languages -- Finnish and English, fold upon each other in her work, weaving a fabric of connection. Finnish "freak folk" singer Islaja sings on the track "Kiitos." AGF sings on and melts together Iris Uurto's text with her son Aku-Kimmo Ripatti's (1931-1994) poem "The Horseman" from the collection I Don't Say Anything Else (1986). The newest poem is Juha Rautio's "Listen" from his third collection of poems Sit Down Song (2011), read by the poet himself.



DANIEL & GAB RHOME, MAHER: Farewell at the Gates of Dawn/Sometimes It Goes One Way 12" (ADID 004EP) 12.50
All Day I Dream has been spreading its musical rhythm and tone through its summer residencies in New York and Los Angeles. This fourth release has been a summer anthem at parties, and with it the label welcomes two new family members. Maher Daniel and Gab Rhome weave a timeless quality into "Farewell at the Gates of Dawn" -- beautiful, mournful, and musical. The track speaks for itself. After working on "Farewell," Gab was unable to persuade Maher to stop watching reruns of Baywatch and come in to the studio. He created "Sometimes It Goes One Way" by himself, which is crunchy and pretty with a longing feel to its vocals and is a fine partner to the dreamy A-side.



PLANTMAN: Closer to the Snow CD (ARLEN 006CD) 15.50
Arlen's second Plantman release, following January 2013's extremely well-received Whispering Trees. The project of former Beatglider man Matt Randall, this represents his early Plantman recordings, put together on a four-track at home and with band member Adam Radmall at John Hannon's NO recording studios. The songs reflect the mood upon the conclusion of the last Beatglider album Witches, as Randall was getting into The Go-Betweens and their simpler production values, and as a result found himself moving away from the sprawling seven-minute Beatglider offerings. Instead, what emerged was a 17-track album with shorter songs and more of a mixtape feel, influenced by bands such as Sebadoh, East River Pipe and Trembling Blue Stars. Closer to the Snow was originally released in a 35-copy CD-R run on the Cathedral Transmissions label, with available copies predictably hard to come by and commanding sizable fees since.



SABLE SHEEP: Caarl EP 12" (BAO 043EP) 14.00
With their fourth release on Be As One, Sable Sheep is by now a stable player of the team. The Caarl EP contains four tracks aimed at the dancefloor where the German producer shows confidence and strength. Move with the techno moods of "Cannibal" and "Caarl" and the housier grooves of "Liberate My Madness" and "Passage for a Dinner."



SHIFTED: Under a Single Banner CD (NAIL 007CD) 16.50
It's been a busy couple of years for the producer behind the Shifted project. On top of an extremely well-received album for the Mote Evolver label, the producer has edged further out into the fringes of electronic music under a number of aliases, taking in noise/ambient variants as Covered In Sand, as well as more distorted, technofied productions under the Alexander Lewis moniker, a sound described by the Blackest Ever Black label as "S-M techno." His new album as Shifted, Under a Single Banner, finds the producer converging these strands into a lucid re-imagining of techno, starting off from the toughened, purist templates honed down by the likes of Sandwell District and Marcel Dettmann, and stretching out into more textured, sometimes noisy, often introverted and melancholy signatures. It's a perfect fit for Bed Of Nails, a label that's given a platform for the more direct dancefloor mutations of Dominick Fernow's own productions as Vatican Shadow, Rainforest Spiritual Enslavement, and Christian Cosmos, as well as familiar Hospital Productions affiliates such as Kris Lapke under the Bronze Age guise. There's a rich and earthy warmth to Under a Single Banner that's perhaps at odds with the puerile fixation on all things noisy at the fringes of techno these days, but for the most part, the tension and momentum keeps the album definitively aimed at the floor without ever resting on its laurels. Mastered and cut by Matt Colton at Alchemy.


SHIFTED: Under a Single Banner 2LP (NAIL 007LP) 25.50
Gatefold double LP version.



VA: Bermuda 2013 Presents City Sound Berlin 2CD (BERMUDA 004CD) 20.00
Berlin is multi-colored, multi-cultural, and loud. Berlin is everything you want, if you want it. It's a city that satisfies the autonomic needs of its citizens by offering enough space to drift away. You can find big love here, and you can get lost in the endless nights -- nights which dictate a communal 4/4-heartbeat and let you forget about everything. This untouched romance is one of the reasons why Berlin evolved into a world-wide hotspot for electronic music in the last 20 years. The world's best DJs shake hands at the airport, the most interesting releases are recorded in the local studios and the very well-known booking agencies, clubs and labels are only a few steps away from each other. Thanks to this network, Bermuda can host the Berlin Music Days (BerMuDa) for the fifth time. To bear this international festival in mind, the label prepared a 2CD compilation which shines a light on every facet of Berlin. The CD1 "Day" edition underlines every pre- or after-hour with atmospheric tracks from DJ Koze, Fritz Kalkbrenner, Sascha Braemer, Oliver Koletzki, and many more. The CD2 "Night" edition unfolds the dark pull of Berlin's clubs with sounds from Pan-Pot, Ellen Allien, Marcel Dettmann, Mathias Kaden, and many other heroes. Never mind which companion you choose -- all of them act as one's best. Other artists include: Finnebassen, Herbert, DJ Koze, Lee Jones, Matthias Meyer, Mano Le Tough, Dixon, Ruede Hagelstein, Black Rose, Subb-an & Tom Trago (feat. Seth Troxler), Siriusmo, Tale Of Us, Hot Since 82, Ten Walls, Mind Against, Daniel Stefanik, Francys, Adam Port, Marco Resmann, Jesse Perez, Sons Of Tiki, KiNK & Sierra Sam (feat. Hollis P. Monroe & Overnite), KiNk, La Fleur, and Kenny Larkin.



DOCTOR ZYGOTE: Grupo Zygote LP (ACRE 004LP) 19.50
Welcome to the first installment of the Black Acre library series curated and created by long-time hip-hop production boss and Strange U beat-bruiser, Doctor Zygote. His mantra in creating this LP has an almost Jack White level of reductionism. "In this day and age where people have almost too many sonic options at their fingertips, I find it easier to spark my creativity if I limit myself in some way, give myself a set of rules to work within on a project. That's why on this one I decided to only use sounds I'd played and recorded myself, no samples." Although Grupo Zygote masquerades as a throw-back library album, its genre-busting content places it on the cutting edge of Black Acre's output. The dissonant sounds of giallo are dripping with the grainy gore of '70s horror. Nods are given to contemporary classics like Photek's Hidden Camera while Eastern jazz and the heavy tape delay of King Tubby are regular visitors. It's Zygote's basement-dubbing techniques which hold together this album bursting with globe-spanning flavor. "It was really fun playing with dub mixing techniques on this project. Almost all the tracks use tape echoes I hooked up using my tape machine and the mixer." As you can tell from the depth of production on offer here, Dr. Zee is no new-jack, dropping his first jungle record when he was just 16 and following with two more on the classic Essex imprint Juice Records. Turntablism was then his pathway back into realms of hip-hop where he still breaks boundaries with long-time cohort Jazz T on their 14-year deep imprint Boot Records. If this wasn't enough, Doctor Zygote has a strong reputation in modern electronics through his leftward Zoot label.



VA: Mobilisation Generale: Protest and Spirit Jazz from France 1970-1976 CD (BORNBAD 057CD) 15.50
1968. France, Incorporated. The entire building was being consumed by flames and was slowly collapsing. Nothing would survive. Out of the rubble of the old world jumped the children of Marx and Coca-Cola, ripping the white and blue stripes off the French flag. Yet, the socialist revolution was more mythic than real and music did nothing to mitigate people's behavior. It was time for innovation. While singles from The Stones, The Who, The Kinks and MC5 provided an incendiary soundtrack for the revolution, it was Black Americans who truly blew the world from its foundations in the '60s. Ornette Coleman, Cecil Taylor, Eric Dolphy, Albert Ayler, and Archie Shepp left behind the jazz of their fathers' generation, liberating the notes, trashing the structures, diving headfirst into furious improvisations, inventing a new land without boundaries -- neither spiritual nor political. Free jazz endowed the saxophone with the power to destroy the established order. In 1969, the Art Ensemble Of Chicago arrived at the Théâtre du Vieux Colombier in Paris and a new fuse was lit. Their multi-instrumentalism made use of a varied multiplicity of "little instruments" (including bicycle bells, wind chimes, steel drums, vibraphone and djembe: they left no stone unturned), which they employed according to their inspirations. The group's stage appearance shocked as well. They wore boubous (traditional African robes) and war paint to venerate the power of their free, hypnotic music, directly linked to their African roots. They were predestined to meet up with the Saravah record label (founded in 1965 by Pierre Barouh), already at the vanguard of as-yet unnamed world music. Brigitte Fontaine's album Comme à la radio, recorded in 1970 after a series of concerts at the Théâtre du Vieux Colombier, substantiated the union of this heiress to the poetic and politically-committed chanson française with the Art Ensemble Of Chicago's voodoo jazz and the Arab tradition perpetuated by her companion Areski Belkacem. A UFO had landed on the turntables of French teens, who were discovering underground culture via publications like Actuel, Libération, Charlie Hebdo, Rock & Folk and a vigorous free press. For 20 year-olds in the early 1970s, making music was a political act; they grabbed a microphone to advance a cause, not to become rock stars. While the price of oil skyrocketed and Pompidou went overboard building horrible concrete apartment buildings for public housing and "adapting the city for the automobile," some took refuge in the countryside. Alternative communities formed all across France, giving rise to groups (or rather, collectives) with open-minded structures, cheerfully mixing music, theatrical happenings and agitprop, along with a good dose of acid. Projects bordering on the ridiculous were often tolerated (progressive rock was one of the primary banalities the era produced), while those who followed the route paved by spiritual jazz often ended up elsewhere. The vehemence (if not grandiloquence) of their declarations was carried and transcended by the finesse and brilliance of their musicianship. Simultaneously spatial, pastoral and tribal, the tracks in this collection represent an ideal intersection between a sort of psychedelic legacy, the space jazz of Sun Ra and Afro Beat (then being created by Fela in Lagos): they are as much incantations (often driven by the spoken-word), war cries or poems as they are polemics. 1978. Giscard was at the helm. Punk and disco were busily decapitating the last remaining hippies. Peoples' blood was still boiling, but it was already too late. The war was over, lost without anyone noticing. Nevertheless, people still tilted at windmills or talked tough in dead-end struggles; a dream is not so far from a nightmare. We knew that an enchanted era had ended, the hope for a brighter future was now behind us and that we would leave behind nothing for our children but a few records. Indeed, ghosts may still crackle from our speakers, as the 45 spins and Brigitte Fontaine asks Areski: "Hé mais je pense à un truc, on ne va pas mourir dans une minute?" (trans. "Hey, I was just thinking, aren't we going to die in a minute?"). Features artists such as Alfred Panou & Art Ensemble Of Chicago, Brigitte Fontaine & Areski Belkacem, Atarpop 73 & Le Collectif Le Temps Des Cerises, RK Nagati, Frédéric Rufin & Raphaël Lecomte, François Tusques, Mahjun (Mouvement Anarcho Héroïque des Joyeux Utopistes Nébuleux), Full Moon Ensemble, Baroque Jazz Trio, Michel Roques, Chêne Noir, and Beatrice Arnac.


VA: Mobilisation Generale: Protest and Spirit Jazz from France 1970-1976 2LP (BORNBAD 057LP) 26.50
Double LP version. Comes in a gatefold sleeve.



ARAPU & MIHIGH: Obscurantism EP 12" (BPMS 002EP) 14.50
Second part of the BP Mind series, represented by a great collaboration from two of Romania's finest: Mihigh & Arapu. Usual set: 180 gram, vinyl-only, with some special sounds on both sides.


BM 006CD

LAID BACK: Uptimistic Music 2CD (BM 006CD) 17.00
Earlier in 2013, Danish electronic pioneers Laid Back released Uptimistic Music Vol. 1 (a digital download-only release), their first studio album since 2004. The duo's long-awaited comeback was followed by critical acclaim and a series of live performances. While playing festivals in Ibiza, Georgia, Denmark, and the Faroe Islands in the summer of 2013, John Guldberg and Tim Stahl took the time to put the finishing touches on this release: Uptimistic Music, a double album featuring volume one and a second record of unreleased material. "Brother" was the album's first single: "The track originates from the mid-'80s and it talks about the brotherly feeling in us," explains Stahl. "Its lyrics are even more relevant today: 'Brother, time is running out.' We are well-aware of the fact that we are some old music industry geezers," says Guldberg jokingly. "Uptimistic Music is a combination of some old songs we had lying around -- that are still alive and kicking! -- and new songs we composed since our last album Happy Dreamer. Anything less than a double album wouldn't have been enough. The positive and timeless message that pervades our music is deeply-rooted in the way we think and express ourselves. A song should be judged on its longevity rather than its novelty," agree the two musicians, who have been friends for over 40 years.


BB 143CD

TIETCHENS, ASMUS: In die Nacht CD (BB 143CD) 17.00
Bureau B reissues Asmus Tietchens' third solo album on Sky Records, originally released in 1982. It stands to reason that any musical journey undertaken by a skeptic like Asmus Tietchens is destined to head into the night (In die Nacht) rather than into the day. In die Nacht, the third album in the so-called time signal ("Zeitzeichen") phase, continuing in the same vein as Biotop (BB 141CD/LP) and Spät-Europa (BB 142CD/LP), while laying down its own stylistic markers, no doubt attributable to the sizeable challenges facing the composer. Time, or the lack thereof, was the most pressing concern. With only a few weeks available in which to produce the record, he had to rein in his ambition. In the past, Tietchens had seldom allowed tracks to exceed three minutes in length, avoiding the effect of "musical drift"; hence, the ideas came thick and fast on his previous two albums. This time around, in creative terms -- and with all due meticulousness -- he needed to be more economical. Four of the tracks turned out far wider-ranging than they might have done under different circumstances. Ironically, these are the very pieces which lend the album its enduring character. The exuberantly stumbling rhythm of "Höhepunkt kleiner Mann" is as typical as the dark mood of the title-track, although jaunty and highly-charged tones creep into the latter. "Regenwald," on the other hand, carries the listener off to a magical sonic setting, a hypnotic allure underneath pulsating rhythms. Such a display of color is akin to the atmosphere of Max Ernst's jungle paintings. In technical terms, In die Nacht differed notably from its predecessors as Tietchens now had access to a Polymoog, enabling him to play chords. The Minimoog and rhythm machine he had used until then were deliberately pushed into the background; the drum machine in particular was drastically taken out of the mix. The creative versatility of this relatively modest equipment still appears remarkable today.

BB 144CD

TIETCHENS, ASMUS: Litia CD (BB 144CD) 17.00
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.

BB 149CD

SCHNITZLER, CONRAD: Silber CD (BB 149CD) 17.00
A collection from Conrad Schnitzler's archive, recorded between 1974 and 1975, originally released on LP only in 2009. Contains the complete original material (three more tracks than the 2009 release) on CD for the first time (with original running order). Just when you think you have grasped Conrad Schnitzler's master plan, every time you kid yourself into predicting what you are about to hear, the next record comes along to prove you wrong. Motorik is writ large throughout. Even the less rhythmic passages remain grounded, never drifting into absolute abstraction. A more or less distinct ostinato runs through each track, condensed into a complex tapestry of electronic surprises amidst Schnitzler's typical cascades of sound and flashes of noise. And so the journey to the most distant corner of Schnitzler's world begins. Majestic drones and tricky melodies fly past the listener. Is this still the music of Schnitzler, the conceptual artist? Yes, undoubtedly. His view or concept of art allowed him the freedom to experiment in all directions, a stroke of luck for the listener. The Silber (trans. Silver) album offers up a form of pop music preempting nothing, unrelated to anything else. Far more, it represents Schnitzler's unique and inimitable blueprint for a music of the future, music which still astounds when we hear it today, almost 40 years later -- and it poses the almost philosophical question, whether this future has already happened or is yet to happen? Schnitzler was not alone in daring to create future music in the 1970s; yet many visions of that era were short-lived and appear rather dusty today, even a little embarrassing. The "precious metal" albums, in contrast, escape the zeitgeist and are patently resistant to retromaniac constraints. Schnitzler's artistic and -- let us spell it out -- aesthetic autonomy celebrates a veritable victory here. Liner notes by Asmus Tietchens.

BB 150CD

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



MERVEILLE, CESAR: DEA/Kraftone 12" (CADENZA 091EP) 14.00
It's a welcome return to Cadenza for Cesar Merveille, who serves up two new tracks of the real deal. "DEA" is a cut that's been bubbling for a while. Cesar's appreciation for subtlety and the finer details shine through, a shuffling hat groove and the sweet, brassy melody line edging in over a backdrop of sub-aquatic swashes and effects and a minor vocal stab adding some extra warmth. Flipside "Kraftone" is an immediate cut, its jackin' groove and bouncing kicks sees an infectious bass riff warp its way around the reverberating hats and deft keys. With the energy levels never letting up, Merveille tweaks and distorts its basic components; its earworm of a melody is highly contagious.


CH 108CD

BUSHWALKING: No Enter CD (CH 108CD) 15.50
Melbourne/Sydney trio Bushwalking release their second album No Enter on Chapter Music. The band comprises Nisa Venerosa of Chapter Music artists Fabulous Diamonds, alongside Ela Stiles of Sydney band Songs, and Karl Scullin of Kes Band. Bushwalking were formed in 2011 when Stiles was planning to record a solo album and enlisted friends Venerosa and Scullin to back her up. Quickly they realized what they were creating went beyond the solo-artist-plus-backing-band archetype, and decided to form an entirely new band. The result was the eerie hypnotic rock of 2012 debut album First Time, which matched Venerosa and Stiles' psychic harmonies with Scullin's piercing guitar tones. The album was released on vinyl via U.S. label Army of Bad Luck, run by then-Deerhunter bassist Josh Fauver. Despite the lack of a local release, First Time became a Triple R album of the week and made many end of year best-of polls. The band were also featured on influential international music sites such as the Fader and Quietus. Bushwalking return in 2013 with No Enter, a bigger, harder record than the debut. The band's almost medieval edges are now diamond-sharp, with Venerosa and Stiles' voices inextricably entwined, singing disarmingly direct lyrics over pounding, tom-heavy drums and screaming guitar histrionics.

CH 110CD

PRIMITIVE CALCULATORS: The World Is Fucked CD (CH 110CD) 15.50
Thirty-five years after they first crawled out of dark, suburban Springvale to spew their synth-punk filth over Melbourne and beyond, Primitive Calculators have made their first-ever studio album, aptly entitled The World Is Fucked. Stuart Grant, Denise Hilton, Dave Light, and Frank Lovece formed Primitive Calculators in 1978. They existed in bitter antipathy and vile hedonism in St. Kilda and Fitzroy until 1980, reformed briefly to appear in the 1986 film Dogs in Space (starring INXS' Michael Hutchence), and then reconvened more permanently in 2009, at the invitation of the Nick Cave & the Bad Seeds-curated All Tomorrow's Parties festival at Mount Buller. Their original releases, classic synth-punk single I Can't Stop It/Do That Dance in 1979 and a posthumous live album from 1982, are now Holy Grails for collector scum around the world. French label Desire Records reissued both records in limited vinyl editions. Despite their vicious reputation, Primitive Calculators actually nurtured a thriving community of impromptu bands around them, now renowned worldwide as the "Little Bands" scene, including groups like Thrush And The C**ts, Too Fat To Fit Through The Door, and the incredible Take. Recorded with Neil Thomason (My Disco, The Slits) and mastered by David Walker (Lost Animal, Pikelet, Twerps, etc.), The World Is Fucked pulls no punches across its nine one-word songs. The sound is a kind of shimmering ball of white noise and malice, a floating miasma filled with all the bile most people never let emerge from their subconscious. The album also includes their version of a song they have been playing since the late '70s, "Nothing" by New York outsiders The Fugs. Thirty-five years later, bleaker, harsher and more desperately hilarious than ever, Primitive Calculators present The World Is Fucked -- the ultimate aural statement of aging, despair, and futility. Surprisingly, it's really fun to listen to.

CH 113CD

SYLVESTER, DARREN: Off by Heart CD (CH 113CD) 15.50
Melbourne artist Darren Sylvester returns with his second album Off by Heart, on Chapter Music. Renowned for his multidisciplinary practices in photography, sculpture, video, performance, and music, Sylvester applies a highly-polished, highly-referential aesthetic to everything he does. His musical practice began with videos of himself performing as David Bowie or Kate Bush, and progressed to re-building The Carpenters' Los Angeles garden for a 2009 exhibition. In 2012, he released his first book Compass Point, about the demise of the famous Bahamas recording studio, including archival photos supplied by Talking Heads' Chris Frantz. In this context-heavy context, Sylvester views Off by Heart as akin to Prince performing the songs of Jeff Lynne (two artists who, like Sylvester, also write and record alone). Sylvester plays every instrument on the album, and also offers up the melodrama of Suede's Bernard Butler, the histrionics of Billy Idol's guitarist Steve Stevens and the power ballad keyboards of Foreigner as musical departure points for his own investigations. A sparkling addition to the album is the vocal backup duo of Jojo Petrina and Biddy Connor (both of Magic Silver White). Lyrically, the album flits between the mistakes of love and the sharp realization of mortality, but presents both with a wink that acknowledges the undying fantasy world of the pop song. Sylvester's entry into the world of recording and live performance came in 2008, when he made his self-titled debut album as part of Optimism, an exhibition at Brisbane's Gallery of Modern Art. Encouraged by friends, he played his first live show in Melbourne in 2008 with fellow first-timers Beaches. From there, the debut was given a wider release by the Unstable Ape label, and its lifespan culminated in a 2011 co-headline tour of America with James Cecil of Super Melody, who went on to produce Off by Heart at Super Melody World and Electric Dreams Studios. Off by Heart is a classically-produced rush of an album. Darren Sylvester may exist in a world bedazzled by slick '80s pop heroes, but his music is no shallow pastiche, and irony doesn't enter into it. In fact, Off by Heart is a deep, rich and dazzling album by an artist at the height of his powers.

CH 114CD

ANCIENTS, THE: Night Bus CD (CH 114CD) 15.50
Dreamy Melbourne psych-pop band The Ancients return with third album Night Bus. Their first record for Chapter Music, Night Bus is an elegant, expansive guitar epic with twinges in all the right emotional places. Baby-faced fret-wizard Jonathan Michell's eerie, often falsetto murmurings are set against swirling, soaring psych-pop, impeccably recorded by John Lee (Pikelet, Lost Animal) and Neil Thomason (My Disco, The Slits). The six-minute "Molokai," a sweeping guitar symphony in miniature, was premiered in July 2013 on Impose Magazine's web site. New single "Hey Now" is probably the catchiest thing Chapter Music has released all year, while the gentle, introspective title-track sees Michell musing over a trip on one of Melbourne's infamous late-night buses. The Ancients were formed in the late 2000s by Michell after his tenure in celebrated super-group Mum Smokes, who played a Dirty Three-curated All Tomorrow's Parties in 2007, and whose 2009 double album Easy/House Music became an Australian underground hit. The band's line-up has shifted around Michell over the years, but on Night Bus it includes keyboardist Yuko Kono (of Japanese band My Pal Foot Foot), drummer Julian Patterson (a former Mum Smokes cohort who has also played in Kes Band and Minimum Chips, amongst others), and bassist Georgina Ward (Function Group, Moon Dice, also the painter of the album cover). Matt Nicholson of Function Group also plays banjo on the wistful "House of Cards," while guitarist Hamish O'Neill (Moon Dice, Isle Adore) has recently joined the band, but doesn't play on the album. The band self-released a split single with buddies Twerps in 2010, while previous album The Ancients 2 was released on the Sensory Projects label in 2010, and first album The Ancients was released in 2009 by UK label Moteer. Night Bus is the Ancients' grand statement, an embarrassment of aural riches and diffident, endearing lyrical honesty.

CH 116CD

STEVENS, THE: A History of Hygiene CD (CH 116CD) 15.50
Melbourne scratchy pop foursome The Stevens formed in 2011 around guitarist (and now Twerps drummer) Alex Macfarlane and NZ-born axe-slinger Travis MacDonald. The band now also includes bassist Gus Lord (Boomgates) and drummer Matt Harkin. Earlier this year, Chapter Music reissued the band's 2012 self-titled EP, six insanely catchy songs that haunt your ears for much longer than the record's 13-minute duration. Now Chapter is very excited to announce A History of Hygiene, The Stevens' debut album. A History of Hygiene is markedly different from the EP, an impressionist whirlwind of song fragments and frenetic anxiety-pop classics, sequenced almost without pause in a heady 24-song, 44-minute rush. First single "Hindsight" was premiered in early October by Ad Hoc, and was picked up by the likes of Pitchfork and the Guardian and played on BBC 6. Drummer Tam Matlakowski (Pop Singles) and bassist Callum Foley appear on the album, but departed the band in late 2012. The Stevens are now made up of two pairs of childhood friends -- Alex and Gus have known each other since they were babies, and Matt and Travis went to school together in Victoria's Central Goldfields. The Stevens formed when Travis moved to Melbourne, met Alex, and the pair decided to combine their respective solo projects into a single band. Much of the album was recorded by Eddy Current/Total Control guitarist Mikey Young (whose vast recording CV includes Chapter bands Dick Diver, Twerps, and Fabulous Diamonds), and the rest handled by the band themselves. A History of Hygiene was mastered by MacDonald family friend Tex Houston, who has worked with the likes of the Clean, the 3Ds, and the Verlaines.


CCS 055-2LP

JAAR, NICOLAS: Space Is Only Noise LP (CCS 055-2LP) 21.00
2013 repress. LP version. Second edition with amended tracklisting (the track "I Got A Woman" has been deleted). Four years after his debut EP on Wolf + Lamb, Nicolas Jaar, the New Yorker by way of Chile returns to Circus Company with Space Is Only Noise, an uncompromising manifesto on traces of the past, love lost, and spectres of the future. Jaar has made it quite apparent over the course of his nascent catalog and increasingly sought-after live sets that challenge is an intrinsic part of his creative discourse. Few are the producers of any age with the guts to ride a sub-100-bpm tempo at peak-time in the techno Mecca of Berlin, and fewer still are those who receive an ecstatic hands-in-the-air response for their precocious efforts. It is precisely this sense of risk which elevates Space Is Only Noise beyond the realm of valiant first effort or crossover dance music oddity. Those looking to wade through the sea of Jaar's potential influences will quickly find themselves in the deep waters of golden age Factory records, the home-spun digitalism of Mille Plateaux, Endtroducing-era DJ Shadow and Eric Satie. Jaar gently coaxes his listener into the experience from the opening sounds of rolling waves on "être," but quickly transitions into the sophisticated percussion and meandering melodies that characterize his sound. Jaar seeks, and often finds, beauty in melancholy on the first few tracks of the album. As the album begins to accelerate with "Too Many Kids Finding Rain In The Dust," Jaar confronts us with the often forgotten reality that our sadness is not mutually exclusive on the dancefloor. Suddenly, on "Keep Me There," Jaar's voice appears over the delicious, rumbling melody. Though your hips stir to the relentless bass line and the sexiness of the voices, your heart is jolted out of its luxurious malaise when horns erupt seconds later. "How can you talk about a landscape without showing the sky and the earth?" a voice asks, translating from the French on "être." So Jaar concludes, revisiting the same track to end the album. Complete landscapes such as these are only realized in contrast -- the indulgent against the reserved, the sky against the earth; lightness and darkness. Space Is Only Noise is a tour de force with few modern equals, and a great sign of things to come from one of electronic music's most exciting producers.


POLIAKOV, OLEG: Random Is a Pattern 2LP (CCS 086LP) 23.00
Double LP version. Circus Company has watched the rise of Oleg Poliakov after he first joined their ranks with Datcha Musik way back in 2007. Since first swearing allegiance to Circus, he has continued to unfurl a refined approach to house and techno that carefully balances a respectful mastery of the classic tropes of the genre with his own instinct for seductive melodic content. Finally, after no less than 11 singles for labels such as Bass Culture and Eklo as well as Circus, the time has come for Oleg to embrace the album format and take us on a journey that stretches beyond the immediacy of a dancefloor 12" and perfectly captures where he is at right now. There is a techno spirit roaming the circuitry of Oleg's studio, tussling with the delay and reverb gates, firing off focused, intricate rhythms and unafraid of whipping up a mean-tempered kick or two. Across Random Is a Pattern you can hear such energy surging out of tracks like "Beyond" and "Anatomy of a Shipwreck," with the latter having an especially tough rhythm section. However, these cuts have just as much brain as they do brawn, and in between the driving drums sit haunting pads, ethereal dub textures and curious string harmonies. This is not an album of functional club tracks though, far from it. Recognizing the value of the album as a vessel for exploration, Oleg turns his hand to some truly unexpected patterns and tones. "A Quiet Storm" comes from the school of classic ambient electronica and leftfield broken beat, while "Holy You" makes for one of the most startling moments on the album with a powerfully resonant vocal sample over plaintive piano and a fractured rhythm. While some may be surprised to hear the styles that Oleg has turned his hand to, the tracks are undeniably his. In his choice of mysterious chords and moving key structures, he continues along the smooth creative arc he has been carrying us on since he first emerged. When he can demonstrate such a gift for diverse tempos and moods and make them all sit together comfortably as his own, Random Is a Pattern marks a perfect culmination of what has come before, not to mention being an exciting precursor to what will come after.



DIMAS/NIKOLA GALA, JOHN: Alles Claap Vol. 1, EP4 12" (CLAAP 015EP) 12.50
Fourth single on the GummiHz Presents Alles Claap Vol. 1 (CLAAP 001CD) comp. For the last single, we have two of Claap's finest: Nikola Gala and John Dimas, who have remixed each other. The result is two tight grooves to keep you bouncing all night. Sweat it out with Nikola's rawww take on John's "Quick Dance," a remix heavy on the pressure. Then John gives full swing to Nikola's "Party People," rolling out the original's tight arrangement to loosen joints on the dancefloor.



COYU: D Change 12" (COR 110EP) 14.00
For quite some time Coyu focused mainly on the deeper sides of house and techno, especially with his own label Suara. However his Cocoon release "I Want Your Jack" is a stunning example of kicking and extra-extra strong techno at its best. "D-Change" is a co-production with Chicago house legend K-Alexi. His productions added the right sound to clubs like the Tresor and the Omen in the early '90s and his collab with Coyu strongly refers to these times. "Octagon" is another proper techno-monster and Coyu added some cool house elements here. Tribal beats and vague vocal samples shimmering in the background will make you want to dance around a tribal bonfire at night.


VATH, SVEN: In the Mix: The Sound of the Fourteenth Season 2CD (CORMIX 045CD) 23.00
Sven Väth is co-founder of the Cocoon label, and this is The Sound of the Fourteenth Season. For 14 years, the island Ibiza has been haunted by Sven Väth and his high-spirited tribe. In 2013, Cocoon turned the beloved Amnesia club into a tropical jungle. The jungle seduced with lush colors and intriguing sounds, and the creator of this groove was techno ambassador Sven Väth, who hosted the whole event, using music, dance, performance, pyrotechnics and set design to create an integral experience. As a keepsake of these amazing nights and days, Väth assembled the most memorable tracks into a mix-album. This time, the approach is different. Instead of creating two mixes representing each night and day, he produced one continuous set. As the sun lowers dazzlingly over the Mediterranean Sea, the astonishingly beautiful yet inaccessibly distant chords of "Allowance" by Isolée leave no doubt: everything is said, everything is done. Yet this is only the beginning of the set. The chords of Lusine's "Lucky" translate the thoughtful mood into a celebratory energy. Remixing "Lockdown Party" by The Mole, DJ Sprinkle fuses the joy of a block party with heartfelt deep house chords and harsh cross-fader effects, adding an unlikely twist. Cocoon hero Ricardo Villalobos creates an unlikely encounter between a driving bass line and restrained beats topped by intangible strings. This contradictory tension is dissolved by the sweet piano riff of Marcus Fix's "I Wanna Let You Go." With his dry, tense groove, Losoul bundles the dancefloor's playful energy into one focused kick. With its beseeching vocal, Viktor Shan's "How You Want It" adds new emotional layers to the set. John Heckel's marching grooves and nagging acid sounds drive the night further towards its peak. Adam Port's remix of Daniel Stefanik's "Confidence" is all about the bass line prowling around the dancefloor like a hungry animal. Soy Mustafa's "Bug in the Bassbin" picks up the bassy energy, grounding Carl Craig's classic with the same title in London's contemporary bass music. Losoul returns with another one of his subtle yet powerful grooves. The Third Man picks up the Detroit vibe, turning glistening chords into an ecstatic anthem, calling 2013's most intense moments back to the mind. The second part sets on a slightly different, mellow note. Henrik Schwarz's keen house sounds explore inert, gloomy indie-rock sensibilities, fusing perfectly into Ten Walls' "Gotham." The contrast of its alluring melodies and the heavy bass put the crowds of this season consistently under their spell. The restrained choir of DJ Yellow & Flowers And Sea Creatures has a sacral quality, recalling the sublime voices of medieval music. Matt John's "The Keys" dissolves this withdrawn energy in a playful vibe, his cool voice reminding of the hard-boiled crooning of '80s-era David Bowie. Butch clears these conflicting emotions, creating space for Roman Flügel's unique way of carving out the fun and joy of quirky electronic sounds. Makam releases the raw immediate energy of his emotionally versatile house style. At this moment, wAFF only need very little to finally push the crowd into the abyss of pure ecstasy. Nihad Tule drops fierce electronic sounds barely heard before, and Psyk creates a multilayered sound sculpture full of movement and life. Bursting with energy yet controlled and subtle, Developer's marching electro riff creates an intriguing psychedelic effect. Len Faki and Johannes Heil suggest a certain seriousness. A horn call seems to ask the dancers to persist for a moment and remember the smiles and sweat and everything else that counted in the summer of 2013.


CS 9217HLP

HOUSE, SON: Father Of Folk Blues LP (CS 9217HLP) 16.50
2013 repress; 180 gram reissue of the first album of Delta blues legend Son House on the Columbia label, originally released in 1965. Canned Heat founding member Al Wilson appears. Includes the 9+ minute closing track "Levee Camp Moan."



BET.E & STEF: It's All Right 2CD (COMP 432CD) 20.00
Beautiful heart-warming music, often compared to Koop, Sade, and Victor Davies. Groundbreaking global pop duo Bet.e & Stef reunite with It's All Right. Their platinum-sellers hits are all here on CD1, while CD2 features top remixers like Richard Dorfmeister, Louie Vega, Nicola Conte, Nickodemus, King Britt, Rainer Trueby, and Andy Caldwell. Bet.e & Stef took the country by storm over a decade ago with their pop meets jazz, bossa-nova and Latin stylings. They earned a gold record in Canada with their self-released first album, Jazz Bossa Nova. A deal with Japan's Toshiba-EMI soon followed, along with interest from every major record label in Canada. This JUNO-nominated duo from Montréal, Québec chose to partner with Universal Music Canada, achieving platinum with their second album, Day By Day. In 2003, Bet.e and Stef began exploring solo careers, respectively releasing b.coming and In from the Cold. After a 10 year hiatus Bet.e & Stef have now reunited, bringing Montreal DJ and producer Mike "FU" Fresco into the mix for their new project. It's All Right is a limited edition 2CD set showcasing the timeless and universal appeal of their music with an impressive range of sounds including: world, jazz, Brazilian, lounge, chillout, deep house, nujazz, electronica, downtempo, and Latin. It features over two hours of new songs, rarities and remixes of select works from Bet.e & Stef's catalog by world-renowned producers, DJ's and remixers including Grammy-Award winners Louie Vega and King Britt (Digable Planets), Grammy- nominated Andy Caldwell, Blue Note recording artists Nicola Conte and Buscemi, Thievery Corporation's ESL label artist Nickodemus, Canadian sensations The Lost Fingers and many more world-class talents.



LOVE ON LASERDISC: Let's Play CD (COMPU 032CD) 17.00
After remixing Depeche Mode's "Fragile Tension" single, Love On Laserdisc aka legendary electronic producer Kris Menace and Parisian singer Ludovic Bordas present their first studio album. Together they created an extraordinary '80s-influenced album, combining freshness and fun with innovative songwriting. Featuring a contribution from Black Hills.


NT 005EP

STAREAWAY: No Life in This Ghost Town EP 12" (NT 005EP) 12.00
Paris' house legends Château Flight and up-and-coming Swedish producer Librah deliver beautiful dancefloor-focused remixes of Stareaway's epic pop/ambient sketches, "No Life in This Ghost Town" and "Appointments," both taken from Stareaway's album No Life in This Ghost Town, also released on Couldn't Care More. Château Flight, accompanied by Cosmic Neman playing the bongos, transform the widescreen wall-of sound arrangement of "No Life in This Ghost Town" into a lush, magically-enchanted roller-coaster-ride from deep warm bass to breathtaking heights of pop. Librah translates "Appointments" into a smooth and transparent, yet banging groove. A beatless "Reprise" version completes this lovely remix EP.



FANGO: Wek 12" (DEGU 012EP) 14.00
Fango is a virtuous perfectionist, obsessed with mixing bass drums, recording percussion, and sampling drummers. It doesn't matter if it's a drum machine or a gong from an orchestra, he will make it sound right. His first release N1 on Degusitbus Music was an instant success among the clubbing scene, turning dancefloors into ritual sessions. The same goes for his remix of "Aguirre" by Batongo, an ode to the wilderness of the Amazon jungle. Test his recordings on a proper system and judge for yourself.



CONFORCE: Kinetic Image CD (DSR 102CD) 17.00
Boris Bunnik presents his third full-length album as Conforce, titled Kinetic Image. In the last few years, Dutchman Bunnik has established himself as one of the most prolific producers in many different sonic realms. From deep, stripped-down explorations to raw and rugged techno via conceptual and cinematic sound design projects, he is a master craftsman who coaxes evocative sounds from both analog and digital tools whether working as Versalife, Silent Harbour, or any of his other monikers. Kinetic Image, though, is the sound of Conforce producing without the dancefloor in mind. It's the sound of him moving away from the past and into the present. The album has very much been designed to be heard in one sitting, as a complete experience that moves away from regimented 4/4 beats and into slower, more surreptitious tempos. The result is an all-consuming sonic journey of intriguing and inspiring sounds that range from full-on cerebral excursions into vast open spaces that throb invitingly ("Scientific Trajectory") to underwater daydreams that suspend you deep in an ocean as various micro-bacterial details float by. There's also more industrial-sounding fare that depicts a desolate warehouse in perennial decay ("Semantic Field") and mysterious echo chambers that spread out all around you as celestial light beams and haunting melodic ripples gently float by as per the excellent "Temporary Reversals." An aquatic vibe pervades -- no doubt a side effect of recent projects under other monikers -- and the title itself relates to the fact that Conforce wanted to make moving images and art that evolve and unfold like passing landscapes. He sure has done that, because Kinetic Image is like an imaginary soundtrack to the last days of Atlantis: it sucks you in, it churns you about and it makes for music that consumes your whole consciousness and rewards it with very real sonic imagery. As is always the case with this label, the album comes with bespoke artwork from Dutch designers Graphic Surgery who are inspired by "urban environments" and "experimental electronic music from the 1990s." Created using an analog spray paint/stencil technique, each "box" or "step" is an original image on paper and gives rise to the aesthetic of minor failures. As such, the repetitive and monochromatic design they have come up with for Kinetic Image is both structured and architectural yet dynamic and fluid at the same time. Completed with crisp typography and luxurious amounts of negative space, it's artwork as considered as the music it conceals.


DS 025CD

LOVISONI/FRANCESCO MESSINA, RAUL: Prati Bagnati del Monte Analogo CD (DS 025CD) 20.00
Originally published in 1979 by the legendary Gianni Sassi's Cramps Records label as part of a series curated by Franco Battiato, the long-awaited Prati Bagnati del Monte Analogo is finally made available by Die Schachtel in a repackaged deluxe edition, fully remastered (by Giuseppe Ielasi) from the original Cramps tapes, and complete with three extra tracks (in the CD edition) dug from Francesco Messina's archives. Produced by Franco Battiato, the breathtaking oeuvre of Francesco Messina and Raul Lovisoni is openly inspired by the unfinished metaphysical novel Le Mont Analogue, by the French writer René Daumal, who had been for many years a student of the teachings of the enigmatic Armenian Georges Ivanovich Gurdjieff. The reference to Gurdjieff is important in order to frame this work in its own context, because at that time the great Greek-Armenian mystic was beginning to exert a large influence into the diverse and stimulating artistic environment that for many years developed around Battiato, which included, among the others, Juri Camisasca, Francesco Messina and Giusto Pio. Battiato's entourage was characterized by a deep desire of spirituality that would not adhere to a particular faith, but rather involved a full opening of the mind and body. This spiritual quest, that one can hear shining through the music, was something intimate and personal and it never became the expression of religious extremists looking forward to life in another world. Similarly, Prati Bagnati del Monte Analogo is a stage of that journey that the artists developed independently, yet with a constant tension of the spirit resulting from years of readings and reflections shared with others. The music on this album is an exact compendium of such an intimate journey: drones and overtones, repetitive patterns, a deep, meditative feel, and space atmospheres. "Writing this on a Sunday afternoon during breaks taken from restoring two zithers from the late 19th century. I love the instruments not only for their beautiful craftsmanship and sound, but for what they've seen, the stories in which they've played a part, and the journey that brought them to me. Francesco Messina and Raul Lovisoni's Prati Bagnati del Monte Analogo is playing on a loop as so many times in the past, coloring the space I inhabit with its glowing overtones, spreading its majestic quietness. Taking as a starting point an unfinished utopian novel, written by French pataphysician René Daumal, in which is described the ascension of a mountain connecting Earth and Heaven, the three compositions take us on a journey through the rich green pastures of Mount Analogue, occasionally pausing beneath veils of light, only to stride determinedly onwards, to the realms of an ancient wind deity. At some point during this incursion, you may find yourself in a landscape set out by John Cage, witnessing Vainqueur, Substance and Resilient as children chanting their vocoded chants, or else enter a false portal planting you in Anthony Moore's cloud and ballroom. While the subject matter is esoteric and the music makes no attempt to conceal this fact, it's time we released these haunting pieces from the demesne of obscurity. Messina and Lovisoni have created a work of radiant beauty, oneiric states waiting to be explored, to lose ourselves in." --Stephan Mathieu, from the liner notes

DS 025LP

LOVISONI/FRANCESCO MESSINA, RAUL: Prati Bagnati del Monte Analogo LP (DS 025LP) 25.50
LP version. Includes insert.

DS 026CD

CILIO, LUCIANO: Dell'Universo Assente CD (DS 026CD) 20.00
The critically-acclaimed Dell'universo Assente is finally made available again in a stunning CD edition. The complete works composed by legendary Neapolitan composer and musician Luciano Cilio are now digitally restored and include a striking set of piano-based unedited pieces transcribed and played by the composer Girolamo De Simone, curator of the edition and acclaimed interpreter, who is also the man responsible for the rediscovery of the work of Luciano Cilio. Dell' Universo Assente, originally released by Die Schachtel in 2007 and sold out in a few months, represents a truly unique approach to music-making where each instrument and each sound are given ample time and space to develop. For the recording sessions leading to this remarkable work, Cilio took up a role as multi-instrumentalist, performing on piano, guitar, flute, bass and mandola, also joined by musicians coming from different experiences and areas, who supply strings, extra woodwind and percussion. Almost impossible to define, the all-acoustic music of Cilio occupies a space between the devotional music of Popol Vuh's Florian Fricke and the deep spiritual places of what would later be called holy minimalism (without any of the religious intents of the aforementioned references), with a surprising anticipation of the crystalline sparseness of pieces like "Fur Alina" by Arvo Pärt, and a feeling of intense suspension of time that can be associated to some of the most intimate compositions of Ligeti or Feldman, yet maintaining a definite position outside the contemporary music of serial and academic inspiration. "These recordings sound as they feel -- self-contained, introspective, and determined. You can feel in the music a sort of necessity that can be rarely found, as in Bill Fay's Time of the Last Persecution, or in Nick Drake's Pink Moon: this enormous weight that is bearing on its creators, the absolute need to exorcize it from their lives, a moment in time where you are invited to hear artists truly in contact with their existence. Luciano Cilio holds that moment in time, an authentic emotional testament, something to be cherished," writes Jim O'Rourke in his inspiring liner-notes. Born in Naples in 1950, Luciano Cilio had joined his university studies in architecture and scenography to music, collaborating in the '60s and '70s with several non-conventional musicians (such as Alan Sorrenti and Shawn Phillips), developing surprising intuitions about the relationship between gesture, words and music. Sitar and guitar virtuoso, excellent pianist, Luciano Cilio was "essentially self-taught concerning music composition," and focused his research on long, sustained sounds, on the sound in its primary and internal meaning, at the outset on the melodic, rhythmic and harmonic entities, to "re-enter the sound, hold it, hold it... and finally let it go." His short yet intense career officially began in 1977 with the publication of a full-length album titled Dialoghi del presente (entirely included on this release along with extra tracks), composed between the end of the '60s and early '70s. The album, released in 1977, went almost unnoticed and was soon forgotten, and that influenced deeply the complex personality of the composer. Unexpectedly, in 1983, he committed suicide, leaving this unique gem as a testimony of a genius work."Most records create an imagined world, a place between author and audience, a neutral ground where you are expected to meet; but on these special occasions, you can feel as if you are listening in on a private conversation, overheard discreetly, but clearly. This record is not just a collection of musical pictures, but a large canvas painted with the air it was made in, like a private room never to be visited again, but remembered vividly when something like the way light hits a room or the smell of damp cinders brings it all back with overwhelming vividness. Cilio holds that moment in time, an authentic emotional testament, something to be cherished." --Jim O'Rourke

DS 026LP

CILIO, LUCIANO: Dell'Universo Assente 2LP (DS 026LP) 34.50
Gatefold double LP version. Includes insert.



DAVIS, MILES: Jazz Track LP+CD (DOK 224LP) 26.00
"Originally released in 1958, Jazz Track is comprised of two distinct sessions (one on each side). Side one features Miles' brilliantly improvised soundtrack to the Louis Malle noir classic 'Ascenseur pour l'échafaud' while side two is a 1958 NYC session featuring that includes the unreal band of John Coltrane, Cannonball Adderley, Bill Evans, Paul Chambers, and Jimmy Cobb - the very first recordings from the band that would go on to make Kind of Blue the following year. Another important piece of jazz history reissued by Doxy. The bonus CD includes two bonus tracks taken from the same session as side two of the LP."


PARKER, CHARLIE: The Genius of Charlie Parker LP (DOX 899LP) 23.00
"Originally released on Savoy in 1955, very soon after Bird departed this mortal coil, The Genius of Charlie Parker, is a compilation of recordings from 1944-1948 -- a period of particularly profound material from one of jazz's most important artists. Joining the alto saxophonist on these sessions reads like a who's who of jazz greats from Dizzy Gillespie to Max Roach, Bud Powell to Miles Davis. Some of the greatest bebop ever put to tape, lovingly reissued on LP by Doxy."


DC 054LP

GASTR DEL SOL: Mirror Repair 12" (DC 054LP) 12.00
2013 repress of this five track EP from 1994.

DC 168CD

ROYAL TRUX: Veterans of Disorder CD (DC 168CD) 13.50
"Back in play just to celebrate 14 years, 2 months and 12 days since its original release is Royal Trux's penultimate album, Veterans of Disorder. Coming off the fan-favorite Accelerator LP, it was clearly time to build on expectations, right? Uh... listen, maybe this isn't the band for you. Neil and Jennifer were fans of rock n roll to the finish, sure -- but in that, Royal Trux was a dyed-in-the-wool contrarian enterprise, rebels to the core, and everything they endeavored to was viewed from the several angles necessary to call a spade a dupe, etc. And so it was with counterintuitive rose-colored work-goggles strapped on tight that Veterans of Disorder was conceived. Accelerator had deployed a unified production concept, with pleasingly mashed-together sonics in a coruscated, ultra-compressed mix. Fine. That was out; new ways of hearing would be necessary this time around. VOD's songs seldom sound as if they're coming from the same session as each other, and the distorto riffrock that had caused so much intake of breath in '98 was abandoned for a generally cleaner, wider-ranging sound overall."

DC 168LP

ROYAL TRUX: Veterans of Disorder LP (DC 168LP) 18.00
LP version.

DC 482CD

MAGIK MARKERS: Surrender to the Fantasy CD (DC 482CD) 13.50
"Stop right there, hands in the air! If you want to know what Magik Markers think is good for you, you'll Surrender to the Fantasy. For this long-desired alpus, they've been working in threes and stuff. Triangles. The hermetic trifecta of knowledge, Christ and the two thieves, Alvin and the Chipmunks, and the original tagline of the Markers' symbol: '3 down, no to go.' Meaning, these three get it and literally no one else needs to, 'cept the record-buying public, tra la la, ha ha ha ha. STTF (never too soon for the acronym, kids) kicks off with that hoary old trope of punk records, the song about the Chesapeake Valley Runoff and the mating cycle of crabs. After that kind of in-your-face Attenborough-core, where could the record go? Nowhere but everywhere, all the creepy outposts of American detritus from other times, when hitchhiking and h-bombs were still hot, viable new ideas, and on beyond zed-bra. 'Acts of Desperation' is Shaggs-meets-Stones color commentary on driveway laying, your mom's Merit Ultra-Light 100's and the lengths we'll go to filch a feel of some arcane notion of greatness. Here Pete 'koan on loan' Nolan has nixed his kit and Straps Field Handily into a galvanic psych lead. No lame attempt to smoke nutmeg for this jam; it scored real weed."

DC 482LP

MAGIK MARKERS: Surrender to the Fantasy LP (DC 482LP) 18.00
LP version.

DC 566LP

ISHIBASHI, EIKO: Imitation of Life LP (DC 566LP) 18.00
"Drag City presents the first domestic release of any kind from the Japanese singer-songwriter Eiko Ishibashi -- and the first vinyl release of any kind on this already accomplished performer. And what a release! Imitation of Life isn't just another pop record from another part of the world -- it's got a sci-fi theme and is produced by none other than Drag City's old friend, Jim O'Rourke. With an understanding of band dynamics developed through her many live shows and recordings, Eiko's delicate, precise compositions are arranged with a dramatic-yet-humorous prog-pop sound. Eiko plays piano, vibraphone, and flute as well as nylon-string guitar, a first for her, on Imitation of Life. The flowing backgrounds she has conceived for her light, sweet melodies are captured by O'Rourke with a lively sense of play, which matches Eiko's lyric concept. The lyrics in this album embody a science fiction story which brings the album to a challenging new level. The variety of sounds, the impact of lyrics and her imagination keeps expanding, and in the latter stages of the album, the songs achieve a shattering impact."

DC 569CD

TURNER, MICK: Don't Tell the Driver CD (DC 569CD) 13.50
"Finally, after 15 years, Big Mick Turner has turned in the big rock record we always knew he had in him. Yeah, Don't Tell the Driver is a different kind of record from all the Mick Turner records -- not just his own, but the ones he's done with Dirty Three, Bonny Billy, Cat Power, Fungus Brains, and Venom P. Stinger put together. So, what's so different about Don't Tell the Driver anyway? Well, Mick grew a mustache for this one. That must mean it's his Sgt. Pepper; a consolidation and development of everything he's done up until now, streamlined and presented under the sophisticated umbrella known as the rock opera/concept album! Write it down so you won't forget it -- Don't Tell the Driver is inarguably the first post-rock rock opera of our times -- by an artist running out of time."

DC 569LP

TURNER, MICK: Don't Tell the Driver 2LP (DC 569LP) 20.00
Double LP version.



DEADBEAT: Mercy Cage EP 12" (ECHOCOL 026EP) 12.50
Echocord welcomes back Scott Monteith aka Deadbeat. Scott comes from Canada but now lives in Berlin. The track "Mercy Cage" comes in two versions. The original track is a stomping, powerful techno track, with the typical Deadbeat feeling -- dubby elements and heavy chords, perfect for the peak-time hour on the dancefloor. The dub version is more deep and dubby but still powerful and heavy. Scott has been doing a lot of records and remixes on Echocord and Echocord Colour over the years, and this will not be the last one. Scott is a busy producer and DJ, releasing on many labels, mostly now on his own super imprint BLKRTZ.



AANIPAA: Through a Pre-Memory CD (EMEGO 175CD) 15.50
"Mika Vainio and Stephen O'Malley are both seminal figures in the experimental underground having established themselves in the epoch-defining acts Pan Sonic and SunnO))). While they explored different worlds, one abstracted guitar drone metal, the other hard rhythms and analog atmospheres, there was always an underlying thread which bound both acts: massive blocks of sound, vast cavernous spaces, a sense of drama and the foreboding along with a deep exploration of the physical experience unlike any previously experienced. Pan Sonic and SunnO))) first collaborated together on a Suicide cover version for a Blast First Petite series in 2007/2008, and following this, Mika and Stephen decided to collaborate further with what eventually became the ÄÄNIPÄÄ sessions. Recorded at Einstürzende Neubauten's Andere Baustelle Tonstudio in Berlin and mixed at Avast! (Soundgarden, Earth) in Seattle over an extended period, the results see individual approaches coalesce into a monumental whole. The signature motifs of both players are to be found here: the sparse, crushing rhythms of Vainio's minimalist techno alongside the black-hole drones of O'Malley's guitar workouts. It is the alchemical combination of these elements that shifts this release into a new world of burning intensity. At once unholy and emotional, Through a Pre-Memory takes the listener on a vast journey. On "Toward All Thresholds" immense bleak landscapes succumb to sparse glacial rhythms. "Mirror of Mirror Dreams" holds itself in reflective terrain as string arrangements by Eyvind Kang are played with Moriah Neils (contrabass) and Maria Scherer Wilson's (cello), providing desolate strokes to the cleansing ambient landscape preceding it. A new level of terror is reached on the epic "Muse" and "Watch over Stillness/Matters Principle," as the writings of Russian modernist poet Anna Akhmatova are put to music and sung/spoken/screamed by Alan Dubin (Khanate/GNAW/O.L.D.). These monumental texts which book-end this LP are at once ravenous and destructive. The shredding light shining through an impossible black. Through a Pre-Memory is a deep, immersive experience from two of the most extreme forward-thinking music/sound practitioners today." --Press release by Mark Harwood, 9/13, London; Music by Mika Vainio & Stephen O'Malley with Alan Dubin (vocals), Eyvind Kang (viola), Moriah Neils (contrabass), Maria Scherer Wilson (cello). String arrangements by Eyvind Kang, tape manipulations by Randall Dunn.



A SAGITTARIUN: Dream Ritual CD (EDREAMS 001CD) 17.00
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.


EM 1115CD

NO RIGHT TURN: No Right Turn CD (EM 1115CD) 20.00
No Right Turn was a Derbyshire band, and befitting a group from the center of Britain, they combined elements of folk music from all across the United Kingdom. Beginning as an acoustic trio, but with the addition of a fine bass and drums rhythm section and the clarion vocals of the late Jayne Marsden (who became Jayne Cooper when she married the band's bassist Andy Cooper), they began to expand their sound, bringing in progressive rock elements and combining extremely catchy vocal tunes with tastefully virtuosic instrumentals. After a period of development and refinement through live performance, their self-titled first album was recorded in 1982-1983 in the studio of Fairport Convention's Dave Pegg, Woodworm Studios, with engineer Mark Powell capturing the well-rehearsed band's energy and freshness in a minimum of takes and adding some decidedly un-folk synthesizer in spots. Despite the band's evident musical prowess and the appearance of a number of fine instrumental tracks on the album, with some surprisingly fleet and crunchy playing from electric bassist Cooper, it is the pure, beautiful, often double-tracked voice of Jayne Marsden that allows No Right Turn to rise above being merely a local band. Fans of great folk singers like Vashti Bunyan and Linda Perhacs will find much to love here. All good folk music is about life, and it was life and the pressures and desires thereof which conspired to drive this incarnation of the band apart soon after the record's release, although the band continued to play and record and some of these later songs are presented here as bonus tracks. Life aplenty is what the listener will find here -- all the joy and sadness, the beauty and mystery and love. Includes a 20-page booklet.

EM 1117LP

TAKEMATSU, RYO: Six-O-Seven Blues 3x7" (EM 1117LP) 22.00
Triple 7" version, packaged in a special slipcase. Tokyo's Ryo Takematsu proves the universality and timelessness of the blues on his debut solo release Six-O-Seven Blues. Recorded mainly in a Japanese bedroom, Takematsu's heartfelt and sincere acoustic guitar-playing filters his love of pre-war American country blues through the more relatively recent influences of John Fahey and Backwards Sam Firk; the seven pieces here, on three 7" records, slingshot these influences through space and time, from America in a previous century to 21st-century Japan and on to the wider world. Bookended by opening and closing collaborative tracks, Takematsu, one of the founding members of EM Records stalwarts Noahlewis' Mahlon Taits, rides solo for the bulk of the tracks, sounding relaxed and focused. The opening title-track, by Takematsu, features some guest percussion from his bandmates, and the final track is a remix, by Tomoki Kanda, of John Fahey's "On Doing an Evil Deed Blues." Two more tracks by Fahey appear, plus songs by Skip James and William Moore. This time-travelling set is a charm.

EM 1119LP

SHERIFF LINDO AND THE HAMMER: Ten Dubs That Shook the World LP (EM 1119LP) 22.00
LP version, with a printed inner sleeve, liner notes, and photos. There are certain albums which shake the world immediately upon release, and others which come from far underground and whose shocks and aftershocks rise to the surface gradually over the years, gaining momentum and power. Ten Dubs That Shook the World is of the latter type. Since its original vinyl release in 1988, the prescient impact of this Australian homemade dubwise solo massive by Anthony Maher aka Sheriff Lindo has become ever-more apparent and influential. With its dual island combination of Jamaican dub and UK industrial and post-punk, and the twinning of spaced electronic drums and effects with some very fine, superbly-rooted bass lines, the tectonic Ten Dubs has proven to be a durable, doubly-solid shaker. This 2013 repress is dedicated to the original producer John Blades, founder of the Endless Recordings label, who along with Maher and Richard Fielding constituted The Loop Orchestra. EM Records is also pleased to announce that they are preparing Lindo's first release since Ten Dubs was launched 25 years ago. From deep underground in Australia, rising, reverberating and resonating across the globe, Ten Dubs That Shook the World vibrates on. Newly remastered.


EF 056EP

MUNK: Yes! Yes! 12" (EF 056EP) 14.00
Gomma boss Munk's debut release on Endless Flight. The title-track on the A-side sounds like a house mix from Tom Tom Club. Funny and unique, but playful. On the B-side, both tracks are sleazy, cosmic slow-mo disco. Enjoy.


BN 26551LP

GUN: Gun Sight LP (BN 26551LP) 15.00
Exact repro of the second album from this British hard rock band, originally released in 1969.


AY 031CD

SHANTEL: Anarchy & Romance CD (AY 031CD) 15.50
In the '90s, artist and producer Shantel was arguably the most in-demand downbeat act, a master and connoisseur of exotica/electronica fusion. In the early years of the new millennium he almost singlehandedly invented a new musical genre with global reach that spawned a whole slew of copycats. Now we see him reinvent himself once more and are left wondering where it all fits in. Actually, it's quite simple: Shantel creates a hybrid, bringing together subculture, music history and social history, mixing them with his own creative energy. The end result is an album that reflects his own personal experience and wanders, as he puts it, between pop culture, high culture and street cred. Music history or more precisely the early history of a popular music form that spread internationally, was the thematic focus of the album Kosher Nostra -- Jewish Gangsters' Greatest Hits, an adventurous and ambitious journey through the clubs, cabarets and casinos of the '20s to '60s. Meticulously researched and compiled by Shantel and Oz Almog, the album was highly acclaimed by Martin Scorcese. Whereas his previous albums were conceptually-oriented productions, Anarchy & Romance is his first artist-focused album. His previous albums structured basses and beats with the obvious aim of getting the dancefloor moving. This time, in departing once again from the mainstream to create yet another unique world and a completely new approach, Shantel starts with the live situation to craft a more open sound that is riskier, rougher, rawer -- in short, more colorful. Instead of an emphasis on electronic sounds, it has a more organic, grungy, garage-band feel. Shantel writes and sings all the tracks himself, plays guitar and various other instruments, and uses no samples (with one exception, as described below). He developed the ideas for the songs at random, on his travels or during long hours spent in hotel rooms. In addition to the tight rhythmic structure, the emphasis here is clearly on melodies and harmonies -- with a consistently pumped-up energy level. With frenzied guitar riffs and howling electronic keyboard (in this case a vintage Fender Rhodes piano from the '70s) he deconstructs a boogie into syncopation, fires up a disco number with flamenco rock guitar, and indulges in sheer hedonism with minimalist shuffle beats and a pinch of rockabilly. This is not so much a departure from the Shantel we know, as much as a logical progression. When a child of 1968 casts a glance at the late '50s and early '60s, that period is seen through a prism. One example of this is Shantel's reinterpretation of the fulminant Finnish tango "Letkis - A Touch of Beauty," which is the only track to use a sample. Yet the '60s flavor is constantly fragmented and reworked from a new viewpoint -- otherwise it wouldn't be a Shantel production. Guests on this album are Justin Adams, right hand man and guitarist of Robert Plant (Led Zeppelin) -- the two are currently making music history once more with The Sensational Space Shifters -- Cherilyn MacNeil and Emma Greenfield of neo-folk band Dear Reader, who provided the title-song for the award-winning film Oh Boy, and bass legend Ken Taylor, as well as the string section of the Junge Philharmonie Frankfurt am Main.

AY 031LP

SHANTEL: Anarchy & Romance 2LP+CD (AY 031LP) 25.50
Limited gatefold double LP version. Comes on 180 gram vinyl and includes a CD copy of the album.


EX 003LP

RENDERERS, THE: Measured Strychnine Invitations LP (EX 003LP) 19.00
"Exiled Records is excited to release this compilation of some of our favorite songs by New Zealand cult legends, The Renderers. Formed in 1989 by Brian and Maryrose Crook of such esteemed bands as The Terminals, Max Block, Scorched Earth Policy, Flies Inside The Sun, etc. Rooted in a kind of cosmic country music, the songs regularly journey (lyrically and musically) into the heart of darkness while being taken outside the cosmos via Brian's raw and visceral guitar playing. Long a cult favorite with the few who have been lucky enough to hear / see them (Will Oldham covered their music and took them on the road with him as his backing band), they have operated in relative obscurity for decades. With nearly their entire discography only released on CD (and long unavailable), this is your first chance to have most of these classic tunes on vinyl. Starting with the classic 'Dream of the Sea' and ending with the heartbreaking 'A Million Lights.' Mastered by Timothy Stollenwerk who declared this one of his all time favorite releases. Edition of 500 copies. Don't sleep!"



EXERCISE ONE: Tales of Ordinary Madness 3/3 12" (EXONE 019EP) 12.50
EP 3 in Exercise One's Tales of Ordinary Madness series sees Peter Van Hoesen "Wandering" with a swaggering low-end and kitchen-sink percussion that gives Donato Dozzy the opportunity to pick up the pace and instills a hint of malicious intent with his dust-treated version of "Prowl." Finally, Jacopo Carreras pulls us out of the trip and places us firmly back on the dancefloor. "Outshine" masterfully reintroduces ethereal hints of melancholia over an undulating groove. Finally, "Look at the Harlequins" is a perfect distillation of a sound that unfolds like a dystopian nightmare; but one that's sure to play a part in the most hedonistic moments of dancefloor abandon.



BOYS NOIZE: Fabriclive 72 CD (FABRIC 144CD) 16.00
Whether producing monster records for his own label Boynoize Records, playing to thousands worldwide, remixing Depeche Mode and Daft Punk, or working with artists as varied as Snoop Dogg and Chilly Gonzales, Boys Noize is amongst an elite group of DJ/producers to have earned legendary status. An education in crazy techno, turbo-charged electro and hi-energy jackin' house, Fabriclive 72 is a frenetic, fast-paced representation of a typical Boys Noize set, condensed into 70 pulsating, sweaty minutes. Artists include: Mr. Oizo (feat. Marilyn Manson), Costello, Jimmy Edgar, Surkin, Feadz, Pilo, Kingdom, Gingy & Bordello, Robert Hood, Four Tet, Randomer, Kowton, Craze, Valentino Khan, Dog Blood, Worthy & Eats Everything, Djedjotronic, Gesaffelstein, Aden, Special Request, Anthony Naples, DJ Deeon, Tracques, Dave Clarke, Tom Rowlands, Alesia, The Chain, The Chemical Brothers, Spank Rock, I-F, Kölsch, and Apparat.


FP 009CD

BRATTEN, ANDRE: Be a Man You Ant CD (FP 009CD) 17.00
André Bratten was born in Oslo and grew up in a suburb of the Norwegian capital, which borders on the deep, dark Scandinavian forest. Like most kids in the late 1990s, he was bitten by the hip-hop bug, but he also got turned on by the Led Zeppelin records he picked out from his father's record collection. He's broadminded enough to be into everything from the Norwegian electronica masters Røyksopp to Metro Area, Sigur Rós, Eno, Cluster, and Weather Report. Currently dwelling in the heart of the city, his efforts with the synthesizer coincided with a huge boom in Norwegian electronic music, his productions recently came to the attention of Norwegian cosmic disco mogul Prins Thomas and his Full Pupp colony. Andre's tracks share the exploratory vibe of the '80s synth-pop pioneers, and misfit electronic pop musicians like John Foxx, who were forced to learn to sculpt new sounds with new tools. Yet he updates those sounds to a contemporary rhythm matrix, in parallel with the day-glo analog dance music of Lindstrøm, Todd Terje, and Prins Thomas himself. His debut album, Be a Man You Ant, computes almost infinite variations on the sounds he could extract from a single modular synthesizer. So you'll find squelchy bugs in the bass-bin, weird analog squeegee smears, bright drum machine splats and the occasional significant pause. The spaces in his music are at least as important as what fills it. Listen to the movement of "I Am Square," how he gets a yearning effect from a few vapor-trail synth wipes. Or the vivid, neon synth solos in "Aegis" and "Second Steepest." "Libra" is as stripped-back as a late '90s Cologne minimal joint. André Bratten's music rejects coziness and whimsy, and steps away from pleasing the crowd.



GRATEFUL DEAD: One from the Vault 3LP (FDR 607LP) 64.00
"Back in print on vinyl after 22 years on 3LP. First ever American LP release, newly re-mastered by Joe Gastwirt. Lacquers cut by Kevin Gray. For a legacy filled with legendary performances, the Grateful Dead Live at the Great American Music Hall in San Francisco on August 13th 1975 stands out. The band only played four shows during that entire year. Remarkable for a band that toured non-stop for decades. And at their August 13th show, they rolled multi-track tape (which allowed for the band decades later to properly mix the show). Because the Great American Music Hall holds less than 1,000 people (another unique thing about this show), it was an invitation only performance in which the band debuted their recent studio album Blues for Allah in a live setting. Although One from the Vault has been available on CD nearly continuously since 1991, the vinyl version was only available for less than a year (and in Europe only) in the early 1990s. This deluxe vinyl reissue marks the first time this legendary show has been available anywhere in over 20 years and the first time in America."



EGBERT: Warm CD (GEM 004CD) 17.00
Egbert has skyrocketed to being one of the world's top players in the techno scene. Within a short period of time, he has managed to create a rapidly growing fan base who have all been avidly waiting for him to release an album for some time now. Egbert finally releases Warm on Secret Cinema's Gem Records. His story has been an exciting rollercoaster ride, going from being discovered by Secret Cinema through Myspace, to being picked up by Cocoon and their booking agency and now touring the globe as a part of the Gem and Bonheur agency roster. The album takes you on a trip through Egbert's vision of melodic techno... well-produced and euphoric but without stepping into known territory. In his own words: "One thing I often miss at techno parties is warmth. I would like to bring that back to techno." While his live sets are usually filled with percussion and rhythm, this album compiles the tracks that bring warmth to his set. We also get a taste of Egbert's raw side with the powerful pumping grooves and punishing dark bass lines on "Tegno" and "Shulgin." There's even a new flavor added to the versatile producer's palate with the trippy ambient sounds of "Ondergronds" and "Trip." Download code for mp3 included.


GB 003CD

TRAORE, LOBI: Bamako Nights: Live at Bar Bozo 1995 CD (GB 003CD) 17.00
Bamako Nights captures the incendiary genius of Lobi Traoré, a soulful singer/songwriter and blazing electric guitarist from Mali, who died too young -- just 49 years old -- in 2010. Lobi produced five studio albums during his career, as well as four live releases, including the solo acoustic session Rainy Season Blues (Glitterhouse, 2010). But Bamako Nights offers the deepest and most intimate record of this artist's astounding power onstage in a small Bamako nightclub. In 1995, the Bar Bozo was a unique destination. Mali's democracy was just a few years old, and people were finding new ways to exercise freedom. The bar was an unglamorous downtown nightspot, dark and often crowded. It didn't cater to elites, but working people, who came to drink and dance and enjoy a live band long into the night. Lobi Traoré was still emerging as a popular artist in Bamako. His earthy blend of Bambara roots and edgy electric guitar, and his philosophical songs concerning social life and the challenges rural people face in the city, were made-to-order for Bar Bozo. No wonder he packed the place on a weekly basis -- Lobi had begun recording albums by that time, and performing in Europe with an acoustic ensemble. But at Bar Bozo, he and his small electric ensemble were developing a new, rawer sound, one that would make Lobi a staple of Bamako's live scene, and a legend of African blues celebrated around the world. You can hear in this smoldering session Lobi's joy at having recently acquired a flanger pedal. His solos build to soaring, ecstatic heights, as unhinged as anything in African rock since. The set starts out slow and meditative with "Ni tugula mogo mi ko," conjuring a trance atmosphere that Lobi elevates systematically with his keening vocal and eloquent picking. You can almost feel the weight of a sweltering Bamako night as Lobi forcefully guides his band though musical catharsis. By the time they kick into high gear on "Sigui Nyongon son fo," the weight has lifted and spirits are flying. It's hard to say enough about Lobi as a guitar stylist. His sound echoes older Malian pentatonic guitarists, notably the iconic Zani Diabaté, whom Lobi accompanied briefly. And there are clear rock echoes; Lobi was a fan of AC/DC's Angus Young. But in the end, Lobi's guitar voice is his own -- unmistakable, deeply informed by tradition and graced with sparkling personal epiphanies -- even with the flanger set to 110%. A few weeks after this recording was made, Bamako authorities closed down the Bar Bozo, and Lobi had to move his joyful party to an obscure venue on the outskirts of town. Bamako Nights is a time capsule recording. It evokes an artist, a time, and a place that came together with amazing potency, and can never be recreated.


HC 026LP

OGASSA: Ogassa Story LP (HC 026LP) 23.00
The Holy Grail of Afro soul. Ultra-rare second album recorded in 1978 in Nigeria by six band members from Porto Novo, a city in the eastern part of Benin. Info about the band remained really hard to find. Sadly, all the musicians died, as did the lead singer in a tragic car accident. After their first album in 1976, Ogassa ("Oga" means master in Nigerian dialect) was touring a lot in West Africa, thanks to radio hits such as "Segbele-Gbele" and "Ajimevi." They were also very close to the famous Orchestre Poly-Rythmo De Cotonou, with whom they worked once. Most of these songs were only pressed once on vinyl by the famous Albarika label in Cotonou and have remained unreleased since. Presented in a heavy jacket on 180 gram vinyl. Limited to 700 copies only.



BOT'OX: Sans Dormir LP+CD (CLICHE 053LP) 23.00
LP version. Includes a digital download code, plus a bonus CD with unreleased tracks. Bot'Ox is a duo formed in 2005 by Frenchmen Julien Briffaz and Cosmo Vitelli. After a road-trip to Babylon (Babylon by Car, their first album released in 2010), they come back to haunt dark clubs with a second album, Sans Dormir. The album consists of 10 tracks, mostly sung, some of which have already been released in the form of singles and remixes. For the second album, the battered Cadillac comes to a stop in the parking lot of a deserted nightclub, as suggested by the visuals presented with the project, abandoned French clubs as photographed by Phillipe Lebruman. Opening with a spectral visit from downstairs, "Basement Love," the album continues with "Grands Boulevards," an instinctive, nocturnal trip where rockabilly guitars rub elbows with Moogs while giving an account of obsessions, recurring dreams and waking nightmares. "2.4.1" speaks of disillusionment in love while leaning towards soft-rock. "Another Form of Fatigue" tries to tame the migraine with a dubby feel. "Back from the Suburbs" is a twisted electro-rock ballad. "Goodbye Fantasy" is an anti-declaration of love with pro-British pop accents. "The Face of Another" is a kind of dissatisfied, sexually wandering disco-pop while "Night Stuntman" is a psychedelic credit roll for a movie with no happy ending. The sweet "Unfinished Business" makes an attempt at reconciliation, before the synthesizers all emerge for the title-track. In the cold but heartfelt voices of the artists is a meeting of male and female intimacy, which sometimes replies to each other ("Unfinished Business"). These voices include Mark Kerr, Anna Jean and Judy Nylon (of the legendary punk band Snatch). They are joined here by Samy Osta and Foremost Poets, the iconic trans-Atlantic voice of underground house/techno. The two members of Bot'Ox are prominent figures of electronic music "made in France." Julien Briffaz was a long-time part of the house and techno duo Tekel. Cosmo Vitelli earned his reputation as a producer during the early French Touch years, remixing or being remixed by De Crecy, Cassius and Daft Punk. Cosmo Vitelli and Julien Briffaz came together by indulging their common obsessions: an aesthetic mechanical universe, marked by the mythology of the automobile, the paradoxical fragility of its bodywork, and a fanatical mutating vision of music. This highway alternates car chases, anxiety-filled passages through customs and forest walks at dusk.



WHITE, EMILY JANE: Blood/Lines CD (IMPREC 396CD) 14.00
"Blood/Lines is Emily Jane White's first album for Important since 2009's Dark Undercoat. Featuring vocal contributions from Marissa Nadler. This American version of the CD contains two bonus tracks not available elsewhere. After releasing three albums in three years, Emily Jane White wrote over 100 sketches between January 2011 and October 2012. Her new album is a compilation of these songs. Recorded in a secluded studio in Sonoma County, California, the quiet environment provided Emily a place to explore new directions and avenues with artistic integrity and creative control. She layered synthesizer, electric guitar and multiple tracks of vocals into nine heavily reverbed scenes. With the help of friends and collaborators, Emily's worlds were diversified with strings, backing vocals, and heavy drums. Blood/Lines displays loyalty to dark and somber atmospheres through bright sounds, rhythmic drive, and pop sensibility. Love, anger, and violence move through each vignette. Kinship generates complex intimacies. Love can entrap the unwary and betray the devoted."


ID 003EP

ITINERANT DUB: UR My ID 12" (ID 003EP) 16.00
"Ferocious, grimey breakbeat and techno - dubwise but cut-throat, new-school but clued-up. Check those vintage Nubian Mindz rolls to start; and 'One Step' for deadly, Mabrak-style drum-talk. 180 gram as per."



FIX (FEAT. ORLANDO VOORN & BLAKE BAXTER): From the Ghetto/Here We Are 12" (JDR 005EP) 14.00
Next up on JD Records is Fix featuring Orlando Voorn and Blake Baxter. Some more classic house is on the menu here, starting off with "From the Ghetto," which is a strong hypno-groove house-banger. On the remix you'll find Barcelona's man of the moment, Baldo. On the other side is "Here We Are," which is a deep groovin' and warm Detroit-sounding house track. The remix treatment is from another one of Barcelona's new emerging talents, Clip!. Here he gives us a brilliant new version featuring all the right Detroit elements.


KH 9003CD

VELVET UNDERGROUND, THE: At the End of Cole Ave. - The First Night 2CD (KH 9003CD) 23.00
2013 repress. The Velvet Underground were arguably at their live peak in late 1969. Lou Reed, Sterling Morrison, Maureen Tucker and Doug Yule (who'd replaced John Cale a full year previously) had developed into a sensationally tight and adventurous quartet, and this show -- the first of two recorded on consecutive nights before a tiny audience in Dallas, Texas -- is unquestionably one of the finest surviving documents of them in performance. Remastered sound and background notes included.



CANDIES/MINAKO YOSHIDA, THE: Sono Ki Sassenaide (Skebs Nip & Tuck)/Tornado (Skebs Nip & Tuck) 12" (LAST 098EP) 17.00
"Ace Sukebe re-jigs of The Idoru Trio's 1975 proto-disco barnstormer - sounds like Althea and Donna doing Labelle in Japanese - and Minako Yoshida's 1980 woozy two-step, as thrown down recently by Ben UFO."



COLLBERG, ANDREW: Minds Hits CD (LPM 038CD) 15.50
Le Pop Musik presents an album from singer-songwriter Andrew Collberg. Collberg was eight when he discovered his love for music, 16 the first time he won a band contest, 18 when he debuted his first album, and 22 when he created On the Wreath -- an album full of catchy and guitar-oriented songs, and gems many a hyped UK band would build their entire career upon. Andrew is not British, though. His hometown is Tucson, Arizona, and the opinion leaders in Great Britain haven't discovered this lively scene in the Southwest U.S. Andrew Collberg belongs to a group of incredibly talented musicians such as Brian Lopez, Sergio Mendoza, and Gabriel Sullivan, who have already set foot in Europe on their legendary "Tucson Songs" tour in 2012. Minds Hits is not only another milestone in Andrew Collberg's musical evolution -- the album opens up a new perspective of the Sweden-born musician who taps the musical heritage of his adoptive hometown Tucson without prejudice and distills it to his very own sound. Minds Hits is undoubtedly a masterpiece -- more mature and self-sufficient than its predecessor, but still as carefree as Andrew Collberg has us accustomed to.



SNAKEGRINDER: Snakegrinder... and the Shredded Feldmice LP (LION 133LP) 23.00
"Every burgh in the '70s that had a steady supply of weed and electricity provided a birthing ground for bands influenced by the likes of Jerry Garcia and Lowell George, and the Delaware area was no different. What was different was that in 1977 Snakegrinder made a record of their finest 'homegrown' attempts, for the local admirers, and then quietly slithered away. Worldwide recognition would take another generation or so. Since then, the album has garnered accolades from the Acid Archives crowd and so we felt the time was right to give the group's efforts a proper (and properly licensed from the band) presentation, with an 'old-style' heavy gatefold sleeve containing pics, gig posters, song lyrics and liner notes by producer and long-time fan Gregor Alligator." 100% licensed mastertape reissue. 180 gram vinyl in a tip-on gatefold jacket, featuring gig posters and full lyrics.



TINDERSTICKS: Les Salauds (un film de Claire Denis) LP (LUCKYDOG 016LP) 26.50
LP version. 180 gram vinyl with a poly-lined inner sleeve. Continuing a long and fruitful creative relationship, Tindersticks have completed their 7th original film score for renowned director Claire Denis, for her provocative thriller Les Salauds (trans. "Bastards"). The film premiered at Cannes in Un Certain Regard and offers confirmation, were it needed, of Denis' status as one of the most exciting and innovative filmmakers currently working, and of one of the most consistent and unique partnerships existing between a director and a group of musicians. Marking a fundamental stylistic departure for the band, the hypnotic electronic score resonates with the darkly sensual and dream-like rhythms of the film's revenge narrative, featuring a new twist on the Hot Chocolate classic "Put Your Love in Me." The soundtrack for Les Salauds is released on the band's Lucky Dog label. On the creative process Claire Denis says: "Stuart read the screenplay, which I believe upset him a little. It took him time to find his bearings and start composing. I told him the film began in the rain, and suggested echoing this with dissonant electronic music. I had in mind Tangerine Dream's music for Michael Mann's Thief. We worked together as we're accustomed to: I'd go and see him in his studio in Creuse, he'd come to Paris to make me listen and we'd talk." Stuart Staples adds, "We talked about sailors and their relationship with dry land; an unreal place where the worst of things can happen... and inevitably do, a world of nightmares. I started to experiment with synthetic sounds -- a strange environment, I felt like that sailor, surrounded by equipment and ideas that I didn't understand. The idea to use Hot Chocolate's 'Put Your Love in Me' was an early point of connection for me, to shift the desperation in that song into a different space, to give me something to hold on to and to grow from." 2013 is a landmark year for Tindersticks who turn 21. The band are celebrating this special milestone with a plethora of exciting new music and art projects across 2013 including their 10th studio album Across Six Leap Years, and the autumn UK release of the book Singing Skies, the first collaboration between Staples and his wife, artist Suzanne Osborne.



VON DUESZ, THE: It's All LP (MAX 015LP) 22.00
Let's keep it short: The eponymous "It's All" is The Von Duesz's most impressive song to date. Since their label debut Garant (MAX 009CD), The Von Duesz represent live performed club music in the niche between electronica, Kraut and jazz. Now they intensify their open approach by transforming it into sublime pop -- a change that suits them extremely well. Even if "Alert Me" shows that Florian Schäffer, Henning Rice, and Ismail Oezgentuerk are still experts of improvisation, combined with the perfectly-staged arrangements particularly of "It's All" and "The Eye," they give M=Maximal a truly elaborate record. "It's All" is characterized not only by Oezgentuerk's plaintive baritone vocals but also by its sparing drums and infiltrating Moog sounds, evoking a profound and decelerated pathos -- as if Caribou and The Notwist were having a studio session to record a little hit song. Three artists accepted the invitation to put a new perspective on this gem. Egokind, well-booked Berlin sound scientist, adds even more deepness to the mix and makes a proposal on how Burial's vocal cuts could sound in daylight. Truly more of a rework than a remix is the track by Gebrüder Teichmann, who strip the original song by focusing on drums and adding dissonances. The final track is made by Christian Borngräber's and Ulrich Hornberg's project More Of Radical Architecture. Their M.O.R.A. remix presents a retro-futuristic and uptempo version of "It's All."



RAUDIVE: A System of Objects CD (MACROM 034CD) 17.00
This is the second album from Oliver Ho aka Raudive. When Messiaen set out to transcribe birds' songs as models for his compositions, he couldn't have predicted that by now wild birds would have started to learn mobile phone ringtone patterns. For A System of Objects, Raudive maps an obliquely constructed world in which you lose all certainty of what is nature and what is design. Raudive celebrates dance and auditory scenes as rituals, employing our surroundings as sources of ahistorical "found sound" -- primitive technologies used to reach magickal states. A drum machine and a wooden stick, a sawtooth-shaped electric current and a split rock all turn into empirical objects of the same class, without a definite past or a predictable impact. We have become dependent on technology we don't grasp beyond its display surface. Our statistics deceive us. Lost on reason, we are thrown back on the ritual to reveal the hidden relations of what surrounds us: the club as emblematic center of the emancipated individual, longing to bond with equals, again. One of the original British techno innovators in the 1990s, after 2006 Oliver Ho shifted gear with his Raudive alias towards slower, hypnotically bouncing rhythms. Various shades of darkness and acoustic/metallic found-sound sources shape the Raudive aesthetic. His records have appeared on labels such as Cocoon, Running Back, Pokerflat, Thema and on his own Wires imprint. Mastered by Rashad Becker at Dubplates + Mastering, Berlin. Includes a 20-page photo booklet.



HOPKINS, LIGHTNIN': Low Down Dirty Blues LP (MRL 405LP) 12.00
Originally released in 1974, this LP from Texas bluesman Lightnin' Hopkins' includes "Shiny Moon," "Got To Go," "Big Mama Jump" and "Ida Mae." Exact repro.



MONUMENTS: Age LP (MNQ 040LP) 20.00
Mannequin Records are pleased to present a crown jewel of the early '80s Italian minimal synth scene. The Monuments came into being in January 1981 in Turin when Mauro Tavella (keyboards, programming) and Andrea Costa (keyboards, voice) pooled their artistic experiences. From the outset, they produced exclusively synthesized music, following the natural evolution in electronic music from the early days with monophonic synthesizers to the latest virtual sounds generated with the aid of computers. The Monuments released in 1984 their only official record on Discordie, a mini-LP called Age, comprising six incredibly fantastic electro-pop tracks, here reissued by Mannequin Records with two bonus tracks, "Veiled Lady" and "The Seals," which are outtakes from the same period. All the tracks were recorded on a Tascam 8-track, with external synchronization of the percussion, at the TKS Studio in Torino. From 1987 onwards, they focused exclusively on music for theater, radio and independent film, writing scores for the opening sequences of programs for some of the most important Italian TV companies as well as soundtracks for documentaries. Anna Logue Records released XXVII CD in 2009, an anthology of their music that contains the best of their early work from the years 1981-1984. Some critics thought of this mini-LP as the best electro-pop record ever to come out of Italy. A masterpiece. Strongly recommended for fans of New Order, Kraftwerk, Chromagain, and Lisfrank. Artwork reworked from the original cover from 1984. Limited edition of 300 copies.


DE CHIRICO, TOMMY: Close Your Eyes 12" (MNQ 041EP) 14.50
A true pearl of the Italian minimal synth scene from the '80s. Tommy De Chirico founded the post-punk band Politburo in Turin during 1981 together with Maurizio Rubinetti (Sick Rose) and Massimo Aluffi (Ivan Siberia). On his own, he released the 7" Close Your Eyes/Flower Into the Factory, produced and recorded at TKS Studio by the Monuments' Mauro Tavella between 1982 and 1983 and subsequently released by Turin's Shirak Records in 1984. When Politburo split in 1986, Tommy continued to experiment with various projects and sounds, including Thugs, Quiet (with members of Monuments and Deafear), Noxeda, and Lacrimal, with whom he still plays today. Also presented here are three bonus demo tracks: a rare version of "Close Your Eyes" and two out-takes from 1983: "Vuh-Ya" and "Tuxedo Dance." The original graphic cover was realized by Bruno Zanichelli aka Pennarex, an underground artist from Turin. Strongly recommended for fans of Martin Dupont, Oppenheimer Analysis, Das Kabinette, Victrola, and Neon.



NELSON, PAUL: Vortex LP (MEDICAL 024LP) 19.00
"Vortex was released in 1981 on Paul Nelson's own Optiman Systems Inc imprint. Nelson grew up around Portland and had a strong background in music and music theory. He built a PAIA synthesizer when he was in junior high and developed a keen intuition for analog synthesis. Eventually he purchased a MiniMoog and was very influenced by Alan Parsons, ELP, and ENO. Armed with more gear as time went on (Sequential Circuits 600 sequencer, Oberheim DS-2, etc), Paul was offered an opportunity to record his own album which led to the Recording Associates sessions during which Vortex was born. The LP was also half-speed mastered at JVC Studios in CA. 1000 copies were originally pressed and self-distributed by Paul. The opening track 'Automated Man,' which also happens to be the only track with vocals, is a slab of genuine electro greatness with its sharp synth hooks and vocoded vocals. The LP takes many twists and turns with many tracks of sequenced pulsations, electronic drums, and rhythms reminiscent of the sci-fi soundtracks mixed with a healthy dose of almost proggy space/cosmic disco crossed with later-age Tangerine Dream. 'Vortex 2' is a perfect example of the above description with imagery of a Blade Runner-esque chase scene meets Carpenter at his most upbeat. 'Labyrinth' takes more a more relaxed synth odyssey approach with slower percussion and a spacier vibe overall. The rest of side 2 'Vortex 3-4-5' is a magnificent build up of ambient soundscapes that morph into a slow cosmic burner and fades out again into the darkness to close the LP. All tracks have been restored and remastered by Paul Nelson for this release. For many years this LP could be found in the PNW in record bins but over the last decade, it has been become quite rare which has led to it fetching rather high prices on the collector's market. Medical Records is thrilled to introduce the world to this work of art again. For fans of library synth, sci-fi soundtracks, and other more sequenced electronic acts such as Tangerine Dream, Axxess, and minimal synth. This reissue is presented on high-quality 180 gram splatter paint on opaque white vinyl. Features exact reproduction of the front and infamous back covers."


ILLUSTRATION SONORE: Undisciplined Strips of Emotions LP (MEDICAL 027LP) 19.00
"Medical Records presents the release of its first contemporary artist with the Paris-based Illustration Sonore (I/S). The duo, consisting of Dasz (also in Dolina and Ame De Boue) and Christina (aka Froe Char), expertly craft dark and atmospheric songs laced with unbridled passion in the context of synth-laden melodies, dominant percussion and pensive vocals. I/S started in 2010 and have played many concerts in Belgium, France, Germany, and Italy. I/S uses variations of electricity to control oscillators and frequency modulations. Best described as synth-gaze, dark-wave, or no-future pop, I/S recorded this full length LP in 2013. The opening track 'Ulysses,' sets the mood with uncompromising intensity and passion with serious low frequency tones and catchy synth drenched hooks. The dreamy and brooding 'Our Bodies' starts the B side and is a definite standout tracks. The wonderful and melancholy pop track 'Flying Lights' is also included on the LP and was previously featured on the lovely compilation Circuit D'Actes 3 on the French La Forme Lente imprint earlier this year. The relentlessly apocalyptic 'Cannibals' is yet another magnificent track worth mentioning here. For fans of EBM/synth-heavy industrial crossover, lovers of Cabaret Voltaire, Chris and Cosey, modern synth-wave and the like, these tracks will not disappoint. I/S has no fetishism for the old nor obsessions for the new, and they draw their inspiration in synth pop and surrealism. Presented on high-quality 180 gram ultra-clear heavyweight vinyl."


VA: Electroconvulsive Therapy Vol. 1 LP (MEDICAL 028LP) 19.00
"Medical Records is proud to release its first compilation LP. In association with Crispy Nuggets blog (, we have carefully curated a collection of extremely rare and sought after singles and rare tracks. This compilation includes five complete A and B sides as well as two other tracks that only appeared on obscure compilations in the early '80s. The first two tracks are by UK's The Electronic Circus. Featuring Chris Payne (who also performed synth work on the iconic Pleasure Principle by none other than Gary Numan), the track 'Direct Lines' is pure synthpop perfection. The second featured artist is Boston's Psychic Youth who released one lone 7" in 1982. One of the members, Perry Geyer, was also a founding member of the industrial outfit Manufacture. "Step in Time" and "The Future Is Now" are both dense minimal synth hits that have been remastered by Mr. Geyer himself. Another excruciatingly rare 7" is the self-titled single by UK's Aaah...! 'Slip Away' and 'Duty Calls' further fit the bill for moody minimal synthpop greatness. Possibly even rarer is the Shazam single released in 1983 in the UK. Both tracks from the single are included here. The 2 wild card tracks if you will on the record are 'Panic in Your Mind' by N.A. Pop 2000 (UK) and 'Maske' by Berliner Strasse (Yugoslavia). Both tracks were plucked from rare wave compilations from the early '80s. The final single featured is the solo outing by Claude Arto from Mathematiques Modernes. Released in 1981 on Celluloid (France), the two tracks drip synthetic bloops and blips while being propelled by rhythmic electro sequences. A perfect closing of each side of the LP. This collection will certainly appeal to fans of the rare minimal synth culture, early stripped down synth pop, or anybody else who has wanted even one of these tracks on wax again as they are all quite rare. This reissue is presented on high-quality 180 gram splatter paint on transparent green vinyl."



NO JOY: Pastel and Pass Out 12" (MEX 176EP) 15.00
"Montreal's No Joy follow up their sophomore LP, Wait to Pleasure, with Pastel and Pass Out, a 12" to coincide with their European tour. Engineered by Jorge Elbrecht, the EP finds the trio shredding through a similar soundscape: striking a balance between the blistering walls of noise they're renowned for, with airy, expansive atmospherics that allow the songs to breathe and the melodies to seep through. Opener 'Last Boss' showcases this dynamic, with Jasamine White-Gluz's airy vocals dancing around the clear space of the verses, before the chorus' wall of pummeling guitars fill all voids. 'Starchild is Dead's' buzz-saw guitars ascend to a druggy, blissed-out peak, whilst 'Second Spine' might be the band's poppiest song yet: comparatively stripped back, allowing for the gorgeous melody and backing vocal coos to properly shine. 12" includes download code."



SALOMAN, GABRIEL: Soldier's Requiem CD (MIA 026CD) 15.50
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.


MW 048LP

FIVE TIMES OF DUST: Smile with the Eyes 2LP (MW 048LP) 33.00
"A double LP of selections of unreleased material from the prolific outsider/underground duo Five Times of Dust. Formed in 1980 in Bristol, the duo of Mark Phillips (MAP) and Robert Lawrence came together with a shared passion for krautrock, industrial electronics, and the burgeoning DIY tape scene as well as being influence by the Dadaist movement and the works of Burroughs and Ballard. Unconventional and quirky, yet at times melancholic and romantic their music was a perfect escape from the urban decay of early '80s Bristol and Cardiff, the two cities they travelled between at weekends to record. Although unashamedly electronic, the sound of Five Time of Dust is far harder to pin down, in part perhaps due to their location. Both Phillips and Lawrence produced music that owed little to any scene happening in London, Manchester or Sheffield at the time. As a result, the majority of their output sounds like perfectly formed electronic curiosities. The material on Smile with the Eyes spans recordings Lawrence and Phillips made between 1982-1986. As a follow up to The Dadacomputer, their debut cassette release as a duo which we reissued earlier this year, Smile with the Eyes remains lo-fi but is musically more complex. The recordings are catchy, curious and emotionally rich. Whereas The Dadacomputer could be compared with the early output of Robert Rental, Smile with the Eyes is a collection of works that stands all on its own. Smile with the Eyes is a double LP pressed on 180 gram black vinyl and housed in a heavyweight gatefold sleeve. Limited edition to 500 numbered copies."

MW 049EP

IN AETERNAM VALE: Machine a Laver/Ultrabase 12" (MW 049EP) 18.00
"Minimal Wave is proud to present a third 12" single from our French favorites, In Aeternam Vale. This one is in the same vein as the Dust Under Brightness/Highway Dark Veins 12" and the La Piscine/Calling Somewhere 12". The single features two more epic, pioneering masterpieces. 'Machine à Laver' (Washing Machine) sounding much like its title, is 12 minutes of pure electronic hypnotica. And the flip side is a more straightforward 127 BPM, 11 minute number entitled 'Ultrabase,' which is an unashamed slab of innovative dub techno from 1990, existing completely outside of its genre. Neither of these tracks have ever been released before. The pressing is limited to 999 copies, all pressed on 160 gram clear electric blue vinyl, accompanied by a hand-numbered matte printed sleeve."

MW 050EP

BLANCMANGE: Irene & Mavis 10" (MW 050EP) 16.00
"A 10" reissue of Blancmange's seminal debut EP Irene & Mavis. Formed in the UK by Neil Arthur and Stephen Luscombe, Blancmange recorded the six songs on Irene & Mavis in 1979 and released it as a 7" EP in 1980. Irene & Mavis, though not exactly representative of what Blancmange later went on to become, is a fascinating relic that captures the gestation period of the duo, fresh out of art school and keen to experiment. The D.I.Y. sound of the EP fits right in there with the early output of Soft Cell, the Human League, and Cabaret Voltaire; but what separates it from those like-minded releases of the time is that it's even more distinctly English. In fact it was Daniel Miller, supporter and Mute boss himself who first recognized this when he proclaimed them 'the maiden aunts of electronic music.' The Irene & Mavis EP is simultaneously pioneering, provincial, and surreal in its down-to-earth playfulness and lack of artifice. It stands out as an important record, capturing the mundane with modern electronics and remains as an artifact representative of the band before they went on to reach pop chart success. The Irene & Mavis EP has been newly remastered and will be released as a numbered limited edition 10" EP."

MW 051CS

HARD CORPS: Rarities Cassette (MW 051CS) 11.00
"Hard Corps were true innovators of the 1980s UK synthpop scene. Apart from their releases on Survival and Polydor, Hard Corps gained some notoriety for their unique and uncompromising live shows throughout the 1980s. It was the juxtaposition between their hard edged industrial sound and the fragile and enigmatic vocals of French front woman Regine Fetet that created an unusual dichotomy, lending to their strength of character as a band and thus allowing them to stand out from the rest. As a follow up to Clean Tables Have to Be Burnt (2012), Rarities compiles the outtakes and demos that were left behind. Tracks that truly never saw the light of day."


MIR 100708LP

ARTEMIEV, EDWARD: Solaris: Music From The Motion Picture By Andrey Tarkovsky LP (MIR 100708LP) 33.00
"Originally released in The Netherlands in 1990 on a long out of print - and now $150+ on eBay - 2LP, Mirumir is pleased to present this collection of classic Artemiev film scores as two separate and single 180 gram LPs in what are, in our humble opinion, far more beautiful and breathtaking covers with better sound quality than the original. Recorded in Moscow in 1989-90, these are re-recordings of Artemiev's soundtracks to three classic 1970s Tarkovsky films. At the time of its release in 1990, there were no legitimately available versions of the original soundtracks and Artemiev chose to fill that void in the market with these re-recordings. All officially licensed from the artist himself."

MIR 100709LP

ARTEMIEV, EDWARD: Stalker/The Mirror: Music From Andrey Tarkovsky's Motion... LP (MIR 100709LP) 33.00
180 gram remastered 1989-90 re-recordings of Andrey Tarkovsky's films Stalker and The Mirror.



MR. STATIK: Roll Down the Shutters 12" (MFP 068EP) 12.50
Mr. Statik returns to Mo's Ferry with his EP Roll Down the Shutters, which has received massive support from Sasha Perera (Jahcoozi). She also performed the laid-back vocals on this release. Remixes by Dapayk and Daze Maxim complete the package. The original track shows influences in dub, but with an elegant touch. Statik also uses minimalistic '80s drum-sound patterns, smooth bass lines, tape-echoed chord sounds and Perera's vocals. Dapayk moves his remix more in the tech-house genre, while Daze Maxim's remix is more in the minimal direction. Mr. Statik himself marks the finish of the EP, and his dub mix slowly rolls down the shutters.



Berlin's nightlife glowing star Alfred Heinrichs enlightens us once again with a new disc combining gentle sounds with soaring beats. His new work, the Secret EP, is now brought to you in the original understanding of DJ art -- on vinyl via Moonplay Records. Including four different tracks, Alfred aims to surprise his audience by proving his vast artistic skills. Revealing the secret of this new and diverse EP, you will encounter the creative musical influences of Steven Beyer and the DJ duo Díaz & Parrée within the remixes.



CROWLEY, ALEISTER: Original Wax Recordings LP (SUITABLE 1301LP) 23.00
"Mr. Suit is pleased to reissue on LP some of the only known recordings from the infamous occultist, mystic, magician, poet, novelist, sexual deviant, and all-around misfit, Aleister Crowley. Recorded onto wax cylinder in the early 1910s, and later transferred to 78 RPM discs, this material has been unavailable on LP since the first limited edition of 500 copies released in 1984 through the efforts of Mr. David Tibet of Current 93 infamy. The tracks include Crowley's recitation of the first two Enochian Keys, original poetry, incantations, and songs. An absolutely essential piece of occult history reissued on LP."


SCREAMIN' JAY HAWKINS: Baptize Me in Wine: Singles & Oddities 1955-1959 LP (SUITABLE 1302LP) 23.00
"In a long line of rock and roll outsiders hailing from Ohio, Screamin' Jay Hawkins may very well be the first. Born and raised in Cleveland, Hawkins' 1956 single 'I Put A Spell On You' is one of the most instantly recognizable songs in the history of R 'n' B and rock. Baptize Me in Wine compiles that classic track along with 18 other specimens of pure, unhinged, guttural R 'n' B madness into what is sure to be considered the definitive Hawkins' collection on the vinyl market. Most tracks were originally released as singles on the Okeh label except for the last four, which are outtakes from the first album. Before Devo, before Pere Ubu, before Guided By Voices, there was Screamin' Jay. There really must be something in the water out there."


MR 337CD

VA: Pipperment Twist: Rockin' Twist Instrumentals, Exotica, and Other Sounds from Spain 1958-1966 CD (MR 337CD) 17.50
If history has always been written by the winners, in the case of Spain's youth music of the late '50s and early '60s, it has basically been told by the records, first by the few that were actually released, and finally by the lucky ones that enjoyed certain success and critical appreciation. Set aside as marginal, the rest have been left ignored due to the debatable and apparently set in stone statement that the history of Spanish rock starts with the legendary festivals at Madrid's Price venue promoted by musician Pepe Nieto, then drummer in Los Pekenikes. Without wanting to reduce in the slightest the importance of those shows as a revitalizing element of Spain's rock scene, the start date of those famed Madrid matinees (end of 1962) doesn't respect the fact that at the end of the '50s, and at the pace that the autarkic Spanish society of the time allowed, the foreign young rhythms slowly reached the country with the healthy intention to stay and make people dance. From the mid-'50s until The Beatles appeared a string of fascinating rhythms and music styles such as mambo, jive, fox, jazz hot, cha-cha-chá, rock and roll and other variants provided the Spanish teenager of those days with a dancing frenzy that has never ceased. Despite the insufficient development of Spain's music industry, those years enjoyed an abundance of international record releases -- dozens and dozens of splendid EPs with stunning covers of new youthful images that soon found their obligatory Spanish counterparts. But above all, these were valuable records often ignored for decades due to a rushed view of history and the cruel supremacy of some genres above others. Today, there is hardly any doubt that the enthusiastic Spanish scene of the late '50s and early '60s was as broad and varied as was to be expected, and it's not hard to understand the tremendous excitement of a generation of musicians that started travelling fast along a road which no fellow countryfolk had crossed before. The spectacular arrival of Twist in Spain in 1961, undoubtedly one of the few tolerated cultural revolutions of those years, would prove to be a valuable turning point. Apart from its musical weight, Twist was easy to dance to, bursting with rhythm and not strict on the age of its followers; besides, it could be danced to in pairs without touching -- pure contemplative hedonism which would herald the coming of the mod aesthetics. Twist's popular explosion was so big, that some of Spain's early music journalists declared that its tremendous success would end rock 'n' roll. Truth is, after Twist came other dances and rhythms almost at a monthly rate, such as surf, the Madison, the Monkey, the Hully-Gully. Compiled by the passionate expert Miguel Sr Patilla, Pippermint Twist is born with the will to dig deep into that obscure period of Spanish rock history. Obscure and well-hidden, the huge majority of the tracks chosen for this compilation were featured on B-sides, nuggets that were frequently placed there by the record company and sometimes even by the artist, still insecure about the appeal of this new music. These 24 tracks gloriously present the sense of newness, strength and youthful dignity which made them possible during some musically uncertain years. Includes a booklet with all the original record sleeves and artist photos.


NEOS 11124CD

SCIARRINO, SALVATORE: Piano Works CD (NEOS 11124CD) 15.50
Performed by Florian Hoelscher (piano). Salvatore Sciarrino's music hypnotizes. Instead of resulting from laborious acts of composition, it often seems to have been captured in the here and now, as an echo of hidden mystery plays. At other times one has the impression of witnessing volcanic experiments, with a threatening bubbling that recalls the sound of water and fire meeting, solid and ethereal elements mingling in telluric depths. Any performer seeking to do justice to such music must have some grasp of the magician's art. Salvatore Sciarrino, born in Palermo in 1947, engaged with the visual arts from early childhood and began painting at the age of four. At the age of 12 he took composition lessons with Antonio Titone, gaining further impulses through tuition from Turi Belfiore and Franco Evangelisti. From 1966 until 1969 he studied music history at the University of Palermo, then he relocated to Rome, where he attended Evangelisti's electronic music course at the Accademia di Santa Cecilia. Sciarrino has received numerous prizes for his work, including Premio Luigi Dallapiccola, Premio Gaspar Cassadò, Premio Abaiati, Premio Italia Radiotre, Musikpreis Salzburg and the Premio Fundación BBVA Fronteras del Conocimiento (2011). Salvatore Sciarrino lives in Città di Castello, in Umbria (Italy). Florian Hoelscher studied with Robert Levin, Michel Béroff and Pierre-Laurent Aimard in Freiburg, Paris and Cologne, and also received important tuition from Peter Eötvös. After success in several competitions, his career developed as a soloist and chamber musician in Europe and the USA. He is a founding member of the Stuttgart ensemble Ascolta, with whom he has appeared at all the major festivals for new music.

NEOS 11307CD

MAHNKOPF, CLAUS-STEFFEN: Hommage a Gyorgy Kurtag CD (NEOS 11307CD) 15.50
Claus-Steffen Mahnkopf, born in 1962 in Mannheim (Germany), studies in composition, music theory, piano, musicology, philosophy, and sociology with Brian Ferneyhough, Klaus Huber, and Jürgen Habermas, among others. Music degree and PhD. Since 1984 international prizes and awards, including the Gaudeamus Prize, Stuttgart Composition Prize, Ernst von Siemens Music Grant, Villa Massimo. He has been a Professor of Composition at the Leipzig Academy of Music and Theater since 2005. Editor of the journal Musik & Ästhetik and the book series New Music and Aesthetics in the 21st Century, author of over 120 essays and numerous books (e.g. Kritische Theorie der Musik). "After Angelus Novus, I reached a fork in my path. I felt the need to work separately through the different expressive areas I had previously sought to combine in the form of cycles specifically conceived for this purpose, in order to gather the necessary experience so that, one day, my musical language would once again be able to reach some form of (higher) synthesis. Among these is my Kurtág cycle. Kurtág represents this sad, mourning, remembering, 'nostalgic' consciousness in relation to past culture. The miniaturization and concentration of material is reminiscent of Webern, while his roots in folk culture call Janácek to mind. He writes -- using conservative means -- a music whose conservative nature is experienced as non-conservative; no other composer achieved this. He is a miracle in the midst of modernity."

NEOS 11315CD

ALTMAN, LAURIE: Convergence: Music of Laurie Altman CD (NEOS 11315CD) 15.50
Laurie Altman was born in 1944 and raised in New York City. He attended the Mannes College of Music in New York where he majored in Composition and studied most notably with William Sydeman and Lester Trimble. Laurie Altman has been the recipient of numerous awards and fellowships including the Mason Gross Fellowship, a Lincoln Center Composers Forum Award, a Woodrow Wilson Composers residency Fellowship and a University Professors Citation of Excellence from Tufts University in Boston. An Assistant Professor at Westminster Choir College/Rider University in Princeton New Jersey for many years, Laurie Altman in addition pursued an extensive career as a performing jazz pianist with his quintet in New York City, and other venues including clubs and festivals in Russia, Helsinki and Germany. Since moving to Switzerland in 2010, he has had two European premieres at the Musikverein in Vienna, as well as performances in Zurich. November 2013 will feature the world premiere of his composition Brahms Takes, written for clarinettist and composer Matthias Müller and the Galatea String Quartet. It will be repeated in December in Lucerne. Laurie Altman lives with his wife, pianist and photographer Jeannine Hummel, in Spiez and in Zurich.

NEOS 11319BR

Absolutely fantastic pure audio Blu-Ray disc. Of course the Piazzolla "Gran Tango" is a must, with two outstanding artists like Julia Rebekka Adler (solo viola, Munich Philharmonics) and José Gallardo, the most famous tango-pianist, ever. But don't miss the other pieces from Gustavo Beytelmann, Luis Borda, Pablo Aguirre, and Miguel Varvello, all of which make for a really unusual and interesting tango recording.



NASTIA: Maslo EP 12" (NILLA 005EP) 14.50
After many years of DJing, the Ukrainian techno princess Nastia drops her fantastic debut EP on Nilla. Two original tracks, "Maslo" and "Moment," shaped by top quality underground sounds and airy atmospheres for the dancefloors. "Maslo" is remixed by Fumiya Tanaka on the B-side.


PB 001LP

PARADISE BANGKOK: Paradise Bangkok: The Album LP (PB 001LP) 38.00
"Paradise Bangkok: The Album collects all the tracks from PB's limited edition 45s on one volume, and includes an exclusive comic designed by Lewis Heriz of Soundway Records, plus a free download. Over eight killer tunes, from the heavy afro-Thai vibes of 'Mor Khaen Ha Kho' by Prasai Jaekankaeo, the nagging, sultry riff of Nung Lamyung Kularbseemuang's 'Kati Sorn Jai' or the out-there psychedelia of Sroeng Santi's 'Pai Na Pai,' it's easy to see why these singles have been snapped up the world over. The free download code gives access to all these tracks digitally for the first time, as well as a chance to get a sneak preview of the next Paradise Bangkok 7". As ever, it comes in a limited edition of 500 copies, with a numbered, hand stitched silk-screened sleeve, plus comic telling the strange myth about the origins of this mysterious Thai collective."



VA: For a Few Fuzz Guitars More CD (PART 4030CD) 17.00
Originally issued in a tiny edition well over a decade ago, this outstanding compilation maintains the sky-high quality of its legendary predecessor A Fistful of Fuzz. Gathering 20 of the most fuzz-drenched obscurities to have emerged from late '60s America and beyond, it's a feast for fans of psychedelic garage rock, and comes complete with background notes and rare photos. Remastered sound. Artists include: The Purple Sun, Velvet Haze, The Golden Grass, Bare Facts, The Ritual, Sherman Marshall, Smith Vinson, Rochelle Rosenthal & The Kickball Queen, Goodly Rubenson, The Living End, Super Band, Peacepipe, The Dystraction, Fowl, White Lightnin', Twiggs, The Attack, Sounds Synonymous, The Sub, and The Outrage.



ICE: Each Man Makes His Destiny LP (KEDZIE 603733LP) 13.00
Gatefold repro of the debut 1974 album from this French Afrobeat/disco/funk outfit, featuring members of Lafayette Afro Rock Band.


GILLESPIE, DIZZY: Real Thing LP (PLP 002LP) 11.00
Exact repro of this 1971 set featuring reedman James Moody. John Birks 'Dizzy' Gillespie was a demi-God of 20th Century jazz, pioneering the revolution that was be-bop. And he was still pushing out the boundaries at Perception Records in 1970-71, fusing jazz and funk in breathtaking style.



VA: Selected Label Works 4 2CD (PERMVAC 115CD) 20.00
Round four of Permanent Vacations flagship label compilation Selected Label Works. Part four reflects two busy years of work and compiles different artist albums and numerous ass-shaking 12" releases on two steamy compact discs. Starring, for example, Irish queen Roisin Murphy with the slow-pumping "Simulation," which is also featured here in the floor-burning remix by Mano Le Tough. Speaking of Mano Le Tough, he has become one of the rising stars of the international house scene in the last couple of years, and released his debut album on Permanent Vacation. Even Innervision's Dixon and Italian producers Tale Of Us became fans of Mano's warm and melodic sound and got so intrigued with the music that they both created their own anthemic versions of "Everything You've Done Before" and "Primative People," that made many dancers happy. John Talabot was also responsible for some of the most defining moments of dance music in the past two years. This compilation includes two cuts from his debut album, "So Will Be Now" and "Destiny" (in the exclusive Rave Dub Version) and the remix of "When the Past Was Present" by the mighty Pachanga Boys (the classic odd couple of Superpitcher and Rebolledo). "So Will Be Now" and "Destiny" are in collaboration with John Talabot's partner-in-crime Pional, who also gave Munich's #1 disco band Pollyester the remix treatment (another remix of Pollyester comes from cosmic maestro Baris K.) with a little Soft Cell touch and made it a favorite of Gerd Janson, Lauer, and Tensnake. Together with long time Vacationer Bostro Pesopeo, Pional also worked on their alternative vision of house music that resulted in the Yes EP, from which the title-track is featured here. Bostro Pesopeo was also not lazy himself and released his third solo EP in 2013 and comes correct here with "Cheer Up." Parallel Dance Ensemble opened up the door to their colorful world of hip-house and bubble gum pop and two of their tracks got remixed by Maxxi Soundsystem, who kept the oldschool party vibe, and Maximillion Dunbar came up with a drum-heavy, slow ocean house groover. Château Flight come on board with "La Pregunta" and "Darshan Jesrani" (co-Emperor of the Metro Area Kingdom) with one of his rare remixes. "Ombala Mbembo" is one of the many highlights of the short life of Brontosauarus. No Permanent Vacation compilation would be complete without a Woolfy vs. Projections track, one of the most long-lived artists on the label. The El_Txef_A remix of "Set Me Loose" is a good example why. To round things out, we have the dream pairing of Tensnake and Tiger & Woods, who slice and dice "Need Your Loving" into an outta-space boogie-bomb. Also featured is the flute heaven by the tag-team of Jacob Korn, Good Guy Mikesh and Filburt, as well as heart-warming deep house by The Drifter, and vintage synth-house by Swedish whizz-kid Bobby Bell. The compilation shows Permanent Vacation's diversity without being random and proves that they are one of the most consistent indie labels -- always trying to push boundaries in different directions, from Kraut house to quirky disco.



BLUMM, F.S.: Up, Up, and Astray CD (PING 039CD) 17.00
Frank Schültge aka F.S. Blumm has released his melodic experiments around the acoustic guitar for over 15 years. In their contemplative reduction, they miraculously always hit right in the heart. Pitchfork said: "The man makes some damn charming music." With Up, Up, and Astray, F.S. Blumm proves that he doesn't opt for routine with his eighth full-length solo release: his unfailing arsenal of acoustic instruments and choice circuits frame the most energetic Blumm sound we have lived to see so far. The album title perfectly describes its energy. F.S. Blumm returns from a six-year hiatus as a solo artist in which he has "rehearsed and learned, multiplied and lost track on purpose." Blumm is many now, and he is absolutely present to us. It all goes on, and always up, and from there into unknown dimensions. He goes astray in the word's finest meaning. And he goes up, up, not as a sweaty "HarderBetterFasterStronger," but with Blumm's steady, heartfelt pling of the acoustic guitar with his tin cookie-box, through which he, in fact, plays back his sounds, in order to re-record them, with his double bass, his keys, and kalimba. Blumm is back from the musical travels of his collaborations. He took the role of a bass player with Quasi Dub Development, a classical guitarist with Old Splendifolia, a songwriter with Bobby And Blumm, a sonic researcher with Nils Frahm and a manic, extrovert dub mash-up DJ as King Hobby. What he has experienced on these musical field trips he now returns to his solo project. Here's the best bit: Blumm sings -- through that very cookie-box -- which sounds like an exquisite vintage amp. Together with his various guest musicians (most notably Ella Blixt aka Bobby Baby on vocals), F.S. Blumm further defines his subtle and unique sonic identity between classical guitar and electronic production. "I wouldn't call my decisions in the studio canny or strategic, they are entirely led by the music. Thereby my sound remains fresh, maybe slightly naïve too, because it unfolds its own life -- ignorant of trends or markets."



BRECHT, JOHANNES: What's About 12" (PFR 143EP) 14.00
Stuttgart native Johannes Brecht marks his first outing on Steve Bug's inimitable Poker Flat Recordings with an exceptionally atmospheric EP sure to make its mark with the deeper end of the DJ fraternity. "What's About" bumps along with an irresistible groove, incorporating a sweet guitar lick and various backward synths before a sick bass line arrives to lift the track yet further into the ether. It's house music for music lovers, and sure to go over big with discerning dancefloors. Likewise, the epic 11-minute "You" develops with a sense of style and restraint often missing in the club, and revolves around beautifully-realized synth pads over a crisp, punchy rhythm.



DIXON/IRON CURTIS, TERRENCE: Pacers/Spirals 12" (PLTR 010EP) 12.50
Polytone Recordings' first mini-jubilee is due, with congratulations coming in directly from Detroit and Berlin. The first felicitator is Terrence Dixon of Tresor fame. His track "Pacers" is an intriguing 10-minute journey. On the flip we find "Spirals," a stirring track from Iron Curtis. After his remix for Matthias Vogt's "Together as One," the Berlin-based producer delivers his first original for Polytone.


QA 006CD

BUILDING, THE: Building - Part 2 of 2 CD (QA 006CD) 17.00
Mix the essence of MGMT, the darkness of Zola Jesus, the groove of The Whitest Boy Alive put atop of Morricone's or Calexico's shimmering desert landscapes and around the sexiness and lasciviousness of the Chromatics or Glass Candy, and you've got The Building, a trio from Hamburg based around the fabled drummer Sven Elsner (ex-Tigerbeat), as well as writer and singer Daniel Chun and pianist and second lead vocalist Tina Kaempe. In this Building there is no exterior nor interior, it comes from within and in two fully different tonal structures as a double release with the same songs, in different versions and on two labels, Clouds Hill (Part 1) and Questions & Answers (Part 2). Architects that need their fixed floorplan might call it a "folk-rock album" or "electro-album," but that's only half of it. Building The Building means ethereal spaces and oscillating sound, conveyed on fragile CinemaScope. This is actual meta-pop with the right amounts of enigma.



VA: Thank You Freaks (Part 3) 12" (QUINTESSE 036EP) 12.50
As you know, the world is full of freaks. And Quintessentials loves the music-freaks. For part three of this compilation project, Quintessentials again offers four quality cuts of house music. Deep, raw, old school, new school, pumping, jacking, mellow -- it's all there. Thank you Mat Chiavaroli, thank you Jamie Trench, thank you Jack Fell Down, thank you Anaxander.


RS 7001CLP

SUICIDE: Suicide (Colored Vinyl Version) LP (RS 7001CLP) 13.00
Red-colored vinyl repress. Official 1999 reissue of the first Suicide LP from 1977, on the original Red Star label. Digitally remastered, iconic cover art intact. Beyond-essential late '70s underground listening which has carried near boundless influence. "Suicide were Alan Vega (voice) and Martin Rev (electronics). Classic punk-electronic trance that sounds as intense and vivid as ever and unlike some of their peers from the era, still as dangerously futuristic." This edition contains two extra tracks not on the original LP: a remix of "Cheree," and "Keep Your Dreams."

RS 7001HLP

SUICIDE: Suicide (180 Gram Version) LP (RS 7001HLP) 14.00
180 gram version.



SWING/EMG, JOHN: Don't Want It 12" (RTV 011EP) 15.50
Three house-filtered and raw jams on the enigmatic Relative imprint, the eleventh release of the series. Label-heads John Swing and EMG touch down with their inimitable flair and mischievous beat programming, with the former delivering a signature Swing flex -- dusty, off-kilter samples and slicing percussion -- while the latter spreads the groove over two jams on the flipside -- pounding kicks, degenerate vocal snippets and gritty synth chords. As always, Relative releases only on vinyl and cuts direct from the source -- the truth.



KEITH, RODD: Black Phoenix Blues LP (ROAR 031LP) 16.00
"To call Rodd Keith the king of the song-poems (also known as the 'send us your lyrics' quick buck-demo mill) is damning with faint praise: no one else in that shady backwater of the music industry possessed an array of talents as distinctively individual as his. As gifted a singer, composer and arranger as he was, his genius was destined to remain a well-kept secret during his lifetime by virtue of the complete disregard -- verging on invisibility -- in which song-poem records were held. He was a commercial musician in the most literal sense of the word, but within those confines, he displayed an oddball, personal vision that frequently transcended the work-for-hire nature of his music. Black Phoenix Blues is the third Roaratorio collection of the best of Rodd Keith's vast output. Dating from 1966 to 1974, the sixteen previously un-reissued songs showcase the scope of his work: the should've-been-a-hit 'You and I'; the elegant exotica of 'I Love Lovely Chinese Gal'; the history lesson of 'The Explosion of Holden 22 Mine'; the harrowing psycho-killer musings of the title track; 'I'm Proud to Be a Hippie from Mississippi,' the stoner's answer to Merle Haggard's 'Okie From Muskogee'; the low-fi 'The Game of Love' (which, in the tradition of Keith's infamous 'I'm Just the Other Woman,' prompted the dissatisfied customer to request a more conventional re-take); the disturbingly desperate 'Sing My Death Note,' which was discovered on one of Keith's private reels; and the unclassifiable what-the-fuck-ness of 'Abidin' Tuh the Rule.' A limited edition LP with artwork by Josh Journey-Heinz and liner notes from noted blues guitarist Debbie Davies, one of Keith's musical and personal compadres from the early 1970s. Download coupon included."



COSMIN TRG: Panoramic 12" (RBTRG 001EP) 14.00
Three cuts for the techno dancefloor and all the other ones. Made by Cosmin TRG, signed in Helsinki. Mastered and cut by Lupo at Calyx. Stamped by R.A.N.D. MUZIK.


SS 074LP

SPRAY PAINT: Rodeo Songs LP (SS 074LP) 15.00
"We released Spray Paint's first full length at the beginning of 2013 and it quickly sold out. Did a repress and it keeps selling. Why? Because not only are these guys a great band, playing an updated mix of Wire/100 Flower/Lake of Dracula/A Frames - style punk/post punk, but they regularly tour (and like to do so). Their second album Rodeo Songs is even better than their first, so we expect no drop off in response to this Austin trio."

SS 075LP

LIFE STINKS: Life Stinks LP (SS 075LP) 15.00
"As Robvertogo of Terminal Boredom wrote, Life Stinks is 'San Francisco's last punk band.' Firmly standing in the puddle created by Crime, Flipper, Fang, and the Fuck-Ups, Life Stinks is the proper negative reaction to the rapid takeover of San Francisco by cyber douchebags. Cool, dark, bad attitude with a groove (and a nod to Velvet Underground). They have a single on Totally Punk, which is aces, a nice slap in the face. Producers Mikey Young and Kelley Stoltz have taken that face slap and turned it into a gut punch. Blow for blow, this is one of the best punk rock 'n' roll albums to come out of the Bay Area in at least a decade."


SS 020LP

SUPER ONZE: Gao LP (SS 020LP) 16.00
Limited availability, one per customer. "Electrified sessions of takamba, the ghostly drone from Northern Mali. Staccato calabash percussion carries shredding traditional guitar. Improvised praise for Yehia the holy man, by masters Super Onze, recorded in the early '90s. Distortion and fuzz from pickups and tape hiss reveal the soundscape of the dusty Northern villages, where takamba blares from radios, boomboxes, and old cassette tapes. First ever Super Onze vinyl release, limited 500 copies with screenprinted covers."



FRANK, JACKSON C.: Forest of Eden 10" (SEC 074LP) 21.00
"Previously unreleased tracks from the legendary eccentric folk singer Jackson C.Frank. He was Sandy Denny's boyfriend; Nick Drake, Bert Jansch, Al Stewart and others have covered his songs. His first and only album was produced by Paul Simon. After being burned in a fire and the death of his son, he became an NYC vagrant and eventually succumbed to pneumonia and cardiac arrest in 1999 at age 56."



RVDS: Moon on Milky Way 12" (SMALL 036EP) 12.50
From Hamburg's real underground RVDS aka Richard von der Schulenburg comes up with his first Smallville 12" -- a milestone in sweetest analog house music, dedicated to the moon. Not yet well-known to the international house scene, RVDS is a luminary in Hamburg, where he has played alongside heroes such as Anthony "Shake" Shakir, K Alexi Shelby, Steven Tang, XDB, Scott Grooves, and many others. With his releases for own label It's, and a releases and remixes on a bunch of other imprints such as Laid, Kann Records, and Acid Test, he has already created a tiny fanhood of moon-addicts and dreamers all around the globe.



"The second chapter of SStudios (Software Studio Series). SStudios is a new venture in the Software Recording Co.'s expanding catalog that invites artists in the field of electronic music to create collaborative works of quality and vision. Inspired by the historical intersections of live performance and studio post-production, Wake Up Awesome is a modern kind of fusion in technique as well as genre. At its core are three artists highly experienced with both instant and labored composition. Together, they found the studio generated improvisations were iteratively developed by each on their own. Passages of real-time improvisation duck and swerve into electro-concrete tangles of samples, edits and juxtaposition -- all you'd want out of a world of mechanical possibility. If it sounds intentional on the record, it was. If Yeh and Marhaug's more electronic affinities in their respective practices place them as the 'producers,' then Lee's cello often leads the drive as a sort of soloist. The resulting conversation is genuinely both serious and iconoclastic. All three artists have a history of dialogue, but this is the first time they've hung out for the record -- we're very happy that they did. Limited numbered edition of 1,000. LP includes DL code."



XNX: Soundtrack from a Life Unexpected CD (SONICLAB 001CD) 17.00
Soniclab is a new Portugal-based label and serves as a creative electronic laboratory with the main goal to present new projects and ideas of exploration in electronic music and visual art, in creative atmospheres, without limitations, feeding itself from experimentation and innovation. The first release is the album from the audiovisual concept called XNX. XNX is a project developed by Ilidio Chaves, best known as Expander from Soniculture. The live concept intervenes in a space and creates what we call a "chaos bubble" by using sound and visual design to surround people in a way that they feel inside of a space that is altering their perceptions. This album represents the works of XNX that were made between 2002 and 2013. Over ten years of audio production that was applied to several areas of art such as contemporary dance, video and installments. Soundtrack from a Life Unexpected is made in a way that all tracks are continuous so it presents itself as a voyage through different music styles, feelings and sensations, all combined in a way that the result is a whole soundtrack itself, which should be listened in one continuous take.



DEBRUIT & ALSARAH: Aljawal CD (SNDW 052CD) 15.50
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.



JTC: Valley Road (We Are 1) 12" (SPC 114EP) 14.00
Tadd Mullinix's acid warrior alter ego, JTC, returns to Spectral Sound and with it comes an onslaught of house and funk to fill up a dancefloor. "Valley Road (We Are 1)" has a classic Detroit sound that could easily find its way into Mike Huckaby or Rick Wade's DJ bags. The DJ QU remix is a perfect accompaniment, coating the original version's classic New York house elements with a deeper, hypnotic tribal rhythm. "Alpha Helix" features a heavy dose of acid, but JTC keeps up with the anthemic good vibes from the single's A-side.



KELLERKIND: Music is a Miracle CD (SVT 115CD) 17.00
Kellerkind's unique interpretation of house music has truly catapulted him out of the figurative basement and into the limelight. Whether it was the disco-infused cool of Backflash or the tribal rhythms found on his debut album Basement Story, through hard work, rather than by miracle, Marco Biagini matured into a producer who is at the top of his game. With Music is a Miracle Kellerkind now delivers a sophomore album that offers itself as a diverse and surprising love letter to music, carrying his distinct handwriting. On "Your Love," Kellerkind organically eases us into the album as deep bongos float over casual guitar licks and drawn-out synth melodies. Gentle murmurs slowly form into a distant soul vocal while sunny saxophones create a relaxed and beautifully fragile vibe. "Don't You Know It" then tightens the screws. Here, cowbells and laser-synths scream trademark Kellerkind: sugary without being cheesy, laidback yet never losing sight of the groove. Things get a little tougher on the next tracks. While "Give Me the Beat Back" utilizes a hip-house chant, dubbed-out chords and hard-hitting snares to showcase a bouncy, UK-sounding bass-line, "Projection" loops Jake The Rapper's instantly recognizable voice and a classic disco riff to create seven minutes of fun. "Music is a Miracle" then reveals itself as a standout. Here, an extremely funky garage bass-line, Chicago strings and urgent trumpets surprise us as they drop after a Moodyman-esque monologue. On "It's Like That" a dusty dub-house groove then flows through clonking percussion and a pitched-down vocal until classicistic chords eventually wash over the arrangement. Kellerkind reveals a completely new facet on the electronic ballad "Monologue," which features Laura Wiesmann's soulful vox. This is tasteful pop that bedazzles due to its reduced nature, honest vulnerability, and musical beat. Kellerkind doesn't like to stand still, something he certainly proves with Music is a Miracle.


HVOB: Lion 12" (SVT 118EP) 12.50
New EP by internationally-acclaimed Viennese electronic duo HVOB. Lion contains two brand-new tracks, with remixes by Stimming and Wolfram. They are all melodic and intelligent, catchy and sophisticated. "Lion" is a captivating blend of Anna Müller's almost stoically understated vocals and the pulsating beat of the bass. The new EP is also a reflection of HVOB's first full year: the successful release of the debut album in March, top of the U.S. Billboard Charts' "Next Big Sound" category, sell-out concerts and festivals throughout Europe -- from Germany's Fusion Festival and appearances in England, The Netherlands and France to the Paris and Berlin Fashion Weeks.



UNKNOWN: Story #7 12" (STORY 007EP) 12.50
After two years where the old Stories were still being carried around and re-told over and over by the world's disc jockeys, the next mysterious deep house raconteur finally adds a new tome to the old legend in his own distinctive, unmistakable style: while the narrative is effectively and assuredly driven on by a classical yet forceful 4/4 rhyme structure, the vocabulary is more playful, experimental and abstract with melodic fragments evoking pictures of vast, futuristic landscapes, and a mood of deep contemplation and enlightened serenity. Another satisfying page-turner.



BOMAN, AXEL: Family Vacation CD (BARN 018CD) 17.00
Axel Boman broke through in 2010 with his Holy Love EP, released on DJ Koze's Pampa Records. The track "Purple Drank" became an instant classic in underground house music circles -- since then, Boman has toured extensively while releasing original productions and remixes on labels like DFA, Hypercolour, Kompakt, Permanent Vacation, and Ovum, as well as on Studio Barnhus, the label he runs together with Kornél Kovács and Petter Nordkvist. Family Vacation is Boman's debut album. "I decided to go through the vast collection of ideas and sketches I had on my computer, as a final project before I set that machine on fire and let it all go up in flames. Kind of like what Lee 'Scratch' Perry did with The Black Ark in Kingston in the '70s. A friend says the album sounds like 'weird Jamaican space disco,' so maybe it's a fitting reference," says Boman. Axel Boman's music has also been described as "raw and playful house music drenched in oceans of soul." He graduated with a Master's degree from the Valand School of Fine Arts in 2010 and currently lives in the calm and peaceful Stockholm suburb of Gröndal.



SIN COS TAN: Afterlife CD (SOLINA 030CD) 17.00
Hot on the heels of their critically-acclaimed debut in 2012, Sin Cos Tan has kept busy recording their sublime follow-up, Afterlife. Doused in both color and darkness, Afterlife sees the Sin Cos Tan duo of musical omnipresence Jori Hulkkonen and singer-songwriter Juho Paalosmaa of Villa Nah plunging head-long into a netherworld of electro-pop. The follow-up offers a slightly different angle on the genre, adding variety, organic elements and a more thematically profound approach than the debut. Hearts are broken, spirits awoken -- and even Casey Spooner of Fischerspooner makes an appearance.


SBR 5002CD

FRESH MAGGOTS: Fresh Maggots... Hatched CD (SBR 5002CD) 15.50
2013 repress; newly repackaged 2006 edition, with 7 new bonus tracks. Long established as a cult classic and collector's grail, Mick Burgoyne and Leigh Dolphin's sole album is presented here with their full cooperation. Recorded in 1971 when they were just 19 years old and fresh to the studio, Fresh Maggots... Hatched is one of the best distillations of UK folk and psychedelia ever recorded. Combining gentle, pastoral songs with violent fuzz guitar, it's a highly unusual and powerful record that enjoyed extravagant acclaim on release. Despite selling poorly, it has gone on to acquire a major reputation amongst acid folk fans, who will be especially eager to hear the seven bonus tracks included here (including the duo's rare non-album single and a previously unheard live radio session from 1971). The package is rounded off with rare photographs and detailed sleevenotes, making this is the most comprehensive collection of their music ever assembled.

SBR 5019CD

OPEN MIND, THE: The Open Mind CD (SBR 5019CD) 15.50
2013 repress; 2006 release. One of the best-loved British psychedelic albums of all time, The Open Mind is a hard-rocking collection that sold in minute numbers upon its original release on Philips in 1969. The four musicians from Putney, South London would later disband in 1973 to explore more jazz-influenced sounds, but their legacy is held with their now highly-anthologized, thundering drug-anthem "Magic Potion," which did not originally appear on this record, but is now included as a bonus track. This self-titled LP has since become a highly sought-after collectible. Produced with the band's full co-operation, this package comes complete with a full-color booklet incorporating rare photographs and detailed liner notes, as well as featuring both sides of their two ultra-rare non-album 45s, making it the most comprehensive collection of their work ever assembled.

SBR 5037CD

JONES, WIZZ: When I Leave Berlin CD (SBR 5037CD) 15.50
2013 repress. An undisputed giant of modern folk and one of the finest acoustic guitarists Britain has ever produced, Wizz Jones has influenced musicians from Eric Clapton, John Renbourn and Ralph McTell to Billy Connolly, Bert Jansch and even Rod Stewart. This classic 1973 set finds him playing a mixture of standards and modern classics, accompanied by the legendary Bert Jansch and Lazy Farmer -- all arranged in his inimitable style. This release is now available on CD for the first time ever, and the package comes complete with detailed liner notes, photographs and six rare bonus tracks, making it an essential purchase for lovers of folk music.



PEZZNER: Last Night in Utopia CD (SYST 018CD) 17.00
Whether it's the banal or the beautiful, Seattle-based Dave Pezzner doesn't discriminate when sourcing inspiration for Last Night in Utopia, his sophomore album on Systematic Recordings. Recorded largely during a busy touring period in December 2011, the DJ, producer and composer who has garnered widespread respect for his ability to trapeze between disco, house, and techno without ever losing that organic sense of spontaneity, continues this mantra with his latest opus. Pezzner describes sketching out a large portion of the album in isolation while in Malta and Rome, gradually building tracks from the smallest, simplest ideas. Elsewhere, a sonic inkling would take shape while at the airport, travelling on a train or plane and Pezzner's laptop would immediately pop open and he'd begin giving the idea color and form. It's a freeform approach that gives way to a divergent palette of sounds, all imbued with the appropriate sprinkling of personality and perk to mirror Pezzner's intuitive production approach and ensures the multi-layered 15-track album is able to roam thematic territory both heady and floor-filling with exhilarating results.


LANDSKY (FEAT. LIBAN), MARTIN: We Groove EP 12" (SYST 098EP) 12.50
Three "We Groove" mixes featuring Liban: the "Main Mix," "Dub Mix," and a special "Groovapella" closer.



GUIDO: Moods of Future Joy CD (TEC 017CD) 14.00
Bristol, UK-born producer Guido releases his second album Moods of Future Joy through hometown label Tectonic Recordings. Alongside Joker and Gemmy, Guido completed Bristol's "Purple Trinity" generation of dubstep producers, whose collective sound took the worldwide underground scene by storm in 2009. His 2010 debut Anidea was well-received by critics -- hailed as "one of the finest post-dubstep full-lengths yet" by Pitchfork and the Guardian describing Guido as "one of the most gifted [composers]. He arranges sound with an elegant precision, as though painting a still life." Resident Advisor highlighted his adaptive musicality, writing "there's no other producer releasing music at the moment who can switch styles so emphatically." Stepping forward from the synthed-out R&B blueprints laid down by Anidea with tempered restraint, Guido has spent the past 18 months grafting in the studio to bring Moods of Future Joy to fruition. Two vocal collaborations -- album opener "Green Eyed Monster" and "Letting Go" -- feature singer Emma-Lou, "Same Road" explores expansive minimalism and "Afrika Pt 2" (Pt 1 released on Guido's own label State Of Joy) flirts with broken Afro-beats. The playfulness of "Heartless Dodger" contrasts the grimier tones of "NRG" while the melancholic harmonies of "Kalm" provide a subtle diversion to the bombastic album closer, "Squeaky Jungle." Foundations in studying jazz and classical music are evident on this highly musical album. Impeccably composed instrumentation, performance and production meld to create sonically delightful tracks that -- although always inherent of dubstep's influence -- are bereft of any single genre.



SECK, MAR: Vagabonde - From Super Cap-Vert to Number One: Unreleased Recordings 1969-1980 CD (TBCD 018CD) 18.00
Teranga Beat proudly presents Mar Seck, a delicate singer and songwriter who marked the history of Senegalese music. A crossover between Cuban compositions and Senegalese folklore, his songs gave birth to salsa-mbalax, the popular dance music of '70s Senegal that went on to influence a new generation of Senegalese musicians including a young Youssou N'Dour. Featuring 12 tracks recorded over three different sessions, Vagabonde focuses on the best of Mar Seck's career. The first recordings are taken from a raw and unreleased 1969 session at the Dakar National Radio. Recorded with his first group Super Cap-Vert from Rufisque, it captures an 18-year old Mar singing the first version of his now famous composition "Vagabonde." The remaining six tracks from the session include a beautiful cover of Fonseca's "Sibouten." A 1973 live recording is also featured here, made with the Star Band de Dakar in Saint Louis. Previously unreleased, it comes from a time when Mar was establishing his name playing at the legendary Miami Club in Dakar, the "École de Passage" for all great Senegalese musicians. The final two tracks (one of them unreleased) finds Mar accompanied by the most complete band of Senegal, the Number One de Dakar. The CD booklet includes photos and liner notes outlining Mar's career. All tracks are mastered and mixed from the original recording tapes.



EX & GETATCHEW MEKURIA, THE: Y'Anbessaw Tezeta 2LP (TERPAS 021LP) 34.00
"Finally on vinyl, includes a 48 page LP-sized photo booklet. Quite unexpectedly last year, at age 76, Getatchew Mekuria expressed an urge to make one more recording. This one, with The Ex - probably the last one in his life. The result is stunning. Deep, old, classic melodies. Deep, sensitive, and fragile instrumentals, amazing horn-riffs and solos. But also danceable, with up-tempo war-chants."



THING, THE: Boot! LP (TTR 001LP) 22.00
Gatefold LP version. After more than 600 concerts around the globe, five studio albums, and a variety of live releases over the years, the Scandinavian garage, free-jazz trio, The Thing -- Mats Gustafsson (saxophones), Ingebrigt Håker Flaten (bass), and Paal Nilssen-Love (drums) -- are excited to present their sixth studio album, Boot!. As the first album on their new label, The Thing Records (in association with Austrian Trost Records), and first studio album following their collaborative release with Neneh Cherry, 2012's The Cherry Thing, Boot! is The Thing's most hard-hitting, open, and epic release to date. Recorded over three intense days, Boot! breathes life and energy, capturing the deep riffs and distorted activities of the electric bass, the attack of the snare drum, the depth of the bass sax and epic lines of the tenor sax. It marks an important development in the trio's endless search of musical poetic meltdowns with its definite rock sound and open playing. Throughout, they transform their roots, combining their own free jazz and punk aesthetics with elements of Ethiopian music, soul, funk, and noise, and re-work album-oriented material by jazz icons, John Coltrane and Duke Ellington. With dedicated fans in the rock, noise, and jazz communities, Boot! takes The Thing's music to new, uncompromising levels and continues to solidify The Thing's special and important position in the contemporary independent music world.



REZZETT: Fire Bomb 12" (TRILOGY 012EP) 19.00
"Uproarious, run-to-the-rocks skin-flayers. Rrruff."


EOMAC: Hither, Pappy 12" (TRILOGY 013EP) 19.00
"Four from Eomac, on Trilogy Tapes."


LEVANTIS: Believe 12" (TRILOGY 014EP) 19.00
"Four songs from Levantis, on Trilogy Tapes."



SKIN TOWN: The Room LP (TNP 012LP) 20.00
LP version. Maneuvering the perilous depths of heartbreak and ecstasy, Skin Town's bewitching R&B pop stunner The Room approaches the elusive mysteries of desire and longing with directness and urgency. Unabashedly romantic (and delightfully hedonistic), the L.A.-based outfit's modern R&B may sit alongside nicely with contemporary hit-makers like The Dream or Mike Will Made It, but they align closer to the freakiness of Ginuwine, Adina Howard, and Silk, juxtaposed against feather-weight synth trails of new age. There is a narcotic pull in Nick Turco's (synth/keys man for Zola Jesus) lean, spacious productions that serves as the perfect foil for Grace Hall's commandingly astonishing voice, which guides you throughout The Room, alternating between sinister sultriness and breathtaking sweetness.


TSQ 2943CD

BACHMAN, DANIEL: Jesus I'm a Sinner CD (TSQ 2943CD) 14.00
"Jesus I'm a Sinner is the fourth LP by Daniel Bachman. The album was recorded in Rappahannock County Virginia at Forrest Marquisee's studio inside his father's woodshop in May of 2013 after spending just around eight months on the road. The first song 'Sarah Anne' is a song for one of his best friends and sister Sarah Anne Bachman, and is also his first full song for the lap guitar. 'Honeysuckle Reel' is a springtime tune. For that first day when the heat and humidity sets in and the smell of the honeysuckle bloom creeps in your open windows driving. 'Happy One Step' is a guitar/fiddle duet with Sally Morgan of the Black Twig Pickers/The Freight Hoppers. It is a Cajun tune by Dennis McGee. 'Jesus I'm a Sinner' is for cutting loose. 'Variation on Goose Chase' is a version of Virgil Anderson's 'Goose Chase.' Although he attempted to adapt this song to the guitar, playing it on the banjo was the only way to keep the feel of the original version. 'Under the Shade of the Trees' has the undertone and drone of the 17 year cicada hatch that hit Virginia summer of 2013. The title is taken from Stonewall Jackson's last words on his deathbed: 'Let us cross over the river, and rest under the shade of the trees.' 'Chattanooga' is played by Sally Anne Morgan (fiddle) and Charlie Devine (banjo). This version was taken from Blaine Smith. 'Blenheim' is the name of the Latané family's property in Westmorland Co. Virginia. It's a song for good food, drinks and solid company nestled on the banks of the Potomac River. 'Leaving Istanbul (4 AM)' is a frustration song and the feeling of being very tired thousands and thousands of miles away from home."


ST 5116LP

THEM: Time Out! Time In for Them LP (ST 5116LP) 13.00
Exact repro of the second post-Van Morrison album from Them, originally released in 1968. Sitar-soaked Eastern psych-pop with heavier R&B numbers and a couple of trippy ballads.



EULBERG & GABRIEL ANANDA, DOMINIK: The Space Between Us 12" (TRAUM 165-5EP) 12.50
Dominik Eulberg and Gabriel Ananda share their special energy exchange with two big crowd-pleasers. The title of the first track "The Space Between Us" refers to the energy which happens between them but also shows the differences in their personality, which makes their tracks so special. The music of "The Space Between Us" is 100% techno music, and a perfect club-track. "Dinosaurs in the Sky" is more house in the modern sense than it is techno, so you might enjoy the contrast of these tracks as well.



SLEEPARCHIVE: A Man Dies in the Street Part 2 12" (TRESOR 264EP) 12.50
The second installment of a two-part EP for Tresor. Taking its title from one of Brassaï's famous sequence of prints, A Man Dies in the Street Part 2 presents the second round of the eight-track project developed by Sleeparchive (along with three secret locked grooves). As ever, the genius is in the reductive palette, that here Semsroth paints into a rich splay of emotions, mimicking the initial anxious discovery of the body, the curiosity of the gathering crowd, building anticipation through to an aggressive and pummeling sense of realization on the close. But is it at the loss of life, or the loss of spectacle? As Brassaï toys with ambiguity in his photographs, Sleeparchive's music is just as hazy, deep and full of shady nuances.



MAGIC TOUCH: Nothing More EP 12" (TREP 003EP) 14.00
Damon Palermo is from the metro Detroit region and currently lives in Los Angeles. He has been making adventurous house and disco music under the moniker Magic Touch since August 2011. His Nothing More EP is a deep bow to the golden era of house music and shows his impressive talent as a producer. His sound is raw and kicking but very subtly arranged. His collaborators on this EP are the production duo Greeen Linez (Christopher Greenberg & Matt Lyne) and the fabulous singer Fatha Green (Justin Leon Johnson). Includes additional mixing by Brian Foote.



ROCKEY, PALMER: Rockey's Style Movie Album LP (JBH 050LP) 18.00
LP version. One of the rarest, weirdest and most brilliantly odd soundtracks of all time, written and performed by one of the most fascinating underground characters ever. Described by Jello Biafra as "a disco lounge lizard from hell," Palmer Rockey and the Palmer Rockey story have to be read to be believed, and even then, you might not believe it. And this album has to be heard properly to understand the madness, weirdness and total passion brought to the studio sometime in Texas in the mid- to late 1970s. Palmer Rockey was a remarkable con-artist. He made this one record, the soundtrack to his one weird movie. It's incredibly rare, only one copy surfacing in the last decade. Once heard, you may fall deeply for Palmer's charms, it's strangely moving and all wrong, like something straight out of the world of David Lynch. The edited Palmer Rockey story goes something like this: after a difficult childhood but an interesting education, Palmer Rockey became obsessed by the movies. So obsessed, that he travelled to the UK and tried to get a film script to Boris Karloff in Shepperton. Unsuccessful, he returned to Texas to make his own film. To do so (according to legend) he conned rich Texan housewives out of money. When he got money, he shot film, then fell out with the cast and crew. He then conned more money from different women, shot more film with different cast and crew, then fell out with them, too. This continued for years. The "finished" film, It Happened One Weekend was only shown once (ironically just once, one weekend), at the premier in Canyon Creek, Sunday October 11th, 1974. In fact, the photo on the front of the album was shot by his wife the night of the premier. The film was written, produced, edited, directed, and starred Palmer Rockey (as twin brothers of course), with all music by Palmer Rockey. The plot was apparently demonic and "beyond the room of terrifying evil." Also included was a "Sunday Surprise Ending." I believe the surprise that Sunday was that people laughed all the way through, and even walked out. It was a total disaster on every level, apparently nothing in the movie made any sense at all. But undeterred by such poor reaction, he continued to tinker with the film -- sure that it would eventually bring him an Academy Award. He released it again and again in several different versions over the next few years, firstly with the title It Happened One Sunday, which played briefly in Denver, El Paso, and also at drive-in theaters. The film then disappeared, was recut with new scenes and appeared again in 1980, as Rockey's Style, Scarlet Love, and also Scarlet Warning 666. All the while Palmer Rockey was battling debtors, having already been sued in the 1960s by his uncle for non-payment of loans. There's not a great deal of information about his career and life in the 1980s, but we do know he passed away in 1996, leaving behind very little apart from debt and this unusual self-pressed album. There is no sign or trace of any version of the film anywhere. And boy, are people looking for it. Palmer wrote all the music for the film(s), and there are, as far as we know, two private issues of the soundtrack from the same period -- 1980. There's Scarlet Love, which was followed (or it's possibly the other way around) days or weeks later as he'd decided to change the name of the film again, to Rockey's Style. Both have the same original catalog number and subtitle of "Movie Album," and both have track titles that do not match the albums. You will observe Trunk has kept the original and incorrect tracklisting on the album sleeve, but kept the correct ones on the album labels. Musically it's beautifully played and oddly performed, with a bizarre sense of passion and surprising honesty. It's an unusual album in that once heard, it sticks like glue to your brain. You may well find yourself getting slightly obsessed by it. We certainly have. Sleeve notes include an intro by Jon Brooks of Ghostbox, who not only remastered the album but also quickly became consumed by the music and the Palmer Rockey story. And now this incredible and unique outsider album is released, one has to wonder if anyone will ever find the missing Palmer Rockey movie.



AKRON: Synaptic Beat CD (VAMPI 155CD) 16.50
2012's Voyage of Exploration (VAMPI 147CD/LP) revealed Akron as one of the best sonic and mood explorers out there, achieving an engaging personal sound while carrying on the legacy of greats such as Les Baxter, Delia Derbyshire, Mort Garson, and Sun Ra. If that first album was an instrumental travel through space and otherworldly planets, this time he takes us on a trip inside the mind, consciousness, and the self. Let the hypnotic rhythm of the bongos and the enveloping sound of organs take you through inner space.


VG 011CD

MORPHITIS, CHRIS: Where to Go CD (VG 011CD) 14.50
Composer, guitarist, and producer Chris Morphitis releases his debut album on Village Green. Recorded in his suburban garden shed, the album merges Morphitis' love of Zimbabwean and Greek music with his intuitive passion for experimentalism. He is known for performing with and producing bands that rework traditional folk music, including MOBO-nominated "Best African Act" The Owiny Sigoma Band (2011) and Greek psych band Mavrika (2012). Where to Go beautifully combines the influence of Gustavo Santaolalla's Latin American folk and Steve Reich's African-styled rhythms. For fans of Steve Reich, David Pajo/Papa M, Gustavo Santaolalla, and Dirty Three.



NEGRO, JOEY: Remixed with Love 2CD (ZEDD 030CD) 17.00
Joey Negro is the most well-known pseudonym of master British DJ/producer/remixer Dave Lee. Under a plethora of other monikers including Jakatta, Akabu, Doug Willis, Raven Maize, The Sunburst Band, Sessomatto, and Z Factor, Dave was one of the first artists to incorporate disco samples in house music when he began his production career in 1988. Intrinsically linked with the birth of soulful house in the UK, Dave Lee set up the dance music division of Rough Trade. His discography is undoubtedly as impressive as his knowledge of seminal house and disco, and now Joey/Dave puts it to good use with this album; a revisit to some of disco's most sparkly moments. Turning this dream project into a reality was a labor of love. It turns out getting original session tapes from tracks 30 years-old is, as Joey puts it, "a headache. Often you end up speaking to relatives of the person who actually made the record and unfortunately I heard the line all too often, 'I might have a copy of the vinyl somewhere but I definitely don't know where the master tapes are.'" As a fanatical music collector and enthusiast, Joey found himself meeting up with ex-label reps and relatives of the artists leaving no stone unturned -- searching through boxes and in lofts. One multi-track was even under the producer's bed. With such dedication comes results and the results are impressive. Rather than remixes in their modern definition, this is a body of re-edits with the tracks given a new dimension to make them relevant and playable now. In many cases, he has changed the drums, added percussion and sometimes keyboard parts, but not totally ditched the music and started again, as is often the way with straight-up house remixes. This project is about utilizing some of those fantastic original parts in a different way that takes advantage of many of the songs' classic status, subtly teasing in familiar elements and dubbing them out. Artists include: Mass Production, Patrice Rushen, Roxy Music, TW Funkmasters, Karen Young, Narada Michael Walden, Loleatta Holloway, Kleeer, Phreek (feat. Donna McGhee), Ashford & Simpson, Roy Ayres, Matt Bianco, Electric Empire, Princess Freesia, and Bobby Caldwell.

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