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Forced Exposure New Releases for 12/16/2013

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New music is due from Giuseppe Ielasi and Andrew Pekler, Secret Boyfriend, Stephen O'Malley, while old music is due from Mirkwood, Tronics, and Pearls Before Swine.


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4M 132LP

BUCKLEY, TIM: Goodbye and Hello LP (4M 132LP) 19.00
2013 repress. Gatefold 180 gram LP reissue of this album from 1967, the 2nd Buckley album, originally issued by Elektra. Produced by Jac Holzman and Jerry Yester. "One of the great rock vocalists of the 1960s, Tim Buckley drew from folk, psychedelic rock, and progressive jazz to create a considerable body of adventurous work in his brief lifetime. Often cited as the ultimate Tim Buckley statement, Goodbye and Hello is indeed a fabulous album. Contains 'Once I Was' and 'Pleasant Street.' Original artwork."

4M 143LP

BELL, CHRIS: I Am the Cosmos LP (4M 143LP) 19.00
2013 repress. "Big Star guitarist Chris Bell was one of the unsung heroes of American pop music; despite a life marked by tragedy and a career crippled by commercial indifference, the singer/songwriter's slim body of recorded work proved massively influential on the generations of indie rockers who emerged in his wake. Lyrically poignant and melodically stunning, this lone solo album is proof positive of his underappreciated pop mastery. 180 gram vinyl." 70s recordings, including his '78 7" release, that were later compiled into a full length CD by Rykodisc in 1992 -- this is the vinyl version of that.

4M 169LP

COSTA, GAL: Gal Costa LP (4M 169LP) 19.00
2013 repress. "Originally released in 1969, Gal Costa's second solo album is one of the finest releases to come out of Brazil's tropicalia movement. Featuring songwriting and vocal help from Caetano Veloso and Gilberto Gil, Gal Costa flows effortlessly between shredding psychedelia and smooth bossa nova. An essential record for anyone that appreciates the far reaches of Brazilian popular music. Includes the classic tracks 'Baby' and 'Não Identificado.'" 180 gram vinyl.

4M 234LP

PEARLS BEFORE SWINE: The Use of Ashes LP (4M 234LP) 19.00
"The fourth album from this psychedelic folk group (second for Warner/Reprise) was released in 1970 and features songs written by Tom Rapp while living in Holland. The Use of Ashes was recorded in Nashville with the top session musicians of the time including Charlie McCoy, Kenny Buttrey, and Neil Young producer David Briggs. A subversive, tender, moving, goofy, maddening, and profound record. Pressed on 180 gram vinyl."

4M 235LP

RAPP/PEARLS BEFORE SWINE, TOM: Beautiful Lies You Could Live In LP (4M 235LP) 19.00
"Beautiful Lies You Could Live In was the sixth Tom Rapp/Pearls Before Swine release, the fourth and last on Warner Brothers. Originally released in 1971 with a more country/rock sound, Beautiful Lies includes a cover of Leonard Cohen's 'Bird on a Wire' and a brief setting of A.E. Housman's poem, 'Epitaph on an Army of Mercenaries,' sung by Elisabeth Rapp. On 180 gram vinyl."



CUTLASS DANCE BAND: Don't Commot Me/Obiara Wondo 7" (ACDASS 005EP) 8.50
"Though we were able to license these songs from the band, we were not able to get much in the way of information about this devastating early '70s Afro funk 45 by the enigmatic Cutlass Band. What we do know is that both sides are prime examples of the heavy, raw sounds that Academy and Voodoo Funk have been seeking out for their ongoing 45 series. With restored sound faithful to the original release and artwork derived from original sources, this single is a proud addition to our previous releases."


"Starting his career with the Cafe De France Band in 1967, Los Issifu traveled around Ghana and Burkina Faso singing with various groups for almost 10 years before returning to his hometown of Ashanti Mampong in the north of Ghana to form the band heard on this 45. Pulled from his extremely rare Tanga Beat LP, the two songs here are prime examples of the raw, gritty Afro funk that Academy and Voodoo Funk have been issuing in their collaborative 45 series. It doesn't hurt that 'Kana Soro' leads off with a massive break either. As usual, this fully licensed release features vibrant restored sound and artwork derived from the original sources."



HAUPT (FEAT. MILA), TONI: Liepen EP 12" (ACKER 043EP) 14.50
All tracks written and produced by Toni Haupt, vocals by Mila. Track B1 remixed by Dole & Kom. Track B2 remixed by Mollono.Bass.



CORNER, PHILIP: Piano Activities LP (ALGA 042LP) 25.00
One-sided LP. Alga Marghen proudly presents the most iconic of all Fluxus pieces, Philip Corner's "Piano Activities," in the legendary 1962 premiere performed by George Maciunas, Nam June Paik, Wolf Vostell, Emmett Williams, Ben Patterson, Dick Higgins, and Alison Knowles. Until now, recordings of concerts from the International Festival Of The Newest Music, which took place in Wiesbaden in 1962, were thoroughly unknown. This festival, the first public event described as Fluxus, was known primarily through pictures and descriptions by the protagonists. In 2011 a tape including two versions of Philip Corner's "Piano Activities" was found in Kuniharu Akiyama's archives, who in 1965 was declared Japan's Fluxus representative. The first of these recordings is identical to one found in 2012 in the archive of Vytautis Landsbergis, former president of Lithuania and friend of George Maciunas. "Piano Activities" represents the first-ever effective realization of the anti-art art intentions of Fluxus propaganda and the performance organized by George Maciunas brought the score to its extreme consequences. When Philip Corner, who had not been present at the Wiesbaden Festum Fluxorum concerts, learned about the destruction of the piano, he was at first shocked. In the tradition of John Cage, the score that Corner wrote was intended to shape something coherent out of the chaotic reservoir of sounds that he saw in the instrument and to broaden the field of possibilities for freedom in performance. But the performers by their exaggeration brought out a potential that the composer had not suspected. As the listeners of this LP will experience, the destruction gives an opening to the previously unheard-of. Two evenings from the Wiesbaden performances are presented on this LP. One take was made at the beginning of the concert series. It begins with a cluster played in the low register. There follows conventionally-played passages from Paik interrupted by single notes and chords. These traditional sounds are accompanied by brutal noises such as splintering wood, scratching, tearing, crushing, rubbing, hammering, that sound at times like a bomb assault was happening, and sometimes more like an unobtrusive clattering. As this continues, improvisation makes itself heard, as the players produce the most refined dynamics, relate to each other, and create collective noise landscapes. The shorter second recording is of a completely different character. Freed from the traditionalistic accompaniment, this version consists of practically nothing else than hammering, sawing, rattling and clattering. As if an industrious artisan's guild were at work, there is hardly to be noted any interaction between the players. The sound event happens in front of an exceptionally euphoric audience. The scenes make one think of a hot free-jazz event. First-ever edition of this landmark straight-ahead anti-art Fluxus piece, issued in an edition of only 262 copies and including a four-page large folded insert with an essay by Helmut Schmidt, inner sleeve with "Piano Activities" score and Philip Corner collages. Front sleeve design and calligraphies by Philip Corner.


VA: Sounds of Silence LP (ALGA 046LP) 28.50
Sounds of Silence is an anthology of some of the most intriguing silent tracks in recording history and includes rare works, among others, by Andy Warhol, John Lennon, Maurice Lemaitre, Sly & The Family Stone, Robert Wyatt, John Denver, Whitehouse, Orbital, Crass, Ciccone Youth, Afrika Bambaataa and of course, Yves Klein. In their own quiet way, these silences speak volumes: they are performative, political, critical, abstract, poetic, cynical, technical, absurd. They can be intended as a memorial or a joke, a special offer, or something entirely undefined. The carefully-chosen silences of this anthology are intrinsically linked to the medium of reproduction itself and reveal its nude materiality. They expose their medium in all its facets and imperfections, including the effect of time and wear. At the most basic level, these silences are surfaces. And it is in their materiality that they distinguish themselves from the conceptual experiments of John Cage with "4'33". Since the 1950s, silence has found a place in the economic structure of the record industry and since then it would increasingly be appropriated by a vast array of artists in a vast array of contexts. Indeed, the silent tracks seem to know no boundaries. The LP presents the silences as they were originally recorded, preserving any imperfection that the hardware conferred upon the enterprise, without banning the possibility of being satisfying to the ear. The liner notes provide historical background for each track, revealing the stated (or presumed) motivations for these silences, while providing novel sound correspondences or interferences. This album is meant to be played loud (or not), at any time, in any place: a true aural experience. Only 250 copies available for distribution, in a gatefold iconic sleeve.



VA: Angola Soundtrack 2: Hypnosis, Distortions & Other Sonic Innovations 1969-1978 2LP (AALP 075LP) 29.00
Double LP version. In 2010, against all odds, Angola Soundtrack Vol. 1 (AACD 069CD/AALP 069LP) was awarded the German Record Critics' Prize in the category "Black Music." This victory was all the sweeter for its triumph over the predicted winner, Aloe Blacc's multi-platinum record, Good Things. Many were surprised that the award was handed to a compilation that covered obscure music, but it didn't surprise the team behind Analog Africa, who believed such an award should have come much earlier. Since discovering the music of Angola 15 years ago, styles such Kazucuta, Rebita, and Semba have become an addiction for Samy Ben Redjeb, the compiler, who proclaimed a serious warning in the first edition liner notes: "Listening to these tracks may cause addiction and provoke heavy rotation!" The unique blend of incomparable musicianship, passionate delivery and regional rhythms that make these tracks so combustible are no accident. An exceptional set of circumstances existed in the history of Angola before Independence that created the giant leap in the style and standard of bands and recordings of the time. When Portuguese repressive measures prevented the small Turmas, street musician groups, from being able to perform in Carnaval celebrations in 1961, a Portuguese civil servant, entrepreneur and Angolan music fan named Luis Montês was already in a position to capitalize on Luanda's need for a live music scene. His self-designed "Kutonocas," Sunday afternoon live music festivals, delighted a Luandan population hungry for a communication between the city and musseques (townships). It also forced groups to adapt to a different style of playing that would accommodate large stages and broader audiences. They equipped themselves with electric guitars, and fed on the musical influences from Cape Verde, Congo and the Dominican Republic, while staying patriotically true to their own musical legacy and unique rhythms. The intimacy of those participating in this musical revolution meant they playfully and professionally wanted to trump each other's style; communication between the groups was frequent as everyone studied each other's records and concerts and players were under a lot of pressure to outdo each other due to the limited recording and performing opportunities. Development of skill and ingenuity was a must, as well as addressing the highly politicized climate. The optimism of Independence can be heard in these recordings; a common goal between the audience and musicians. Upon reading the characteristically generous liner-notes of this Analog Africa release, you will be given more hints of the crucial melting pot that allowed this short period to have such an outstanding productivity. Featuring 44 pages acquired in coordination with the National Library of Luanda and the art magazine Note E Dia, Analog Africa head honcho Samy Ben Redjeb has managed to collect newspaper clips, extremely rare pictures of the bands onstage and printed interviews from the '70s. The stunning pages of passionate photography and artistic design also include interviews with many of the original artists and their families, biographies of the three labels that made it all possible, and of Luis Montês, who was the pulse of the live music scene in Luanda. This compilation is a dedication to the short-lived recording industry in Angola, a brief moment of history between 1969 and 1978 in which three recording companies produced approximately 800 records, mostly singles. They are rare jewels, each song with a significant story and feel behind it. You will hear exciting music blazed with the anticipation of emancipation, tracks fuelled with a sense of unity, community, importance and immediacy. This addictive, outlawed music from Angola shakes and grooves with the smoothness of staccato machine gun fire. Do yourself a favor and submerge yourself into some of the most the addictive music created by mankind.



MALAYEEN: Malayeen CD (END 008CD) 28.50
Malayeen is a trio of Lebanese musicians Raed Yassin (a founding member of A-Trio, one of Lebanon's most renowned free improv outfits), Charbel Haber (from experimental rock bands Scrambled Eggs, XEFM and BAO), and Khaled Yassine (a member of Tunisian oud player Anouar Brahem's oriental jazz ensemble). Malayeen was born from Yassin and Haber's love for the music of quintessential Egyptian guitarist Omar Khorshid, and their desire to create a contemporary trio that would study, revisit and modernize his music, and bring it full circle into the 21st century. Master percussionist Khaled Yassine was added to the project at a later phase, creating in the process a Lebanese experimental "supergroup" of sorts. The final result consists of original and unique trio music, as the three musicians' varied backgrounds collide and coalesce in subdued and restrained fashion, not actually playing Khorshid's music, but inspiring themselves from the cult guitarist's genius to create something completely new, modern and unexpected. Malayeen is released by Lebanese experimental label Annihaya. The aim of the label is to revisit and displace various forms of popular culture, whether from the realms of oriental folk music, jazz or electronica, branding them in the process with a resolutely contemporary twist. Previous Annihaya releases have included works by Japanese turntablist DJ Sniff, Swiss/Lebanese electronic duo Praed, a selection of North African-inspired Sun City Girls ditties, and an album of "noir electronica" by Lebanese techno producer Rabih Beaini aka Morphosis. As such, it was only natural that the label would be interested in releasing the music of the Malayeen trio.



BORED!: Scuzz 2LP (BANG 060LP) 26.50
Bored!'s last album, originally released in 1993, finally on vinyl. Only released on CD in a limited edition and only in Australia, back in the day, finally, this monster rock record is released on double vinyl with a gatefold jacket and full details. Killer guitars and high energy from one of Bang! Records' favorite Australian bands, ever. The first LP is a collection of studio covers of some of their favorite bands (Black Flag, The Damned, Wipers, Flipper, The Ramones, The New York Dolls, Johnny Thunders, Saints, Misfits, etc.), while the second LP is a brutally loud and killer live recording of the band in Melbourne, Australia, back in 1992. This is a deluxe limited edition which any fan of Australian high energy rock should not miss. For fans of Bored!, Powder Monkeys, Radio Birdman, New Christs, Hellacopters, Yes-Men, Mudhoney, Nirvana, Wipers, etc.


BEC 5161689

METRONOMY: I'm Aquarius 12" (BEC 5161689) 14.00
Britain's most-loved, quintessentially English modern pop act returns with their comeback single "I'm Aquarius," ahead of their forthcoming album Love Letters. This EP contains two original tracks ("I'm Aquarius" and "She Grows"), plus an instrumental version of "I'm Aquarius."



DIKOF, FABIAN: Bleary Faces EP 12" (BWR 013EP) 14.50
Bleary Faces is the debut EP from Berlin-based Fabian Dikof. As a youngster he learned his first basic skills in producing and DJing from Andre Lodemann himself. All of the tracks featured here are on a slow-house tip without losing their ruff edge through a massive bass foundation. It is all about progression with a strong emotional build-up. Deep house veteran Vincenzo is on remix duties, re-creating the main track "Bleary Faces" with a new theme and enhancing the original with some more disco-influenced touches.



HERLA: Shadows of a Conclusion EP 12" (BIRDKIDS 002EP) 15.50
Herla is the collaborative effort of two Austrian producers who've tipped their focus of sound toward analog warmth, rugged drums and earthy soundscapes, achieved through an amalgamation of analog hardware. The vibe is heavily influenced by the classic Moog sound, early-2000s techno, and sprinkles of '80s synthesis in the vein of bands like Joy Division. "An Eating House" is a driving analog excursion through acid techno, earth-shattering drums, and eerie, low-pitched vocal tones. "From Within" delves into even darker territories as menacing Moog tones bubble away and expansive reverbs cleverly build depth. "Fiddle About" is subtly nuanced, the percussive elements keeping things in an ever-enticing state, while undulating saw-wave bass adds vivacity.



SECRET BOYFRIEND: This Is Always Where You've Lived LP (BLACKEST 023LP) 21.00
Blackest Ever Black's last release of 2013 comes from Secret Boyfriend, the solo project of North Carolina's Ryan Martin, who is also one-half of Boyzone and founder of the Hot Releases label -- a catholic endeavor that has seen him release records from the cream of the contemporary N.C. underground as well as reissuing classic sides by the likes of Maurizio Bianchi, Ghedalia Tazartes, and Ashrae Fax. To date, Secret Boyfriend's presence has been felt largely in the shape of live performances and short-run cassette releases (including Carved at Birth, Furnishing the Void, and Skin on the Clock), as well as vinyl splits with Russian Tsarlag and Horaflora. This Is Always Where You've Lived is SB's first LP release and unquestionably his most potent, fully-realized work to date. Twelve songs from under the floorboards: a heart-rending but hard-edged synthesis of downer folk, tape experiments, noise etudes, and basement-mildewed pop for edgeland fuck-ups, loners, and wanderers; recommended if you like Peter Jeffries, Flaming Tunes, Storm Bugs, etc. Arguably comes closer than any previous BEB release to articulating the "mesmerized suburban daydreams of our youth." Vinyl cut by Noel Summerville and housed in a full-color picture sleeve with printed insert.



VA: Piercing Brightness LP (PSB 002LP) 28.50
A soundtrack to the science fiction film Piercing Brightness, by visual artist Shezad Dawood. Featuring Acid Mothers Temple, Mordant Music, Alexander Tucker & Decomposed Orchestra, and Raed Yassin & Omar Dewachi. The album mixes music with sound design and dialogue excerpts from the film to create an immersive soundscape, sound designed by Tom Drew. It includes four tracks by Acid Mothers Temple, two by Mordant Music ("Smasha," which is no longer available on vinyl, and "Ghost Ship," previously only available as a demo) and a live recording not previously released by Alexander Tucker & Decomposed Orchestra, who played The Band in the film. 540 copies are being produced in total, with artwork on the inner sleeve.


MVD 6075LP

RESIDENTS, THE: Mush-Room LP (MVD 6075LP) 21.00
LP version. "Music originally written for the performance Mush-Room (2013) by Grace Ellen Barkey and Needcompany (a Belgian theatre/dance company). The Residents inspire movement with a mix of percussion and electronics that marries classical sensibilities with modern exploration. Essential for anyone who saw a performance, or anyone who didn't see it and wishes to mentally choreograph their own production."



LAUHAUS & RIK WOLDRING: Context 12" (DCR 009EP) 14.00
The third release in Danse Club's Black Series is a collaborative effort between Dutch tech house hero Lauhaus and countryman Rik Woldring with a standout remix from Boris Werner. Lauhaus has long been at the heart of the underground electronic music scene, releasing on imprints like 100% Pure and Area Remote as well as his own Soweso and We Dig labels, while Rik Woldring is very much a talent on the rise. Together the pair crafts some infectious and charismatic grooves -- the sort of thing that makes you sweat on the floor but has enough detail to keep your mind occupied, too.



MEIFERT & FAMILY, ARNULF: Absolute Relative Music/Incredible Familiar Music 2LP/BOOK (DIETAUB 007-8LP) 57.00
Die Taubnessel presents Incredible Familiar Music and Absolute Relative Music, two LPs by ex-Faust drummer Arnulf Meifert & Family, issued in an edition of 150 copies. Also includes a large 60-page book of drawings by the controversial artist Klaus Holzmann."Silence and deliberateness are luxuries today. Most relevant music now is speedy and noisy, fuel and gas for the rot-machine called modern civilization. All has become a style and is designed for a special audience. Recording our musical pieces was just 'fun,' we had no intention, we will not repeat it. We had and have no ambition to be avant or post or what else. In fact I can't play violin or piano, I cannot read any notes. As a drummer, I'm an old-fashioned self-taught person and have no intention to change that at age 69. Same thing with my wife Franziska, playing guitar and flute quite a little... Our music has no concept, no plan, no composition, it's all improvised and a form of communication and, as far as that, 'primitivistic,' Music is communication, with others or oneself: You whistle in the woods or in a street at night when you're afraid, you shout with joy or squeak in your orgasm. Of course my few months with Faust in 1971 were a good apprenticeship after my drumming '60s with all kinds of jazz and soul music. Then for 35 years I had other things to do, with the exception of 'Panisches Liederbuch' in 1988 for the 50th birthday of Günter Brus. On that afternoon in spring 2008, some years after we did Incredible Familiar Music, we had only a few hours before going to the movies. We put a very old recording machine on the table of our living-room, a tape-recorder so technically simple that you had to press the trigger all the time for moving 'fast forward' or 'rewind'... We began to play our first piece, then I had the idea to counterpoint it with a machine piece on Tilo Ettls apparatus and just went on with the a/b alternation of mechanical sound and unplugged music on several instruments, toys etc., until it was time to go." --Meifert, Hohengebraching, 2012



O'MALLEY, STEPHEN: Tempestarii + DISintegration Cassette (DEMEGO 027CS) 16.50
Limited, one per customer. Tempestarii, by Gast Bouschet and Nadine Hilbert. Music by Stephen O'Malley. Film premiered at CCRD opderschmelz, Dudelange. Dawn spreads its luminous rays across the coast of Iceland, to reveal a sorcerer standing between wine-dark sea and mountainous black rock. He is Tempestarii, a figure of medieval lore, undertaking a primitive rite manifested to conjure a storm. The tides of the deep ocean breathe heavily, rising and falling across the cinema screen with amplifying power, as the weather-maker beats a mysterious sack against the monolithic cliffs with powerful repetition. As a magical tool, this sack contains forceful winds pulled from each corner of world. As an analogy, it is aligned with the revolutionary transformations of nature by water, air, solar radiation, and geological shifts and filled with the vast potential of man's will in alliance with nature. As an omen, the Tempestarii signals profound change on both physical and metaphysical realms. Presented as both a live performance and an installation, Tempestarii is an immersive experience of video and sound. By demonstrating contemporary art as meteorological sorcery and political activism, the duo Gast Bouschet and Nadine Hilbert raise a storm and blacken the air. DISintegration, by Gast Bouschet and Nadine Hilbert with Stephen O'Malley ran from October 26 to November 3, 2013. Cast from the premiere performance, Tempestarii will sustain at CCRD in the form of a video and sound exhibition. The duration of the video is designed to consume the entire run of the exhibition period: 9 days, or 108 hours. Within this span of time, Tempestarii will undergo continual change. The video will loop, in a way, yet each iteration is parasitically copied from the preceding version. Video files disintegrate when they are copied again and again, more and more pixels go missing. The resulting loss of definition, as well as parasitic interferences, gradually darken the images until they dissolve into blackness.


EH 048EP

BLUE'S MEN: Prohibido Prohibir 10" (EH 048EP) 19.50
A mighty collection of fuzzy beat garage from Argentina's Blue's Men, taken from Prohibido Prohibir, their only and highly sought-after LP, originally released by the Odeón label in 1968. Sung entirely in English, the album featured the strong vocals of singer Miguel Wittis, often compared to Eric Burdon, Van Morrison and Tom Jones, and included covers of, among others, Billy Joe Royal's "Hush" and Tim Hardin's "If I Were a Carpenter." The line-up was completed by Oscar "Quique" Alvarado (keyboards), Eduardo Levy (guitar), Miguel Rosales (drums) and César Paredes (bass).

EH 049EP

LOS NIVRAM: Los Nivram 10" (EH 049EP) 19.50
Reissue of the two ultra-rare EPs by Los Nivram, from 1965 and 1966. Seven original compositions, and a cover of Mancini's "Peter Gunn Theme," which represent one of the absolute peaks of '60s Spanish garage. "Quintessence of the best Nuggets-type of music from Europe, the scant discography of the Catalan-band Los Nivram -- just two obscure EPs, eight tremendous tracks, half of them absolutely great -- perhaps represents the most precise example of the excellent level that the Spanish garage sound acquired during the golden years of the genre, basically the second half of the '60s, its glory days, and a few later examples from the early '70s." --Vicente Fabuel

EH 050EP

FOUR WINDS AND DITO, THE: The Four Winds and Dito 10" (EH 050EP) 19.50
Reissue of the only two EPs, from 1964 and 1966, by Majorca's beat/garage pioneers The Four Winds And Dito, one of the most obscure Spanish bands of the '60s. The eight tracks include fantastic English and Spanish covers of The Mojos, The Byrds, Little Richard, The Hollies, and The Kinks, plus a classic Spanish nugget, the self-written "No me dejas vivir en paz." "A real nugget prototype that should be taught at schools: the insidious guitar riff, the suggestive Farfisa in the background, the out of control drums and the cocky attitude of the singer that the genre demands. A classic." --Vicente Fabuel



BOOKA SHADE: Love Inc 12" (BMV 002EP) 14.50
When Walter Merziger and Arno Kammermeier head to the studio to work on new material for their long-time project Booka Shade, the result is a winning combination of underground sensation and club-hit. Presaging the fifth studio album release from these Berlin transplants, "Love Inc" is infused with pure club sound created by merging a refined sense of sonics with solid craftsmanship. The duo pays a contemporary homage to Chicago's former king of house, Lil Louis, whose 1992 hit "Club Lonely" serves as the track's sample. Remixes here by Booka Shade, Hot Since 82, and Emperor Machine.



BABY WASHINGTON: Move On/Medicine Man 7" (FRY 023EP) 8.00
Baby Washington was born in Bamberg, South Carolina, and raised in Harlem, New York. In 1956, after recording with a couple of girl groups, she signed to Donald Shaw's Neptune Records as a solo soul performer. Fryers presents two favorite sides from this early era. "Move On" is a gritty rock 'n' roll R&B floorfiller that's been a tried and tested spin. With its car-racing lyrics, it's more rockabilly aesthetic still treads into soul. "Medicine Man" is another smash with sparse, moody instrumentation and backstreet sleaze. Played on the R&B and popcorn dancefloors --a perfect warm-up or warm-down to any good night.



WANKELMUT: Wood & Wine EP 12" (GPM 258EP) 14.00
Get Physical welcomes Wankelmut to the family with a four-track EP including remixes from tech-house legend Ian Pooley and Fabio Giannelli. The title-track spins a light, melancholic atmosphere with heavy percussion and heated synth crescendos. A delicate piano floats over the track, while the kicks drive the energy higher. Ian Pooley reduced the track to its essentials, creating a deep vibe. "Rascals" is a lighter track with the focus on rhythmic synth rather than heavy kicks or bass. Fabio Giannelli twists a dark tale from "Rascals" with what has become his signature sound -- heavy kicks, epic bass and dark vibes.



ABSTRAXION: Break of Lights LP (HAKT 009LP) 23.00
LP version. HAKT Recordings is pleased to internationally co-release Break of Lights, the stunning debut LP from French musician and DJ Harold Boué aka Abstraxion. The London-based innovator's music has already garnered accolades (and spins) from heavy-hitters such as Erol Alkan, Simian Mobile Disco, James Holden and Dan Snaith (Caribou/Daphni). Full of melancholic reveries and hybrid explorations, Break of Lights reveals Abstraxion to be a standout producer and true obsessive to his craft. Break of Lights, consequently, abounds with texturally-rich, rapturous gems and thoughtful meditations on the passage of time. Album opener "White Rain," featuring the whispered vocals of Parisian artist Chloé, winds plaintive guitar around modular synths and Abstraxion's own ghostly vocalizations. "Moon" bubbles with blinking synths and blip-and-bleep effects that, in a titular nod, flash celestially. "Every Night I'm Lying" marries tremendous beats with gorgeous vocals from Danish singer Astrid Engberg. Possibly the most hypnotic track here, "Around Me," warms with sonorous synths that speak like beautifully indecipherable utterances. And "Les Histoires," dedicated to the producer's father, emerges with half-recalled conversations from childhood, then drifts -- as if via time -- through spectral keyboards that filter past like memories. Abstraxion co-manages the label Biologic Records with DJ/producer DC Salas. After putting out a series of EPs, he released the singles "Jus Acid" and "Jaipur's Elephant" on Different Records in 2011 and 2012, respectively. He has also released music on Marketing Music. Always a singular character with an ear for sound, he has built a music studio in Marseille with old analog instruments. He spends his there time making electronic music that is as explorative and organic as possible.



VA: 5 Years Hohenregler 2LP (HOEHE 025LP) 23.00
Hoehenregler Records is proud to announce their five year anniversary compilation. Not ready to make compromises, Basti Grub soon felt the necessity to bring his own imprint to life. So Hoehenregler Records was founded in 2008 in Darmstadt, Germany. For five years Hoehenregler has stood for an uncompromising sound in the club landscape. Hoehenregler is dedicated to playful African sounds with Latin influences driven by massive drum arrangements, pushing bass lines, and groovy percussion. For this anniversary compilation, Hoehenregler has invited artists that represent the broad range of the label's soundscape. Artists include: Basti Grub, Andre Butano & Demian Muller, Felipe Venegas, Muzarco, Aldo Cadiz & Francisco Allendes, Jules & Moss, Re-Light, and Mike Trend.



BROWN, STEPHEN: Moda EP 12" (AERA 008EP) 14.50
Limited edition, hand-numbered copies, no repress. This is Detroit techno from one of the most unique techno producers around. From his first productions on Djax-Up Beats in 1995, his Transmat classics, and recent appearances on Skudge and, of course, Indigo Aera itself, over the years Stephen Brown has achieved his own unique and distinctive production style. This EP features three carefully-selected tracks from his always-changing live set. There are three originals, from melodic machine-soul techno to more straightforward dancefloor cuts. On the flip there's a remix from Rolando.


DEGIORGIO, KIRK: Unreleased 1991-1992 12" (AERA 009EP) 14.50
Indigo Aera is extremely excited to release these precious gems from Kirk Degiorgio's personal archive. Kirk found the tracks by accident going through his DAT tapes from 1991-1992. Time captured in music which deserves to be on black gold. No repress. Limited amount of hand-numbered copies.


JBJ 1050EP

LITTLE WALTER: Mean Old Frisco/Come Back Baby 7" (JBJ 1050EP) 11.00
Killer unissued rockin' blues cuts x2, here as Jazzman Records unleashes the hot, hot alternate take of Little Walter's "Mean Old Frisco" on 45 for the first time. While the session dates back to 1959, Chess waited six years to release the song, and even then, Jazzman feels that they chose the wrong take as this groovier, more driving rendition is surely superior -- certainly it seems to work the dancefloor better.

JM 097EP

FITZGERALD/MUGUETTE, ELLA: These Boots Are Made for Walkin' 7" (JM 097EP) 8.00
Ella Fitzgerald needs little introduction to anyone, jazz fan or not. Her place in history is assured and her legendary status unsurpassed. However, although known mostly for her jazz and swing output, Ella was much more than that, as this fantastic recording of the Nancy Sinatra hit testifies. So good in fact, that it's something that DJ Jazzman Gerald has played without fail at every single gig he's performed at for the last 10 years, always to ecstatic response! The flipside is another fab version, but this time a much more obscure outing from Canadian songstress Muguette. Two killer songs on one 45.


SOUNDS OF THE CITY EXPERIENCE: Sounds of the City Experience LP (JMAN 061LP) 25.50
LP version. Numbered, limited edition of 1000 with liner notes. Soul and funk from the early '70s from this multi-racial band out of the Bronx. These guys played for fun, understanding and mutual respect -- no pressure from the record company to make a hit record = positive vibes and freedom. And it shows. One of the eternal issues of record collecting is the question of how good records actually become rare. Perhaps the record company goes bust. Perhaps the label is busy pushing some lame pop act on the roster, leaving the good stuff to rot. Maybe the band splits up just before the release. Less frequent than any of these is this: perhaps the record wasn't supposed to sell in the first place. As strange as it seems, that was exactly the case with this album, by Sounds of the City Experience. In Jazzman's Holy Grail reissue of the highly-sought after Sounds of the City Experience LP on notorious tax-scam label Tiger Lily, Jazzman interviews the producer Mario Sprouse and finds out exactly why this album is so rare. They discover and disclose the story behind the band and why they made these high-quality recordings which were never intended for release. All tracks fully licensed and digitally restored from the original master tapes.


TRACE OF SMOKE: Treasure Mind/U.R. 7" (SOUL7 034EP) 11.00
This is '70s masterpiece out of Austin, Texas is a Holy Grail of the highest order -- the perfect fusion of classic soul and disco. An original copy never sells for less than 4 figures due to rarity, quality and demand. Coveted by Northern Soul, rare disco, and modern soul DJs equally means demand has always been stratospheric . At long last (and after many attempts) Jazzman is finally able to bring this Grail to you legitimately in high quality.



STARS OF THE LID: The Ballasted Orchestra CD (KRANK 015CD) 13.00
2013 repress, originally released 1997. CD version of the new album by this Texas outfit, following 2 released on Sedimental. Purely droning ambiance. "...finds Stars of the Lid adding harmonica and didgeridoo to an arsenal of sound sources that already includes guitars, effects and field recordings."



ASTOR: Inland LP (KYE 026LP) 17.00
"Kye is proud to present Inland, the new LP by Clapton-based Astor. Advancing the cause of 2012's Alcor LP, Inland finds Mark Harwood and sometime collaborator Maja Larsson further complicating reason with dark and circuitous audio constructs. Taking its inspiration from Gerard Murnane's 1988 novel of the same name, Inland explores a personalized perception of space, both real and imagined, returning a fabricated dream world which teases logic and tricks the ear. Conceived with piano, bells, tapes, gong, autoharp, hammer, T.V., organ, and dry ice pellets, Inland cuts the face of expectation to expose a ten part fractal sonic geography, governed by its own laws, and flushed with all the beauty and horror of the natural world. Inland arrives in a full color, high gloss sleeve, in an edition of 400 copies."



KOLWES, ANDY: La Pena 012 12" (LPA 012EP) 12.50
Three new tracks from Andy Kolwes, plus an edit of "I've Been Through This" from Marquese.


LL 084EP

MODEK: Modek EP 12" (LL 084EP) 12.50
Modek has been busier than ever since the release of his Haunt EP on Lektroluv, which was played by everyone from Digitalism and Mixhell to Cassius to Boris Dlugosch and Porter Robinson. Apart from touring like a madman, he did remixes for Make The Girl Dance and Fukkk Off. "Clown in My Kitchen" doesn't sound like many other tracks -- Modek has his own sound and never compromises. This vinyl EP compiles the new single "Clown in My Kitchen," "Haunt," and "I Don't Like You" (of the previous single), and adds "Up With Me," arguably Modek's biggest track to date.



ECHOECO: L'experience Acousmagique LP (FLUOR 002LP) 25.00
Les Productions Fluorescentes is happy to announce ECHOECO's L'Expérience Acousmagique, their second publication after Tonton Macoute's Mureedil. Etienne Coussirat and Emmanuel Holterbach have created six wide soundscapes made out of live electro-acoustic wizardries and field recordings, mostly conceived for live performances back in 2010 and reworked later at the Studio Fluorescent. Careful alchemists, the duo aims to reach a transmutation of sound and time matter, building large soundscapes of frequencies from many sources such as daily objects, home-made or traditional instruments, mutant electronics, machine and animal voices. Is your body getting melted in telluric vibrations? Has your clock stopped? Does time seem to get stuck or flow in reverse? This is normal -- that's what the experimental music of ECHOECO is about. Acousmagic music if there is such a thing. Limited edition of 300 copies.


LR 138LP

FAUST: Faust LP (LR 138LP) 24.00
Repressed. "Legendary German post-rock band formed in 1971 by undisputed noise pioneer Uwe Nettelbeck, Faust garnered an immediate following due to its artistically extreme experimentations with music cut-ups and other mixed sources hinging on cacophony and distortion. Don't miss their 1971 cult classic debut, now reissued with its original clear printed sleeve on clear vinyl."



HOOD, ROBERT: Eleven 12" (MPM 018EP) 12.50
Following on from his Floorplan album and Floorplan EP, Robert Hood returns with a new double header on M-Plant, to close 2013. A demanding DJ and live schedule has seen him continue to bring his unique sound, first-rate skills and spiritual attitude around the globe, whether it's in clubs, at festivals or other sessions. Keeping up that momentum, Robert Hood delivers these two cuts of pulsating, body-moving techno with that classic, deep and minimal Hood sound. He builds "Eleven" and "Alarm" layer upon layer, gradually drawing all the elements together, until they become a penetrating attack on the senses.



MIRKWOOD: Mirkwood LP (PICCHU 003LP) 20.00
"Mirkwood's lone self-titled album was originally issued in 1973, in an edition of just 99 copies. Coming out of the port town of Dover, with each of the group members having honed their moves in various outfits for years (including the original Rolling Stones from 1957 - no relation to the Glimmer Twins).This album's fantastic mix of precise hard rock and mysterious ballads has had many a private press enthusiast by the hair over the years. Crashing out of the gates with the one-two knockout combination of the fuzz shuffle of 'Take My Love' and the epic 11-minute centerpiece of 'Love's Glass of Sunshine,' this record is a classic deep listen, revealing great moments with each new spin. Killer harmonies and lots of twin-guitar lead action, tough and tender, this record is pure autumnal magic."



VA: Mexican Summer: Five Years BOOK/10" (MEX 175BK) 90.00
"Fall 2013 marks the five-year anniversary of Mexican Summer, and with this milestone comes Mexican Summer: Five Years, a 256-page, 11?x11" hard-cover book limited to a one-time edition of 1,000 copies. The book includes unique and unseen art and ephemera, photos, and written contributions from a host of Mexican Summer artists. Designed by longtime collaborator Dan Schechter, Mexican Summer: Five Years features an embossed cloth cover, craft paper wrap, three interior paper stocks and an integrated 10" sleeve. The sleeve houses a 10? record of unique collaborations from Bay of Pigs (Spiritualized, Soldiers of Fortune, and Neil Hagerty), Jorge Elbrose (Jorge Elbrecht and Ariel Pink), Autre Ne Veut and Fennesz, Bobb Trimble and Quilt, and The Lonely Sailor and Renée Mendoza Haran (members of Total Control, Lace Curtain, and Ashrae Fax)."


MW 051LP

HARD CORPS: Rarities LP (MW 051LP) 24.00
"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. They have finally been remastered and will be released as a cassette and 12" vinyl (edition of 300). The vinyl is pressed on 180 gram clear vinyl, accompanied by a numbered 8" x 10" photographic print of the band."



TRONICS: What's The Hubub Bub LP (MLADYS 009LP) 18.00
Released on LP for the very first time, remastered and packaged with the original sleeve. "What's The Hubub Bub originally appeared in 1980/1981, and was so far ahead in its approach to songwriting, performance, recording, and presentation that we're just now catching up. Issued at the height of the British post-punk renaissance, on cassette only, it presaged the DIY underground movement in this country by several years, and until now, has been more rumored than heard. Recorded mostly live to cassette, the album has an astonishing breadth, taking in and transmuting savage rock'n' roll, tender ballads, tape experiments, and in the case of 'The Shark Fucks', bona fide anthems. Ziro Baby (now known to comrades as Zarjaz Baby and fronting the incredible group FREAKAPUSS) and his songs have held sway with hundreds of the underground cognoscenti for decades now, cassettes of Tronics albums being passed around like secret handshakes. It remains a singular example of true self-expression, whilst at the same time rocking harder than (fill in almost any band's name here)."


TRONICS: Say! What Is This? LP (MLADYS 010LP) 18.00
LP version. "Say! What Is This? is a collection of early, previously unreleased and rare Tronics recordings from between 1978 and 1983. Tronics, led by Ziro Baby, who issued records between 1979 and 1983 are a musical rarity as things go. The releases brought Tronics and Ziro Baby, then and since, great acclaim being noted in the music press as 'a swamp God'(1), 'the essence of Rock n Roll'(2), 'arguably, a pre-cursor for English Post Punk and Indie music'(3) and being credited for issuing the first independent cassette album in 1980 that started the cassette music boom that continues today(4). Despite the successes of the Tronics releases, being continually highly sought after and loved by so many, Tronics and Zarjaz Baby -- the name that Ziro works under today with his group Freakapuss -- remain rare, mysterious and enigmatic underground phenomena. Perhaps it was with this in mind that brought Brett Lyman, co-owner of M'lady's Records, to remark that the recordings on this album were like finding a hidden room in the back of Tutankhamen's tomb."


MR 337LP

VA: Pipperment Twist: Rockin' Twist Instrumentals, Exotica, and Other Sounds from Spain 1958-1966 2LP (MR 337LP) 25.50
Double LP version. 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. Gatefold sleeve with printed inner sleeves showing all the original record sleeves and artist photos.



TERJE, TODD: Spiral 12" (OLS 004EP) 14.50
Two new tunes from Todd Terje: "Spiral" and "Q."



GUILLAUME & THE COUTU DUMONTS: Indigo Fever 12" (OSLO 028EP) 12.50
Guillaume is back on Oslo with a thrilling and mind-blowing three-track EP. "Indigo People" is a groovy and kickin' masterpiece. Guided by an analog bass-line, the track slowly marches through a forest populated by indigenous drum machines, while eerie samples fly through the treetops. "Ghetto Indigo" is a classic Guillaume & The Coutu Dumonts track. It has the right kind of funkiness and irony, but is grown-up enough to be a mature dancefloor destroyer. "Indigo Shower" is definitely the secret gem of the whole package with classy disco drums, hypnotizing sound scales, and a dreamy but smooth-as-hell track development.


OP 005EP

VISUALS: Visuals EP 12" (OP 005EP) 14.00
Andrew Fox sketches psychic spaces and emotions like a cinematographer in conversation with himself. Fox formed a three-piece band called Visuals in 2012, choosing the name as an oblique reference to a debilitating ocular disorder he suffered as a child. His previous releases were a series of cryptic self-released 7" singles written in collaboration with drummer Marshall Ryan. After recording and producing much of the arrangements himself, Fox handed the songs for this debut EP off to Darkside guitarist Dave Harrington for a final round of mixing and edits. His partner Nicolas Jaar finished the job, lending the record a distinctive psychedelic thump that fits Fox's songs hand-in-glove.



D'JULZ: Dive EP 12" (OVM 237EP) 14.00
D'Julz returns with his fifth release on Ovum. The title-track is deep, brooding and loaded with bulbous bass throbs throughout, this atmospheric techno cut with its rasping hi-hats and marching drum-line is not one for the faint of heart. Ramping things up on the flip is the glorious "Self Construction," with its warm bass line, euphoric synth riff, groove-inducing stabs and bubbling melody. D'Julz delivers a perfect DIY soundtrack. Also included is an exclusive dub mix of "Self Construction" which takes us deeper with its spritely key melody.



VA: Piccadilly Sunshine Part Sixteen: British Pop Psych and Other Flavours 1966-1972 CD (PART 4033CD) 17.00
This latest installment in Particles' Piccadilly Sunshine series celebrates the obscured artifacts of illustrious noise that emerged from the Great British psychedelic era and beyond. Featuring hand-picked delights from Ivor Cutler Trio, Susie Klee, Yellow Bellow Room Boom, and The Oscar Bicycle, Piccadilly Sunshine Part Sixteen delves into the groovy era of the late '60s and early '70s and proudly presents a healthy dose of hocus pocus with 20 long-forgotten pearls of magical pop for your listening pleasure. Other artists include: Matthew Bones, Philip John Filby, Toast, Napoleon Smith, John Williams, Malcolm Holland, Marc Reid, Studio Six, Brendan Philips, Hogarth, Barry Ryan, Annabel Leventon, and Dave Justin.


VA: Mixed Up Minds Part Seven: Obscure Rock & Pop from the British Isles 1969-1974 CD (PART 4034CD) 17.00
Mixed Up Minds Part Seven promises a further dive into the abandoned boundaries of British rock and pop and returns with once-neglected treasures for our enlightenment. Featuring some of the finest psychedelia and progressive rock from the early '70s, including P. Rufus King, Buckley and Ransome Head, this latest installment boasts a variety of underground obscurities from the British rock world with fuzz guitars and anarchic, acoustic meanderings. If you are an open-minded, music-loving soul, you will find much pleasure within. Other artists include: Jawbone, Vaughan Thomas, Gerry Morris, Eric Elder, A & A North, Harlan County, John Leyton, Trane, Nimbo, Trader Horne, Beckett, Matthias, Portrait, Wellington, Greenwich Village, and Frame.



KARACA, CEM: Apaslar, Kardaslar, Mogollar, Ferdy Klein Orchestra CD (PHS 015CD) 17.00
Sophisticated and passionate, with flamboyant taste in sunglasses, Cem Karaca once led Istanbul's music fans through a period of violent political turmoil. Karaca reworked traditional folk lyrics with molten electric bass lines that played up both a poet's broiling righteousness and also his listeners' common ground with their elders in Turkey's history. This is the second album from Karaca, released in 1974. It leads the listener through Karaca's own musical history, skipping across various collaborations and bands up to his then-current project Dervi?an. Can throbbing Anatolian guitars take on the assassins of the Grey Wolves? Imagine a hairy pied-piper with R. Kelly's flair for drama, wailing into a microphone over an electric ba?lama, and you're ready to enter the bohemian world of Papa Cem. Remastered sound (sounding much better than the original pressing), and an insert with detailed liner notes.



In April 2011 Giuseppe Ielasi and Andrew Pekler met for a three-day recording session at Pekler's studio in Berlin. In a comfortable atmosphere and with a minimum of preparation, the two artists endeavored to find common musical ground through their shared interests in sample manipulation, layering textures, and improvisation. Some months later, Ielasi auditioned the recordings and then mixed down his favorite passages. To a few of these selections Pekler then added an overdub or an edit, but for the most part Holiday for Sampler is a document of real-time interaction. The title Holiday for Sampler and the holiday resort names of the individual track titles are an oblique reference to both the pleasures of leisure travel and to the interplay of the familiar and the foreign themes at the center of Ielasi's and Pekler's artistic practice. One-time pressing edition limited to 250 copies, mixed and mastered by Giuseppe Ielasi and with cover artwork by Andrew Pekler.


Drinking Belgian beer in a moist cellar after an exhausting night might be the best situation to jump on the instruments that surround you and gig over and over again until you barely find the way to gather your legs together and improve the tricky exercise of wasted walking. This is what seems to have happened that frozen night of September 19th, 2009 when Dave Nuss (No Neck Blues Band, Sabbath Assembly) wrung from his Amolvacy concert and accompanied by mate Mik Quantius (Embryo), accepted GOL's perverse invitation to pursue the darkness of Brussels while abusing the aforementioned liquid. Warped and deep bass lines support the disturbed vocalisms and spontaneous words of Mr. Quantius, shaped by a shamanistic, percussive Nuss, while the crispy electronics and various instruments by the French GOL combo reach out for a "blues" extravaganza that says it all with lyrics such as "I have sex on Christmas" or "Tomorrow maybe not." Gollaboration No.5, recorded at 2:00 a.m. by Yann Leguay. LP cover and insert with drawings by Mattia Denisse, give a hint of this twisted and skittish psychedelic must-have. One-time pressing edition limited to 300 copies.


The sixth Gollaberration features a rather odd encounter, indeed. It all happened when matchless vocalist Ghédalia Tazartès challenged GOL's Dada-style quartet. Ghédalia threw in the game his pan-African-Asian singing techniques, blending gypsy, Jewish, and trans-continental flavor. GOL exceeded on electric mandolin, Jew's harps, percussions, janotron, flutes, electric guitar, bass guitar, electronic garage, and voice. Together with Ghédalia, they developed into what became a "bal musette" for the mentally-disabled. Reaching at some points the side of rock that doesn't roll, this sonic attack jumps from topic to topic as a ritualistic anthology of unknown "ritournelles." Such a decadence was hardly contained in the neutral environment of the Swiss Cultural Center in Paris where the recording took place on Feb 22nd and 23rd, 2011. Tired liver resonances accurately rendered by the acid-yellow cover created by Dennis Tyfus of Ultra Eczema. A mountain-peak journey below the very heart of nowhere-Europe to be consumed gently, without skis on. One-time pressing, edition limited to 400 copies.



RETIREE: Retiree 12" (PWRLD 002EP) 14.00
Newly-born Retiree recently kicked its way through the musical birth sac and into Sydney's live scene, with a spate of vitalizing performances. Tori Holleman, Ryan Powderly, Marco Vella, and Matt Crowley have consistently presented an evolving repertoire of artful tracks to thirsty ears. Dance record commissars, Suzanne Kraft (Running Back Records) and Andras Fox (Home Loan Records), have leapt with uncommon keenness at the offer to remix. It is likely that this EP will give listeners a refreshing emulsion of dancefloor cadence and tempered vibrancy -- something not seen all that often on debut releases.



LA FLEUR: Feline EP 12" (PPR 004EP) 14.00
La Fleur returns to her own beloved Power Plant imprint. After landing a coveted residency with acclaimed Berlin club Watergate, and producing a chart-topping EP as her debut for the club's in-house label, the Feline EP brings La Fleur back to her roots. "Kattflickan" cuts a sleek figure, and is a slower, groovier, quirkier iteration of La Fleur's signature house sound. The chiming bell melody of "Feline" carries it from the outset, and is the genesis of its mysterious and ethereal mood. Punchy drums, layered, meshed chords and its hazy chorus of rising vocal harmonies make it fit for any set.



The glowing introduction and cornerstone of Stay Golden (REC 101LP), the second album by Tristesse Contemporaine, "Fire" reveals an attitude très pop from the Paris-based trio. This is what happens when they choose to play with matches and burn our fingers. Dark, sexy, and catchy, "Fire" has inspired four distinguished remixers to give us their vision of this very contagious song: house and soul from Clément ASWF, Hispanic and cinematic from Daniel Maloso, tropical and funky from Hypnolove, electro and dreamy from Kasper Bjørke.



ALEXANDER, AMIR: Don't Go EP 12" (SECRET 012EP) 12.50
A fresh 12" from Chicago-born Amir Alexander. "Don't Go" is a culmination of his signature style with hard-hitting drums, a catchy synth line, squelchy bass, and mournful vocals. This has been road-tested for some time now by both Giles and James at Secretsundaze, and James included it in his LWE podcast. The track is a guaranteed floor-filler, perfectly balancing energy and atmosphere. On the flip, "Bangin'" is equally direct, focusing on the drums with a squiggly acid line sneaking in, offset by more melodic touches. Another essential release from Amir Alexander.


SP 031LP

EILBACHER, MAX: Red Anxiety Tracers LP (SP 031LP) 20.00
Max Eilbacher's Red Anxiety Tracers is the debut album from the multi-talented Baltimore, Maryland stalwart. Eilbacher has performed with various projects such as Matmos, Horse Lords, and the mind-altering underground Needle Gun aktionist unit. Despite years of busy touring and recording, Red Anxiety Tracers is the first vinyl artifact from this young mastermind. Crafted over the course of a year, Tracers is a labyrinth of shapes and sounds which glide through a complex and arcane environment of found sounds and synthesis. An expertly-crafted maze of deja-vu, audio hallucinations, and dislocating atmospherics forms an audio obstacle course for the listener. Complex editing techniques and sound structures recall the works of J.D. Robb or Owl Records-era Tod Dockstader albeit with a radically fresh perspective and educated hindsight. Red Anxiety Tracers exhumes impeccable flow and careful attention to dynamic range, with its surgical placement of sound events challenging the deep listening abilities of its audience. Raw and manic tension overloads are cut with alien float and abstract aether transmissions with a constantly shifting palette of sounds spun from blasted modular electronics, vocoded terrestrial-speak, and glowing mellotron clouds. Eilbacher communicates a strange and beautiful dialect conceived through disciplined compositional structure and an intuitive improvisational style unparalleled in the current landscape. Red Anxiety Tracers breathes new life into modern electronic composition.

SP 032LP

MOORE, STEVE: Pangaea Ultima 2LP (SP 032LP) 29.00
Double LP version. Pangaea Ultima, Steve Moore's debut record on Spectrum Spools, is an epic musical achievement, not simply for its sonic sophistication and compositional mastery, but also because Moore has crafted here an album that has come as close to any in transcending the boxed human logic of time and place. The album title refers to the name which geologists have given to the future super-continent that is suggested may form on earth in the next quarter-of-a-billion years. Over the course of the nine pieces on Pangaea Ultima, Moore meditates upon the realization of this new land mass in an uncharted part of the world's moment. How will this continent come to be formed? What forces and what processes create it? What is this continent's terrain of "Endless Mountains" and "Endless Caverns," and on what kind of planet will it be? These are all speculative questions that alight the listener as they are subsumed into Steve Moore's synthscapes which unfurl with equal amounts of delicacy and meticulous detail. In some respects, the attitude and ambition of Pangaea Ultima places this work in a similar canon as the mythic territory of Tangerine Dream's Phaedra or the cosmic imaginations of Michael Stearns' Planetary Unfolding, and yet it evades both comparisons as easily. There is something mysteriously self-contained, urgent that pervades these assemblages of tracks. "Logotone" exhibits Moore's ability to stretch the sensibilities of melodic and chordal phrasing to limits that Schulze or Alan Hawkshaw wouldn't have gone. The compositions on Pangaea Ultima, like "Planetwalk" and "Nemesis" are more tightly coiled even in their constant straining to explode outwards to the stars beyond. And when Moore plays with rhythms, they resemble the idiosyncratic mould of his releases for Long Island Electrical Systems, Future Times and Kompakt, and yet seem to push even further towards an eerie sparseness yet to be fully tapped. If there are 4/4 kicks on Pangaea Ultima, like on "Deep Time" and the title-track, it's for a world skewed on a bent axis. Musically, this is a record of both microscopic and macroscopic reward, an absorbing listen that betrays the album's 60 minutes of length. Which again returns us to the question of time and how so expertly Moore has managed to avoid it. Or more so, how he has managed to find a fold in time -- an atemporal space -- here this album anomalously nestles by itself. Moore reaches out to the moment of genesis of Pangaea Ultima and slips into its imaginary logic of time and place. He does not intrude or indulge there. Nor are there any "retro" homages or "sci-fi" tropes/ambitions on Pangaea -- we cannot even be sure whether humans have a history they can call a future on this continent. Yet just as easily, as geologists concede, this future super-continent may never end up eventuating, which would mean this imminently possible reality will melt into fantasy. But this too, is not a bad place for Steve Moore's masterpiece to end up, either. Mastered and cut by Rashad Becker, August 2013. Artwork and design by Robert Beatty.myth is the internalising ofnatural phenomena throughexplicable narrativesfantasy is the stepping outsideof history in order to makenarratives explicable



FUNN CITY: All-Night People 12" (STARTREE 001EP) 14.00
Darshan Jesrani's new project Funn City continues to break open the notion of modern vs. retro and challenges the listener to categorize what is found inside. "All-Night People" is a relentlessly-upbeat, vivid, saturated trip inspired by that liminal area of late-'70s dance music which existed between shitty blues-rock, new wave, and disco. Otherworldly, gurgling synths surf atop truncated, slashing guitar and thick, pattering congas. The dub on side B works most of the same features but empties out the arrangement and infuses the mix with a bubbling, techno-inspired sequence and phaser-licked synth to create a new, more streamlined groove for the track-oriented dancefloor and style of play.



BOMAN, AXEL: Fantastic Piano 7" (BARN 018X1-EP) 11.00
Limited 7'' release of Axel Boman's "Fantastic Piano," taken from the album Family Vacation (BARN 018CD/LP), with an exclusive Dungeon Acid remix on the B-side. 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. Axel Boman's music has also been described as "raw and playful house music drenched in oceans of soul."


SR 335LP

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

SR 381CD

OISEAUX-TEMPETE: Oiseaux-Tempete CD (SR 381CD) 15.50
Oiseaux-Tempête's debut album retraces, in a sonic odyssey, the qualms and queries of a sickly and dysfunctional Western society. The trio was created in Paris in 2012 by the musically versatile pair Frédéric D. Oberland (guitar) and Stéphane Pigneul (bass) (members of FareWell Poetry and Le Réveil des Tropiques) and percussionist Ben McConnell (drummer for bands such as Beach House, Rain Machine, Au Revoir Simone, Marissa Nadler, and Winter Family). The band's creative process is intertwined with that of Stéphane C., French photographer/filmmaker, currently documenting the existential conflicts brought on by the political and economical turmoil in Greece. In light of this encounter, this project quickly became a whole: musical, visual, political. The initiating impetus is urgency. Reason first reared its head in Greece, and now it is the seat of a modern maelstrom, unfurling a new set of questions. Alternating moments of inexorable tension and luminous respite, the Oiseaux-Tempête's debut album LP takes flight and slowly unfolds in an implacable ascension, the rich photographic contributions fleshing out the poetic narrative. Albums released on Sub Rosa must answer to seven internal questions, and one of these is the ability to summon a penetrative force that transcends genres. It is this force that floods Oiseaux-Tempête's first release, carrying us beyond the stoner, free-rock and experimental labels. How can music voice the violence and confusion that fuels discontent and protest? Oiseaux-Tempête offers an answer to this question.

SR 381LP

OISEAUX-TEMPETE: Oiseaux-Tempete 2LP (SR 381LP) 23.50
Double LP version. Comes on red and black marbled vinyl in a gatefold sleeve. Includes a download voucher.

SR 382CD

SHLOMOWITZ/PETER ABLINGER, MATTHEW: Matthew Shlomowitz/Peter Ablinger CD (SR 382CD) 15.50
Works by Matthew Shlomowitz and Peter Ablinger for piano and found sounds. Mark Knoop performs Shlomowitz's "Popular Contexts" for piano and sampler keyboard and selections from Ablinger's ongoing cycle "Voices and Piano." Both works deal with collected sonic objects. Shlomowitz's widely varied samples, ranging from insect noises to airline safety announcements, and the recorded speech of Ablinger's subjects force these objects into musical juxtaposition with the piano. "'Popular Contexts' and 'Voices and Piano' both confront us with just how particular the act of listening really is, of how many relationships and pieces of information there are both inside and outside of music and sound." --Adam Harper; London-based pianist and conductor Mark Knoop is known for his fearless performances and individual interpretations. He is currently Turner Sims Fellow at the University of Southampton. Matthew Shlomowitz is a composer based in London and is a lecturer at the University of Southampton. Peter Ablinger is an Austrian composer now living in Berlin.



In 2007, Token was born with the release of Inigo Kennedy's Identify Yourself. Since then, each of his EPs has been a milestone in the label's growth and this new three-tracker promises to be no different. After his widely-acclaimed Cathedral and Emitter/Collector, Inigo reveals his third EP for 2013: three no-nonsense tracks in his distinctive style: dark, refined and so very magnetic. Busiest year for Token so far, and it's not over yet.


PHASE: Dirtro II 12" (TOKEN 037EP) 12.50
After the double A-sided first single from Frames of Reference (TOKEN 033CD/LP), Token now brings you the second single. "Dirtro II" is definitely one of the album's standout cuts and shows Ø [Phase] in his darkest and deepest mood. On the B-side he is joined by one of his biggest inspirations and one of techno's most legendary innovators, Robert Hood. The result is a carefully-executed yet explosive peak-time cut. Ø [Phase] x Robert Hood x Token. It had to happen one day.



FIELDS, LEE: Let's Talk It Over (Deluxe Edition) 2LP (TSLP 012LP) 20.00
2013 repress; double LP version with download card. "Lee released this, his very first full-length LP, in 1979. Let's Talk It Over featured his most successful song of the era, 'She's a Lovemaker,' which was at one time licensed and promoted by London Records. Mint copies of Let's Talk it Over, which was self released by Mr. Fields and mostly sold at shows and out the back of his car, can fetch four digit numbers on eBay. Even the bootleg version from the early nineties sells for up to four hundred dollars. Truth & Soul is proud to present the deluxe re-issue of Lee Fields' 'holy grail' album. Also features songs from his singles catalogue, including 'Funky Screw,' 'We Fought For Survival,' 'Bewildered,' 'Meet Me Tonight,' 'The Bull Is Coming,' 'Everybody's Gonna Give Their Thing Away,' and many more. The deluxe re-issue is also repackaged with a new cover and never-before-seen photos of Lee Fields."



TIGA VS AUDION: Let's Go Dancing (Maya Jane Coles Remixes) 12" (TURBO 153B-EP) 12.50
Forged in the fire of recent studio sessions for Tiga's next artist album, "Let's Go Dancing" is the forthcoming collaboration between the Canadian producer and Audion aka Matthew Dear. An epic in all senses of the word (the full version clocks in at nine minutes), "Let's Go Dancing" is a brilliant piece of hypnotic, primal techno. Maya Jane Coles, London's "queen of the underground," turns in two stellar versions that take the vocal hook and attitude of the original and rework them into hypnotic deep house anthems.


TIGA VS AUDION: Let's Go Dancing EP 12" (TURBO 153EP) 12.50
Forged in the fire of studio sessions for Tiga's next artist album, Let's Go Dancing is the collaboration between the Canadian producer and Audion aka Matthew Dear. Epic in all senses of the word (the full version clocks in at nine minutes), "Let's Go Dancing" is a brilliant piece of hypnotic, primal techno. "Let's Go Dancing" has quickly become a staple for the likes of Loco Dice, Sasha, Sven Väth, Adam Beyer, Eric Prydz and more. Annie Mac dropped the world exclusive of the full track on Radio 1, and it has received further DJ support from Duke Dumont, Erol Alkan, A-Trak, Maceo Plex, Seth Troxler, and a whole host more. Remixes by Solomun and Breach.


UY 077EP

BYALLO, ALLAND: Crepuscular 12" (UY 077EP) 12.50
Alland Byallo has made his name working as a DJ and producer in L.A. and San Francisco. His discography is widespread and is crowned by releases and remixes on Mood Music, Get Physical, BPitch Control, and Cocoon. He already released one track on the UY Diary No. 3 and now kicks out a whole EP. "Crepuscular" and "Blindsided" are two typical Byallo tracks. With their deepness, technoidicity and trippiness, they are a perfect fundament for two sporty remixes. UY artist Dave Aju constructs the mental A2 mix, and label-boss Marco Resmann drags "Blindsided" kicking and screaming through his amazing synth lab.



AKRON: Synaptic Beat LP+CD (VAMPI 155LP) 16.50
LP version, in a special die-cut sleeve. Includes a CD copy of the album. 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.


YT 2013CD

VA: Young Turks 2013 CD (YT 2013CD) 15.50
To showcase the exciting music Young Turks released throughout 2013, the label produced a series of uniquely artworked limited edition 12"s. Each vinyl featured two tracks by artists affiliated with the label in 2013, such as Lost Scripts (John Talabot and Pional), Koreless, The xx, Sampha, Short Stories, and Pional. The entire collection is now getting a release on CD format with two extra songs (by FKA Twigs and SBTRKT) and individual artwork cards for each track featured. Young Turks was established in London in 2007 and has released records by SBTRKT, Chairlift, Holy Fuck, Sampha, The xx, and many more.



NEGRO, JOEY: Remixed with Love, Part A 2LP (ZEDD 030LP) 31.00
Double LP version, in a gatefold sleeve. Volume one of two, featuring 8 re-edits of Mass Production ("Welcome to Our World"), Ashford & Simpson ("Over and Over"), Patrice Rushen ("Haven't You Heard"), Roxy Music ("The Same Old Scene"), TW Funkmasters ("Love Money"), Narada Michael Walden ("Tonight (I'm Alright)"), Kleeer ("I Love to Dance") and Loleatta Holloway ("Hit and Run"). 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.


NEGRO, JOEY: Remixed with Love, Part B 2LP (ZEDD 030X-LP) 31.00
Double LP version, in a gatefold sleeve. Volume two of two, featuring 8 re-edits of Karen Young ("Hot Shot"), Roy Ayres ("Get On Up Get On Down"), Mass Production ("Cosmic Lust"), Kleeer ("Tonight"), Phreek feat. Donna McGhee ("May My Love Be With You"), Narada Michael Walden ("I Should've Loved Ya") and Princess Freesia ("Freesia"), Matt Bianco ("Half a Minute").


ZZ 2028LP

KUBIN, FELIX: Zemsta Plutona 2LP (ZZ 2028LP) 25.50
Felix Kubin, the nuclear powered horseman of apocalyptic dance music, is back. The manic producer and agitator brings forth a new solo album. Zemsta Plutona strikes through our living room like lightning, leaving scorch marks and enlightened souls. His inciting machinations have multiplied over the past years and there seems to be no end in sight. A master of absurd self-staging, his work blurs the boundaries between sci-fi pop, conceptual chamber music, radio play, theatre and film. He prefers futuristic costumes and experimental haircuts, cultivating a fashion style somewhere between Kim Jong-il and Captain Kirk. But most of all Kubin is a brilliant composer and an errant arranger. The opening track, "Lightning Strikes" sets the path: The rhythm from a distorted human beatbox, enervating synth lines and an operatic chorus result in a Kubin hit par excellence. "Atomium Vertigo" opens the door to a magnetic groove to which Nicolas Ekla (Lem, Les Brochettes) murmurs foggy French negations. "Nachts im Park" (At Night in the Park), on the other hand, sounds like a soundtrack to a modern Edgar Wallace thriller: retro-futuristic computer music, the opposite of easy listening, but flirting with it. Whichever piece attracts you on this timeless album -- the snappy "Flies Without Memory" or the ghostly "Restez en Ligne" -- Kubin forever sounds like himself and always sounds new. An example of something new here is the inclusion of amplified acoustic instruments like drums, trumpet, trombone or laundry rack. In "Piscine Résonnez!" synth-sequences and fanfare sounds wander around while angry French girls yell something about manta rays in the swimming pool. Kubin dedicates himself to the great theme of feeling controlled remotely in "Der Kaiser ist Gestorben" (The Kaiser is Dead). Here, our life is steered by an invisible hand; a commemoration on existentialism and the topos of urban alienation. Mixed by Tobias Levin, this double LP version of Zemsta Plutona contains two vinyl-only bonus tracks and is Kubin's first release for German label ZickZack.

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Last Updated on Monday, 16 December 2013 16:30  


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