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Forced Exposure New Releases for 1/13/2014

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New music is due from Jeff Mills and Wanda Group while old music is due from Muslimgauze, The Clean, and Peter King.



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MILLS, JEFF: Chronicles of Possible Worlds CD/DVD/BOOK (AXSN 001CD) 35.00
"The theme for Chronicles of Possible Worlds is exo-planets: new planets discovered starting in 1995, which revolve around stars outside our solar system. Mixing music, dance, and visuals, this creative work testifies to the advances of science and hints at the existence of other possible worlds. Following a period of investigation, and a meeting with researchers from the Marseille Astrophysics Laboratory, Mills chose to focus on six planets (Wasp 12b, 13b, 14b, 15b, 16b and 17b). Their specific physical and structural properties were then translated into music, sound, images, and dance. Together with Mills, the choreographer Alexandre Roccoli created a roaming choreography spread out across the Vasarely Foundation that explores the correspondence between the physical properties of these planets and choreographers own body states. The soundtrack, composed by Mills, is broadcast by the dancers costumes (designed by Berlin designer Anke Bruns), which are equipped with speakers." Comes as a 22 page, 8" x 8" booklet (no spine). CD and DVD are attached inside the booklet.


BAM 7014CD

LES RALLIZES DENUDES: Naked Diza Star 3CD (BAM 7014CD) 31.00
Various live tracks assembled circa 1973-1987. As news of the new rock music made it to Japan from the UK and the USA, mostly via rock magazines and music papers, with most LPs tough to find even on import, something was lost in translation that allowed it to mutate well beyond its original remit. Les Rallizes Dénudés took rock music at its word while visioning it as both unnecessarily complicated and too stupid by far. In doing so they formulated an inspirational blueprint that would go on to have a marked effect on everything that came after them in Japanese underground music. It's a music that's as loose as it is uptight, as sophisticated as it is punk-primitive, as radical as it is simplistic. As the old ESP-Disk banner used to promise, truly, you never heard such sounds. Digitally remastered. Includes an 8-page booklet in English and Japanese.

BAM 7015CD

VA: Big Lizard Stomp! Volume 2: Teen Trash from Psychedelic Tokyo '66-'69 CD (BAM 7015CD) 17.00
Under the influence of The Beatles, the Group Sounds movement swept Japan in the mid-1960s. This compilation -- out of print for well over 20 years -- collects some of the finest cuts made by several of the leading bands of the time, and makes its long-awaited CD debut here, together with background notes. Includes artists such as The Golden Cups, The Beavers, The Mops, The Spiders, The Carnabeats, D'swooners, and The Jaguars.

BAM 7016CD

VA: Slitherama Volume 3: Psychedelic Tokyo 1966-1969 CD (BAM 7016CD) 17.00
Under the influence of The Beatles, the Group Sounds movement swept Japan in the mid-1960s. This compilation -- out of print for well over 20 years -- collects some of the finest cuts made by several of the leading bands of the time, and makes its long-awaited CD debut here, together with background notes. Artists include: Outcast, The Spiders, The Mops, The Savage, The Jaguars, The Sharp Hawks, The Sharp Five, The Voltage, and The Golden Cups.


DEC 1104LP

CYBOTRON: Enter 2LP (DEC 1104LP) 25.00
Repressed. "Seminal techno album Enter finally gets the definitive reissue it deserves. First released in 1983, Cybotron's debut LP has long been considered a landmark release in the storied history of Detroit music and an invaluable seed that sprouted countless branches of electronic dance music from house to techno. Founded by visionary Vietnam veteran Rik Davis and teenaged future funk freak Juan Atkins, Cybotron combined a fondness for electronic gear as favored by groups like Kraftwerk and Yellow Magic Orchestra with a dark lyricism that echoed the urban blight of Detroit and advanced prophetic environmental concerns. This long-overdue reissue has been carefully curated to satisfy the most discerning fans, and to provide an accessible entry point to one of the most influential electronic music releases ever. This edition features the original full-length album, including the sought-after initial mix of the mega-hit 'Clear,' replaced on earlier issues with its better known remix. That remix, sampled famously for Missy Elliot's 'Lose Control,' leads off the bonus tracks -- a collection of singles, B-sides and alternate mixes that provide a complete picture of Cybotron's enormously trend-setting style. The original artwork is supplemented by band photos and rare label images, plus a powerful essay by noted scribe Dave Tompkins (How to Wreck a Nice Beach) that explores the roots of the group's sound."


540 029LP

CLEAN, THE: Odditties 2LP (540 029LP) 27.00
Restocked. "It's interesting to note that by the time most folks in the northern hemisphere got their first taste of The Clean (circa 1985), they all but packed it in. Yep, tis true. '85 was the year of the first great Kiwi invasion (vinyl wise) with the Flying Nun roster leading the way. And there was nary a dud to be found. And such wonderful and unusual names: Tall Dwarfs, Sneaky Feelings, The Puddle, Scorched Earth Policy and of course, The Clean. Their trio of 12" EP's were rabidly devoured by a curious and enthusiastic cognoscenti. You didn't buy one, you bought 'em all. Same goes for the 7-inchers. And there just wasn't enough. Not only of Clean records, but Clean material! Then one day in some long forgotten order came a copy of the Odditties cassette. The sales rep had included it as a promo, claiming he couldn't shift 'em (cassette love being at something of a nadir back then). 'I'll take whatever you got' was my reply. And I hadn't even played it yet. But I knew that even though it had gotten 'runted' out on to tape only format, there was no doubt it contained a treasure trove of aural gems. You couldn't help but think that Odditties was to The Clean what Whatever Happens Next was to Swell Maps. Which, more or less, is what it is. Recorded between 1980-82 Odditties is a thorough compendium of alternate takes, addled miscues, riffing zoners and back burner gems. Never easy to come by, even the CD version had scant distro through the 90's. This bunch of songs has been tagged as 'the ones that got away'. But hold on there pard, this story ain't done. Cut to 2012 and the inimitable Austin label, Five Four O, has taken up the call and wrangled this behemoth of slippery southern psychedelia into the format it has always so richly deserved: the double LP. Housed in fetching and historical gatefold sleeve to boot."


GET 51297LP

NAS: Illmatic LP (GET 51297LP) 24.00
2014 repress. "In 1994, hip-hop was going through a painful growth spurt. Since N.W.A. and Ice-T's ascent in the late '80s, the rap game was no longer owned by the east coast. After the worldwide popularity of Dr. Dre's The Chronic in 1992, things were looking even worse for hip-hop's hometown. The east coast/west coast feud that would indirectly claim the lives of Biggie and Pac was still in its infancy, but New York needed a shot in the arm. And as soon as the first lines of 'N.Y. State of Mind' kick in, bolstered by perhaps DJ Premier's darkest beat of all time, the entire east coast breathed a collective sigh of relief. God's son had arrived. Backed by an absolute all-star cast of New York's top-shelf producers -- Premier, Pete Rock, Large Professor, Q-Tip, and a youngster named L.E.S. -- the album never lets up. Serious to a fault, and lyrically dense to an extent that has possibly never been matched, the 20-year old Nas stood on the shoulders of his predecessors and proudly proclaimed, 'Don't f*** with the east? we are back.' It was a dark, hard record, made for heads in New York, not teeny-boppers in Des Moines. There were no dance beats, no crossover love songs. Just boom-bap and rhymes, skills, and heart."



SLEAFORD MODS: Austerity Dogs CD (HARB 106CD) 16.50
Sleaford Mods started out sometime during 2006 while Jason Williamson was living in Nottingham. Born out of part frustration and part accident, it quickly found its feet as an aggressive verbal onslaught on all that is contrived and connected to the day-to-day hammer of low paid employment and domestic situations arising from that trap. After a year of working ideas out in both the studio and in live performance around Nottingham, Williamson moved south and took the cause to London for a couple of years, before returning to Nottingham in 2009. Soon after that he met Andrew Fearn and the Sleaford Mods became a duo. Fearn's first work was on the production of Wank -- the Mods' fifth CD-R album. Soon after, he started stalking the studio and stage with Williamson. Just after the release of Wank, the duo were invited to play a three-day festival curated by Nottingham's Rammel Club. During that weekend they were introduced to the Harbinger Sound label. A meeting which -- a year later -- resulted in the release of Austerity Dogs. Numerous shows around the UK and Europe followed, including further festival appearances. Rave reviews of the album have appeared in magazines as diverse as The Wire and Uncut, along with interviews being published both on paper and on the internet, both here and abroad. With more international dates on the horizon including excursions to Poland and Sweden, the interest in the Mods continues to spread.



LAZY SMOKE: Corridor of Faces Demos LP (JPR 026LP) 19.00
"In 2010, Jackpot reissued Lazy Smoke's Corridor of Faces, the sole output from a short-lived Massachusetts psychedelic pop anomaly called Lazy Smoke, which existed for a blink of an eye in 1968. Unearthed and recently recovered is this handful of spare demos. Crushingly honest and intimate, most of these songs would later see reworked for the debut album. In addition to the twelve 1967 demos, the Corridor of Faces Demos LP also includes two songs originally recorded to acetate in 1966 by pre-Lazy Smoke project: The Road Runners. These two slabs of proto-garage have never seen the light of day, and none of the songs included here have ever been released on vinyl. A must have for any fan of the proper album, but also a fantastic stand alone piece, creating an undeniable mood that can warm or chill you before any given song comes to a close."

JPR 7109LP

2014 repress. "With The Outsiders still spoken of in hushed tones in even the deepest circles, we're thrilled to help shine some light on what might be one of the most underrated bands ever. Originally released in Holland in October 1968, CQ (pronounced 'Seek You') was the third and final album by Dutch garage punks The Outsiders. These rowdy teenagers from Amsterdam were part of the thriving 'Nederbeat' scene with the band taking their cues from British and Stateside garage acts of the day (including singing entirely in English). 'CQ' spans R&B, spacey experimental numbers, folk rock and a revved-up kind of punk that pre-dates the angular moodiness of what would become the no wave/post punk sound a decade later. This unpredictable stylistic approach, when coupled with across-the-board amazing songs, make this one of the masterpieces of late '60s psychedelic garage rock, and a cornerstone album of the genre. Pressed in a vinyl-only limited edition, this deluxe reissue is replicated precisely with gorgeous silver foil cover art. Extensive liner notes include a 2009 interview with lead guitarist Ronnie Splinter about the recording of the album and an exclusive introduction by Mike Stax, editor of Ugly Things magazine." Gatefold sleeve.



KONK PACK: Doing the Splash CD (MEGA 026CD) 13.50
The Megaphone & Knock 'em Dead labels present the fifth release from improvising trio Konk Pack. Konk Pack are a two-thirds British and one-third Austrian "organic" improvisational group. Their music can be very delicate and light but when they get hot and bothered, it's like being inside of a hurricane, an earthquake and an electrical storm, all at the same time. All three members of Konk Pack have been improvising for decades with musicians like Lol Coxhill, Cecil Taylor, Tom Cora, Alan Silva, Evan Parker, Marcus Schmickler, Fred Frith, and Charles Gayle. The way that they improvise together is like a swarm of bees or a school of fish (sometimes piranhas). This is not intellectual music. Konk Pack draws from deep reserves of experience and expertise: from Tim Hodgkinson's prog roots in Henry Cow to his post-punk RIO reinvention with The Work, from Roger Turner's roots in the UK's experimental scene working with improvisational music legends like Derek Bailey, Cecil Taylor and William Parker, and from Thomas Lehn's analog explorations with German electronic music composer Markus Schmickler and his work with the Ex. Because of, or perhaps, in spite of, their incredible resumés, Konk Pack's work is still singular among all electro-acoustic improvisation occurring today. Their music is an exercise in extreme dynamics that range from spacious and semi-silent tonal streaks to full out onslaughts that open doors to vast tidal waves of static, set to crash straight into the audience. Thomas' synthesizer sometimes crackles like an old AM radio in a hurricane amidst the shrieks and shudders Hodgkinson tears from his lap steel. Roger Turner's percussion could be anywhere from thrashing out a crying anarchy as though he is drowning in his band's own conjured undertow to pulling gentle creaks and whistles from the stretched membranes before him. For sheer depth of sound, breadth of vision and raw skill, practically any given American Underground or Japanese noise outfit could right now be eating their dust. Tim Hodgkinson (lap steel guitar); Thomas Lehn (analog synthesizer), Roger Turner (drumset & percussion). Recorded at Café OTO, London on December 18, 2012.



LITTLE RICHARD: Get Rich Quick: The Birth of a Legend 1954/1957 LP (SUITABLE 1306LP) 23.00
"Though best known for his classic sides on the Specialty label, RCA and Peacock were the first pit stops for the real king of rock 'n' roll. For those labels Richard Wayne Penniman recorded 16 tunes. The first thing one can see clearly here, is that Little Richard, before Esquerita, was a good R&B artist still looking for his unique voice. The bands on these sides were Johnny Otis and the Deuces of Rhythm along with the Tempo Toppers. Documented here are the Peacock/RCA years along with some alternate takes, another essential piece of R&B and rock 'n' roll history, delivered by Mr. Suit."


ODETTA: At Carnegie Hall LP (SUITABLE 1308LP) 23.00
"Recorded on April 8, 1960. Featuring support from bassist Bill Lee (Spike's father who, incidentally, is surely one of the unheralded heroes of the 1960s folk revival, contributing session work to many recordings and helping to expand the parameters of folk's sound from basic solo acoustic guitar accompaniment), as well as The Choir of the Church of the Master. While it's not certain that Odetta's versions of 'If I Had a Hammer,' 'John Riley,' 'John Henry,' and 'No More Auction Block' (all done here) were the most influential of the folk revival, certainly she was an important popularizer of these and similar songs. An important piece of the folk revival puzzle reissued here on LP."


JOHN, LITTLE WILLIE: The King Sessions 1958-1959 LP (SUITABLE 1309LP) 23.00
"During the period covered by this compilation, Little Willie John was moving into more orchestrated, pop-oriented material and arrangements than he'd used on his initial mid-'50s R&B hit singles for the King label. The change wasn't at all for the worse; he still put a lot of bluesy feeling into this form of blues-R&B-pop-rock & roll, getting his two biggest pop hits with 'Talk to Me, Talk to Me' and 'Spasms.' Though, it's not all orchestrated R&B-pop here, by any means: there are pretty hot jump blues, ballads, and more straightforward rock 'n' roll on 'Leave My Kitten Alone,' which would be covered by the Beatles in 1964. An interesting transitional period from one of the greatest R&B singers of all-time, documented here on LP."


DYLAN, BOB: 1962 Witmark Demos LP (SUITABLE 1310LP) 23.00
"In the spring of 1962, folk music manager Albert Grossman began to take an active interest in Bob Dylan. He proposed that Dylan sign with the prestigious publisher M. Witmark & Sons. Dylan signed a contract with Witmark on July 12 and immediately recorded a demo of what would become his breakthrough song, 'Blowin' in the Wind.' Four months passed before Dylan returned to record another song, 'Ye Playboys and Playgirls,' but the next month, in December, he showed up with many new compositions, including three that would become classics of his, 'A Hard Rain's a-Gonna Fall', 'Ballad of Hollis Brown,' and 'Tomorrow Is a Long Time.' All of Dylan's 1962 demos for Witmark are reproduced here on LP for the first time."



WANDA GROUP: A Slab About Being Held Captive LP (NNA 068LP) 18.00
"Washed up on the shores of Brighton UK, we find A Slab About Being Held Captive laying there quietly in the sand. This soaking enigma is the latest creation of Louis Johnstone, following up an influx of recent vinyl on Opal Tapes, Notown, Where To Now?, and Svetlana Industries. Since their debut release Bass Urine on NNA in 2011, Wanda and the girls have matured to a new point of refinement, sinking deeper into the careful organization of disconcerting sounds. A Slab truly is a seasick collage, with a pervading aqueous essence flowing throughout the two side-long pieces, carrying along with it fragments of field and domestic recordings and sample clutter. Syrupy waves of sound meld into one another with cinematic pacing, forming a gelatinous backdrop for hard cut interjections of concréte style sample manipulation, lending themselves to an air of confusing tension. As the liquid bath abruptly turns to slate, a group of gulls squawk at a bubble filled with muffled porno moans as they glide by. Body sounds and animal conversations are drowned out by the mechanical purrs of an industrial assembly line, sputtering and choking their last breaths as they struggle to stay afloat. Maddening tones seem to permeate from within, sizzling their way through the stereo field like two magnets dancing, drilling through the headspace. This hypnotic phenomenon forces the mind inward, reducing it to a skull full of opiate brain mush and half-cooked soggy memories. These collections of moments may fall shamelessly into near-nothingness at any given time, eventually refilling themselves with sound in a cyclical rising and falling, perhaps acting as an abstract reflection on mental states of indifference, alienation, or just general life terror and bleakness. Wanda's ability to maintain compositional fluidity throughout such a dynamic range of materials is reinforced by an original sense of movement and pacing, and the ability to form a creative symbiosis between cold sterility and organic warmth." Includes mp3 download.



KURO: Hardcore Damnation 1983-1986 LP (NNT 020LP) 25.00
"Probably the most bootlegged punk band of all times, Kuro's cult remained unequaled over the years thanks to their hyper-violent live sets and the tightness of their noise-core style. This is the vinyl version of the rare discography CD on the legendary King's World label, and features their entire 1983-1986 recordings. According to most, the best Japanese hardcore record ever."


NA 5088LP

VA: Original Raw Soul III 2LP +7" (NA 5088LP) 30.00
2014 repress. "Housed in a hand silk-screened jacket by Antidesigns, USA. Includes a bonus 7". Original Raw Soul III looks at recordings dating back over twenty years, but never once sounds dated or dull. There's the garage funk of the early Poets incarnation the Bus People Express; the deep jazz of vocalist Bajka gigging with a Max Whitefield ensemble; the pan-African psych-jazz of the Whitefield Brothers. And that's just three of the ensembles contained within. Original Raw Soul III contains fifteen tracks (plus two selections on the bonus 7") that span the gamut of forty years of musical innovation, recorded over the past twenty years, and presented anew today." Artists include: Bajka, New Process, Poets of Rhythm, Karl Hector & The Malcouns, Mercy Sluts, Polyversal Souls, and Transgressors (on the 7").


PB 005EP

SANTI/SOMJAI NILBARUN, SROENG: Kao Mai Rak Rao Rhok/Lam Pleam Diew Khean Diew Phin 7" (PB 005EP) 16.00
"Driving, widescreen funk with squalling guitar, funk horns, and Santi compelling as ever. Plus a rocking molam instrumental with droning khaen, woozy percussion, and staunch phin. Ultra limited release in the signature style. Hand-stitched, silk-screened sleeves."



RED RACK'EM: I Trusted You 12" (PTN 012EP) 12.50
RAMP's 12" sub-label PTN returns with some grumpy backroom banging techno in the shape of I Trusted You/Converse from Red Rack'em. Limited vinyl copies, so be swift.


BLACKSMIF: 23 Waist 12" (PTN 013EP) 12.50
PTN continues its comeback with 23 Waist by Blacksmif. Known to his mother as Yemi, Blacksmif grew up in South London and was surrounded by Jazz, R&B & gospel from a young age. Moving onto garage, D&B & dubstep through his adolescence, he manages to shoehorn all of these influences into his music. His debut for RAMP's 12" label PTN moves from crunk samples mashed into a piano-house template of "23 Waist," through to the nod to broken beat on "Effectivmarkt."



KING, PETER: Omo Lewa CD (SSR 031CD) 15.00
"Omo Lewa, by Nigerian born band leader and multi-instrumentalist Peter King came into the world in 1976. From start to finish, King weaves afrobeat, highlife, and jazz with mesmerizing skill. Long out of print, this album contains some of the prolific artist's finest work. Highlights like 'Afro-Funk' and 'Ajo' have been singeing slipmats via recent African compilations and whetting the appetites of numerous music fans. As prices on the collector's market reiterate, this pent up demand has made Omo Lewa Peter King's most sought after LP. In addition, overlooked tracks like 'Omo Lewa,' 'Eda,' and 'Ko Dara' help solidify what is surely one of King's most consistently hard hitting records. Recorded in London, it marks the second release by King on Orbitone Records, a relationship spanning from 1975-1978 and yielding four studio albums. It signaled a further refinement of his arrangement and compositional skills, and exists in stark contrast to Miliki Sounds, his predominately highlife-centric Orbitone debut."


KING, PETER: Omo Lewa LP (SSR 031LP) 18.00
LP version. Includes a free digital download of the entire album.


SOL 1201CD

STAIRSTEPS: 2nd Resurrection CD (SOL 1201CD) 13.00
"The first family of soul's classic 1976 comeback LP, featuring their R&B smash 'From Us to You,' co-produced by Billy Preston."

SOL 1202CD

BURKE, KENI: Keni Burke CD (SOL 1202CD) 13.00
"The debut solo LP from former Five Stairsteps member Keni Burke. Filled with bass-propelled funk and R&B magic from the summer of '77."

SOL 1203CD

TAYLOR, JOHNNIE: Best of the Old and the New: The Complete Beverly Glen Music Sessions CD (SOL 1203CD) 13.00
"The Best of the Old and The New LP, plus additional tracks from Just Ain't Good Enough. JT's complete 1982 Beverly Glen label sessions."

SOL 1204CD

SPIRIT OF ATLANTA, THE: The Burning of Atlanta CD (SOL 1204CD) 13.00
"A lost classic from 1973, complete with wah-wah guitars, smooth strings, and funky bass."

SOL 1205CD

FIELDS, RICHARD "DIMPLES": Dimples CD (SOL 1205CD) 13.00
"Fields' breakthrough LP from 1981 with the timeless soul lament 'She's Got Papers on Me' featuring Betty Wright."

SOL 1206CD

LOWRELL: Lowrell CD (SOL 1206CD) 13.00
"Former member of the Lost Generation, Lowrell Simon's debut from 1979,with 'Mellow Mellow Right On,' a much-sampled classic from the soul 'n' strings era."



MUSLIMGAUZE: Turkish Berlina CD (ARCHIVE 017CD) 18.00
Some might say that the continued stream of releases from Bryn Jones aka Muslimgauze is beginning to beggar belief. But Jones was always prolific, creating not just song after song but variant version after version of his existing work. And so Muslimgauze continues to reach out from the last century into this one. Although an intensely dedicated and creative producer and composer, Jones could be a little cryptic when it came to keeping his massive body of work organized. The recently unearthed Turkish Berlina dates back to 1997, shortly after Muslimgauze played Berlin; the master was labeled, simply, "remixes." As with many of Jones' remixes of his own work, these 10 untitled tracks range from hauntingly familiar to strikingly new versions of already extant Muslimgauze material. Surely we've heard some form of the haunting vocal loop on the first track before? The dense, busy, distorted break that takes over the second track, that's new, isn't it? Or maybe we have it backwards, maybe what feels new here should be familiar and vice versa. Even for dedicated Muslimgauze fans, these 10 remixes hover tantalizingly on the border between the known and the unknown. Here the balance between Jones' source material, the music of the Middle East and elsewhere, and his own electronic, sometimes abrasive additions and distortions slides over much closer to techno than usual, whether on the extended dubby pulse of the third track or the headspinning broken beats of the eighth and ninth. Jones had mentioned in the past being uneasy trying to represent the breadth of Muslimgauze's music live, preferring to emphasize percussion and backing tracks. These versions, then, coming on the heels of live performance, might just offer a glimpse at what Muslimgauze was like live.


MUSLIMGAUZE: Drugsherpa CD (ARCHIVE 021CD) 18.00
The provenance of bonus tracks can often be tangential or suspicious; in this case, it's more like a homecoming. When Bryn Jones turned in the master for what would become 1994's Drugsherpa mini-CD, Staalplaat selected the 20-minute title-track, truly one of Muslimgauze's most distinct and awe-inspiring tracks, to fill the release. The sinuous, doom-haunted "Drugsherpa" still sounds fresh today, but in 1994 it was so far ahead of its time, that the rest of us wouldn't catch up until a decade or more later; only now does it really sound like it has contemporaries. But it wasn't alone on that tape; and with the mini-CD long since sold out, this reissue releases its siblings into the world for the first time. Unlike "Drugsherpa" itself, now restored to its original place as track three on the reissue, the other six tracks on this now 56-minute album are all remixes of other Muslimgauze material. As usual for Jones, those remixes take the songs in all sorts of directions, subtle or otherwise; shorter, longer, backwards, dubbed-out, less dubbed-out, and so on. The result shows anew the infinite variety, multiplicity, and complexity of Jones' work, and functions as a kind of ad hoc compilation of material from several recent-at-the-time Muslimgauze releases as well (plus a remounting of "Gulfwar" from 1987's Abu Nidal). But the darkly brooding "Drugsherpa" itself remains, justly, the center of attention here. Less directly political than much of Jones' work, it builds up to an immense, slow groove until finally shaking itself to pieces in your ears by the end. Muslimgauze is always evocative. With Drugsherpa, Jones practically gives the listeners visions. He always intended these tracks to go together (as shown by the seamless segue into "Jerusalem Knife (Wail Mix)," but in a way Drugsherpa is sui generis, even for Muslimgauze.


AS 813EP

Joe Ariwa, son of legendary dub producer Mad Professor meets Alpha Steppa, son and nephew of veteran dub duo Alpha & Omega featuring the seminal reggae/dub pioneer Lee "Scratch" Perry. This release features two unique vocal and dub cuts from Lee "Scratch" Perry produced and mixed by Joe and Alpha. Second generation dub with a rootical foundation. Presented in the brand-new black & gold foil printed Steppas house-bag, quality assured with the golden lion stamp of approval.

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Last Updated on Monday, 20 January 2014 03:32  


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