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Forced Exposure New Releases for 2/3/2014

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New music is due from Smegma and Blood Stereo, Sam Shalabi, Echologist, Thug Entrancer, Lacrosse, while old music is due from The Exciters, Bong, John Cage, and Christopher Komeda.


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50 015CD

VA: 50 Weapons RMX 01-09 2CD (50 015CD) 21.00
This year, 50 Weapons released two fantastic albums by Benjamin Damage and Cosmin TRG, but the main focus was on a strong series of DJ-tailored singles. To spice it up a bit, the label also did a series of remix singles, something they normally wouldn't do. Before 50 Weapons shifts their focus back to artist albums again in 2014 (many strong ones are already lined up), they are releasing this very special compilation to close the first chapter on remix singles. Nine single releases including unreleased exclusives from Tale Of Us, Marcel Dettmann, Chris Liebing, and DJ Friction make for an impressive package with two hours of forward-thinking club music. Featuring 22 tracks on two CDs for the price of a single disc release. The compilation presents all nine 50 Weapons remix singles so far in chronological order. The tracklist contains some of the world's biggest producers of electronic music including Moderat, Shed, Marcel Dettmann, DJ Friction, Robert Hood, Chris Liebing, Legowelt, Miles, Truncate, Benjamin Damage, Lee Gamble, Anstam, Siriusmo, Tale Of Us, Modeselektor, and many more. 50 Weapons aims to have a slightly different focus each year, keeping it fresh and exciting for them and their followers. Other artists include: Shackleton, Headhunter, T++, Rashad, Doc Daneeka, Bambounou, SCNTST, Head High, Addison Groove, Fargo, Sam Binga, and Cosmin TRG.

50 033EP

TRUNCATE: Pressurize EP 12" (50 033EP) 14.00
David Flores, formerly known as Audio Injection, started his Truncate project mostly for DJ tool purposes. You can hear it in the production: they're very DJ-friendly tracks and, as such, incredibly successful sure-shots for pretty much all the main techno DJs. The tracks on his Pressurize EP show a new side of the project tailored for 50 Weapons: still very functional, but less straightforward. Some bass music and broken-beat influences shine through, but always in true Truncate style.



BORBETOMAGUS: Barbed Wire Maggots CD (AGARIC 1983CD) 15.00
CD reissue of what was the fourth Borbetomagus album, originally released on LP by Agaric way back in 1983. The trio of Jim Sauter (reeds), Don Dietrich (reeds) & Donald Miller (guitar). Recorded at In-Roads, NYC, May 7, 1982. "Recorded at In-Roads on Mercer Street, Barbed Wire Maggots documents a gorgeous evening of extreme sonic dialogue. Sauter and Dietrich's reeds skinny-dip into virtual classicist free mode at times (think 'Trane having an erotic dream of Frank Wright), but more often they tangle like electric eels dropped like tampons from the poop hatch of a 747. Upper register bowel tingling never felt so good. Miller's guitar joins them up in the stratosphere, plugging raw current into metal bowls, sizzling like a wok full of stewardess jiz, just creating and distorting and worrying the fabric of the cosmos like some idiotic terrier-god from a lost part of the Upanishards. Everything just moves so beautifully here. All of the early Borbeto hallmarks are on display: the ducks-attacked-by-lawnmowers thing; the Wilhelm Reich Busts Another Cloud scenario; the angel-wire-thimble connection ; the part about the cop car getting crushed by a bulldozer inside a maelstrom in a sewer drain -- it's all here. What is most remarkable about the music on BWM is how fresh it still sounds. There're no clichés brunted about here, nothing that's time-coded in the least; it's even difficult to really categorize the music inside any genre. Jazz, industrial, rock, free...there are elements of all of those here. And they are blended and/or smashed together in ways that will make yr hair feel lighter than feathers, lighter than maggots, lighter than anything." --Byron Coley



OHARA, RAZ: Moksha CD (ALB 001CD) 15.50
Raz Ohara's latest full-length is jam-packed with intricate cross-references and wild cross-pollinations, while he's making sure the vibe remains just right from beginning to end. A term like "dub" might be in the right ballpark, but you can also hear soul music on Moksha, at least hints of soul, subtle hints. It's actually the kind of slow-moving, static-laden soul that can only evaporate from the infinite echo chambers of Ohara's (dub) lab. Extremely dense and yet transparently arranged, the soundscapes on Moksha are vast, roomy, and yet they remain somewhat mysterious around the edges. Most beats and percussion elements seem to exist merely for themselves, usually dropping in when you least expect them -- making the resulting groove patterns (and groove it does) even more miraculous and amazing. Elsewhere, warm layers of sound or frozen melodies appear out of nowhere, linger and grow for a while, then die down again. As a listener, you have to surrender and drown in these pulsating soundscapes, which Ohara wrote and produced single-handedly. The first beat that's actually pretty straightforward (and funky) serves as the foundation of the only cover song on this album: "True Love Will Find You in the End" by Daniel Johnston. Whereas most of his own beats are assembled from acoustic elements, this is the only track that sees him relying on a drum computer. "Two Young Mates," in comparison, with its soft walls of guitar, channels post-grunge bands like Ride or Lush -- or even Pluramon. It's amazing to see this wall of sound grow over a steady beat, while Ohara actually shouts the lyrics instead of singing them. Up next he presents a rather abstract collage of clarinet, African percussion, and synthesizer sounds in shreds -- forming, once again, some kind of dub music. If you've ever found yourself lost in a limestone cave, here's your soundtrack to that kind of adventure. Moksha is the first release on Album Label, a new imprint under the Shitkatapult roof. This album is a perfect starting point, because it's a cave of forking paths that change direction every time you re-enter.



RUSSELL, ARTHUR: Another Thought 2LP (ALE 001LP) 25.50
2014 repress. Originally released on CD in 1994 and reissued in 2006, this is the first time Arthur Russell's Another Thought has been released on vinyl. Arthur Russell's Another Thought was first released posthumously in 1994, two years after his death. The tracks date from between 1982 to around 1990, catalogued from over 800 tape reels by Mikel Rouse for Point Music, and produced by Don Christensen. While it is a collection of tracks in various stages of completion, often sparse and direct, it is perhaps the most sonically coherent album ever released of Russell's material. Another Thought includes appearances by trombonist Peter Zummo, percussionist Mustafa Ahmed, additional vocals by composers Julius Eastman and Elodie Lauten, plus Joyce Bowden, Jennifer Warnes, and Steven Hall. Double vinyl in kraftliner sleeves printed in white litho, with art paper inners. Artwork by Jennifer Lucy Allan. This is the first release on Arc Light Editions, a label curated by Jennifer Allan in collaboration with Multiverse Music.



HAWKINS, SCREAMIN' JAY: What That Is! LP (BAR 331LP) 23.00
"Caught live in the act in 1969 at the Club Amigo in North Hollywood, this LP features Screamin' Jay Hawkins at his raw, unhinged best. Though recorded years after he first hit it big with 'I Put a Spell on You,' his sound remained as guttural and urgent as ever. A rare and sought after LP in its original form, Barnyard is happy to make this available again on vinyl for the next generation of Hawkins fans."



PATRICIA: Body Issues LP (BOP 001LP) 26.50
First released on Opal Tapes, Patricia's Body Issues seemed a natural pick for reissue and wax upgrade with the inauguration of Black Opal. Its six tracks swing with a dark energy that showcases the rhapsodic gravitational pull of house music in even the most blackened and cloudy specimens. Gossamer sheets and bleeding pads of degenerating ambience coalesce with fine white noise and quilted kicks to bless-it-out and ultimately engulf the body inwards in ferrous dreams. Repetition turns to hypnosis, and as "Waiting for Alexis" staggers and flanges on its path like one of Villalobos' weird K tracks, and "Melting" and "Josephine" drip acid through the haze daze, material reality becomes that bit more viscid. The soundtrack is of milk and honey and weed and rot, each groove a dark fantasy coated in the dust of the building that just fell down next door.



TOMORROW THE RAIN WILL FALL UPWARDS: How Great a Fame Has Departed? 10" (BLACKEST 025EP) 16.50
Two elegies in dub by Tomorrow The Rain Will Fall Upwards: for the once-great city of New York, and for one of its most celebrated sons. A 10" vinyl-only release, cut by Matt Colton at Alchemy and housed in a full picture sleeve. Strictly limited edition of 500.



TORBEN: Torben 001 12" (TORBEN 001EP) 14.00
Torben: straight from hell into your set. Torben: 1 house: 0.



BOYS NOIZE: Out of the Black - The Remixes CD (BNR 019CD) 15.50
Boys Noize (Alexander Ridha) announces Out of the Black - The Remixes. The album includes unreleased remixes from Audion (Matthew Dear), Oliver, Jimmy Edgar, Housemeister, and MMM in addition to Boys Noize DJ edits. The album also features the Blood Diamonds remix of "Got It," the Snoop Dogg collaboration first performed live at Ultra Music Festival. In 2014, Boys Noize will release the official "Got It" music video featuring Snoop Dogg dancing to Boys Noize's signature raw vibe and sound. In 2013 Boys Noize toured the U.S., Europe, Asia, Australia, and South Africa with his signature SKULL and performed headline shows at ULTRA, Bonnaroo, HARD Summer and HARD Day of the Dead. In addition to releasing the Go Hard EP, Boys Noize teamed up with Skrillex to form the new group Dog Blood and lit up Coachella, Lollapalooza, Electric Zoo and HARD Summer with an electrifying live show. Entertainment Weekly described the Dog Blood debut at Coachella as "the world's most joyous Satanic ritual. It was mystifying but fascinating -- the Sahara Tent became its own congregation complete with everything but the swinging incense." In September 2013 Dog Blood released the Middle Finger Part II EP. This remix album is released on Boysnoize Records (BNR), a label Alexander Ridha founded in 2005 in order to allow himself to retain full artistic freedom while releasing his own music under the name Boys Noize and other monikers. BNR became a home for multidirectional quality electronic music. The Berlin-based anarchist collective are celebrating their 100th deafeningly successful release, including albums from high-ranked artists Spank Rock, Siriusmo, Housemeister, Strip Steve and SCNTS, and EPs from Djedjotronic, Boody & Le1f, Peaches, and UZ -- and of course Boys Noize's debut Oi Oi Oi (2007), POWER (2009) and Out of the Black (2012). Alex has also released his highly acclaimed Fabriclive 72 and BNR's Boysnoize presents Dance Mania. Other artists on this mix album include Siriusmo, Justice, Chromeo, The Chemical Brothers, and Gizzle.


STRIP STEVE: Crowd Control 12" (BNR 118EP) 12.50
"The Funktion" welcomes us into Strip Steve's retro-styled house party, set in a futuristic dystopian world. With only drums and toms, the gimmick is reminiscent of the colder Strip Steve record Calcium, yet it always remains funky. Putting it in Strip Steve's words: "If Prince free-styled on a Linn Drum in a rave in 2025, this is what it would sound like." "The Other Side of Time" is colder house or warmer techno, either way you might see it. The B-side features a raw tool and "I Bump My Head : (" is a slightly deeper cut on the record, in the spirit of Moodyman, MCDE, and Soundstream.


BB 146CD

DORAU, ANDREAS: Hauptsache Ich!: Retrospektive 1981-2014 2CD (BB 146CD) 20.00
Bonus first edition featuring a second bonus CD of the rarities collection, Silbernes Ich. January 19th 2014 is Andreas Dorau's 50th birthday. For Bureau B, this is reason enough to release a comprehensive retrospective of the work of the "eternal boy." Hauptsache Ich contains 21 songs from nine albums and spans a period of 32 years, from his first album Blumen und Narzissen (BB 087CD/LP) to his latest work Aus der Bibliothèque. Not bad for someone who never really intended to be a musician. Each of Dorau's albums and even this compilation illustrate Dorau's exceptional position, both lyrically and musically. Every Dorau production is distinguished on the one hand by a hearty dislike of the minor key, countering the otherwise seemingly inevitable German pathos, and a great love of pop music, on the other hand. Training is training: his first hit, "Fred vom Jupiter," which he hates, was created in a school course called "How to Write a Pop Song." Dorau was just 16 at the time. But rather than abandoning a recipe for success, Dorau pursued a different strategy: like a sponge, he soaked up musical and non-musical influences -- whether in the discotheques of Schwabing (Dorau studied film in Munich. Studying music was not for him. Why be an idiot!) or at flea markets in Hamburg, no musical direction is too popular or too obscure for Dorau to deny it a chance to play an important or, now and then, merely modest role as a footnote in his work. While enjoying this compilation, the willing listener will detect traces of house as well as references to Phil Spector, here a pinch of baroque pop, there a hint of techno. Yet it's all Dorau! Lyrics about water fleas, telephones or chambermaids, about the North Sea, democracy or bottle deposits correspond perfectly with the music. By the way, Dorau's favorite album is the White Album by The Beatles. Perhaps it would be taking it too far, but if one were to make this CD into a double album and paint the whole thing white, we would have Dorau's "White Album."

BB 147CD

DORAU, ANDREAS: Hauptsache Ich!: Retrospektive 1981-2014 CD (BB 147CD) 17.00
January 19th 2014 is Andreas Dorau's 50th birthday. For Bureau B, this is reason enough to release a comprehensive retrospective of the work of the "eternal boy." Hauptsache Ich contains 21 songs from nine albums and spans a period of 32 years, from his first album Blumen und Narzissen (BB 087CD/LP) to his latest work Aus der Bibliothèque. Not bad for someone who never really intended to be a musician. Each of Dorau's albums and even this compilation illustrate Dorau's exceptional position, both lyrically and musically. Every Dorau production is distinguished on the one hand by a hearty dislike of the minor key, countering the otherwise seemingly inevitable German pathos, and a great love of pop music, on the other hand. Training is training: his first hit, "Fred vom Jupiter," which he hates, was created in a school course called "How to Write a Pop Song." Dorau was just 16 at the time. But rather than abandoning a recipe for success, Dorau pursued a different strategy: like a sponge, he soaked up musical and non-musical influences -- whether in the discotheques of Schwabing (Dorau studied film in Munich. Studying music was not for him. Why be an idiot!) or at flea markets in Hamburg, no musical direction is too popular or too obscure for Dorau to deny it a chance to play an important or, now and then, merely modest role as a footnote in his work. While enjoying this compilation, the willing listener will detect traces of house as well as references to Phil Spector, here a pinch of baroque pop, there a hint of techno. Yet it's all Dorau! Lyrics about water fleas, telephones or chambermaids, about the North Sea, democracy or bottle deposits correspond perfectly with the music. By the way, Dorau's favorite album is the White Album by The Beatles. Perhaps it would be taking it too far, but if one were to make this CD into a double album and paint the whole thing white, we would have Dorau's "White Album."

BB 152CD

DORAU, ANDREAS: Aus der Bibliotheque CD (BB 152CD) 17.00
Many musicians dedicate their albums to a person who is close to them (a so-called "muse," often female) who has inspired or is said to have inspired the artist. Or a mysterious, mythical place. In rare and unusual cases, a record is sometimes dedicated to a person who is now estranged from the artist. So far, so boring. Until now, of course. Andreas Dorau, in contrast, has dedicated his new album to a completely different place, a completely different muse: the public libraries of Hamburg. To be precise, the main library on a street called "Hühnerposten." Dorau has spent much of his free time here in recent years. "The library is the little internet for haptic people," said Dorau. "And why should I spend money on books, music or DVDs, if they just gather dust?" Thus, he found the subject matter for this new album: the section for Hamburg History, where he found a passage on the horrific serial killer Fritz Honka ("Tannenduft"); in the science department, on the equally essential and popular element hydrogen ("Wasserstoff"); or simply pondering while gazing out the window ("Bienen am Fenster"). Even the journey there was enough to merit a potential hit ("Faul und bequem"). Taking a taxi to the lending library -- now that's style. The lending library can also lend a helping hand when it comes to music. It costs (almost) nothing. CDs, sheet music, it's all there. So instead of hunting for curios at flea markets or researching in the rather non-sensual Internet, Dorau ended his trips to the library by filling his designer plastic bags with CDs. And at random: "greatest hits" of long-forgotten American beard-bands, recent releases from the ghastly field of "indie rock," top ten atrocities from five years ago, etc. But why that? Dorau: "I wanted to find the good moment on each CD, perhaps a certain harmony, analyze it, and then, well, maybe 'borrow' it for my own songs." So basically the meta-level of the lending library. Or maybe it's rather the realization of the old alchemist's dream of using filth in order to produce gold? Aus der Bibliothèque is the first album Dorau has recorded with a band since 1987. "On my last album Todesmelodien from 2011, I was already experimenting with the idea of a band sound. I wanted to amplify that on this record and create my 'own' band sound." The band sound was provided by Die Liga der gewöhnlichen Gentlemen, brothers in spirit and, incidentally, also friends of the lending library. Dorau's version of a singing and sounding library was created in the studio of the gewöhnliche Gentleman Zwanie Johnson using banjos, saxophones, guitars, drum machines, an old piano, a Höfner violin bass and a great deal more. The result: poppy Krautrock, Beatles-esque sunshine-pop, soft-rock and electronics.



INKSWEL: No More Suckas EP 12" (BRK 008EP) 15.50
Antipodean beatsmith and low-riding soul-brother, Inkswel, arrives on the eighth 12" from Burek Records. He recently collaborated with Dave Aju, naturally Burek were keen to get this out into the world, complemented by great remixes and additional tracks from Inkswel. The A-side comprises three funkadelicious, shape-throwing, pop-locking slices featuring the talents of Aju, Cazeaux O.S.L.O, Isaac Aesili and Charli James. "Oishi Stylus" is also included, evoking the Pacific Rim's interconnectivity with its Nipponese flavors cut over solid beats. This ain't hip-house, it's hip-hop-house. The B-side features heavyweight remixers such as DJ Nature Iron Curtis, and IG Culture.



VA: Elaste Volume 04 CD (COMP 439CD) 15.50
"In this compilation I am inaugurating a style: vintage futurism. The best metaphor for this genre is Charanjit Singh's 1982 album Ten Ragas to a Disco Beat, in which he created a sound which mirrors, but more importantly pre-dates, the first acid-house record by five years. It is no novelty record, but truly captures the hypnotic potential of acid/house music. It became my key track for Elaste Volume 04. Previous incarnations of Elaste have aimed to catch the spirit of the late '70s Italian cosmic discotheque, a place where the history of DJing was rewritten. For this latest installment, I was most intrigued by weird of-the-time (or 'out-of' as the case turned out to be) electronic disco, a vast genre that brings together those progressive avant-garde tracks that were expanding the genres of house, disco, acid, new wave. I ultimately use Elaste as a vehicle to highlight those tracks that were ahead of their time. These legendary works range from 1978 to 1996, a wide spectrum of musical history in which some of the older tracks may sound modern, and newer ones may sound vintage. Many of these authentic back-to-the-aural-future moments were initial sparks for whole genres -- Larry Heard's Disco-D alias happened just before house music. Greg Wilson's 1984 project Equip was produced for a UK electro compilation, but never made the LP because it sounded too futuristic. Michael Rinder's 'Gluttony' can't be called disco any more -- not even post-disco. For Elaste Volume 4, we have built vintage futurism as a home for these ultramodern mavericks." --Dompteur MoonerArtists include: Charanjit Singh, C Cat Trance, Cybotron, Rinder & Lewis, Man Friday, Larry Levan, Barbara Norris, Change, Gino Soccio, Nad, Equip, Sandee, Disco D, and Dopplereffekt.



FIRST, DAVID: Electronic Works 1976-1977 LP (DAIS 053LP) 20.00
"When people think of composer David First, they go straight to his late '70s avant punk band, The Notekillers and their influential 1980 single 'The Zipper.' Prior to his time in the basements of Philadelphia, he had already played in Cecil Taylor's ensemble and, after the Notekillers broke up, he moved to New York City in the early '80s, taking root in the downtown NYC avant garde scene. It was there that First honed his abilities with experimental composition and ambient drone, a craft he continues to practice today. Though this narrative made sense, there was a piece missing in the puzzle of First's musical background. In 1976, two years after playing with Taylor and the year before starting the Notekillers, he enrolled in a class in electronic music at Princeton in the department headed at the time by legendary electronic composer Milton Babbitt. During his time at Princeton, First was introduced to the classical electronic music studio there, a lonely outpost of the famed Columbia-Princeton Electronic Music Center which housed one of the very first Buchla 100 series systems acquired by Vladimir Ussachevsky and Otto Luening. Unfortunately, due to the introduction of digital technology within the music world, this system was left to languish in the studio unattended and nearly forgotten. First fell in love with this equipment and seized the opportunity to compose using the Buchla 100 synthesizer, at first experimenting only with electronic synthesis but later adding in his signature guitar stylings to make these compositions unique to the academic output typical of university music. Thankfully, these compositions were recorded by First at Princeton on various reel to reel tapes and stored away for over 35 years. It wasn't until the summer of 2012, when David First and Ryan Martin (of Dais Records) decided to revisit and transfer these reels to compile an album presented here as a selection of genuine, uninhibited exploration into modular electronic synthesis. Limited to an edition of 500 copies with liner notes by David First."



PRINCESS DI: Who's Dick Is This ''The Remixes'' 12" (DCR 011EP) 14.00
"Who's Dick Is This" is a 1994 kicking house bomb by the mysterious Princess Di, who released just three EPs during the '90s on Music Station. This track was the pick of the bunch. German producer Sqim, associated with labels like Exploited and Play It Down, offers up a "Ghetto" and "Warm Up" mix, both physical, deep, and sleazy. Then Deepchild offers up two versions of his own: the ragged and raging techno version, "Cockumentary Retug," and a "Straight Dub" journey with a heavy groove.



MILLIE & ANDREA: Stage 2 12" (XXXXXX 001EP) 12.50
Miles Whittaker and Andy Stott are Millie & Andrea, returning here with their first new material in four years, pre-empting the long-delayed release of their debut album for Modern Love. This one-sided pressing features non-album cut "Stage 2," an Andrea production straddling delirious trap signatures pushed into the red with a fuckload of found sounds squashed into the mix. We'd say it's a taster of the album but, in all honesty, it sounds nothing like anything that's on there.



REBOOT: Deep_V CD (DVR 023CD) 17.00
Deep Vibes Recordings returns to the fore with none other than the notorious Frank Heinrich aka Reboot, purveyor of masterfully-crafted rhythm études and a highly-respected member of Frankfurt's vibrant house scene. With Deep_V, the Offenbach-bred producer brings his seething second album to Sascha Dive's imprint, bursting at the seams with intricate percussive bliss and nimble-footed grooves for the enthused dancer. The Reboot project certainly hasn't lost its flair for fine-grained, impressively bendy tracks since the very first full-length offering Shunyata (CADENZA 006CD/051LP) on Luciano's legendary Cadenza outlet, presenting a new set of underground cuts deeply ingrained in dance music's rich history of kinetic hypnotism. Honed to perfection, opening jam "Tortoise" sets the tone with a pleasantly relaxed jog in the company of seemingly scattered drum fragments, nevertheless revealing a deliberate focus and polymorphic confidence at every turn. Following microbangers "Harsh Time for Kids" and "Che Meloni" occupy themselves with slowly raising the stakes, growing bolder with each sequence and populating the dancefloor with snazzy moves. The build-up leads to neotribal workout "Banging Ear Drums," captivating the senses with a fine assortment of airy samples and driving drum patterns. Together with CD bonus tracks "Tantric Behaviours" and "How Province Saved the Funk" -- both every bit as oscillatory as their vinyl relatives -- this makes for a rather complete package from an artist who already excels at the art of living, breathing beats, but keeps on getting better before our very ears.



ANDY ASH: Workin EP 12" (DES 118EP) 14.00
Liverpool's Andy Ash has released finely-crafted, authentic house music for a number of labels, including appearances on StilLove4Music, Kolour and Quintessentials. Here he drops four slices of deep, raw house grooves. "Workin'" shares a little headspace with that other Liverpudlian pioneer, John Heckle -- emotionally uplifting electronic music that keeps things rough round the edges. "Mindflow" references the classic sound of Chicago in the early '90s -- a disco/funk vocal sample interplays with tightly-woven percussion and an ever-present bump. "Release and Check" is a deep, rolling jam with live-sounding keys, and a highly effective acidic bass line.



MCCLENNAN, TOMMY: The Bluebird Recordings 1939-1942 3LP BOX (DOY 697LP) 60.00
"Though Mississippi Delta blues guitarist and singer Tommy McClennan was only active for a brief three years, he left a powerful legacy on the world of blues and beyond, influencing the likes of John Fahey and Elmore James, with tracks being covered by everyone from Bob Dylan to Albert King, and Moon Mullican. Cutting sides for Bluebird between 1939-1942, McClennan's rough, slightly unhinged style made him one of the more unique voices in the Delta and he was the first to record the classic 'Cross Cut Saw Blues' along with the well known 'Shake 'Em on Down,' 'Bottle It Up and Go', and dozens more. Doxy is pleased to present his complete recordings here in deluxe 3LP box set."



BEAT PHARMACY: Cut Deep EP 12" (ECHOCOL 027EP) 12.50
Echocord Colour welcomes back one of their favorite artists, Brendon Moeller, this time as Beat Pharmacy. On all these tracks, one thing becomes apparent: with a few simple elements and a dub approach to mixing, one can create space, movement, and groove without the need to change keys. Magic? Maybe. Thank you dub manipulators of the past and present for the music and lessons. Brendon has been releasing music for many years on many labels, also running his own famous Steadfast label.


BEC 5161661

FEADZ: Instant Alpha CD (BEC 5161661) 17.00
Feadz is releasing his debut album Instant Alpha 15 years into his career. His music is a careful balance of urban and electronic that finds its roots in rap, freestyle, electro, techno, and house, but also in more ghetto influences such as footwork, trap, baile, etc. In short, Feadz's music is a quintessential Edbangerian alloy. Feadz is a total music geek on a constant search for new things to play or to sample, and an erudite of vinyl production, illustrated by the namedropping of super-edgy labels delivered via Kito's voice on "Electric Empire." Instant Alpha is the result of a 15-year journey for Feadz. These 13 tracks are the expression of his hybrid and concise spirit; vivacious, electrocuted, colorful, cheeky dance music in three- or four-minute tracks. Joyful, unifying and open party music.



ICHIYANAGI, TOSHI: Obscure Tape Music of Japan Vol. 17: Funakakushi CD (OPA 017CD) 25.50
"Funakakushi" [1]: This electronic work was composed for the opening ceremony of the hotel "Funakakushi-en" in Kagawa prefecture in 1963. It was realized as a sound installation and used many speakers inside a built-in stone sculpture. They were designed by sculptor Mitsu-aki Sora (b. 1933) and were arranged here and there in the main garden of the hotel. The sound was made from a modified Japanese traditional instrument, biwa, as well as from a sea wave sound [2]. The engineer Junosuke Okuyama [3] assisted on electronic devices. "Life Music (tape version)": "Life Music" was originally composed as a tape version in 1964. After that, this work was played in another version with an electronic modified orchestra (contact microphones were placed on all the instruments in the orchestra) [4] at Nissei Theatre in 1966. [5] Junosuke Okuyama designed a special effect machine named Electronics Sound Breaker (=ESB) for the concert. Kuniharu Akiyama, music critic, wrote about this machine in the liner notes to the Orchestral Space LP as follows, "... amplified sound of the orchestra was sent to some effect machines and ESB, and they were driven by tape version. Just then, electronic amplification was cut off synchronously by silent parts of the tape, and only non-effect live sound was played ...."; Housed in a cardboard paper gatefold sleeve. Includes newly-written liner notes in Japanese and English. Edition of 500 copies.1: "Funakakushi" is the name of the region originated from a tradition in the 14th century. 2: The sea wave sound is not on this source. 3: Okuyama was an engineer for the Sogetsu Art Center. He assisted with electronic effects on John Cage's first Japan concert tour. 4: Unfortunately, Yomi-uri Nippon Orchestra refused this instruction at the concert, and an ordinary microphone was used for the modulation. Therefore, complete realization of this work planned by Ichiyanagi has not been carried out yet. 5: This version was recorded and published as part of the Orchestral Space LP series.


SATOH, SOMEI: Obscure Tape Music of Japan Vol. 18: Echoes CD (OPA 018CD) 25.50
"'Emerald Tablet' was recorded at the NHK electronic-music studio in 1978. It is made up of only the sonic ingredients of a tubular bell, cymbals, and 'kin,' a largish-sized bell used for Buddhist memorial services in Japan. The attack of the sound of each instrument was eliminated, and the work was taped through repeated overdubbing. This produced a variety of beautiful harmonics that otherwise could not be produced from a single instrument's sound, and the interference of harmonics created beats, generating a fantastical melody in the high tone range. Harmonics are one of the most mystic phenomena in the world. The wonder of harmonics led me to produce 'Emerald Tablet.' 'Echoes' was composed for the "Mist, Sound, and Light Festival," a 10-day event organized by the hot spring tourist association of Kawaji, Tochigi Prefecture, that was held on May 20-29, 1981. The venue was located at the Kawaji hot spring's Ojika river valley, which was 50 meters wide and 200 meters long with an area of 7,000 square meters. Eight large loudspeakers were set up on hills surrounding the stream, with music played through an octuple channel-tape system. The combined length of cables connected with the loudspeakers exceeded one kilometers. The audience was amidst dense artificial mists spreading upward from the bottom of the valley, laser light beams projected on the hill surface, and tape music that played in extremely low tone at full blast, echoing in the valley. 'Echoes' consists of the sonic ingredients of the three types of percussion instruments used in 'Emerald Tablet' as well as my own voice. I lost the master tapes of both 'Echoes' and 'Emerald Tablet' because of my poor storage of them. When this CD was planned to be produced using copies of the master tapes, the sound quality had deteriorated over more than 30 years of time, with sound distortions found in 'Echoes' as a result of a failure in audio mixing to turn an eight-channel into a four-channel system. But Mr. Sumihisa Arima completely removed all dirty parts of the copies, giving this CD a freshly-minted sound. I even feel as if its sound is better than the original one. Without Mr. Arima, it would be impossible to release the two pieces again. I appreciate his help." --Somei Satoh (English translation: Toshiyuki Kawata); Housed in a cardboard paper gatefold sleeve. Includes newly-written liner notes by the artist in Japanese and English. Edition of 500 copies.



PAPIR: Papir IIII LP (EPR 015LP) 25.50
Papir from Copenhagen, Denmark have gradually developed their unique vision of instrumental psychedelic rock over the course of three albums. On IIII, their fourth, they have created their most condensed and realized work to date. The amazing thing about Papir is how they transform heavy, psychedelic music into something new and relevant, something truly unique. Sure, Papir knows their Kraut and prog-rock history, but unlike the majority of bands in the present day psych-rock scene, they venture far beyond mere pastiche. Guitarist Nicklas Sørensen and bassist Christian Becher aren't afraid to explore sounds and styles usually associated with post-rock, minimalism or even shoegaze, and drummer Christoffer Brøchmann plays with a skill, ferocity and richness of ideas that is so rare. By now the band's concerts have become awe-inducing experiences, earning them slots at major European festivals including Roskilde (2012), and Roadburn (2014). It's stunning to witness how Papir pull numerous influences together with natural ease in these three lengthy excursions. Not only is it heavier than previous efforts, it seems more lush and atmospheric as well. IIII is the sound of a band fulfilling its potential. The album was recorded in two different sessions, one in Copenhagen and another out in the Danish countryside with Causa Sui's Jonas Munk, who also mixed and mastered the album, giving it an organic but powerful sound with the full dynamic range intact.


EM 1104CD

CAGE, JOHN: John Cage Shock Vol. 1 CD (EM 1104CD) 22.00
2014 repress. In October 1962, John Cage and his great interpreter/co-visionary David Tudor visited Japan, performing seven concerts and exposing listeners to new musical worlds. This legendary "John Cage Shock," as it was dubbed by the critic Hidekazu Yoshida, is the source of this series of releases -- three CDs and a "best hits" double LP compilation. Recorded primarily at the Sogetsu Art Center in Tokyo on October 24, 1962 (with two performances from October 17 at Mido-Kaikan in Osaka), all recordings in this series are previously-unreleased. A major historical trove, unearthed. The performances on this tour featured Cage and Tudor with some noteworthy Japanese musicians playing pieces by Cage and a number of other composers. Volume 1 begins with Toru Takemitsu's Corona for Pianists (1962), played by Tudor and Yuji Takahashi, an indeterminate piece scored using transparencies, a sign of Cage's influence on younger Japanese composers of the era. Following this is Duo for Violinist and Pianist (1961) by Christian Wolff, written specifically for David Tudor and violinist Kenji Kobayashi. The final piece, a near-20-minute realization of Variations II (1961), is a rare example of the rougher side of Cage, work that presaged much of the live electronic music and noise of the following decades, an aspect of his oeuvre which is woefully under-represented on CD. Cage and Tudor, using well-amplified contact microphones on a piano, deliver an electrifying performance, alternating distorted stretches of harsh '60s reality with bountiful silences. The John Cage Shock series features truly historical recordings, all previously-unreleased, of compositions by an amazing roster of international composers. The intensity of these has remained hidden and unheard for half a century, but remains undiminished. Features rare photos plus liner notes in Japanese and English with commentary by Toshi Ichiyanagi.

EM 1105CD

CAGE, JOHN: John Cage Shock Vol. 2 CD (EM 1105CD) 22.00
2014 repress. Volume 2 in EM Records' John Cage Shock series lifts off with a fiery example of David Tudor's piano virtuosity, his mastery of dynamics well-evident in a performance of Klavierstücke X (1961) by Karlheinz Stockhausen. The titular shock of this series is delivered even more forcefully with the next piece, John Cage's 26'55.988" for 2 Pianists and a String Player (1961), which was first performed the year before in Darmstadt by Tudor and Kenji Kobayashi, a combination of two of Cage's solo pieces. The performance here, from Osaka, has a slightly altered title and the composition becomes a seismic quartet with the addition of Toshi Ichiyanagi and Yoko Ono, with the four performers providing acutely-angled blasts of sound. Features rare photos plus liner notes in Japanese and English plus commentary by Toshi Ichiyanagi.

EM 1106CD

CAGE, JOHN: John Cage Shock Vol. 3 CD (EM 1106CD) 22.00
2014 repress. The final CD of the John Cage Shock series features John Cage's 0'00" (1962), also referred to as 4'33" No. 2, performed by the composer, with daily activities such as writing and drinking coffee amplified by contact microphones into sonic abstraction, following the score's directions: "with maximum amplification (no feedback), perform a disciplined action." Next is Composition II for 2 Pianos (1960/1961) by Michael von Biel, lovely and sparse, performed by David Tudor and Toshi Ichiyanagi. The disc closes with Ichiyanagi's Piano Music #7 (1961), performed also by Tudor and Ichiyanagi, beds of silence disrupted by pianistic stabs, music box madness, traffic recordings, percussive thumps, tape manipulations and more. Features rare photos plus liner notes in Japanese and English plus commentary by Toshi Ichiyanagi.

EM 1122CD

SHERIFF LINDO: Aftershock Dubs CD (EM 1122CD) 20.00
EM Records is proud to present the first new album release in 25 years from Australia's Sheriff Lindo, dubmaster of the Southern Hemisphere. His Ten Dubs That Shook the World (EM 1119CD/LP), released in 1988, has been growing in stature since its release, supported by its reissue on EM Records, and in the meantime, the Sheriff has been working steadily, deep-local style, honing his skills with the Australian sound systems Firehouse Sound and Earthlink Sound. The tracks on Aftershock Dubs, recorded between 1990 and 2005, while never officially released, have been played as dubplates at sound-system parties -- proved movers, tested in the heat of action. Recorded at Lindo's 4/5 Studios, these specials were chosen by Japanese sound-system savants Takuto Kuratani (Ruv Bytes) and Atsushi Muneshige (Touch the Sky/Corner Stone Music) from a cornucopia of goodness supplied by Sheriff Lindo, mastered by Kuratani for maximum impact. One track features the vocals of Ras Roni; all tracks feature the experience-forged dub sense of the Sheriff. More than a quarter-century of love, knowledge and soul-science has been distilled here. Don't miss it. This CD version features two bonus tracks not on the vinyl.

EM 1122LP

SHERIFF LINDO: Aftershock Dubs LP (EM 1122LP) 22.00
LP version.


EF 011CD

OPTIMO (ESPACIO): Dark Was the Night CD (EF 011CD) 17.00
Twenty-seven samples of music have been included on the Voyager golden phonograph records that launched into space with both Voyager spacecrafts in 1977. They were put aboard to represent the diversity of life on Earth for any intelligent extraterrestrial life who may find them in the interstellar space, the region between stars where the galactic plasma is present. Among the sounds and images selected to portray the culture on Earth is also Blind Willie Johnson's song "Dark Was the Night, Cold Was the Ground." He is there to represent the human expression of loneliness. Blind Willie Johnson died penniless decades before, of malaria fever, after sleeping bundled in wet newspapers in the ruins of his house that had burned down, a tragic story that moves the heart and soul of Jonnie Wilkes and Keith McIvor. The two lads from Glasgow, Scotland are globally famous as DJs, label-heads, producers, remixers, party-throwers, and party-goers under their moniker Optimo. For both, the story of Blind Willie Johnson and his song is a moving tale that exemplifies the power of music. Now it guides them on their sixth official DJ mix. "We wanted to make a mix CD of dark music but without resorting to clichés about what dark music is. Each mix we have done reflects a different part of the night and this mix is our attempt to invoke the sounds of a dark winter's night but at the same time we feel the music is far from being cold and soulless and is full of atmosphere and feeling." The Sub Club resident DJs reveal their intentions behind a mix that covers artists like Berlin's dark techno newcomer Recondite, native Detroit techno misfit Terrence Dixon, New York City minimal wave veterans Jeff & Jayne Hudson, and the late '70s Scottish punk band The Freeze. A selection of heterogeneous musical approaches that sound homogenous at any second. On their night not only the smiling faces crowd the floor: the sad and lonely dance, too -- to soulful, transcendent music of the spheres. When you want to trap their mix in styles again, Optimo go the genre-spanning way: melancholic techno, spaced-out acid house, minimal wave, or even bittersweet synth-pop. This is a mix that would perfectly fit on one of those Voyager phonograph records, telling all extraterrestrials and future humans who find it that the humans of the now are able to dance to the deepest haunting sounds. Other artists include: Grouper, Jared Wilson, Qx-1, Roberto Auser, Byetone, Kode 9 & Space Ape, Hieroglyphic Being, Silent Servant, Inigo Kennedy, Hecker, Nurse With Wound, Carter Tutti, Voigt & Voigt, Holy Ghost Inc., Deadboy, Like A Tim, and Angel Corpus Christi.



"A" TRAIN: ''A'' Train LP (FVR 081LP) 23.00
"A" Train formed in Shreveport, Louisiana, December 1977 and lasted until May 1987. This vinyl LP was first released in July 1979 on the Southern Star label, which was the name of the studio where it was recorded. In 1986, these six young musicians had almost no studio experience when they set up and recorded six self-penned originals and three songs written by close friends. The six members of the band were: John Howe (lead vocals, saxophones, flute), Chris McCaa (aka Professor Porkchop) (keyboards, vocals), Buddy Flett (guitar, lead vocal on "Bend Over Baby"), Bruce Flett (bass, vocals), Alan Tooraen (drums), and Michael Johnson (congas, percussion). Released in July 1979, the album was originally available only in their hometown of Shreveport. It became the #1 bestseller at SOOTO record store and reached #1 on the local FM radio station. From there it kind of "grew legs" and showed up in different markets, resulting in offers for the band in New Orleans, Baton Rouge, Tulsa, OK, Dallas and beyond. "A" Train was hard to classify from the start, they really weren't trying to be a particular "style," and they just got together and started jamming on songs they had written individually. The name of the band came from Duke Ellington's theme song "Take the 'A' Train": jazz, blues, R&B, and rock were what the individual members liked the most, so the music was a melting pot of musical gumbo. Disco and "Urban Cowboy" were the dominant music trends in local clubs, which helped "A" Train become a popular alternative from the first time they performed in December 1977 at Humpfrees in the Square in Shreveport. Now hardly (almost impossibly) found in its original version, Favorite Recordings gives this beautiful collectable piece the proper reissue it deserves, with an official license from Bruce Flett Production.


HAWA: Another Tree LP (FVR 083LP) 22.00
LP version. Born to a French mother and a Burkinabé-Senegalese father, Jennifer "Hawa" Zonou was familiar with the world of Afro-American music from a young age. She showed real talent as a singer and naturally began her musical training with the best school, gospel. She then entered the soul/hip-hop scene in Lyon, collaborating and performing as often as possible. During a show in 2008, Hawa made the acquaintance of Bruno "Patchworks" Hovart (Metropolitan Jazz Affair, Uptown Funk Empire, Mr. Day, Mr. President) and, at the same time, Pascal Rioux and the Favorite Recordings label. Seduced by what he heard, Patchworks offered her his services and in 2009, Hawa revealed to the public a remarkable cover of Justice's "D.A.N.C.E." She also made fine appearances alongside Mr. Day and Mr. President. Naturally, the duo nourished the common desire to embark further and in June 2011, Hawa presented her first solo album entitled My Little Green Box. Collecting first the support and praise of many in the French media (France Inter, FIP, Nova, Telerama) the groove of the album triggered a long series of festivals and concerts throughout France. Hawa reveals herself with a genuine stage presence, spontaneity and ability to move. This provided the opportunity for her and Patchworks to surround themselves with a cohesive group, composed with the finest musicians of the jazz and soul scene from Lyon. With this positive environment around her, Hawa started writing her new album with exalted inspiration. Once again produced by Patchworks, Another Tree marks an important evolution for Hawa, in sound, production, and writing. Deliberately more live, the entire production is made both with analog equipment and tape recorder, and with the participation of the live band members. A perfect background for Hawa's songs, which are significantly Memphis-influenced, crossing genres from soul to folk and even rockabilly. The album also takes influence from the Staple Singers, Isley Brothers, and Shirley Ann Lee, labels like Hi Records, Sun, and Stax, and finally great producers like Willy Mitchell, Jack Nitzsche, and Phil Spector. Hawa happens to be more direct and confident, but also more sensitive and more deep. And without a doubt, it makes her songs that much more intense, original and elegant.


LIFE FORCE: Life Force LP (FVR 086LP) 25.50
Favorite Recordings is proud to present this self-titled album by Life Force, an amazing piece of funk with a twist of pop, disco and blue-eyed soul, now reissued for the first time. Originally released in 1976 on Strawberry Records and produced by Randy Irwin (The Shirelles, Family Circle, Ecstasy, Passion & Pain), Life Force has since become a real target for international vinyl diggers, thanks mostly to its main single, "Slow Dancer." When Pascal Rioux (founder of Favorite Recordings) found a mint copy, he quickly realized it had a lot more to offer than just one track and thus searched for more info. The first person who could provide a few more details about the band and Strawberry was Ron Foster, ex-bassist of Ecstasy, Passion & Pain, and producer of Lee McDonald, which was also previously reissued by Favorite. He revealed that Strawberry was a sub-division of the famous Roulette Records, sold to EMI/Rhino Records in 1989 by Morris Levy, its controversial owner who was facing many severe legal problems and died a few years later. Thanks to him and a little more research, this underrated collectible is finally reissued in a beautiful, deluxe 180 gram vinyl version housed in an old-school tip-on jacket.


FD 079CD

SASHASH ULZ: Chtenie CD (FD 079CD) 16.50
Following two now impossible-to-get cassette album releases and a series of CD-Rs, Chtenie ("reading" in English) is Russian artist Alexander Shevchenko's debut on CD proper. Comprising improvised organ and guitar pieces with field recordings and a warm, natural and earthy feel that falls somewhere between a soundtrack to a lost '60s mystery film and the notion of the lone busker playing mildly jaunty and (broken) jazz-tinged melodies. Packaged in a fold-over card cover and limited to 300 copies. A taste of Sashash Ulz's music.


SLEAFORD MODS: Mr. Jolly Fucker/Tweet Tweet Tweet 7" (FDS 088EP) 10.00
Sleaford Mods started around 2006 in Nottingham by Jason Williamson. Born out of frustration and by accident, it quickly found its feet as an aggressive attack on all that is contrived and connected to the day-to-day hammer of low paid employment. "Mr. Jolly Fucker" and "Tweet Tweet Tweet" sees the duo continuing their sometimes raucous yet always edgy melding of mean hip-hop beats, often savage poetic observations (think whizzed-out Mark E. Smith) and snarling punk attitude. A full-on kick to the senses inspired by the Sex Pistols, The Last Poets, and '60s garage and soul music.



PANAMA: Always EP 12" (FCL 098EP) 14.00
The new EP from Panama, who signed to Future Classic in 2012 with the release of the Magic 12". This was followed by "It's Not Over," a powerful anthemic jam that clocked huge numbers on Soundcloud and YouTube with its mysterious clip, directed by A Nice Idea Everyday. Now Panama is back with Always, a three-track EP that showcases songwriter Jarrah McCleary's diversity. The title-track is a big upfront piano ballad, counterbalanced by the R&B-soaked "How We Feel" and the deep slow-burner "Destroyer." Includes mp3 download code.


GET 54062LP

NEW YORK DOLLS: Too Much Too Soon LP (GET 54062LP) 21.00
"Too Much Too Soon, the second studio album by the legendary New York Dolls was first released in the spring of 1974. The record was laid down in New York with producer Shadow Morton. Morton, known for his work with the Shangri-Las, was brought in to the project by David Johansen despite (or perhaps because) Johnny Thunders wanted to produce the album. Though their self-titled debut with Todd Rundgren at the helm had received high praise from critics, the Dolls didn't like Rundgren. And Rundgren had little respect for the Dolls. Thunders and Johansen thought Rundgren's production watered down their sound. Rundgren was no fan of the group's raucous sound and attitude, to the point that he's even alleged to have yelled at them 'get the glitter out of your asses and play!' With Morton behind the boards Too Much Too Soon incorporated many of his trademark production techniques, familiar to Shangri-Las fans, mainly his use of sounds effects such as gunshots and highly present female backing vocals. Too Much Too Soon was well received by critics and fans who praised the band's raw sound and felt that it was improved by Morton's production. Over the years the New York Dolls legacy has only grown larger. Get on Down now presents this legendary dangerous, fun, soulful and unique piece of rock and roll history on hot pink vinyl."



TOMORROW WE SAIL: For Those Who Caught the Sun in Flight CD (GZH 049CD) 17.00
Tomorrow We Sail is a group of seven musicians based in Leeds, UK. Formed in 2009, they have spent the past four years developing their sound into what is now a vast landscape of billowing, reverb-soaked guitars, orchestral strings, piano, organ, and multi-layered vocals. Folk, slowcore, neo-classicism, minimalism, ambience, and post-rock are all apparent in the vast and winding soundscapes Tomorrow We Sail create. The music is slow-burning, creeping quietly into consciousness, the sonic terrain covered ensures the listener is held through a constantly moving orchestrated cavern of sound, with earnest melodies and harmonies drifting and falling all around. After self-releasing their debut EP, The Common Fire, in 2010, the band retreated back to their studio to further develop and refine their sound as their line-up evolved, enabling the band to incorporate an ever expanding roster of instruments. With the line-up solidified, the band released two singles, "The White Rose" in November 2011, followed by "For Rosa" in May 2012. October 2012 saw Tomorrow We Sail embark on their first tour of the UK and Europe, playing both headline shows and supports with bands such as Caspian, Last Harbour, and Ef, culminating in an appearance at The London International Festival of Exploratory Music at Kings Place. Over the past three summers, Tomorrow We Sail have taken to the stage at festivals across the UK, including Kendal Calling, Tramlines, Sheep Music, Landed & Galtres, as well as contributing tracks to the independent feature film Broken Roads, released in September 2012 in cinemas across the U.S. and winner of Best Motion Picture and Best Director at the American International Film Awards.



HAYMARKET SQUARE: Magic Lantern LP (GUESS 125LP) 25.50
Originally from Chicago, Haymarket Square released in 1968 one of the rarest vinyl artifacts from the U.S. underground psychedelic scene: the Magic Lantern album. Originally conceived as the soundtrack to a psychedelic lightshow art installation, the album offers crude, dark psychedelic rock featuring trippy, fuzzed-out/wah guitars, male-female vocals and long tracks. Newly remastered sound, insert with liner notes, repro of the ultra-rare Baron & Bailey Lightshow poster.


SALEM MASS: Witch Burning LP (GUESS 126LP) 25.50
Ultimate U.S. hard-psychedelic/proto-prog burner from 1971. Obscure Sabbath-esque hard-rock band Salem Mass self-released their only album in 1971. Recorded at a beer bar converted studio, Witch Burning consists of seven tracks full of ripping guitar, brutal Moog attacks, heavy keyboards, demented vocals, and Satanic/occult related lyrics, especially in the mind-blowing 10-minute-long title-track. First-ever vinyl reissue featuring the original artwork. Newly remastered sound, insert with liner notes and rare photos/memorabilia. Note: This is the only fully-authorized vinyl reissue of Salem Mass in the current market. Beware of inferior, low-quality bootlegs.



VA: Let No One Judge You: Early Recordings from Iran, 1906-1933 2CD (HJR 069CD) 23.50
Ravishingly beautiful, achingly precious songs and instrumentals, ranging from two performances by the Royal Court Orchestra in 1906 -- with futuristic, overlapping trumpets and exquisite clarinet improvisation -- through to a hauntingly soulful H?fez setting by Moluk Zarr?bi of K?sh?n, from 1933. There are eight selections from more than 300 recordings made in 1909 above the Gramophone Company offices in City Road, London EC1, by the Persian Concert Party. Unrest at home had compelled the group to travel in order to record, paying its way with shows in Baku, Constantinople, Vienna, and Paris. Its music is a striking, experimental combination of European and Iranian elements, impressionistic and exotic, with chimes, castanets and rattles. There is an arrangement of traditional Persian music for pipe-organ; and rueful, imploring, besotted love-songs. "I am crazy with envy of the dress asleep in your arms and the oils rubbed into your skin." A setting of R?heb's poetry by Moluk Zarr?bi is drawn from 136 titles recorded at 1925 sessions in Tehran, when Iranian women were for the first time concertedly accepted as serious professional musicians, without the connotation of prostitution. Such was the social stigma borne by musicians, especially female, several of our singers hid their identities behind partial or assumed names. "Parv?neh," for example, "Butterfly" -- represented by her interpretations of Sa'di and H?fez, with self-accompaniment on setar, a three-stringed lute ("seh," three; "tar," string), Iranian ancestor of the Indian sitar: "I am the slave of love..." And Helen, with some boozy H?fez wisdom: "Keep your cards close to your chest. Kiss nothing except the lips of your beloved and the rim of a cup of wine. Let no one judge you." Moluk Zarr?bi -- together with Qamar-ol-Moluk Vaziri -- featured on more than half the 1925 recordings. On her return to the studio the following year, she was accompanied on tar by Mortez? Ney-D?vud, amongst the country's most acclaimed musicians and composers of all time, from the Jewish community of Tehran. It sounds like another stupendously gifted Iranian Jewish musician -- Yahy? Zarpamjeh -- accompanying Akhtar. Alongside one of these duets, two of Ney-D?vud's solo recordings from the same sessions are instrumental highlights of this epic set, besides a series of staggering improvisations by Abd-ol-Hoseyn Shahn?zi, sublime ney and kamancheh playing by Mehdi Nav?'i and the Armenian Hayk, and an anonymous tar solo from the South Caucasus, captured in Tiflis in 1912, red-raw and rocking. The two CDs are sumptuously presented in a hard-back gatefold sleeve, with a 26-page booklet containing full notes and marvelous photos on fine-art papers, stitched, not stapled. The music was restored from 78s at Abbey Road Studios in London.


VA: Let No One Judge You: Early Recordings from Iran, 1906-1933 4LP BOX (HJR 069LP) 57.00
Quadruple LP set. 180 gram vinyl presented in two gatefold sleeves, inside a heavy card slipcase with a 12" square, 20-page, saddle-stitched booklet on art paper.



VIRILE GAMES: Wounded Laurel 12" (HOS 391EP) 16.50
Hospital Productions present a heavy 30-minute session of layered drone and tormented, bass-heavy bombast from Max Gudmunson's Virile Games project, now available on vinyl for the first time after a sold-out micro edition of cassettes in 2013. Operating somewhere between his label-mate Lussuria's gothic ambience, the ear-bleaching concrète of Helm, and the more blown-out cinematic visions of Leyland Kirby, Wounded Laurel oscillates between sublime and wretched with a gripping night-time narrative.



DJ CAM: Westside (2004-2007) LP (WEST 001LP) 22.00
Parisian abstract maestro DJ Cam is well-known for his radical reinventions. A life-long musician, his groundbreaking work established him as a pioneer in the worlds of underground hip-hop, trip-hop, and the dance scenes stretching from New York to Paris to Tokyo and beyond. Drawing inspiration from the hypnotic trance of voodoo culture, Public Enemy, dub, and easy-listening jazz, Cam's style has assumed a new identity with each and every project since. It started with his 1994 debut, Underground Vibes, and he continues to redefine many of the sounds he had a hand in creating throughout his career. After the success of his last beats album Vintage Beats (VINTAGE 001LP), DJ Cam is back with a new instrumental hip-hop project called Westside (2004-2007). Twelve tracks composed, produced, and mixed by DJ Cam and made with an Akai MPC 3000, some vintage keyboards, and a drum machine, between 2004 and 2007. Mixed at his studio in Venice Beach/Los Angeles. Influenced by Dr. Dre, Dam-Funk, and J Dilla. The perfect soundtrack for the street.



PABLO, AUGUSTUS: Meets Lee Perry & The Wailers Band - Rare Dubs 1970-1971 CD (JRCD 023CD) 14.00
2014 repress, originally released in 2006. This release from Jamaican Recordings sees the label unearthing some gems from the early '70s -- Augustus Pablo blowing melodica over some of the classic Lee Perry-produced Bob Marley & The Wailers rhythms. This essential selection of rare dubs includes versions of "Soul Rebel," "Concrete Jungle," "Rainbow Country," "Soul Almighty" etc, all stamped with Pablo's hallmark melodica.


SCIENTIST: At the Controls of Dub: Rare Dubs 1979-1980 CD (JRCD 029CD) 14.00
2014 repress, originally released in 2008. Scientist's name will be found on many dub releases in people's record collections. His connection to King Tubby is inseparable and many would say that when dub had fallen on quieter times, it was Scientist who breathed new life into it. His paired-down mixing style suited the new dancehall reggae sound that came as the '70s rolled into the '80s. Such was his stature that albums were now sold with his name on their jacket, Scientist vs. Prince Jammy and Scientist Meets the Space Invaders, to name but two. Here Jamaican Recordings have compiled some tuff tracks from that same period, before everything went digital. Hope you enjoy the set.


CAMPBELL, CORNELL: The Gorgon Dubwise CD (JRCD 033CD) 14.00
2014 repress, originally released in 2009. The soulful voice of Cornell Campbell has created so many fine tunes and his voice has been sprinkled over countless dub albums that might unknowingly already lie in your collections, as his vast catalog of Rasta influence, lover's rock, cover versions, dancehall and Gorgon-tinged tracks are so intertwined with the whole 1970s reggae era.


NINEY THE OBSERVER: Channel One Presents: 100 Tons of Dub CD (JRCD 034CD) 14.00
2009 release. The mighty Channel One Studios, Kingston, Jamaica, has its place set in Reggae's musical history. Its distinctive sound the studio created on opening its doors in 1972 to its closure in the early 1980s made it the producer's, singer's and musician's studio of choice during this furtive period. Achieving that vibe and clarity separated it from the other Kingston establishments. Run by the Hookim Family's four sons, Jo Jo the eldest followed by Paulie, Ernest and Kenneth. Their father originally came from China and married a Chinese Jamaican lady and settled in the St. Andrews district before moving to Kingston Town itself. The family business was built on jukeboxes and one-armed bandit machines in and around Kingston. A lucrative venture, until the gaming laws changed in 1970, outlawing the gaming machines. So the music side of the business would have to be expanded. So it was decided to open a studio to make the music to supply their already established Jukebox enterprise. The four brothers opened Channel One Recording Studios in 1972 at 29 Maxfield Avenue, Kingston 13. Initially as we stated, the purpose of the studio was for the brothers' use only, but this would soon change when various producers, all looking for that Channel One sound, came asking for studio time. The brothers had used the services of Bill Garnet, a renowned and well-respected technical engineer on setting up the studio. They spent a lot of time laying out the space to get the right acoustics and picking the right equipment. They went with a four-track API desk and the best quality microphones such as Neuman, Sony and AKG, vital in obtaining the quality sound and track separation that would prove so worthwhile after the music was recorded to give the best flexibility on the final mixdowns. Jo Jo would take over the production duties after the initial hiring of Syd Bucknor, a producer who had worked closely with Coxsone Dodd's Studio 1 stable. The first release on the Channel One label would be "Don't Give Up the Fight" by Stranger Cole and Gladstone "Gladdy" Anderson. The initial two thousand run was swallowed up by their jukebox interests and so the steady flow of hits would run up to the breakthrough hit of 1975 "Right Time" by the Mighty Diamonds. 1977 saw Jo Jo extending his stays in New York to a semipermanent status, returning mainly to oversee recording sessions and then taking the results back to America for worldwide distribution. His brother Paulie's senseless killing in that year also added to Jo Jo's decision to spend more time with his Hit Bound Manufacturing set up in New York. The Channel One studio would be upgraded in 1979 to 16 tracks and although Jo Jo and Ernest still covered the mixing and engineering duties, Kenneth would now supervise sessions. An often untold part of Channel One's history is the involvement of producer Niney The Observer. The mid to late 1970s were heavy times both musically and politically and Maxfield Avenue was in the heart of this crossfire. Some artists and musicians were weary of using the establishment, especially when sessions ended late at night and exiting the studio at these times could be somewhat dangerous. But Niney's fearlessness saw him running the all-night sessions with his trusted set of musicians loosely called The Soul Syndicate. Having the run of the mighty Channel One studios allowed Niney to build up and work on a stockpile of rhythms that he still has yet to unleash on the world. Jamaican Recordings have been lucky to select a bunch of material from Niney's vaults for this release. Some great unreleased rhythms and some different cuts to some tracks you might already know. Niney's work with Dennis Brown and his own distinctive heavy roots-style productions have been documented, and indeed his work on Channel One's Yellowman releases stand tall also.


LEE & KING TUBBY, BUNNY: Brass Rockers CD (JRCD 037CD) 14.00
2010 release. King Tubby and producer Bunny "Striker" Lee are intertwined in the birth of dub music. After discovering a mistake that became a "serious joke," they went on to release the first pressings of this new musical genre named "Dub Music." Tubby's vast knowledge of electronics and Bunny's vast catalog of rhythms would lay the foundations of what today is taken as a standard -- the remix/version cuts to an existing vocal tune. Osbourne "King Tubby" Ruddock was born in Kingston, Jamaica on January 28th 1941 and grew up in the High Holborn Street area of downtown Kingston. He studied electronics at Kingston's National Technical College and also did two correspondence courses from the U.S.A. When he had qualified, Tubby began repairing radios and other electrical appliances in a shack in the backyard of his mother's home. His work in the early days included winding transformers and building amplifiers for Kingston's Sound Systems. Tubby built his first Sound System in 1957 playing jazz and rhythm & blues at local weddings and birthday parties. His reputation as a man who knew and understood both electronics and music grew steadily, and as the '60s drew to a close, Tubby purchased his own basic two-track equipment. He installed this alongside his dub-cutting machine, a homemade mixing console, and his impressive collection of jazz albums in the back bedroom of his home at 18 Dromilly Avenue, which he christened his music room.


CAMPBELL, CORNELL: The Gorgon Dubwise LP (JRLP 033LP) 14.00
Repressed. LP version.


NINEY THE OBSERVER: Channel One Presents: 100 Tons of Dub LP (JRLP 034LP) 14.00
LP version.


LEE & KING TUBBY, BUNNY: Brass Rockers LP (JRLP 037LP) 14.00
LP version.



GUESS, LENIS: The Norfolk Soul Sound 3x7" BOX (SOUL7 035EP) 23.50
One of Jazzman's specialties is focusing in on the obscure and often previously slept-on regional-based sounds across America. This time their radar honed in on the state of Virginia and its Norfolk sound. Many celebrated musicians have contributed to "The Norfolk Sound," but Lenis Guess was probably the most active, prolific and influential showman of the soulful '60s and '70s. This collection of unique recordings captures the essence of the multi-talented entertainer, singer, songwriter, producer, arranger, band manager and label owner -- a calm, cool and collected quintessential music-man about town. This limited edition boxed set features three different 7" records with a total of six tracks highlighting not only the rarest and most in-demand of Lenis Guess' recordings, but the best. Jazzman Records delivers some of the funkiest and most soulful releases on the DPG, Peanut Country, and SPQR labels right to your doorstep. Despite being a relatively well-known and highly-respected soul/funk musician back in VA, releases such as "Why, Why, Why'd She Leave Me" have reached Holy Grail funk status and are now practically impossible to find. The gritty, fast-moving, charismatic "Working for My Baby" is guaranteed to immediately fill any funk, soul and R 'n' B dancefloor. Every single track on this collection touches on a different facet of Tidewater talent. Due to the obscurity of these original releases, while some were celebrated locally when they first came out, most of these incredible funk 45s haven't been heard outside of the Tidewater region. As a result, not only have the vast majority of collectors and soul fans been unable to enjoy the music, but for over 30 years Lenis himself has not had the satisfaction, pride and joy felt, heard and enjoyed by many. So Jazzman decided to put things right. With the artist's help and assistance, they have created a boxed set that displays a wide showcase of soulful talent, from funky rare grooves to beautiful ballads. Recorded across the '60s and '70s, Jazzman reveals, in their detailed liner notes from their exclusive interviews, the story behind Lenis Guess, Frank Guida, the Raw Soul band and the entire Norfolk Sound, and how a small-time group of musicians from coastal Virginia came to entrance soul fans and collectors the world over with such superb yet under-appreciated masterpieces.



DJ KAOS: Swoop EP 12" (JOLLY 013EP) 12.50
DJ Kaos is back with another installment of beautiful disco music for 2013 in the form of Swoop. "Swoop" is comprised of sublime echo-drenched drums 'n' percussion, with shredding electric guitar and a twisted piano melody. "Swoop" builds and builds with some ZZ Top sunrise-rock guitar solos and rising synth melodies. From then on in, DJ Kaos just extends your ecstasy with the blissed-out keys and trippy bass line. On the flip, LEXX switches on the flux capacitor and punches 1984 into the dial with his Larry Heard-inspired "Swoop Dub Fix," a sprawling remix that begins in ambient form before entering the realms of hypno house.


KH 9007CD

STEVE MILLER BAND: Live at the Carousel Ballroom, San Francisco, April 28th 1968 2CD (KH 9007CD) 23.00
The Steve Miller Band are one of the most legendary of all the acts that flourished in late 1960s San Francisco. Recorded at the city's legendary Carousel Ballroom at the end of a three-night stand shortly after they'd taped their debut album in the UK, this brilliant set finds the original line-up at the height of their powers. Includes background notes and rare photos.

KH 9012CD

ASSAGAI: Zimbabwe CD (KH 9012CD) 17.00
Led by South African saxophonist Dudu Pukwana, Assagai spearheaded the UK's so-called "Afro-rock" movement in the early '70s. The lost classic Zimbabwe is their second and last album, and originally appeared in the UK only in 1971. Featuring guest appearances from Jade Warrior (who also contribute some songs), it's an extremely funky blast from start to finish. Includes background notes.



THE CONGOS: Feast CD (KSCD 008CD) 14.00
2014 repress, originally released in 2006. Feast is a fine selection of songs voiced by The Congos over some classic '70s rhythms which recalls the spirit captured by their Heart of the Congos masterpiece. Cedric Mylton is joined here by Brent Dowe for a powerful set of harmonized vocal statements with a strong Rasta message, with titles such as "Rasta Congo Man," "Watch and Pray," and the prophetic "Citizen of the World." The songs are complimented by the original, mainly Bunny Lee-produced '70s rhythms and the whole set is one of the most heartfelt and meaningful the Congos have recorded.


THE CONGOS: Feast LP (KSLP 008LP) 14.00
2014 repress. LP version.



VA: Pop Ambient 2014 CD (KOMP 113CD) 15.50
Kompakt presents the 2014 edition of their beloved Pop Ambient series. First things first: the god of pads has returned. After a six year hiatus, Ulf Lohmann reports back to Pop Ambient. As one of the first to break the mould, Lohmann has shaped Kompakt's early ambient sound in a decisive manner. Fortunately, his two tear-jerking masterpieces "PCC" and "Sicht" sound like he was never gone. Kompakt is also celebrating some sort of reunion with The Bionaut. It's the alter ego Jörg Burger used back in the early '90s, creating unforgettable hits such as "Everybody's Kissing Everyone" and the album Lush Life Electronica, released via EMI's infamous sub-label, Harvest. With the use of real guitars and vocals, the new "Triola Mix" of the 1992 classic "Aquamarine" gives you a promising foretaste of the upcoming Triola album and a Best of Bionaut compilation on Kompakt Klassiks. Complex and surprisingly varied, the 14th installment in the long-running Pop Ambient series continues with Thomas Fehlmann, whose contribution "Treatment" confidently combines the art of free-form vocabulary with well-chosen, economically set piano accents, followed by Simon Scott and Mikkel Metal, who indulge in a sensitive, reduced loop aesthetic complete with echoes of sing-along melodies. An indispensable Pop Ambient regular for a few years now, Marsen Jules endows this latest edition with "The Philosophers Trap" -- reminiscent of architecture, it's a bizarre soundscape of sublime elegance. Cologne Tape is actually a Kraut electronics all-star live project that has been dreamed up for the modern era. Their cut "Moorpark" is a picturesque gem of musical mushroom-hunting in the enchanted forest of illusions. Last but not least, Wolfgang Voigt makes a welcome entry. With "Rückverzauberung 8," he continues his eponymous project series in a reassured manner, with worryingly shimmering pads providing a necessary air of seriousness lurking at the fringes of beauty's darker side. No less compelling is his remix of "Cupid's Head," the title-track of the latest full-length offering from The Field. Going by his project name Gas for the first time since 2008, Voigt once again showcases his unique, boundary-bending style between the abstract and the concrete, harmony and atonality, art and pop. The caring fusion of music from diverse artists and styles into an atmospherically-dense Gesamtkunstwerk makes the Pop Ambient compilation an unparalleled -- and timeless -- listening experience.



PAGLIARA, MASSIMILIANO: Flying Away from You 12" (LOTR 001EP) 14.00
Paramida, the hostess and DJ behind Salon Zur Wilden Renate's renowned Paradisco Parties, launches her new label Love On The Rocks with a classic time-bender, which takes us on a night trip beyond the deepest galaxies, courtesy of fellow Paradisco resident Massimiliano Pagliara. "Flying Away from You." Driven by a cosmic lead melody and the ethereal voice of Heidi Diehl, Massimiliano also contributes his own half-spoken performance, backed by lyrics co-writer Jules Etienne. The record comes with an instrumental version on the flip.



The fourth entry in the series of six 12"/MLP releases. Brian Conniffe is a cross-genre, experimental musician who has worked with a long list of collaborators including Nurse With Wound, notable for a style which fuses the darkest psychedelia with disquieting ambience. Suzanne Walsh is a visual artist and musician, whose practice involves musical collaborations with various artists as well as her own solo artistic work, which crosses over between art and music worlds. Never sure what he should be wearing, polymath Diarmuid MacDiarmada has been working in and around the Dublin music scene for far too long. He has been in more bands than he cares to remember and several that he tries to forget. This features five songs of a strictly twilight hue, merging beauty and those subtle spaces where it appears poised to collapse at any given point. Guest appearances on "Holy Ground" from Áine O'Dwyer, Clodagh Simonds, and David Colohan. "Not the Night" features a treated sample from the Coil Reconstruction Kit, used with permission. Thanks to Jordi Devas and Danny Hyde. Dedicated to the memory of Jhonn Balance and Peter Christopherson. Covers are semi-homemade with pasted-on artwork by Dolorosa Delacruz. Limited to 250 copies.



SHALABI, SAM: Music for Arabs CD (MAJMUA 021CD) 9.50
Majmua Music presents an album by Sam Shalabi. Music for Arabs is like Music for Airports for taxi drivers: mood music of time as a space and vice versa, to maybe while the time away in a Cairo traffic jam when all else fails. Its ambient hope is meant to conjure up something like crossing over the Oct 6th bridge into party boats moored to the banks of the Nile and pressed up against each other, blasting 20 different tunes so loud that they achieve the impossible and momentarily out-chaos the chaos of Cairo. It is koshari kisses and jasmine sweat lines and secret make-out spots in public spaces. It's Eid meat on the street and sniper precision eye-shots, Stella beer and civilized chain smoking. The words are fragments and samples of eavesdropped, overheard, misheard, under-heard desire, fear, nonsense profundity, pretension, threats and flirts and post-coital tension and release, and it's for those who don't get what they want and those who get too much of what they don't want and never asked for. It's shaabi synesthesia: in one orifice and out another, and it's all true too -- these are people and places that shine on and get lost, covered over by Cairo dust, shine again or are broken forever until the next joke or the next sudden breeze or confounded diversion makes you forget what you had to say. Features Alan Bishop (Sun City Girls/Alvarius B.) on two songs.



PLUSCULAAR: High Line EP 12" (MLTD 068EP) 12.50
Quickly making his mark on the techno scene, Romania's Plusculaar has one of the most unique styles in the game -- his intriguingly complex and intricate rhythms stand out on any dancefloor. "Un Pic" is a powerful factory floor groove that comes with a nasty little bass growl and pulsing Motor City synth stabs. "Go Find Yourself" features a fluid, morphing structure that makes rhythms out of melodies and melodies out of rhythms. Fellow Romanian Ada Kaleh turns in a focused rework of "To Chew Your Teeth," boasting some brilliant EQing that gives the mix real movement and groove.



QUILT: Held in Splendor LP (MEX 149LP) 20.00
"Held in Splendor is an audacious pop-rock record with cascading harmonies and billowing textures, punchy rhythms and snarled guitars, wonderful depth and resplendent peaks. 'Mary Mountain' takes hazy summer-of-love memories on a road trip in its gleaming muscle car. 'Tired & Buttered' invites Booker T over for an energy-addled jam in the garage. 'The Hollow' twinkles like Fleetwood Mac and Galaxie 500, with sweet singing backed by the lap steel sighs of young acoustic guitar star and longtime Quilt pal Daniel Bachman. Held in Splendor is an album of personal poetry and public questions, confessions and aspirations -- really, these 13 tracks are their own playground, brimming with the sort of unapologetic energy and wonder that turns simple songs into absolute anthems. LP includes download code."



BLACK DIRT OAK: Wawayanda Patent LP (MIE 024LP) 23.00
The epic Wawayanda Patent by Black Dirt Oak is the Black Dirt Studio-affiliated supergroup with members of Pelt, No Neck Blues Band, Desert Heat, Rhyton, Pigeons, and more. Wawayanda Patent is available in a limited edition of 500 LPs with a download code. "MIE has cast a harvest wreath upon our season's door, a deceptively intricate record woven like a spell by many interlocked arms and voices: a welcome hex. Featuring Steve Gunn (GHQ, Desert Heat, Violators), Nathan Bowles (Pelt, Black Twig Pickers), Jimy SeiTang (Rhyton, Stygian Stride, Psychic Ills), Justin Tripp (Georgia, Steve Gunn), Margot Bianca (Flown, Key Demo), Dave Shuford (Rhyton, D. Charles Speer, NNCK), and Wednesday Knudsen (Pigeons, Sea Donkeys), Black Dirt Oak's Wawayanda Patent is a song sung from a splintered Ouija board, a mass Shaker gift-drawing, a truly exquisite corpse. All these musicians have been fixtures at this rural studio west of New York City for years, but never so integrated as in this bizarre working. With songs that seem both plant and animal, this music splices many logics into a trembling unity. Without a doubt, an alkaloid-laden root is cellared down in Jason Meagher's Black Dirt Studio. To drop the needle onto this record is to slice across its concentric spheres. The fumes instigate fever dreams: Arco banjo strings and horns spiral like vines and gently strangle steeples erected by drum machines, leaving a skyline of electrified maypoles twinkling in the dark. Hands clasp and graft synthetic and old-world strains into an agrarian wish. The plant leafs out, flowers, fruits, and then sinks silvery seeds back into the rot. Someone plucks a song out in processional cadence only to fall backwards into a séance, channeling creation myths aloft in winds of disembodied voices. The harmonics float down and shroud the earth in breathable fabrics, tenderly draped over dead electronics like stainless skeletons half-buried in dirt, grinning to expose a circuitry of gold fillings amidst the teeth. To describe this music is to clog a drain with hair. You can see what repeated listenings do. I've flooded my bath. To be sure, each musician has left her telltale fingerprints all over this record; however, the patterns are spun around an entirely different magnetic north, or maybe an underworld passage where the pole should be: Bowles blankets SeiTang's synthesized landforms in wet forests of frailed banjo, wooded hollows haunted by Bianca's porcelain song. Their impossible horizon melts with a setting inner sun that turns out to be Knudsen's sax. Meagher spins the whole like a glass witch ball, the distended interior described by Tripp's geomantic figures, the crystalline surface etched by Shuford's acid. Gunn delicately suspends the microcosm by a golden thread... and then they all trade places without us even noticing. Familiar sounds are put to unfamiliar tasks. While the music was germinated in the protected warmth of this cellar, pressing up against those walls are ten-thousand hectares of soaked earth, the drained and fertile remainder of ancient swamplands known as the Wawayanda Patent: soil fat with sulfuric allums, tubers, and now this occult growth, uprooted from below Orange County's sun-soaked surface. Ingest with care." --Rob Smith (Pigeons, Rhyton); Artwork and design by Georgia. Mastered by Patrick Klem.



JANIS: Forgiveness EP 12" (MIRAU 018EP) 14.00
Frankfurt-based Janis Guckes was socialized in the Robert Johnson Club, where he found his way to club music in the late '90s. He now produces excellent house in his own kitchen and runs the label House Is OK, where he released his first records. For Mirau, substantial Detroit numbers shuffle into line on a timeless 12". "Forgiveness" starts out with a warm sample that pumps blood straight to your dancing feet. "Greetings from the Netherworld" features a bouncing bass, echoing vocals and haunting strings. "Illusion of Choice" stamps and twists from the speakers while "Different from the Rest" shuffles in with a swinging bass line.



OKPARA, RAY: Midnight Protein 12" (MOBILEE 123EP) 14.00
Midnight Protein is a stunning return to form that showcases Ray Okpara's taste for groove and soul. This is a patchwork of memorable dancefloor sounds, building on a rising tide of acid lines, juxtaposed with vocal calls and cut-up samples, and woven together with spectral synth chords. "The Mumbling" snatches a bass line reprise and a processed guitar lick, moulding both into shifting melodies and propulsive rhythms, creating a unique tech house workout with micro-minimal touches. "Midnight Protein" takes flight with some serious percussive swing, adding subtle acid synths to a sultry low-slung bass line, while Andrea Oliva's remix adds tech house ingredients.



BAEZ, JOAN: In San Francisco LP (SUITABLE 1307LP) 23.00
"Joan Baez's In San Francisco is a crucial addition to the collection of any folk completist. It comprises the album-length session that the then-unknown teenager recorded in June 1958. As she later recalled, 'I was still in high school [when] two guys approached me and said "hey little girl, would you like to make a record?" They were rogues, but I didn't know that. [So] off we went to San Francisco [where] I recorded everything I knew on a gigantic borrowed Gibson guitar.' The LP includes a dozen songs ranging from recent hit songs like 'La Bamba,' 'Young Blood,' and Harry Belafonte's 'Island in the Sun' to folk club standards 'Oh Freedom,' 'I Gave My Love a Cherry,' and 'Dark as a Dungeon.' A curio from the very dawn of her career - a demo tape that failed in its stated purpose of landing her a record deal ? In San Francisco remains an interesting glimpse into the early career of one of the absolute legends of 1960s Greenwich Village folk."


NP 010LP

SMEGMA & BLOOD STEREO: Guff Vout Mulch LP (NP 010LP) 25.00
Trans-Atlantic collaboration LP between Smegma and Blood Stereo: "It sounds like what happens when Blood Stereo's re-imagined, 1,000 year old Druid chants are invaded by Smegma's looped, psychedelic-folk-stomps circa early 2009." --Ju Suk Reet Meate. Limited to 450 copies with an insert featuring liner notes by John Olson.

NP 011LP

ALIQUID: Kriegspiel LP (NP 011LP) 25.00
Kriegspiel is the latest sonic excursion by this Parisian free improvisation duo that features prominent scene veterans Jean-Marc Foussat (VCS3) and Sylvain Guérineau (tenor sax). The former was responsible for what some consider as one of the greatest French improvisation LPs -- the totally twisted Abattage (1983) -- while the latter has been very active since the early 1970s and has collaborated in the past with the likes of Sunny Murray, Henri Grimes, Joe McPhee and Francois Tusques. Limited to 250 copies.

NP 012LP

EEK: Live at the Cairo High Cinema Institute LP (NP 012LP) 25.00
"I saw him at a street party in Giza where a few hundred people had amassed to dance and scream into the night. Flanked by Khaled Mando and Islam Tata, his two drummers pounding furiously as the signature tone of his synth intensified for almost two hours, Islam Chipsy demonstrated his completely revolutionary take on modern Egyptian Shaabi. The sound was raw and distorted, the volume was deafening, and the energy was high. Thirty minutes into the set, the trio pulled out blindfolds and put them on, only to continue their virtuosic performance without missing a beat, synced to the max, playing forwards, backwards, sideways, psychedelic noise and showmanship projected through the distortion of a jet engine taking flight for some unknown location in the distant future of Shaabi sound. They were smiling and are very nice cats indeed, but when the PA system is blazing with their audio explosions, you best get up off your ass to dance or get the hell out of the way!" --Alan Bishop; 500 copies pressed on red vinyl.

NP 013LP

SUNROOF!: Rock Power LP (NP 013LP) 25.00
Reissue of an extremely rare and essential Sunroof! CD-R released during a European tour in 2003 on Matthew Bower's own imprint, Rural Electrification Program (REP). On this LP, Bower is joined on guitar by Mick Flower (Vibracathedral Orchestra and Flower-Corsano Duo) and the result was once qualified as Sunroof's rock record and its tribute to Neil Young and AC/DC (hence the title). Rock Power is a very singular record because it documents a very short time period in the M. Bower/Sunroof! evolution; between the dream-like psychedelia of releases such as Cloudz or early Hototogisu, and the brutal sonic assault of later records such as Panzer Division Lou Reed, Spitting Gold Zebras or the more recent Skullflower outings. 500 copies.

NP 014LP

STUDIO SARDENA: Studio Sardena LP (NP 014LP) 25.00
DJ Sardena is a major player in the current electro-shaabi wave that has taken over Egypt in the past few years. Better known locally as mahragan, electro-shaabi is characterized by heavy auto-tuned loud vocals and beats featuring synthesizers and various electronic effects. Studio Sardena, located in the Matariya disctrict of Cairo, is home to a number of singers and produces dozens of tracks every month. This LP compiles five tracks representing Sardena's very special, stripped-down and minimal mahragan style, featuring an array of major MCs such as Salsa El-Ageeb and Halabessa. Limited to 500 copies pressed on green vinyl.



READ, GERRY: Been A Lot Of Places, Seen A Lot Of Faces 12" (HOSS 001EP) 15.00
"Gerry Read drops a surprise 12, featuring the tracks 'Been A Lot Of Places, Seen A Lot Of Faces' and the worryingly named 'Beatin' My Dick To The Beat' - as featured on his recent Boiler Room set."


NA 4109LP

MUSI-O-TUNYA: Give Love to Your Children 2LP (NA 4109LP) 33.00
"Limited deluxe double LP edition. Contains bonus disc with rare 7" tracks, never reissued on vinyl. Download card included."

NA 5109CD

MUSI-O-TUNYA: Give Love to Your Children CD (NA 5109CD) 18.00
"Funk, psych-rock, and fuzz-guitar-lead Afrobeat from Zambia's groundbreaking band. Contains a 64-page booklet with extensive liner notes, an exclusive interview with drummer Brian Chengala and guitarists Rikki Ilionga and Wayne Barnes, photos and ephemera. Finally! The legendary Zamrock band's second album and two rare 7" tracks. Give Love to Your Children follows Now-Again's first foray into the zamrock genre, guitarist, vocalist and songwriter Rikki Ililonga and Musi-O-Tuyna's Dark Sunrise, which compiled Musi-O-Tunya's Pathe East Africa 7" singles, their first album Wings of Africa and Ililonga's first two solo albums, released under his own name: Zambia and Sunshine Love. Dark Sunrise hadn't even entered production when we became aware of Musi-O-Tunya's post-Ililonga trajectory, and its uniqueness in the zamrock landscape. It is the corollary to Ililonga's mature solo offerings: Give Love to Your Children is teeming with energy and tension, hazily affected by copious drug use, and recorded quickly, before its members parted ways for good. And now, it's often sad story can be told, and it's incredible music can be heard, thanks to the participation of Ililonga, Chengala and Barnes, who color the creation and release of Give Love to Your Children in an extensive set of liner notes and interviews included in the album's booklet. Give Love to Your Children is a marvelous, thrilling, charging beast of a thing that has to be stared at in the face so as to be understood. This album's grooves hold the last, sustained shouts from one of the first -- and greatest -- zamrock ensembles: Musi-O-Tunya exploded at the height of the zamrock movement with this burst of fuzz guitar, chunky basslines, funk and Zambian folk rhythms, choral chants and compelling lead vocals. They never recorded together again."



MAGIC MOUNTAIN HIGH: Tiny Breadcrumbs 12" (OMR 002EP) 16.50
Magic Mountain High bring it hard with four tracks of dancefloor madness -- catch a vibe by hitting the clips and staring into that beautiful artwork. Remix by No Compromise.



MARSEN JULES: Beautyfear CD (OKTAF 007CD) 17.00
With Beautyfear on Oktaf Records, German electronic musician Marsen Jules delivers one of his most outstanding albums so far. Mastered by no one else than 12K label-boss Taylor Deupree and with a cover picture taken by the highly-acclaimed photographer Erik Madigan Heck from NYC, the best conditions are laid for a lasting experience of abstract musical poetry and touching soundscapeism. Jules has never been this dense, subtle and fragile before. All 12 tracks on Beautyfear were created during a week stay in a theater workspace on one of the hills of Lisbon. The panoramic view over the dusty city in Spring seemed to have been the perfect surrounding for these cloudy soundscapes, which at some points remind of Angelo Badalamenti's work for David Lynch's Mulholland Drive. "It's an album on the fragility of beauty," Jules describes briefly -- music that can neither be described as ambient music or experimental sound art, but more likely delivers a poetic approach to music and sound itself. With Beautyfear, Marsen Jules makes a great start into 2014 along with the already announced cooperation with Swedish filmmaker Anders Weberg and an upcoming release of his works from a residence at the legendary GRM studios in Paris, one should definitely keep an eye on what is coming next.



LUMISOKEA: Apophenia LP (OPAL 032LP) 21.00
The rich, dark sound of Lumisokea, the Belgian-Italian duo of Andrea Taeggi and Koenraad Ecker, annexes a dark, foreboding aura from an abundance of reference points -- codifying and making concrete the connections that which might otherwise have been elusive or intangible in the worlds of noise, dub, techno and musique concrète. Apophenia follows their Opal Tapes debut Contrapasso, and sees their sound continue to develop; growing in intensity and twisting into more complex, aggressive, and euphorically bent shapes. All seems abstract, not as "whoa, that's weird," but as though every element exists in direct opposition with nature and organic order. Industrial and technoid beats are rolled over sub-sonic, hyper-digital abrasions of noise and synthetic texture to reinforce and fortify the more extreme end of Opal's sonic interests. Synthetic stomp and precise, premeditated glissandi form sonic sculptures where the unreal is turned towards something frighteningly palpable.


KAUMWALD: Hantasive LP (OPAL 033LP) 21.00
Electric charges on Hantasive. Kaumwald lights up his dials and twists out five rolling generations to terrify and animate. Plying a line between glitch-like manifestation and cruder analog sewage, these tracks are forged from degrees of digital and analog that gives a contemporary edge to the gritty grey-scale industrial and proto-rhythm you might find while digging through the Vanity Records catalog. Warm kicks and clipping digital synthesis is interlaced with acoustic sourcing and a curious, magnetic primacy -- developing vital color and tactility to these here wares. Think to those contemporary and necessary combinations of computer and combustion engine, but repurposed to a more Jean Tinguely-esque display of machinery for machineries-sake; built to chatter and clunk, to error, and essentially deteriorate. That quest for the perfect minimal weirdo beat re-cut for now.



CHRISTOPHER: Christopher LP (OSR 007LP) 25.50
Christopher were an underground acid-rock trio featuring future Josefus drummer Doug Tull. They evolved from United Gas, a psychedelic band from Houston who rubbed shoulders with legends like The 13th Floor Elevators and Moving Sidewalks. After relocating to Los Angeles, where they changed their name to Christopher, they played at numerous biker parties and recorded their sole album in 1970 for the Metromedia label. It's an amazing example of West Coast psychedelia/acid-rock featuring strong fuzz-wah guitar, great compositions and superb musicianship. Terrific cover depicting the band at the same hippie crash-pad where some scenes from the The Trip movie were filmed. One of the Holy Grails of American psychedelic-rock and the rarest album originally released by the collectable Metromedia label. Newly remastered sound, original artwork, insert with liner notes. Note: this is the only legitimate, fully-authorized vinyl reissue of Christopher in the current market. Beware of inferior, low-quality bootlegs.



SELDA: Vurulduk Ey Halkim Unutma Bizi CD (PHS 017CD) 17.00
There were female Turkish folk singers before Selda Ba?can, but none whose hot-blooded voice carried such righteously angry words and none who also accompanied themselves on guitar. She began her career singing at her brothers' Beethoven nightclub in Ankara while she went to school for physics during the day. Her first album had help from the cream of the crazy Istanbul pop scene, and cuts from the same sessions were also released on this second one in 1976. While the direction is folky overall, there's fuzz, zooming synthesizers, and heavy flute to be found. When Selda performed the title-track in 1977 in a coastal town not far from Istanbul, her protest lyrics, though taken from an old poem, got her heckled by audience members who screamed that she should go back to Moscow. Find out why this brawny mama couldn't be stopped by a military government that put her on trial nine times, and could call herself the bitter voice of the Turkish people. Remastered sound, insert/booklet with liner notes.


SELDA: Vurulduk Ey Halkim Unutma Bizi LP (PHS 017LP) 25.50
LP version. Housed in a gatefold sleeve; with liner notes insert.


SELDA: Selda CD (PHS 018CD) 17.00
Imagine if Julia Child had marched against Vietnam, stood on the steps of the Pentagon, and placed a flower in a gun barrel. Selda Ba?can's later records have that same cross of easygoing motherly warmth and righteous anger. This 1979 album (technically her fourth, although six of these songs were also released on her third), was recorded when Turkey was at its most politically polarized. Selda was sentenced to a total of over 500 years in prison right about the time it came out. A pile of acoustic guitars and ba?lamas all going off at once under a blanket of reverb, with lyrics about blood, wood, mountains, families, and desperate troubles, so it's a thick squirt for a folk album. Selda's voice can either be sultry or really surge with emotion, and when she does belt one, it's oddly high and completely unique. Her reward was the love of Turkey's people, but also nine trials and three prison terms from the right wing military government of the '80s. Remastered sound, insert/booklet with liner notes.


SELDA: Selda LP (PHS 018LP) 25.50
LP version. Housed in a gatefold sleeve; with liner notes insert.


ASH 3012LP

INSECT TRUST, THE: The Insect Trust LP (ASH 3012LP) 22.00
Combining elements of rock, jazz, bluegrass, soul, Dixieland, folk, ragga, blues and practically every genre there is, The Insect Trust's classic debut (recorded in 1968) reveals one major difference between them and almost all other U.S. psych bands of the time -- while the majority were in thrall to Eastern sounds, they sound resolutely homegrown. Despite featuring banjos, fiddles and bottleneck guitars, the band still sounded absolutely contemporary, with superb tunes, gorgeous vocals and some mindblowing freakout passages. Tuneful, intelligent and highly musical, they truly forged something new out of the past, and this is one of the most beguilingly strange and original rock albums ever recorded. On 180 gram vinyl in a gatefold sleeve.



Two super-nice early '60s versions of an age-old spiritual, here given a popcorn R&B feel, with a low tempo still prime for the dancefloor, and vocals from some of the best voices in soul and R&B history -- Jackie Wilson and Linda Hopkins on the top side, and Big Maybelle on the reverse. Both versions were previously only available on albums, making this handy pairing their 45rpm debut, and a great DJ tool.


PT 8013LP

BYZANTIUM: Seasons Changing LP (PT 8013LP) 22.00
180 gram vinyl version, housed in a gatefold sleeve. This renowned British progressive rock band formed in 1970, and featured the talents of singer-guitarist-keyboardist Chas Jankel (later to find fame with Ian Dury & The Blockheads). Originally issued in 1973, Seasons was their third and final album release, and found them blending concise pop-rock songs and ballads with a lengthy three-part suite. Dreamy and atmospheric, and featuring some notable early use of synthesizer as well as guest appearances from BJ Cole on pedal steel, and Frank Ricotti on percussion.

PT 8017CD

CAROL OF HARVEST: Carol of Harvest CD (PT 8017CD) 17.00
Carol Of Harvest's fleeting presence in the late 1970s asserted their place in the world of ambient folk and progressive rock. Against a backdrop of Cold War paranoia, five German school friends produced an enigmatic masterpiece that has since become a highly desirable, but ultimately rare LP. Carol of Harvest has earned the affections of collectors worldwide since its release in 1978 on the private Brutkasten label and finally receives its long-awaited and eagerly anticipated reissue on CD, celebrating the band, the music, and its legacy. Digitally remastered. Includes three bonus tracks and detailed liner notes.



ECHOLOGIST: Storming Heaven CD (PRG 003CD) 17.00
Echologist aka Brendon Moeller is undoubtedly one of the hardest-working techno artists around the globe and has left a prolific trademark in the electronic music world. His 10th album, Storming Heaven floods us with deep emotions and a unique sound experience. Prologue is always looking for new directions in electronic music and they feel strongly that this album fulfills the label's pursuit in an extremely exciting way. It will be treasured for years to come. This is music to immerse oneself in and explore sonic depths and worlds of synthetic sound that resonate on many levels. Brendon's intention for this album was to push himself beyond the comfort zone in an effort to make an album that, more than any other project he has done, will reveal a distinct and unique voice. While it reflects musical ideas from composers that have inspired him, he has attempted to personalize and interpret and therefore create something idiosyncratic yet nostalgic. "The Frequency of Love," the first track, shows us what humans can do with machines. This is the perfect way to start the journey into this masterpiece. Dive in and enjoy the sound of an artist in full bloom.



VA: Electronic Toys Volume Two LP (QDK 028LP) 16.50
2014 repress. "Second in this highly regarded, much sought after series of early synthesizer music. Artists include: Harry Breuer, Gil Trythall, Mort Garson/The Blobs, Jim Cuomo, Fred Weinberg, Bruce Haack, The Mindexpanders, Tom Dissevelt/Kid Baltan, Walter Sear." Full color gatefold sleeve.


VA: Love, Peace & Poetry - Turkish Psychedelic Music LP (QDK 047LP) 16.50
2014 repress. LP version, deluxe gatefold sleeve. This is the ninth volume in the impressive Love, Peace & Poetry compilation series, following America, Latin America, Asia, UK, Japan, Brazil, Mexico and Africa. Artists include: Selda, Özdemir Erdo?an ve Orkestras, Alpay, Mazhar ve Fuat, Erkin Koray, Ersen, Edip Akbayram, Hardal, Selda, Erol Büyükburç, Cem Karaca, Üç Hürel, Baris¸ Manço, Mo?ollar, Bülent Ortaçgil, Erkut Taçkun



BONG: Beyond Ancient Space 2LP (RITE 027LP) 47.50
After a long wait, listeners will be delighted with the full, uncut version of Bong's 2011 release Beyond Ancient Space, which has been remixed and remastered specially for vinyl. Housed in a deluxe, gatefold, bronze foiled sleeve. LPs come in two colors: black and bronze, both 180 gram.



J DILLA: Jay Dee's Revenge/Birthright 10" (RDR 001EP) 20.00
"Ruff Draft Records presents this limited edition clear 10" vinyl of two Jay Dee produced cuts featuring Big Tone, Guilty Simpson, Finale, and DJ Dez with Danny Brown."


RUM 2011053LP

EXCITERS, THE: Tell Him LP (RUM 2011053LP) 22.00
"In late 1962 The Exciters jumped up the charts with their massive Bert Berns penned, Leiber and Stoller produced 'Tell Him,' a ubiquitous piece of American girl-group pop-soul that still excites audiences the world over today. An LP soon followed featuring the group's other classic singles 'He's Got the Power,' and 'Get Him Alone,' as well nine other jams, including some of the legendary Van McCoy's earliest songwriting efforts. A must have for any true fans of '60s pop, reissued on LP by Rumble."

RUM 2011058LP

WONDER, STEVIE: The Jazz Soul of Little Stevie LP (RUM 2011058LP) 22.00
"Detroit Michigan's own Stevland Hardaway Morris - known to the world as Stevie Wonder - burst onto the scene in 1962 with this, his debut album, after being discovered by Ronnie White of The Miracles. Though it did not produce a hit, The Jazz Soul of Little Stevie showcases the immense songwriting and instrumental chops of the then 12 year old Wonder. Wonder plays keyboards, harmonica, and percussion here and the album includes the original studio version of 'Fingertips,' whose live version ('Fingertips Pt. 2') would become his first major national hit a year later. Own a piece of early Motown history with this glorious LP reissue of the debut LP from the legendary Stevie Wonder."

RUM 2011059LP

WONDER, STEVIE: Tribute to Uncle Ray LP (RUM 2011059LP) 22.00
"Wonder's second LP, recorded and released when he was only 12 years old, is a tribute to Ray Charles. As the original liner notes state, 'Little Stevie Wonder, Tamla's 11-year-old musical genius, is blind, a similarity he shares with a famed musician and vocalist of today.' Though this is perhaps not the most subtle of tribute albums and a clear cash in attempt from Motown, who were still looking for a way to market their new-found talent, the results are still fantastic. Little Stevie powers his way through a grip of Charles' classics as well as some original songs done in the 'Charles style' and while the LP failed to score a hit, it's an enjoyable listen that shows a glimpse of the super star talent that was soon to emerge."



MAXI MILL: Lost and Found/Speed Balance Weight 12" (RH VD12-EP) 12.50
Maxi Mill drops his second release on Tom Trago's Voyage Direct series. Maxi Mill is a young producer from Amsterdam that worked behind the scenes with Tom Trago for some years, garnering co-production credits on some of Trago's tracks such as "Steppin' Out" and "200 B.C." After a hot debut on VD with To the Next/Sun Rays, Maxi Mill pops up with another relevant release on Voyage Direct.



PARRISH, THEO: Black Jazz Signature 2LP (SDGBJ 1303LP) 24.00
Repressed; gatefold double LP version. This version is unmixed. Arguably one of the world's most important underground dance music producer/DJs Theo Parrish lends his hands to selecting and mixing a set of jazz and funk records licensed from and originally released on the Black Jazz label 1971-1976. World-renowned for his DJ sets and remixes/productions, this Chicago-raised artist is near impossible to pigeonhole. Revered by a wide spectrum of dedicated music fanatics, he is known for his otherworldly DJ sets, and his serious approach to DJing as an art form. Theo gives special attention to fellow Chicago musicians The Awakening (three consecutive tracks, four total on the mix), one of the best funk/fusion groups that the Black Jazz label released, and whose only output was on that label. The set itself is a masterful "two turntables all vinyl" execution, a format that Theo is dedicated to -- no mp3, no CD-R, just the vinyl palette for the true aural experience. Sit back and be drawn into his world -- hear things his way. Other artists include: Doug Carn, Gene Russell, Calvin Keys, Rudolph Johnson, and Walter Bishop Jr.


SHORTCIRCLES: Between Waves LP (SDGPLG 149LP) 15.00
Limited vinyl run of a digital release. Composed and performed on a hybrid digital/analog synth (Roland Juno 106) and the MPC, and textured with live instrumentation, Oakland-based musician Matt Tamarillo's (aka Shortcircles) debut full-length release is an impressive, lush electronic outing that recalls Boards Of Canada, Floating Points, and Gold Panda, while the beats are in a class with Teebs or Bonobo. It's a solid follow-up to the self-released Mapzzz EP from 2011. Featured on the record are the Bay Area's James & Evander, who lend to the layered, deconstructed, chill-wave result. Born and raised in Escondido, CA, enamored of hip-hop early on (Sadat X and early Common via AND1 mixtapes), and smitten by MF Doom in eighth grade, Matt Tamarillo has fused his early hip-hop influences with a knack for creating blissed-out bedroom productions. Inspired by Four Tet, Teebs, Floating Points and DJ Shadow, home-schooled in music by a huge library of vinyl accumulated in crate-digger fashion in San Francisco, the Shortcircles sound is hard to pinpoint. He describes it as a "peaceful sound." With that mindset, he set out to craft a full-length without having an outlet for it. When his friend Elephant & Castle heard the album he put Shortcircles in touch with his own label, Plug Research (Flying Lotus, Dntel), who promptly added him to the roster.


OUT 5015LP

HAMILTON QUINTET, CHICO: Chico Hamilton Quintet LP (OUT 5015LP) 25.00
"The late Chico Hamilton was one of the absolute stalwarts of West Coast cool jazz. With a subtle and melodic approach to the drums, Hamilton was a quiet innovator on the jazz scene - incorporating cellist Fred Katz in his first quintet, which also included such legends as guitarist Jim Hall and reed-man Buddy Collette. Their first LP from 1955 is a cool, swinging affair that introduced the world to his particular brand of chamber bop. An absolutely beautiful album that has never gotten its proper due in the pantheon of jazz, So Far Out is here to remedy that situation with a loving reissue on 180 gram LP."



THUG ENTRANCER: Death After Life 2LP (SFT 041LP) 25.00
"Death After Life, Thug Entrancer's debut for Software Recording Co. is a deliberately realized collection of dance experimentation and hybridized electronic music with narrow stylistic precedents. It's also a gripping, somber tide formed from the gravitational pull of an artist's amble through unknown turfs. A summation of varied approaches to electronic music, Thug Entrancer's multiverse is similar to other Software artists (Slava and Huerco S., for example). McRyhew draws influence from pioneering electronic and experimental composers who placed an emphasis on extended development and technique, alongside early analog dance producers who went all-out and all-in with little more than a TR-808 in their arsenal. Death After Life is comprised of eight chapters drawn from the album title, each numbered one through eight. These portions underscore a pitch-dark thread running throughout the album's fifty minutes. While Death After Life reframes elements of Chicago juke and house in long-form design, the end result one in which a subtler horizon is discovered, trumping more palatable musical codes and dissuading us from treating electronic music, or any genre-stamped style matter, with rote attention. Includes a download code."



STL: Magic23 12" (SOME 023EP) 14.00
The STL project elevates you again on another lovely 12". With four tracks and two bonus loops, it is the continuation of the Vinyl Series in deep Something style, with artful, moody beats made by Stephan Laubner. Coming from a hardware approach, all output is channeled via oldshool equipment and analog devices, and works something like telekinesis. On Something Vinyl Series 23, the magic journey keeps going on with psychelicious tracks ranging from downtempo to effective deep house cuts. Comes with a DIY-styled cover and is as always only available in limited quantities.



ELON: Stab the Slab 12" (SOUVENIR 062EP) 14.00
Elon has been a key asset in shaping New York's vibrant underground music scene. Since his first release in 2006 on Made to Play, Elon has produced several successful EPs and remixes on labels such as Get Physical, Clink, Dumb-Unit and Metroline. His releases have received global support which led to the launch of his own imprint, ReSolute Label in 2011. On "Stab the Slab," Elon has laid down layers of pitch-bending cow bells, and wandering arpeggios building to crescendo. Bright chimes and energetic percussion are undercut with grooving bass lines that venture to the deeper, darker side of his sound.



FAMILY FODDER: Monkey Banana Kitchen CD (STAUB 130CD) 17.00
Staubgold proudly presents the legendary first album from 1980 by UK underground heroes Family Fodder, for the first time reissued on CD. The CD version comes as a lovingly-assembled compilation (total running time: 79:52 minutes). It features the complete Monkey Banana Kitchen LP, the 12" EP Schizophrenia Party (1981) and the 7" singles Film Music (1981) and The Big Dig (1982), all originally released on Fresh Records. Guest musicians include This Heat's Charles Bullen on drums, guitar, vocals, percussion and viola. Wire magazine listed Monkey Banana Kitchen among their "100 Records That Set the World on Fire (While No One Was Listening)" and wrote: "A loose collection of friends and, more often than not, wanderers, Family Fodder reached their apex (or at least one of them) with Monkey Banana Kitchen. The music took the ferocity of contemporaneous British punk and scaled it way back. They also eschewed the giant pop hook, replacing it with the hoop jumping of songs in three languages, instruments played for only four seconds, harmonic call-and-response motifs and opaque but symbolic political lyrics. Multiple reprises of phrases and fragments result in a much more subtle and effective memory-tickle. I can't count how many instruments finally made it onto the album, though piano (providing much of the rhythm), melodica, sax, synth and cowbell dominate. Their integrated eclecticism is actually layer after thin layer of dub, jazz and New Wave -- peering down into this music, you detect traces of structural complexity, and the pop that's there blurs. Lesson #537 from Fodder members: participate only when absolutely necessary -- knowing when to pare down makes it easier to transcend."



VA: Disco Reggae LP (STIX 035LP) 25.50
Stix Records is a sub-division of Favorite Recordings, launched with the first official single by Taggy Matcher & Birdy & Nixon, who pleased us with two reggae-rocksteady renditions of songs by the famous Black Keys. Specializing in the exercise of producing covers with a reggae twist, the new label presents their first album, Disco Reggae. Many artists faithful to the stable of Favorite Recordings and its various sub-labels were invited for the occasion: The Dynamics, Blundetto, Grandmagneto, 7 Samurai, John Milk, and Taggy Matcher. All came and brought their respective touch to this first compilation, with, among other things, some of the rarest titles from their Big Single Records' years, but also four new and exclusive productions. Each of them delivers a great disco-reggae version of classic hits by artists as diverse as Madonna, Herbie Hancock, Justin Timberlake, The Commodores, The O'Jays, Curtis Mayfield, Harry Nilsson, and Sugarhill Gang. Whatever the genre or the period, nothing can resist their inventiveness and creativity, and sometimes their work can be confused as total originals. Everything was remastered and cut at Carvery Records (UK), known for their expertise in Caribbean and disco music. The vinyl LP comes in a deluxe version, housed in an old-school tip-on jacket.



DUBKASM: Victory 12" (DUBK 023EP) 14.50
This Dubkasm production has become a piece of roots history since its explosive arrival at Notting Hill Carnival 2012, when Aba Shanti-I unleashed it to explosive effect. Dubkasm have decided to offer it on a heavy slab of 180 gram vinyl for the enjoyment of one and all. Featuring Digistep on alto sax and Galgo on trumpet, the record takes you on a journey through dub. The majestic horns soar over a rolling drum foundation with skipping 6/8 hi-hats, celestial pads and obscure percussion. The versions are punctuated by Dubkasm's trademark depth-charge reverbs, with the raw part four featuring mysterious duduk woodwind and an onslaught of modulation effects.



DOLLKRAUT: Theme of Fukoyama 12" (TAPE 004EP) 12.50
Three cuts written, arranged, and produced by Pascal Pinkert. "Death of Sato (End Titles)" features Bernard Crochet. Artwork by Roy G Biv.


TR 271CD

LACROSSE: Are You Thinking of Me Every Minute of Every Day CD (TR 271CD) 17.00
This is the third album by Swedish indie-pop band Lacrosse. After a four-year long hiatus since album number two, the band needed new input and teamed up with Swedish producer Henrik Svensson, known for his involvement with Swedish luminaries Moneybrother, Existensminimum, Fint Tillsammans, and many more. The album was recorded in three different studios in Stockholm, Sweden during a total of two weeks, including mixing and mastering. "These songs were written between 2009 and 2012, and they were constantly changing for three years. But when it was time to press 'record,' it all came together magically. It feels like we finished the songs at just the right moment." Lots of things happened on a personal level for the band during these past three years. One member left the band, some became parents, and so forth. "The songs mirror the times we've lived in, but the general idea behind this album is unselfish love in times of extreme self-centering. The whole process was very organic, with the feeling that anything was possible. This was all thanks to Henrik Svenssons' creative genius who challenged us and our ears. He showed us that Lacrosse can be so much more than we knew before." Lacrosse has a knack for writing albums that will have you bouncing on the brightest-lit dancefloor and crying in the darkest corner. The songs on Are You Thinking of Me Every Minute of Every Day? are still bouncy and upbeat and with the characteristic dark nuance in the lyrics, but this time the whole sound has a more experimental production that brings you on a journey through time and space. "This is the best driving music I've heard in years," claims Gunther Buskies, CEO of Tapete Records. "I wish the Autobahn was longer." The fantastic food artwork is by Norwegian artist Ida Frosk. They sent ideas to each other for a bit and then she created the cover. "The title is not meant to be taken seriously. We understand that no one is thinking about Lacrosse all of the time, every minute of every day. If they are, they are not well and need professional help."



CRAZY BALD HEADS: First Born EP 12" (TEXT 027EP) 12.00
"I bought the First Born 12" from the Sounds of the Universe record shop in Soho in 1998. It was a time when I was deeply excited about the new and experimental two-step/garage records that seemed to be coming out every week and the people in the shop knew I'd want this when I came in. They told me the record had been dropped off by the kids who had made it that day and they were just selling it direct to shops. It came in a handmade sleeve with bizarre artwork for a garage 12" and the music on the record sounded incredible. In 2011 I was asked to do a mix CD for Fabric and I wanted to use the original version of 'First Born' and my remix on the CD. It seemed like a good chance to get it out there after all this time. However, we couldn't find any of the Bald Heads anywhere at first to clear the track and no one knew anything about them. Some of the original garage DJs like Zed Bias remembered the record but no one had any contact details. I now realized that this was one of the weirdest and most unknown garage records from the late '90s. Fabric managed to find one of the Bald Heads at the last minute though and the track was cleared and I was put in touch with him. I met up with him a few months later and we spoke about the idea of a reissue to give this music some more life and because the original 12" is so rare, and now this reissue is finally ready. The three tracks from the original EP plus my remix from the time that wasn't released. The reissue audio is from the original DAT but unfortunately the floppy disk with the original artwork on was corrupted." -- Kieran Hebden, 2014



Y.O.U.: Heavy Crown 12" (TSR 063EP) 12.50
A young band from Manchester, Y.O.U. ventured to Paris in 2013 to record their debut album with Tigersushi boss Joakim. Starting as a typical Brit-pop band, Y.O.U. has evolved towards a more synthetic sound that blends acoustic and electronic instruments, pop and experimental music, rock and dance. On remix duties we have Jeremy Greenspan, one-half of Junior Boys, who delivers a track with a strong Detroit/Carl Craig-ish flavor. DyE also offers his own take, delivering an epic remix that is also an appetizer for his upcoming new solo material to be released on Tigersushi.


TV 004LP

CORTEX: Pourquoi LP (TV 004LP) 22.00
LP version. Final, limited repress of 500 copies. Pourquoi is the third and the rarest album recorded by the French legends of jazz funk, Cortex. Trad Vibe Records presents a new edition, using the original master tapes. Pourquoi was initially recorded in 1978. It sounds like a new side of Cortex: songs are mainly composed around the voice and keyboards of band leader Alain Mion, who also played bass lines on synthesizer. Also, the band gave up live recording to use the beloved Stevie Wonder/Quincy Jones technique of "re-recording." But, in spite of these changes, their groove remains as spontaneous and powerful. The band collaborated with great backing vocalists and other session musicians, such as the great Italian trumpet player Giulio Didio, who performed the funky horn arrangements. There is plenty to enjoy on every track: the ending chorus of "Sans Toi" (which was written by Alain Mion for his wife, Mireille, and is probably the flagship track of the album) comes with a brilliant Rhodes solo that is one of the most emotion-loaded moments of the recording. Meanwhile, "Le Visionnaire" resounds with disco echoes and "Pourquoi" dips into melancholy. "Pauvre Star" rides high with its clavinet bass and drum rhythms, recalling George Benson. A favorite of funk collectors and French jazz lovers for years.

TV 010LP

CORTEX: Vol. 2 LP (TV 010LP) 22.00
LP version. Limited pressing of 500 copies. Vol. 2 is the second and rarest album recorded by the legendary Cortex, the obscure French jazz and funk group that's been a favorite of collectors for years. Originally released in 1977 and reissued last in 2002 by Follow Me Records, it's now back in stock in a final limited repressing of 500 copies, reissued by Trad Vibe Records under official license from band leader Alain Mion. It really is an absolutely killer album, filled with dope jazz-funk tracks. Unlike their first album, it's all instrumental (save for a few chants on "Poxa"), and it leans even more heavily on the groove side, in a funky Blaxploitation kind of way. The group's got a strong fusion-driven groove on this set -- with plenty of tight drumming, hard riffing, and spacey keyboards that give the tunes a nicely soulful finish. The best tracks are actually the mellower ones, which have a nice use of space and sound -- creating strong little patterns of groove that stand out from the rest of the tracks. Lots of work on Fender Rhodes, mini Korg, Hammond, and clavinet -- and titles include "Poxa," "Datura," "Regina," "Mister J," "Efficace Swing," "Oh Lord," and "Devil's Dance."



PRESCOTT/JAHYU, ADAM: Shang Kuan Cheng/Chuno Kinte 10" (TRIGRAM 002EP) 12.50
Steppas Records introduce the second installment of the Eight Trigram series. Trigram 02 introduces Nottingham's Adam Prescott and German/Korean producer JahYu. Prescott is well-known for his roots-inspired dubstep, having worked with artists such as Kenny Knots, Radikal Guru, Dub Pistols, Linval Thompson, and more. Prescott reveals the deeper and darker side of his productions with "Shang Kuan Cheng." JahYu returns to Steppas, unleashing a heavy steppers take on the classic Kunte Kinte riddim, already being represented by bass-heavy soundsystems around the globe. This super limited edition 400 press is mastered by renowned mastering veteran Beau, housed in the reverse-board Trigram house bag.



NANETTE, SHIRLEY: Never Coming Back CD (TSCD 025CD) 16.00
"In the early seventies, Hank Swarn and Shirley Nanette collaborated on a project called Never Coming Back. Swarn had been on the road for five years, lending his guitar-backing talent to Earl Grant and his band. While on tour, he wrote some tunes that were ultimately released on the Never Coming Back album. Al Nanette approached Hank about putting together a record with Shirley, who was also keen on getting in the studio. Luckily, Swarn already had songs to bring to the session. With the support some talented local musicians, the album was recorded -- mostly in one or two takes -- in a little over a week. Unfortunately, the album saw little exposure. Needless to say, this tremendous effort by Nanette, who continues to sing and perform in Portland, has touched the hearts of many who've recently heard the album for the first time."


NANETTE, SHIRLEY: Never Coming Back LP (TSLP 025LP) 20.00
LP version.


UY 078EP

VA: Upon You Diary No. 3: A Selection Compiled by The Cheapers 12" (UY 078EP) 12.50
As promised: after The Cheapers successfully launched the Diary III compilation, here comes the best of it on vinyl. It wasn't easy to pick out four tracks out of 17 strong ones. Chris Wood & Meat have driven very fast into the ring with their track "Slow Down," and there's also the cuddle-house sound from Madmotormiquel on "Something Special." Magit Cacoon also screamed to be pressed onto black plastic with "Winds of My Mind." Last but not least, the record is completed with The Cheapers' "Memories."


VA 053EP

QUANTUM ENTANGLEMENT: The Effects Can Last Forever 12" (VA 053EP) 14.00
"Between my studio in Berlin, Fin Greenall's (Fink, Sideshow) studio in Brighton, and various studios, hotels and airports around the world, [this] project has finally taken the shape of Quantum Entanglement. Two separate worlds linked by friendship and a feeling that goes back to those early days of ambient, dub, chess, and incense, now made possible by the Internet. Files, old tracks, samples, and words are flying back and forth, eventually forming two versions of a song. "Heads" and "Tails." Question and response. Move and counter-move. The game has begun." --Lee Jones (Hefner, MyMy)



KOMEDA, CHRISTOPHER: Rosemary's Baby Original Motion Picture Score LP (WAXWORK 002LP) 31.00
"Waxwork Records presents Christopher Komeda's score to the 1968 horror classic, Rosemary's Baby. Remixed and mastered for vinyl from the original master tapes, this special release is the most comprehensive presentation of the film's score to ever be pressed on vinyl. Rosemary's Baby comes on 180 gram clear vinyl. A limited variant of 500 randomly inserted units will be available on black and crystal clear haze vinyl. LP package details include audiophile-grade virgin vinyl housed in a heavyweight old-style tip-on gatefold jacket with satin finish and spot UV gloss. A 12" x 12" art print of the album cover including an essay by Jay Shaw will be inserted into each package. In depth liner notes and unreleased production stills are also be included."



KIANI & HIS LEGION: Grey 12" (WPH GREY-EP) 12.50
Belgian talent Kiani & His Legion (aka Thomas Neyens) has his very own distinct sound. Totally Kiani and also totally WPH. Kiani & His Legion should have already caught your attention with his free Records & Culture vinyl in WPH's V.I.P. Series and he was also responsible for "Legions of the East" on the recent WPH Summer Special 2013. Being a vinyl lover himself, it seemed fitting that WPH release his full EP debut on vinyl-only, containing four tracks that will show you the full spectrum of his house music universe -- melody, breakdowns, surprise and emotion.

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