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Forced Exposure New Releases for 3/17/2014

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New music is due from John Matthias, Silver Fox, Madlib & Freddie Gibbs, and Vermont, while old music is due from Gregory Isaacs, Jean-Claude Risset, and Liquid Smoke.


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VA: Rumori Alla Rotonda CD (NMN 031CD) 19.50
2000 release. Live recording at the Rotonda del Pellegrini, Milan, January 21st, 1959 featuring John Cage, Morton Feldman, Juan Hidalgo, Leopoldo La Rosa, and Walter Marchetti. Among all the events involving John Cage during the long stay in Europe that followed his controversial appearance at Darmstadt Ferienkurse in September 1958, the concert he held in Milan on January 21st perhaps represents a less well known episode. Featuring Cage's intervention both as composer and performer of one's own work as well as of two piano pieces by Morton Feldman, the concert at Pellegrini's Rotonda may be considered the first event of experimental music in Europe in which the presentation of American and European composers consciously acted on an equal aesthetic horizon. Both the set of pieces in the program and the peculiar environmental frame of the concert emphasized the radical aesthetic conceptions of the compositions performed. Cage's choice was highly representative and relapsed into those works of his recent catalog that represented conscious neutralization of compositive intention. "Duo" opens the concert, consisting of parts for flute and viola excerpted from his celebrated "Concert for Piano and Orchestra." Cage then completed his participation in the concert, besides performing some unspecified numbers from "Music for Piano," also performing two of the three "Piano Pieces" with which Morton Feldman, in 1954, was converted to adopt the aleatory graphic notations. Juan Hidalgo, Walter Marchetti, and Leopoldo La Rosa premiered six compositions purposefully written for this occasion, employing aleatory procedures for the first time in their works. Both Hidalgo and Marchetti wrote a trio and a quartet firstly following a common notational stylization, which provides the spatial distribution of a prearranged, but reversible sequence of intervals within a flexible temporal grid, structured on a time limit. Exploiting the circular architectonic structure of the concert hall, all the performers were spread abroad among the audience, with the piano exactly in the center. The concert at Pellegrini's Rotonda was characterized by the performance of works that accepted the indeterminacy as their own operative premise, but also for having been a collective event in which the individual contribution of each composer mutually acted as autonomous elements. The edition includes a 36-page essay with photos and full documentation of the event.


NEUHAUS, MAX: Zyklus CD (NMN 054CD) 19.50
2004 release. Four previously unreleased realizations of Karlheinz Stockhausen's "Zylus" (different recordings than the one featured on the Columbia LP Electronics and Percussion -- Five Realizations. Recorded 1959-68. The term "New York School" refers to a circle of composers. "Zyklus" was written in 1959 and is one of the first solo pieces to utilize such a large number of percussion instruments (twenty-one). When Max Neuhaus first started to play this piece there were only three percussionists in the world who could play it. Stockhausen's idea was that a performer would play the piece spontaneously, making its complex decisions on the fly. No one played it this way; it was too difficult. Everyone wrote out his own version of the score and played from it. Coming from the world of jazz, Neuhaus decided he wanted to take up the challenge of playing it spontaneously. At that time percussionists generally played only one instrument at a time. Playing 21 simultaneously was unheard of. Neuhaus quickly realized that the only way to do it, in fact, was to think of all them together as just one instrument, one multi-surfaced bank of timbre. Neuhaus decided to travel to Europe and go to Darmstadt where Stockhausen was teaching. He wanted to talk to him about the piece. Stockhausen was interested in the idea that the 21 instruments had to be physically formed into one instrument and that so much work had been done already. So he offered Neuhaus the big opportunity to perform "Zyklus" on the first American tour. Stockhausen came over to New York to hear Neuhaus play, but he wasn't satisfied with the improvisation version. It was too long. Neuhaus was determined to teach himself how to do it for this tour. He had another six months. He got down to seven minutes; and he was still improvising, not writing it out. He was ready to play that piece, and played it like nobody had ever heard it before. Each of these four recordings is a document of a true solo performance, one person and two hands, with no additional live help and no overdubbing. This CD also offers four different kinds of beauty, four proofs that the latitude that Stockhausen allowed, when capitalized on by a performer with creative imagination, could validate Stockhausen as a composer and an entire aesthetic of freedom and control. This edition includes a 12-page booklet with original photos of both official concerts and performances for invited audiences, Max Neuhaus' own comments on the original score and an editorial note by John Rockwell.


MODERN SHIT: Will Make You Ill CD (TES 071CD) 19.50
2008 release. Alga Marghen presents Modern Shit, a very singular chapter in the Amos/It's War Boys/Milk From Cheltenham/Homosexuals history. Directly taken from the original It's War Boys catalog, here is one of the most obscure sonic works of the early 1980s, Modern Shit! First "issued" on tape, this work circulated only privately among the close friends of the label and was never officially distributed. Actually, it represents one of the most intense and experimental outputs of this creative London period. The idea was to create contemporary "non-stop" music, vaguely in emulous contradiction to products by people like Cerrone and Biddulph (1970s disco queens). Lepke and Amos, the two minds behind this project (and 2/3 of the Milk From Cheltenham adventurers), each constructed a half-hour of near-continuous non-stop music using only the foulest materials. In those days they had their 8-track studio in a moldy basement below Brixton Road, South London, and they happened to occasionally record some awful wannabe pop bands. It was a truly horrible experience, but with a good side. Almost as soon as the idiots left the studio, Lepke and Amos would start re-mixing their music, often stealing and sticking it (suitably mangled) onto new tracks, the basis material for Modern Shit. The CD is presented in a new digipack edition with full-color cover.


MONOFONICORCHESTRA: Musicdesign CD (TES 075CD) 19.50
2010 release. "Monofonicorchestra is not a disc recorded in mono / is not ambient music / is not funky / is not experimental music / is not funny / Monofonicorchestra is not avant-garde / is not pop / is not op / is not Dada / Monofonicorchestra is not fashion / is not hard-core / is not horror / is not Frigidaire." --Maurizio Marsico, at 10h20 on Wednesday, December 23rd, 1981.A country: Italy. Several countries: Italies. Late '70ss, early '80s. The ether of punk is in everyone's nose and disco's virus invades even the most reticent legs. New-wave for sure rules the underground. Neo-dandyism attitude applied to the Italian post-rock era; Dolce Vita with a dreamed revolution in the background. United Countries of Italy! Bologna and the Confusional Quartet, Gaznevada, The Stupid Set. Not to forget the Naif Orchestra from Florence and all trans-border adventurous navigators such as Piermario Ciani, Vittore Baroni (Lieutenant Murnau, Trax), the members of the musical theater Magazzini Criminali. The vivid eclecticism of the above-mentioned is to be compared to the aesthetic manifesto of the AtaTak crew from Düsseldorf (Der Plan, DAF, Tödliche Doris, Pyrolator), or the Vanity label Japanese explorers (Tolerance, Aunt Sally, Normal Brain, BGM, RNA Organism). These bands were not leading the Italo disco movement, neither were they really punk or industrial nor waving cold-wave banners. They went off into the industrial darkness to assert humor, may it be black, as a revolutionary weapon throbbing over the ruins of radicalism. The dreams have moved towards conscious needs: the desperate hope of having fun. And so is the Monofonicorchestra. The music of Maurizio Marsico is repetitive music. Mi. La. Short pieces 1, 2, 3, 4, 5... Every record Marsico makes is a conceptual sequence of drawings. Casual, soundtrack-like Casio-jazz cartoons. There is nothing to decipher here, it's all given already, all referenced. The appearances are pleasant and you get trapped in the depths of some cynical easy listening rhizome where ZNR merges with Steve Reich and Blue Gene Tyranny. Indeed, it has something of the Lovely Music elegance. Housed in a full-color digipack sleeve. Also including a 12-page full-color booklet with original graphics and photos as well as liner-notes by Samon Takahashi.


AU 5035CD

EUCLID: Heavy Equipment CD (AU 5035CD) 17.00
Comprising former members of The Cobras and Lazy Smoke, this hard-hitting New England quartet formed in 1970, and featured no fewer than three lead guitarists. Their sole album consists of bludgeoning post-psychedelic hard rock, and found few fans in its day, but it's highly rated today, and routinely changes hands for hundreds of dollars.

AU 5036CD

YESTERDAY'S CHILDREN: Yesterday's Children CD (AU 5036CD) 17.00
This hard-rocking Connecticut quintet comprised vocalist Dennis Croce, his brother Richard on rhythm guitar, ferocious lead guitarist Reggie Wright, bassist Chuck Maher and drummer Ralph Muscatelli. Though they'd been together since 1966, the quintet didn't have an album out until September of 1970, and by then their brand of raucous psychedelic rock was out of fashion -- but in recent years their reputation has grown and grown.


AUS 1458EP

DEMAC, TOM: Linda's Theme EP 12" (AUS 1458EP) 14.00
Tom Demac returns to the Aus family fold with an EP brimming with bass-bin bungling energy. Tom is a restless producer, always trying to outdo himself with each release. The need to challenge himself drives a free-flowing creativity that is deeply embedded into the wide and always-unexpected palette of sounds and tempos, found in his music -- distinctive bass-heavy grooves, informed composition allied with a sharp-edged ear, and never lacking in a cheeky, natural sense of humor.


BEC 5161673

METRONOMY: Love Letters LP+CD (BEC 5161673) 26.50
Limited edition deluxe vinyl version of Metronomy's highly-anticipated fourth album. On Love Letters, Joseph Mount has tried to do fresh things in an old-fashioned way, using richer methods of recording and injecting them with tight electronics and experiments in sound. Instead of constructing his music on computers, he used classic, slower techniques that forced him to take his time in the best possible sense. By recording onto tape, he was also forced to think about his music more purely, constructing it with more finesse. Melancholy still lurks in these hooks; loneliness still gleams along their edges. These are songs that carry you up and down in tides of feeling, in waves of pure sound. They also inject modern situations with timeless sentiments. "The Upsetter" is about having no reception when you want to send a message to someone special, for instance, and about the memory of listening to music when you were young. "Monstrous" is about holding on tight to everything you love, in a world you don't understand. "Reservoir" is about a place near where Mount's parents live, where glittering keyboards mimic "heartbeats drifting together." "Month of Sundays" shimmers its emotions through bright, shining guitars. All show the warmth, richness and depth being added to the Metronomy sound. New musical spirits inhabit this album, too. "I'm Aquarius" was inspired by Diana Ross and The Supremes' 1969 album, Let the Sunshine In, full of psychedelic atmospheres and gorgeous backing vocal shoop-shoops. Mount nearly left the song behind because he thought it didn't sound like him, before he realized his style was naturally growing and changing. This was also the time to start having new adventures, he quickly realized. "Boy Racers" came next, the spoken-word song he'd always wanted to write (but then ditched the spoken-word part because "it didn't sound very good"). Then came "Call Me," driven by glittering organ lines, and the exhilarating title-track, with a four-to-the-floor beat, skipping between Motown and Northern Soul. These songs go places Metronomy have never been before, and they do so spectacularly, all on a record where old friends take our hands, and lead us somewhere new. Love Letters is a classic electronic pop album which sends its message straight to your heart. Deluxe gatefold with hot colors & multi level embossing (front & back). 180 gram audiophile pressing; includes the album on CD. 50 cm x 35 cm poster-insert and printed innersleeve.

BEC 5772644

BUTLER TRIO, JOHN: April Uprising 2LP (BEC 5772644) 26.50
2014 repress; 2010 release. Limited French edition, includes two bonus tracks not available elsewhere. John Butler began his career as a musician in the streets of his country, Australia. Independent since his beginnings, his career was built from his own label Jarrah Records. With April Uprising, a brand-new chapter opens for the group: "The preparation for the recording and the repetitions were a true pleasure. I would say that the sounds, the general spirit and the energy of this album are summarized in these words: free, melodic, funky, powerful and rock. There is unquestionably more aggressiveness in this album than in the precedents. It is probably because of our superior engagement and conviction in term of writing and production. With Nicky and Byron, I found a degree of complicity which really serves the songs in all their aspects."


BH 006EP

EKMAN: ACID7 12" (BH 006EP) 16.00
"A magnificently malevolent two-hander. The Ekman is a furiously maxed-out pile driver; the Vereker is more thing than machine, massive and roiling, scorpion-tailed and owl-eyed. The pulverizing besiegement. The gory carnage. Proper warehouse bangers, with a vengeance."



WEEKEND: The '81 Demos 12" (BLACKEST 026EP) 19.50
Blackest Ever Black is pleased to present the first vinyl edition of the legendary demos recorded in 1981 by Weekend -- the trio of Alison Statton, Spike Williams and Simon Booth. The four demos were released as a stand-alone CD by Vinyl Japan in 1995, and included as bonus tracks on Cherry Red's CD reissue of La Varieté; however, until now they have never appeared on vinyl. Licensed from Cherry Red, The '81 Demos is a 12" limited to 1,000 pieces, mastered by Matt Colton at Alchemy and housed in an LP sleeve printed on reverse board stock, with printed inner featuring liner notes by Spike Williams, Alison Statton and Simon Booth.



CHEVEU: Bum CD (BORNBAD 058CD) 12.50
Cheveu has now reached album #3, and since they totally fucked up the first two steps, there's nothing surprising in seeing them come back at full speed on a countryside road stuck in a beat-up van on fire, with Bum, their most incredible piece of work to date. After a quick introduction (the promising but sketchy Cheveu [BORNBAD 010LP]), the Parisian trio blew up on the world's face with their second LP, 1000 (BORNBAD 032CD), a record thrown at the bored masses in full ragged glory. Cheveu now enters 2014 heavy-hearted and red-eyed, just like those wrecks of humanity blinded by the lights at closing time, their misery, bad skin and unachieved schemes exposed before dawn. Cheveu built its third LP on the ashes of those unholy hours, around the majestic "Polonia," a track on which David Lemoine recites a few lines from Bertrand Blier's Buffet Froid with the set expression of a man empowered by the fact he just shit his pants, while Etienne Nicolas and Olivier Demeaux slowly unwind the rapturous scenery of a theologian Western. The song is beautiful, grotesque, heart-rending -- just like a scene out of Jean Ray's Malpertuis backed by a funeral choir of angel-witches, and is definitely one of the most amazing things you'll hear this year. Bum, just like "Polonia," is an inner trip, an odyssey bordered by the walls of an antique mansion, full of baroque embroidery and padded club chairs, the perfect aural counterpart for the paintings of Rousseau. Cheveu's third record is full-on excess and absurdity, but is also much more legible and effective than their previous efforts. This time, the band opted for a much more live-based, organic and fully-produced sound, replacing 1000's messy cut-ups and Cheveu's shitgaze blur by throbbing organs and wall-of-sound choirs. The result : 10 tracks drier and sharper than anything Cheveu has done before, definitely out-of-this-world but elegantly mannered.


BB 153CD

"Improvisation was and still is the magic word in jazz and live electronica. Transforming spontaneous ideas in real time, listening and reacting immediately to one another -- these are the signs of truly vibrant collaboration. If the musicians can also master the tightrope between artistic freedom, discipline and virtuosity, then nothing else can really go wrong. The session is destined for success. Other Places was recorded and mixed in four days. Three musicians: Dieter Moebius, Mani Neumeier and Jürgen Engler, and sound engineer Chris Lietz, their hearts and souls beating as one -- as they must have done for them to score a bull's eye like this. All the more remarkable, considering how different their musical backgrounds were. The unusual pulse of the music is a combination of synthetic rhythm patterns and Mani Neumeier's dexterous drumming. This interaction alone is enough to spark an almost magical, ritual atmosphere. But there is more: Moebius and Engler develop a fascinating electronic world on this rhythmic film, cacophonous on the one hand, harmonious on the other. Sonic spectra which swathe the listener in shimmering clouds and coruscating crystals. 'Our aim is to create an atmosphere,' as it says in the liner notes of the original 1996 release. And what an atmosphere! Dark, but not murky, outlandish without being weird. Other Places is a terror-free secret, an aural experience par excellence, one that melts in your mouth. Let us remind ourselves once again: this is improvised music, created in real time. Four days of genuine inspiration." --Asmus Tietchens

BB 154CD

MOEBIUS/NEUMEIER/ENGLER: Another Other Places CD (BB 154CD) 17.00
"17 years after Other Places, a sophomore album from these innovative musicians. Dieter Moebius (Kluster, Cluster, Harmonia), Mani Neumeier (Guru Guru) and Jürgen Engler (Male, Die Krupps) got back together to carry on exactly where they left off in the 1990s. The long break has done no harm to their latest music, on the contrary -- as is clearly audible -- it has taken them to another level. The way they react to each other as they improvise, the powerful, subtle rhythms and the use of digital sources, all the way to completely abstract sound collages, amount to a quantum leap as seldom heard in electronic pop music. Another Other Places does not reheat old recipes of success. Moebius, Neumeier and Engler create something new without straying from their distinct styles, nor do they pander to the zeitgeist. This album simply brings to fruition something which has been ripening in their musician personalities for a long while. And again, the result does not sound artificial nor too cerebral. Like its predecessor, Another Other Places is characterized by an effortless lightness without once sounding banal. No sign of dull routine, either, a potential pitfall for experienced musicians. Instead, the listener can delight in musical and sonic surprises minute by minute. There is no space in the eccentric triumvirate's cosmos for hand-me-down patterns or musical stencils. So, the album is an adventure, of course, which might be a little confusing at first, but if you are open to the journey, you will find yourself able to share the musicians' joy of discovery. Perhaps Moebius, Neumeier and Engler will record a third, even more adventurous album one day. Let's hope so." --Asmus Tietchens

BB 155CD

TIETCHENS, ASMUS: Nachtstucke CD (BB 155CD) 17.00
Nachtstücke owed its publication to former Tangerine Dream member Peter Baumann, who was asked by the French label Barclay/EGG to produce three albums focusing specifically on German electronic music. He was working with Hans-Joachim Roedelius at the time, who had been given a few Tietchens tracks on cassette. When Baumann heard Roedelius play them in the studio during a break in proceedings, they sparked his interest and he met up with Tietchens some time later; they agreed that he would go over the material again and edit or abridge it in places. A release date was penciled in for the latter part of 1978. The commissioning label, however, doubting the commercial potential of the project (Tietchens: "How right they would turn out to be"), postponed the release and had to be reminded of contractual commitments on more than one occasion. When the Nachtstücke LP finally appeared, almost two years later, it bore the unauthorized subheading "Expressions et Perspectives Sonores Intemporelles," and featured a completely different cover. Originally, the album was to depict a leathery embryo with a laser beam shooting through its eye (Tietchens: "I liked the idea of starting with something so gruesome"), but now three blurred figures danced on the sleeve: "I was pretty disgusted when I opened the package containing my copies," Tietchens reports, taking the re-release as his cue to create completely new artwork. Nachtstücke has surprisingly little in common with the pseudo-pop of the ensuing Sky Phase, but shines a light further ahead to the gloomy, spectral aspects of Tietchens' later works. Created between 1975 and 1978, the Nachtstücke pieces reveal a deliberate approach, avoiding dissonance and discord wherever possible. Still, the release saw the album "fall right out of time" as Tietchens frankly admits: "Gentle rhythm and harmonic beatitude did not suit the concert of advanced pop music as it was then being played." Nevertheless, the Nachtstücke tracks remain important to the artist, as they document his early encounters with the Moog Sonic Six and Minimoog. With this in mind, the material is presented here in its original, unadulterated form.

BB 156CD

TIETCHENS, ASMUS: Der fünfte Himmel CD (BB 156CD) 17.00
Between 1981 and 1983 Asmus Tietchens released four albums on the Sky Records label, fusing rhythmic set pieces and off-kilter sounds into gaudy escapades of saccharine artificiality. The "pseudo-pop" epithet reflected their frequently ironic air. All four records have been reissued by Bureau B in their original form. What remained may be found on this collection. Der fünfte Himmel ("The Fifth Sky") retrieves those pieces which were denied a place on the original LPs, although clearly cut from the same contextual cloth. Quality control was not behind their relegation to the archive, but rather their eccentric and, at times, outlandish character. "Futurum drei" is patently a bridge to Tietchens' debut album Nachtstücke, recorded back in 1978, while "Soirée" and "Zum Tee bei Frau Hilde" were originally -- in a completely different guise -- designed to form the basis of the Experimentelle Geselligkeit album, ultimately shelved. The titles themselves are interesting: "Würgstoffe" ("Wirkstoffe") and "Niedermacher" ("Liedermacher") are further evidence of Tietchens' penchant for wordplay, even though the composer today admits that these rather corny jokes no longer seem quite so witty. In addition to this promenade through the outskirts of the "Zeitzeichen phase" (or "Sky phase"), Der fünfte Himmel includes tracks which could have constituted a further album on Sky Records. Tietchens was working ahead of himself as his contract covered just four albums and sales were in sharp decline. Moreover, his musical direction had shifted to accommodate a far less rugged sound and a broader range of musical tools. If these pieces share a link to the strategies of previous works, it is a tenuous one. This would probably have been enough in itself to preclude a continuation of the series, as the material veered so far away from the Sky label line.

BB 160CD

PYROLATOR: Pyrolator's Traumland CD (BB 160CD) 17.00
In 1986 Pyrolator moved into a sparsely furnished apartment in Berlin. This is where he wrote the tracks for the album. "I was fascinated by dream research at the time, even visiting seminars on the subject. I wanted to capture dreams in music -- not esoterically, but in a scientific, analytic manner." Pyrolator thus set his alarm to ring at the same time every night in his Berlin pad, the somnolent sonic-explorer-turned-dream-chaser noting down what he remembered. Once he had collected enough material, he headed back to the studio in Düsseldorf. Traumland is the Pyrolator work which comes closest to a band album. Saxophones, trumpets, drums, yes, even real guitars! Jörg Kemp and the New York singer Susan Brackeens took over vocal duties. How did that transpire? Pyrolator: "I had produced a few songs for Susan at the Ata Tak studio, we got on well and I liked her voice. The songs were classic pop tracks, more or less, so it made perfect sense to invite Susan back for Traumland. As a rule, my pop songs usually went to my band project, Der Plan. However, working with Susan motivated me to give them a try on a Pyrolator record. Jörg had worked with me on almost all of my solo albums. We were good friends, and we also released records by his band, Lost Gringos, on Ata Tak." If the front and back covers of the album (surrealism on one side, a band picture on the other) are diametrically opposed, then the music on Traumland is no less diverse: spheric instrumental tracks confront jazzy pop songs, reminiscent of English pop à la Scritti Politti or even ABC. "The critics liked Traumland and good reviews appeared almost everywhere, but the public reception was somewhat less euphoric. This was not the music they had expected to hear. People wanted something more experimental from me," Pyrolator recollects. Musikexpress magazine proclaimed it "springtime for consciousness," which sums it up nicely. Includes four bonus tracks.

BB 163CD

SCHNITZLER, CONRAD: Congratulacion CD (BB 163CD) 17.00
"Conrad Schnitzler is as unpredictable as he is true to himself. If this sounds paradoxical, he reconfirmed the assertion in 1987 with an album which posed many questions and offered few answers -- his music more extraordinary than ever. The indefatigable Schnitzler still leaves anyone listening to Congratulacion today rather baffled. Those well-acquainted with his music might search in vain for familiar landmarks. Instead, new and unexpected features can be heard, unlike anything in Schnitzler's previous works. The reason for the album's uniqueness lies in the technical advancements of electronic music-making. Schnitzler never shied away from any kind of innovation. On Gold (BB 150CD/LP) and Silver (BB 149CD/LP) he had masterfully deployed a new Palm synthesizer. Congratulacion saw Schnitzler introduce the Yamaha CX 5, a combination of digital and analog sound generation, lending the album its distinctive quality. This machine enabled him to program the most complex of rhythms and strange harmonies and, if necessary, completely unforeseen melodies. '21.8.86' (track 8), for example, could easily have been composed by his old Kluster colleague Hans-Joachim Roedelius. This must have given him, this oh-so rigorous concept artist, no end of pleasure. Why else would he have composed 22 short pieces with the aid of the CX 5 instead of fewer, lengthier tracks?" --Asmus Tietchens; Features six bonus tracks and an essay by Asmus Tietchens.



DE LA CALLE, EDUARDO: The Motorglider EP 12" (CADENZA 092EP) 14.00
On The Motorglider EP Spanish DJ and producer Eduardo De La Calle aims straight at the emotive jugular on "Somewhere in Your Arms." From its dusty opening bars, the track opens up with heart-tugging melodies and pitch-bending synths, the machines tweaking and turning while the micro grooves underpin the track. "Altar De Sacrificio" goes fathoms deep, coming across like some John Carpenter film score, the heavy arped bass-line creating a real dense mood, only to be broken by dramatic and melancholic stabs. "Broken Bonus" features filtering drums and blankets of lush pads and faint keys condensed into a simple 2:30 skit.



IMARHAN TIMBUKTU: Akal Warled CD (CLE 008CD) 12.00
At dance clubs and private parties in Northern Mali, Imarhan Timbuktu had provided much of the grooving soundtrack to life there over the past 10 years. Local favorite and featured artist at the legendary Festival au Desert along with their sister group, Tartit, Imarhan Timbuktu have toured Europe and North America, bringing the contemporary music of their culture to world audiences. Grounded in traditional Saharan repertoire, Imarhan Timbuktu developed their unique sound to clearly represent an authentic Tuareg contemporary expression in music influenced by the sounds of the world. This is a connected generation. You'll find them on Facebook, Twitter and YouTube. You will find them engaged with local issues as those issues have become world issues. As witnesses to the incredible political forces shattering their world, Imarhan Timbuktu create riveting music. Their electric instruments mix with traditional hand drums. The chorus breathes notes of nostalgia, loss, celebration and pride. The many experiments and collaborations with which the group members have been involved over the years have moved this Tuareg desert blues to fresh coordinates. The group's leader, Mohamed Issa Ag Oumar El Ansari, with his searing guitar and clear voice, takes Imarhan Timbuktu into a swirl of rhythmic variations. Backing him is younger brother, Ousmane Ag Oumar El Ansari, who solidly slashes rhythm lines across the entire aural universe of their music while underneath, the insistent tinde hand-drumming of their sisters, Fadimata Walet Oumar and Zeinabou Walet, establish the foundation under it all. Their contrapuntal propulsion and vocal shouts drive the cadence forward. Add bass and calabash, and the group brings everyone to their feet. This is dance music. It is protest music. It is music that affirms a culture under siege. Imarhan Timbuktu represent a new wave of Tuareg music, proud of their heritage and bravely looking forward to the future. Imarhan Timbuktu is Mohamed Issa Ag Oumar (lead vocal, lead guitar); Ousmane Ag Oumar (rhythm guitar, backup vocal); Fadimata Walet Oumar (tende hand-drum, backup vocal); Zeinabou Walet Oumar (tende hand drum, backup vocal); Baba Traore (bass); Alpha Ousmane Sankare dit Hama (calabash).



GALLON DRUNK: The Soul of the Hour CD (CLOUDS 062CD) 15.50
After the critical success of their acclaimed album The Road Gets Darker From Here (CLOUDS 037CD/LP) from 2012, Gallon Drunk have returned to their producer Johann Scheerer's Clouds Hill studio in Hamburg. Together with new bassist Leo Kurunis, Gallon Drunk have created their most exciting, passionate and groundbreaking work to date -- The Soul of the Hour. A howling celebration of survival and creative drive against the crushing weight of day-to-day existence, The Soul of the Hour finds Gallon Drunk pushing ever further into previously uncharted musical territory for the band. With an emphasis firmly upon hypnotic, locked-down grooves, free-flowing instrumental passages and all manner of European inspirational music that courses through the band's collective bloodstream (singer/guitarist, keyboard player James Johnston was a member of Faust), Gallon Drunk have stretched out their music into thrilling and unfamiliar shapes. Though always present in Gallon Drunk's music, the band has thrust the leftfield aspect inherent in their sound to the fore -- with exhilarating results. An emphasis upon a more focused, disciplined attack has fashioned a compelling musical wall of sound of considerable power, melancholy and fury. The Soul of the Hour offers heartfelt songs of dread, sadness, love and anguish, ever reaching for the transcendent moment within the incessant race against the passage of time. Opening with the epic "Before the Fire," which lets the tension and momentum build over a mesmeric nine minutes, the album then explodes with the wild, brutal euphoria of "The Dumb Room," and the relentless hypnotic Krautrock of "The Exit Sign," continuing with the album's immense title-track, the unsettling tension carried by Johnston's haunting vocal before erupting into a wild explosion of Ian White's relentlessly heavy drums and Terry Edwards' glorious brass section. Throughout the album, Leo Kurunis proves key to the new sound of the band, as evidenced in the subtle and sympathetic playing on "Dust in the Light," where rolling toms carry an uncharacteristically fragile upper register vocal from Johnston. Without doubt the most beautiful song the band have put to tape, its ghostly feel is reminiscent of Big Star's Third. Penultimate track "Over and Over" is washed over by waves of synthesizer -- an immense and dream-like song of anguish and yearning. Finally we reach the album closer, "The Speed of Fear" where James Brown meets motorik European psychedelia, insistent vocals and extended, hypnotic freak-outs building to a crushing final chorus. The Soul of the Hour marks Gallon Drunk's return in a style of its own, and with an album of true sonic brilliance.



VA: Compilation 02 Sampler 1 12" (CORR 024EP) 12.50
Correspondant's sophomore compilation features new and unreleased tracks from the label's artist coterie, plus some new recruits. Compilation 02 develops its own unique breed of retro-futurism, with idiosyncratic, dancefloor-driven sound inspired by nu and cosmic disco, '80s wave, Roland-303 acid, and dark atmospherics. Features emerging Paris duo Hofbahn, who introduce unearthly atmospherics and a sinister bass line for a deep, dark warm-up. Danny Benedettini's retro-funk is inspired by punk rock and cult horror film icon Lloyd Kaufman, while "Synced Below" channels Massimiliano Pagliara's obsession with analog synths and techno futurism. Geoffroy Mugwump & DC Salas deliver hard-hitting EBM/industrial funk and modern disco in "Caltrops."


VA: Compilation 02 Sampler 2 12" (CORR 025EP) 12.50
For Correspondant 25, Oslo producer Andre Bratten updates the idiosyncratic sounds of '80s synth-pop pioneers into contemporary day-glo analog dance music with "Trommer og Bass." Carreno Is LB displays his penchant for irreverent, profane electronic music. The Asphodells is a dub- and disco-based collaboration between Timothy J. Fairplay and Andrew Weatherall and "Prejoy (Barbaric SplendourVersion)" is a scheming assassin. "One Night at Nuba" may well be a personal declaration of style and legacy for Danish producer Kasper Bjørke.



WHOMADEWHO: Dreams CD (DACD 001CD) 17.00
Scandinavian trio WhoMadeWho return with their fifth studio album, Dreams. Since forming in Copenhagen, WhoMadeWho have built a reputation as one of the most distinct electronic-indie acts on the scene, fusing elements of electronica, post-punk and psychedelica, to mesmerizing effect. Dreams is the band's most complete effort to date, personifying flawless production and instrumentation while containing a collection of songs that are as addictive and accessible as they are alternative and inventive. As a result of endless touring with peers such as Daft Punk, Justice, and LCD Soundsystem, WhoMadeWho have crafted a live set that is considered one of the best on the circuit. WhoMadeWho have also gained some notable admirers, including Hot Chip, who requested the privilege to remix "TV Friend," Queens Of The Stone Age front-man Josh Homme, who notably covered "Space to Rent" and Mark Lanegan, who covered "Below the Cherry Moon" last year. Since their first release, WhoMadeWho's sound has sharply progressed while keeping a distinct familiarity. And Dreams is set to bring fresh energy while challenging fan's perceptions of their ever-evolving sound.



JUJU & JORDASH: Waldorf Salad/Third Planet from Altair 12" (DKMNTL 016EP) 12.50
Another killer offering on the Dekmantel label from Juju & Jordash. Two long-assed winners on here. Don't sleep, get with the "Sensational Israeli Jazzmen" sound. The title "Waldorf Salad" refers to the legendary synthesizer that helped shape the landscape of clean, detailed, yet warm electronic music. The AA-side contains "Third Planet from Altair." Here Juju & Jordash redefine an anthemic journey with a more than nine-minute-long cut. It's a quick-paced, deep house affair with plenty of elegant synth work.


DV 9070EP

SLO BURN: Amusing the Amazing 10" (DV 9070EP) 13.00
"Delicious Vinyl proudly presents one of those Chris Goss productions that should make you feel like you did the first time you heard one of your all time favoritea. Slo Burn's 1996 Amusing the Amazing is now available on 10-inch vinyl (as it was originally presented). If the project is reminiscent of Kyuss, that would have everything to do with John Garcia's vocals throughout this four track outing. Or just maybe it's the fact that Goss was behind the boards for most of Kyuss' legendary releases. Whether it's as the driving force behind Masters of Reality, his contributions to Queens of the Stone Age or as the 'inventor' of desert rock, Chris Goss has made an undeniable mark on the world of rock."



EFDEMIN: Decay 2LP (DIAL 030LP) 28.50
Double LP version. Efdemin is back on Dial Records with his third full-length album, Decay, following his self-titled debut in 2007 (DIAL 010CD/LP) and Chicago (DIAL 021CD/LP) in 2010. Once again he offers a stunningly seductive stream of music written in his very own hand. After three years of extensive touring as a DJ, Phillip Sollmann took the chance to compose his third album under his Efdemin moniker while spending three months in an artist residency in Kyoto, Japan. Living next to the Kamo River, surrounded by temples, shrines and the ever-present blue mountains, he started working in the late summer, facing typhoons and intensive heat, and finished the album in the early mild days of winter. Thus mainly assembled in autumn, his favorite season of year, the 10 tracks on Decay express the paradoxical relationship between beauty and decay. The production procedure was a dichotomous one. Recording was done in his recently finished new Berlin-Wedding studio, "The Meadow," mostly on analog equipment, while the final production took place in Japan. The result is an album of intriguing rigor and a certain beauty hidden within. It marks a big step towards the deeper side of techno and lets many of his early influences in '90s techno shine through (from early Cologne minimalism, M-plant and Axis to Terrence Dixon) as well as his love for drone music. Although at a first glance it might seem that this album is a somehow more distant and less melodic than the previous output, it provides the full unique range of Efdemin's vocabulary, which he is known and loved for. Decay sounds in certain parts like a process of correction, revaluation, and re-alignment, making room for new things to come. There is beauty within decay.



When the Ensemble Dissonanzen asked Die Schachtel in 2013 to publish a massive retrospective edition of some of their most representative works to celebrate their 20th anniversary, the label knew it would be a challenge. They were -- and still are -- quite conscious of the fact that the work of an all-acoustic New Music ensemble with a heavy dose of improvisation may appear out of place within the more electronic/experimental Die Schachtel catalog, but then they listened to the music -- and all of a sudden they were glad to embark on the operation. Dissonanzen, born in Naples in 1993, is one of the most reputed and internationally-acclaimed Italian New Music ensembles. They have always carried out important work on the modern and contemporary repertoire, performing pieces by composers such as Berio, Cage, Crumb, Dallapiccola, Feldman, Henze, Ives, Kagel, Maderna, Petrassi, Rzewski, Scelsi and Stockhausen, to name a few. They regularly collaborate with many musicians, composers and artists within the framework of the concert series of the Associazione Dissonanzen. The recordings contained in this 5CD box set, curated by Ciro Longobardi and Tommaso Rossi, present the most important steps in their life, covering a period of about six years (from 2003 to 2009) and shedding a significant light on their relationship with improvisation, which spans over a wide variety of productions, from repertoire to sheer improvisation to multimedia projects (as in the case of the "post-scoring" of the Man Ray movies). The close working relationship between the players, and the emphasis placed on extremely subtle investigations of their instruments, makes these recordings an invaluable document of the life of one of the most creative musical experiences emerging from Italy, as well as an immersive and rewarding listening experience. From the liner notes: "The aesthetical key of our work consists in the meeting of different personalities, coming from diverse musical trajectories. The Ensemble Dissonanzen has always carried out very serious work on the modern and contemporary written repertoire, while engaging with various possibilities in the area of improvisation. We have always experimented in new directions, also through our collaboration with outstanding guest artists belonging to different musical areas (Cristina Zavalloni, Marc Ribot, Michel Godard, Markus Stockhausen, Adam Rudolph, Alvin Curran, Stefano Scodanibbio, etc.)."



VA: Schnitzelbeat Vol. 1: I Love You, Baby! LP (DIG 004LP) 29.00
Subtitled: Twisted Rock-N-Roll, Exotica & Proto-Beat Unknowns from Austria 1957-1965. Genre collectors (rock-n-roll, exotica, beat, garage punk) and friends of incredibly strange music will find an awesome collection here, restored to best possible sound quality and accompanied by an extensive booklet full of great stories and pictures. Comes with a 12-page LP-sized booklet, photos, and liner notes. Features artists Werner Gavac, Frank Roberts Und Die Bongo Band, Die 4 Bambis, Uzzi & Bill Grah's Olympia Band, The Hubbubs, Johnny & The Shamrocks, Franco Runa, Ferry Graf, The Austrian Evergreens, Dolf Kauer & The Charly-Combo, Errol Ribeiro & The Vienna Beatles, The Tramps, Jerry & The Cannons, Hannes Patek, and Rockie Jackson.



ECKER, KOENRAAD: Ill Fares the Land LP (DIGI 063LP) 18.00
Following on from a couple of strong releases as part of his Lumisokea duo for Opal Tapes, Koenraad Ecker returns with his most intriguing release to date, the first Digitalis release for 2014. Straddling the line between analog electronics, darkened ambience and slow techno, Koenraad Ecker recalls the colossal drone-noise of Mika Vainio and the sharpened bass frequencies of Joachim Nordwall, albeit shot-from-the-hip in a manner befitting his connection with Opal Tapes. Fourteen-minute opener "Oran" is sprawling and resolute, spread across two parts that display Ecker's compositional chops through an impressive mix of blacked-out electronics and horror-filled cello passages. Inside long, drawn out sequences, Ecker avoids repetition and beats down a tonal path where the structure of each piece is dynamic yet cohesive. Sparse beats end up in a death spiral, competing with Ecker's cello and bleak electronics that fill the empty spaces. Like the slow burn of a lit fuse, "One-Eye" crawls through layers of decay before exploding midway through into incalculable chaos. Square waves blot out difficult melodies only to suddenly disappear like a corroded hallucination while white noise builds from short crackles into cavernous rhythms.


MANNERFELT, PEDER: Lines Describing Circles LP (DIGI 066LP) 20.00
Over the past year as Peder Mannerfelt has shed the skin of The Subliminal Kid, we've only had small samples to taste of his new brand of musical sorcery. Lines Describing Circles changes all of that. Ten tracks deep, this is not so much an album as it is a declaration. From the opening, harrowing crackle of "Collapsion," Mannerfelt's intent is to crush the listener into a perfect metal cube. Lines Describing Circles displays the sound of a man fully in control of his machines. Throughout the album, though, there are respites: the title-track settles into a hypnotic groove while a simple, infectious melody repeat into darkness, while "In Place of Once Was" has a melody lurking, too, but it's constantly overwhelmed by sub-bass nihilism. "Gulo Gulo Caesitas" is the pinnacle of the firestorm: cacophonous beats pummel you into submission while feedback and seemingly endless layers of aural mayhem pour down like sonic acid rain. As the computerized voice repeats "barren" over and over on "Evening Redness in the West," there is no horizon left to long for. Peder Mannerfelt's transformation complete, he is off to find new trails to blaze as the melancholic pads of "Rotterdam Anagram" are obscured by distorted filth. Mastered and cut by Stefan Betke. 500 copies only, comes in a spot gloss sleeve.


DONOSO, RICARDO: Iron/Verse Remixes 12" (DIGI 067EP) 16.50
Ricardo Donoso brings his triptych of releases to a close with this remix EP, bringing in five diverse artists to pick tracks for re-working. Yves De Mey offers a nerve-wracking, midnight-black take on "The Sphinx," which slowly builds through layers of skittering synths, while Recondite brings "Diagonal Environment" straight to the floor with a driving 4/4 that adds a solid backbone to proceedings. Paul Jebanasam presents a dark and winding "Affirmation" remix, complete with intricate compositional elements and blasting cinematics, while John Tejada offers a club-ready version of "The Redeemer" before Andreas Tilliander's TM404 provides an acid-soaked take on "Open Drawer, Full of Masks."



CUT HANDS: Volume 3 LP (DPROM 106LP) 25.50
Dirter Promotions presents another volume of Cut Hands material, containing reworked and remastered versions of some tracks from his Afro-noise project. Comes in a beautiful special edition on 180 gram vinyl mastered by Noel Summerville and featuring the magical vévé artwork of Mimsy DeBlois, in a one-off pressing of 750 copies. The entire 750-limited pressings of Volume 1 and Volume 2 sold out on release day, so don't miss these! A reclamation of the conscious through 16 pieces (split between vols. 3 + 4), from the opening ceremonial burning rush of the brand-new "Vaudou Take Me High" to the final entrancing morbid spell of "Nine-Night." Reworked or remastered versions of "Madwoman" and "Immersion" are included along with all the vinyl-unreleased tracks from 2011's Black Mamba (VFSL 102CD) CD.


CUT HANDS: Volume 4 LP (DPROM 107LP) 25.50
Dirter Promotions presents another volume of Cut Hands material, containing reworked and remastered versions of some tracks from his Afro-noise project. Comes in a beautiful special edition on 180 gram vinyl mastered by Noel Summerville and featuring the magical vévé artwork of Mimsy DeBlois, in a one-off pressing of 750 copies. The entire 750-limited pressings of Volume 1 and Volume 2 sold out on release day, so don't miss these! A reclamation of the conscious through 16 pieces (split between vols. 3 + 4), from the opening ceremonial burning rush of the brand-new "Vaudou Take Me High" to the final entrancing morbid spell of "Nine-Night." Reworked or remastered versions of "Eat Them Like Bread," "Inchantment," and "Black Mamba" are included along with all the vinyl-unreleased tracks from 2011's Black Mamba (VFSL 102CD) CD.


EB 098CD

The voyage continues with Austrian dub band Dubblestandart's In Dub, a collaboration with the best and top remixers on the scene, including Adrian Sherwood from London himself -- mastermind behind the finest in dub and the legendary On-U Sound, as well as Rob Smith from Bristol (also known as dubstep producer RSD, he was also part of the legendary Smith & Mighty team). A very unique and surprising session is coming out of Vienna by Paul Zasky and Robbie Ost, the main active protagonists of Dubblestandart. Their responsibility for half of the dub session is amazing and a labor of love with greetings from the King Tubby empire. The album also features bits and pieces from outstanding and very creative artists such as Jazzmine Tutum (Jam-Zion Train), Marcia Griffiths (Jamaica), Amanda Bauman (USA), Saria Idana (USA), Lee "Scratch" Perry, David Lynch, Hoda Mohajerani (UK/Iran) Saria Idana (US), and others. Since 1990, Dubblestandart has released 13 full-length albums, several 12 and 7" EPs, and has featured on more than 70 compilations. Their collaborating artists list includes Lee Perry, Ari Up, David Lynch, Ken Boothe, Adrian Sherwood, Sly & Robbie, Dillinger, Anthony B., Elephant Man, William S. Burroughs, Mad Prof., and many others. Performing shows all over Euroland as well as Canada and the U.S. saw them even perform live in Central Park NYC with Lee Perry and Ari Up during the legendary Summer Stage concerts in 2009.Their productions with NYC's Subatomic Sound System labels are known as an inspirational basis for cutting edge and progressive bass music. Since 2011, Paul Zasky, Emch (Subatomic Sound System) and Larry McDonald (The Skatalites) have been Lee "Scratch" Perry's exclusive backing band for all U.S. dates, playing more than 30 shows across the country including the legendary Coachella Festival in Nevada in 2013. "We did not invent dub. It was brought to life by the great dub pioneers of Jamaica way back in the late 1960s.Therefore we shall produce with the deepest respect for its true originators. What you hear are our versions, filtering current vibes and atmospheres of a planet on the edge. From the heart of Europe. Dub knows no color, no race, no religion. It won't support any political system or ideology."

EB 100CD

BURROUGHS, WILLIAM S.: In Dub (Conducted by Dub Spencer & Trance Hill) CD (EB 100CD) 17.00
Ever since the Swiss musicians ushered in the return of the Spaghetti Western to the world of dub with their debut album Nitro (EB 057CD), they have impressed the press and audiences alike with their passion for playing, their sure instinct for sounds, their equally humorous and respectful dubification of popular hits (including Metallica's "Enter Sandman") and their immense technical skill. Riddim heard "a new soundsphere where typical fat, stoic dub beats contrast with hand-played instruments and experimental sounds." Jazzthetik praised the "fantastically tight band, formidable interior dynamic and supremely competent mixdowns." Jazzthing wrote that "their psychedelic dub sound, which is occasionally interspersed by Western guitar riffs and true rock solos, sounds wonderfully acoustic and analog." And The Wire had to admit that "it sounds cheesy and it shouldn't work, but it does." Since their debut album, the band have released five more studio albums, including the Clash tribute album The Clashification of Dub (EB 081CD/LP), plus a live album and a remix compilation with selective dubs by Victor Rice from São Paulo, Brazil. Their new album celebrates William S. Burroughs and pays tribute to his centenary, marking a new pop-cultural highlight in their work. With the official support and assistance of the William S. Burroughs Foundation in the United States, the band has succeeded in creating a heavy, ambient masterpiece in 15 chapters. They roll through dub landscapes full of heavy reggae grooves and extraterrestrial electro sounds, carried by pumping bass lines whose hypnotic power clears the pathway to the center and gently caresses the stomach. Floating above the dragging, instrumental reggae cut-ups that gently drift into psychedelic territory, the artfully diluted grooves, breaks and virtuoso hints, and the majestic slowness of the two riddims, rises the voice of William S. Burroughs, beat poet, wanderer between worlds, junky supreme and counter-culture icon. His distinctive voice meets craggy soundscapes, harsh guitar chords and an acerbic Hammond organ which play off against each other in the mixing desk. Drenched in echo, the sounds on this dub treatment contravene the rules of space and time. They leave behind a wonderful feeling of confusion where listeners can relax and respectfully accompany the soul of their travelling companion William S. Burroughs on the path to eternity -- a highly addictive sound experience.



FENNESZ: Endless Summer 2LP (EMEGO 135LP) 25.00
2014 repress. Remastered, expanded gatefold double LP version (briefly available as a single LP in 2001 and o/p for 10 years now). This version features new artwork by Tina Frank, based on the original 2001 Mego release. Contains "Ohne Sonne" and "47 Blues," previously only available on the Japanese CD versions, as well as a new, extended version of "Happy Audio," exclusive to this release. Endless Summer, originally released in 2001 by Mego, was a breakthrough album for Christian Fennesz -- the album which brought his name and music towards the first steps of mainstream recognition. Following on from the more experimental Hotel Paral.lel (EMEGO 016CD) and the Beach Boys-homaged Plays single, Endless Summer brought the guitars more to the front, the electronics shimmered more, and the melodies shined more brightly. It went on to become a classic of its time, topping many end-of-year polls. Cut at Dubplates & Mastering, Berlin, September 2010.



A SAGITTARIUN: The Jupiter Chronicles EP 12" (EDREAMS 009EP) 14.00
A Sagittariun returns to Elastic Dreams after 2013's incredible debut album, Dream Ritual (EDREAMS 001CD/LP). Having picked up such accolades as "Electronica Album of the Month" (December, MOJO Magazine) and No. 6 Best Album of 2013 (DJ Magazine), A Sagittariun gets right back to business with this eclectic four-track release. "Wave Upon Wave" channels frenzied breakbeats and rolling, acid-like riffs, while "Re-Ignition" and "Ascella" are clearly designed for the dancefloor, with muscular and Teutonic beats underpinning more celestial sounds. "And the Moon Be Still as Bright" is highly emotive and intelligent dance music wrapped up in cloud of shimmering pads.



BLOOD WEDDING: A Survey of Locked Modes LP (FAG 002LP) 25.00
"A collaboration between Blood Wedding, object-oriented ontologist Timothy Morton, and visual artist Marlo Pascual. Blood Wedding has described these recordings as sonifying what Morton defines as the hyperobject, objects and forms so massively distributed in time and space that they transcend categories and localization. For Morton, nature is no arbitrary or anthropomorphic signifier and artistic representations of the environment should offer sites for opening ideas about nature to new possibilities. Blood Wedding's recording evokes the hyperobject in a number of ways: in its slowly evolving minimalism; its use of just intonation and the harmonic series; and its 'locking in' of pure intervals that provide subtle beating and pulses. But the recordings also suggest contrapuntal and phantom sounds that emerge from near misses in the execution of the pure interval and these sounds owe as much to the performance space as to the human ear. Similarly, within Pascual's work, objects and images appear to seek potential corollaries in unusual juxtapositions of the organic and the inorganic, the living and the non-living, the two-dimensional and the sculptural. Rather than seeing these forms as binaries, however, Pascual concretizes what Blood Wedding amplifies in their sound, the suggestion that there may be another form behind or within the image/noise. For Blood Wedding, this assumes the form of a distressed shape emerging from over-amplified circuits feeding back, devouring the sound in space, and taking life in the physics of electricity, in resonance, and acoustics that point to another level that's just on the edge of becoming." Housed in a gatefold sleeve.


GET 56023EP

HOUSE OF PAIN: Jump Around 12" (GET 56023EP) 15.00
"'Jump Around' is an impossibly infectious and catchy single. By now you'd be hard pressed to find a music fan of any genre not familiar with House of Pain or their smash hit. The song has been a main stay in arenas for the past 20-plus years. Released on Tommy Boy Records and produced by Muggs (who had just masterminded Cypress Hill's groundbreaking debut) 'Jump Around' has a beat that is just undeniable. Made up of part Chubby Checker, rare soul breaks, and a hint of B-boy classic wild style, Muggs crafted what would go down as one of the best beats of that year. Everlast was able to match the beats intensity with his gruff voice, and countless quotable lines. The beat, the raps, the hook, it was all there. Going down as one of the greatest remixes in hip hop history, this exclusive 12" brings the best of both worlds, available on limited green vinyl as a testament to the group's Irish heritage."


GB 011LP

DIRTMUSIC: Lion City LP+CD (GB 011LP) 25.00
LP version on 180 gram vinyl. Includes a CD copy of the album. Dirtmusic's previous album Troubles (GB 005CD/LP) was recorded in Bamako, Mali in the dark days of the 2012 political upheaval. A propulsive collection of cinematic Afro-rock, Troubles for the most part rose out of improvisational sessions involving Hugo Race (Fatalists, Bad Seeds) and Chris Eckman (The Walkabouts) of Dirtmusic and the nimble, balafon-driven Ben Zabo band. Malian luminaries like Samba Touré, Zoumana Tereta, Aminata Wassidjé Traoré, and Virginie Dembelé from the Rokia Traore band, brought exhilarating vocal and instrumental contributions to the collective. Troubles was not a mere construct or hybrid, but rather something deeply collaborative and genre-busting. Louder Than War wrote: "an incisive and unique journey in sound... this album is rock, it's roll, its funk, it's African, it's an aural delight." Lion City, the new Dirtmusic album, is culled from the same Bamako sessions as Troubles but offers a decidedly different atmosphere and ambiance. While the Ben Zabo band is still the core collaborator, the textures and tempos are slower and more opaque. Organics and electronics intertwine and unfold unpredictably. There are less guitars and more liquid sounds. The outward frustration and fear documented on the previous album has given way to something more insular and pensive. The echoing space between the notes is emphasized and subsequently so are the voices and the texts. Samba Touré provides a vocal and lyric for "Red Dust," a song that enshrines the contemplative mood of the album. Over a swirling dubscape he intones: "How can we reconcile and forgive? How can we bring peace to those that hate us? Yet we have no choice. We need to stop fighting." While Samba Touré, Ben Zabo and his band, and Aminata Wassidjé Traoré previously appeared on Troubles, Lion City also features an inspired team of new collaborators: Tamikrest members Ousmane Ag Mossa (guitar), Cheikhe Ag Tiglia (bass) and Aghaly Ag Mohamedine (percussion) appear on the bluesy and meditative "Movin' Careful." This is the first time the two groups have collaborated since Dirtmusic's BKO album from 2010. The iconic Takamba band Super 11, from northern Mali, exchange thorn-like trance sounds with Hugo and Chris on the album's opening number "Stars of Gao." MC Jazz, an up and coming Bamako hip-hop artist adds a fiery incantation to the mostly instrumental "Day the Grid Went Down." Ibrahima Douf, a young singer from Senegal, provides a stunning vocal on the album's final track "September 12." The 21st century claims to be borderless. A world of hyper-communication and instant nostalgia that is both celebrated and feared. On Lion City Dirtmusic stayed clear of such theorizing and just got on with the practice. The collective joy they found in making this music is what mattered most.



BURNT HILLS: Non Compos Mentis LP (ROWF 036LP) 23.00
Limited to just 100 copies with a silk screened cover. For the past 10 years, Albany, New York free-rock family Burnt Hills have gotten together every Monday night in the basement of the now legendary Helderberg House (in fact the home of the band's head-honcho Jackson Wingate) and blown out the cobwebs of sanity with monstrous, chooglin', improvised jams that pay only the barest of mind to the platitudes of rock form. As the layers of guitars build and build, the very notion of structure is pushed to its absolute extremities and the result is an ecstatic, cacophonic wall of soloing that smashes open the boundaries set by more tepid rock forms (Kraut-, space-, even noise-). The four walls that contained this gnarling, celebratory howl -- their 20th album to date -- withhold a secret that few, except those lucky enough to have attended one of the band's fabled house parties, know about -- because Burnt Hills almost NEVER play outside their Helderberg Headquarters. This is a dispatch from the very epicenter of extremity. Fans of Les Rallizes Dénudés, Castrato Attack Group, and Endless Boogie will have a proverbial cow.



BREJCHA, BORIS: Feuerfalter Part 02 CD (HHMA 025CD) 17.00
Music is colorful, diverse and vibrant as the butterflies. Almost 180,000 different species live in 127 families. The music by Boris Brejcha is like a "Feuerfalter" (large copper butterfly). On one side the butterfly is relaxing and floating on the wind, but on the other, he falls into a low altitude. This is how it feels when Brejcha makes music. This fourth album is a kind of flashback into the impressive career of Boris Brejcha -- an album that deliberately shows how the artist works. At times he's slightly floating, sometimes wildly flying, always full of passion. The influences of his travels and performances characterizes his art. This creates music that fits perfectly well into a relaxed atmosphere or just at night, when the trip through the clubs starts. On Feuerfalter, he weaves a few quieter tracks into his cosmos, too.



HAUNTED BY HALLUCINATIONS: Haunted by Hallucinations LP (HRKL 002LP) 20.00
LP version. Guitarist Petri Toikkanen, who graces the liner-notes of nearly all the Soul Investigators releases as one of the group's formidable composers, debuts his project Haunted By Hallucinations on Jimi Tenor and Nicole Willis' Herakles Records. The group was founded by Toikkanen and drummer Laura Könönen, and they composed their songs through hypnotic jam sessions with bass player Jussi Oskari. Jussi Oskari is best-known for his contribution to the project, Tuvalu, a progressive rock ensemble. The genre that sets the tone for Haunted by Hallucinations is the psychedelic cousin to that of post-metal and post rock/doom. Toikkanen cites Pink Floyd, Venom, Uriah Heep, and Dio as his childhood staples. While direct influences are denied, Haunted By Hallucinations might sit well next to Earth and Goblin. That the phasers and flangers of stoner doom would be replaced with heavy doses of delay on Toikkanen's personal genre of neo-psychedelia. Toikkanen's playing has textures of surf, harking the legend of surf, Dick Dale, together with a prototype of rock & roll. Toikkanen's main instrument is a Fender Jazzmaster. Oskari also plays Moog Taurus bass pedal synthesizer. Laura Könönen is also a visual artist whose main medium is sculpture, and she has supplied the LP cover artwork of one of her paintings and drawings. The album is produced by Jimi Tenor & Nicole Willis. Petri Toikkanen was born in 1978 and raised in Espoo's Matinkylä, Finland, and is said to be a genius. His elusiveness may be one of the trappings of hyper-intelligence, although it might be determined otherwise. Listening to this LP, one will come to appreciate the artist and his vision. Although the project attributes the composition-work of band-mates Könönen & Oskari, it seems that the band is most heavily driven by Toikkanen, himself. The track "Winter" expresses the full brutality of the long Finnish winters that begin in the darkness of November and linger until the final remnants of snow melt slowly in May. Tracks like "Haunting" do as the title describes -- both grim and melodic, these tracks are the pillars of the album, while the other tracks serve as lintel beams, creating their own genre with full competence.


HC 027LP

JULIUS, ORLANDO: Disco Hi-Life LP (HC 027LP) 25.00
Hot Casa Records proudly presents the reissue of Disco Hi-Life, a real treasure album composed and interpreted by Afro-soul maestro Orlando Julius. Following up the 12" release, here comes the remastered version of a real mindblower from 1976, including four unreleased tracks, all recorded with the best Nigerian musicians between Ginger Baker's studio in Lagos and the American Star Studio in West Virginia. Orlando Julius Aremu Olusanya Ekemode was born in 1943 in Ikole-Ekiti, Nigeria, and is considered a main figure of Afro-soul music history. One of the first African musicians to sign to a major label (Polydor), he delivered many hit singles as a composer and effortlessly performed live as a tenor sax player and singer. He worked and met with some of the greatest, including Louis Armstrong, James Brown (for his Nigerian tour with Bootsy Collins), The Crusaders, Gil Scott-Heron, and Hugh Masekela. In the middle of 1975, just after they finished the recording of The Boys Doing It album with Hugh Masekela, they all flew to Ghana and Lagos. It was holyday and Orlando had also plenty of time to focus on his own songs. He wrote "Disco Hi-Life" in Yoruba and "Children of the World" in English and he immediately planned a recording session including 12 of the finest musicians, such as singer Dora Ifudu Avery, Adelaja Gboyega on keys, Kenneth Okulolo on bass guitar, Butley Moore on drums, Fela's collaborator Tunde Williams on trumpet, and also Ade, who helped sing "Love Peace & Happiness." Originally released by Nigerian label Jofabro in partnership with the UNICEF association for the "International Year of the Child," it was only available in a small promotional quantity. This is the very first official reissue of this dancefloor masterpiece.



SABOTA: Sabota CD (HYB 011CD) 17.00
The name Sabota comes from the infamous area in Nelson BC, where kids congregate late at night to smoke weed, hook up and watch the sun come up. Both Max Ulis and Robbie Slade (of Humans) both have (if somewhat indirect) roots in the area, making it a fitting concept for their collaboration. This is a brand-new collaboration between two very talented and separately quite successful artists. Robbie Slade, is one-half of Humans, and Max Ulis has been a lynch pin in the West Coast electronic music scene for over a decade. After establishing themselves as prolific artists on other projects, with Sabota, their individual sounds (which range from techno, bass, and house to vocal heavy pop music) are synthesized in a highly nuanced and beautiful way. Featuring a contribution from Charlie Damara and a remix by Grenier.



RED AXES: Kicks Out of You 12" (CLICHE 055EP) 14.00
This is Red Axes' fourth EP with the Paris-based boutique I'm a Cliché. It is their last DJ-friendly record (both vinyl and digital) before the awaited release of their first LP entitled Ballad of the Ice. Three original tracks are included, featuring a tune in Spanish in "Candela Viva," some spoken-word on "Kicks Out of You," and finally some unexpected samba beats on the beautiful "Too Late to Samba." Thanks to their incredible technique, their passion for the past and the remote translates into something that belongs to right here and right now.



ASO, AI: Lone LP (SOMA 017LP) 20.00
Tokyo's Ai Aso is a Japanese psychedelic pop singer-songwriter whose work has a whisper-thin acid-folk quality to it. She started performing as a solo singer around 2000. Her solo work, infrequent collaborations with White Heaven members You Ishihara and Michio Kurihara, Yurayura Teikoku, and Boris bring a level of fragility and hypnotism to the stage, recalling lost memories, small flavors of Coil, and serial playing on the verge of evaporation. As for her recent activities, she has performed on bills together with Sunn O))), Boris, Masaki Batoh (Ghost), Touri Kudoh, Kim Doo Soo, Mark Fry, Simon Finn, etc. Cut by CGB at Dubplates & Mastering.


IP 013LP

MONDKOPF: Hades LP (IP 013LP) 25.00
"New music from Paul Régimbeau."



REWORK: Blackout 12" (ITEM 028EP) 12.00
Forging a distinct sound that combines icy minimal structures with Euro-girl vocals that are as haunting as they are catchy, the five cuts that appear on Rework's Blackout EP provide their trademark Anglo-French funk antics and a healthy dose of dancefloor melancholy. The title-track grooves forward into stripped-down, post-minimal techno territory, while mocking lyrics ring out on "You're a Kid." When the chugging, Kraut-esque bass line of "Tape" kicks in, listeners are driven through a maze of twisted dancefloor mischief. Hedgehog reappears on stripped-down EP closer "Tame," rounding things in a distorted mess of new-wave sensitivity and sublime pop emotion.


KI 005CD

COLO: UR CD (KI 005CD) 17.00
Ki Records presents Colo's debut album. The name UR is a word-play and not a reference to the legendary Detroit label Underground Resistance. The band's name and the title of the album form the word "colo-ur." All ten tracks on UR were recorded live and arranged on the computer afterwards. Except for some drum sounds, no samples were used. For the London-based duo, producing music is pure teamwork: both throw in ideas and play around with their hardware instruments. Besides vintage synthesizers they also use a lot of analog delay or an eight-track recorder to give their tracks a certain layered and deep sound structure. The fragile vocals sung by Nick Smith underline this in a mystical way. Most tracks are created intuitively and directly recorded, to save the idea and not to lose its feel for the moment. One take, one track, you could say, although not every detail of the initial idea makes it to the final track. But if you listen closely, "Doorframe," for example, has the room-sound of their studio underneath the vocals which gives the song a rough and fading quality. The vocals on "Holidays" were also made on the fly, recorded with a cheap mic that came with a game console. Nick just felt he should record this melodic idea he had, in order to not forget it, and what resulted was so good and unique-sounding, that it was kept for the final version. The single "Holidays" was released beforehand featuring a remix by Christian Lo?ffler.



VERMONT: Vermont LP + CD + 7" (KOM 293LP) 23.50
LP version, pressed on 180 gram vinyl. Includes a bonus 7" and CD copy of the album.


VERMONT: Vermont CD (KOMP 114CD) 15.50
With an artist roster as prolific and well-established as Kompakt's, you won't find much downtime that could be used for new entries to the catalog. That's why the label is especially happy to not only present Vermont's inaugurating full-length, but also to introduce two distinguished producers to the fold that have built their impressive careers in Kompakt's immediate vicinity, albeit appearing on the label for the very first time: Innervisions' Marcus Worgull and Danilo Plessow (of Motor City Drum Ensemble fame), two floor familiars praised for their gripping club tunes that showcase a surprisingly unwound and novel side to their respective artist personas. With Vermont, Marcus Worgull and Danilo Plessow submit a noticeably mature work that seems to come from a well-attuned production duo, effectively concealing the fact that this is their first collaborative effort, and a decidedly informal one at that: these cuts were not conceived with specific aesthetic goals in mind, but emerged from a series of loose jam sessions disclosing the trespassing spirit of the sonic adventurer. It's in the sanctum of Danilo's former Cologne studio, surrounded by an armada of vintage analog synthesizers, that the two music buffs somewhat inadvertently tapped into the city's collective subconscious and minted 14 sleek soundscapes of almost Krautrock-ish proportions. Exhibiting high amounts of arpeggiated curiosity and following a factual no-sampling policy, tracks like wonderstruck opener "Yaiza," undulating bleep-fest "Dynamik," the cinematic "Elektron" or ambient ballad "Majestät" are immersed in the enticing allure of freeform sequencing, even deciding to forego the full-blown percussion kits you've come to love in the two producers' main bodies of work. The restricted rhythmic pallet pays off extraordinarily well, as can be heard in the rich, breathing textures of "Katzenjammer," "Droixhe," or "Ebbe": if inclined to do so, one could label them as introspective synth poems, albeit with a strong sense for structure and dramaturgy that speaks volumes about the musical kinship of their originators -- with or without drums. With this kind of sonic DNA running in their systems, it should come as no surprise that Marcus and Danilo enlisted the help of luminaries Dominik Von Senger (guitar on "Sharav," "Cocos" and "Montag") and Jaki Liebezeit (drums/percussion on "Cocos" and "Macchina"), two key figures of Cologne's Krautrock scene -- the former as guitarist with underground mainstays Dunkelziffer and Phantom Band, the latter as drummer for seminal pioneers Can. Further contributions come from Irish musician Dermot O'Mahony (violin on "Übersprung") and Cologne agent provocateur Lena Willikens (Theremin on "Lithium"), two welcome additions to the sound of Vermont: a sound that manages to be outstandingly soothing and inexplicably stirring at the same time, probably one of the rarest feats in electronic music today.



DEAD HEAT: Bosco EP 12" (LAD 015EP) 14.50
Life And Death returns to its indie roots with this fresh-sounding release from new artist, Dead Heat. The trio counts deep psychedelic influences (among others) as a significant factor in their well-developed sound. Here they present two original tracks which frame two sides of an idea, a ying and yang of a raw and emotional journey across a modern alternative landscape with nods to the indie and alternative music of decades past. Remixes by Lucy and The Field.



LANEGAN, MARK: Has God Seen My Shadow? An Anthology 1989-2011 3LP BOX (LITA 104LP) 43.00
"Triple LP boxed set, includes three 'tip-on' jackets, housed in a custom 'tip-on' slip case, with a 20-page book comprising hand-written lyrics and rare archive photos. As one of America's great modern day vocalists and songwriters, Mark Lanegan has much in common with the timeless work of such legends as Fred Neil, Tim Hardin, and Karen Dalton. The former front man of Screaming Trees, collaborator with Kurt Cobain and Queens Of The Stone Age, half of a modern day Nancy & Lee with Isobel Campbell and, most commonly, solo artist, Lanegan is a man whose career has been defined by an unwillingness to sit still. Light in the Attic are set to shine a spotlight on this great American performer and songwriter with the release of Has God Seen My Shadow? An Anthology 1989-2011. Collecting Lanegan's solo material for Sub Pop, Beggars, and more, plus 12 unreleased tracks, this is the archive treatment Mark has long deserved. The 32 tracks shine a light on Mark's rare talent, and span the singer's entire career, from 1990's debut album The Winding Sheet to a treasure trove of recent unreleased gems. Features such guests as PJ Harvey, Josh Homme, and J Mascis. His is a sound of grizzled vocals and dark melody, its lyrics chiseled out of late night thoughts and dark humor."



FORT ROMEAU: Her Dream 12" (PLAYRJC 028EP) 14.00
Fort Romeau's debut for Ramona and her Live At Robert Johnson audio enterprise couldn't be any better. A London resident and leading member of the current Ghostly International family, Fort Romeau's take on neo-dance, post-disco, and proto-house is as unmistakable as it is dream-like. Ramona is in love.



AXEMEN: Derry Legend LP (LUX 002LP) 23.00
LP version. "Long overdue re-issue of this cracked pop classic and Flying Nun rarity, Derry Legend was one of Kurt Cobain's top NZ platters and a staple of his mix-tapes. RIYL: Chuck Berry, The Clean, Nirvana." "The music is like childhood memories of the first time you ever heard rock 'n roll; the first time you ever heard slushy-pop; the first time you ever heard rap (!). Listen to 'He's Leaving Home' and wonder what George Benson LP the band sat around and assimilated; hear 'The Wharf With No Name' and wonder why the Beatles never thought of it first; hop on one leg to 'That's Finland, Dear' and understand why Acid House was just a nine-day wonder while Chuck Berry's rhythms still cascade like thunder." -- Bevandra's Ears



"Freddie Gibbs is the product of violent, drug-laden streets. But unlike most rappers with similar resumes, he brings the block to the booth without inhibition or an exaggerated rap persona. Piñata, a 17 track collaboration with producer Madlib, is the best distillation yet of his transparent approach to making music, combining an at times stark honesty with electrifying talent as a lyricist and performer. Piñata is 'a gangster Blaxploitation film on wax,' says Gibbs, who came up on the streets of Gary, Indiana, the disregarded city known for producing Michael Jackson. Here he is joined by Mac Miller, Earl Sweatshirt, Raekwon, Scarface, Domo Genesis, Ab-Soul and a host of others in setting his soliloquies of the streets alongside film snippets and dusted funk, soul and prog musical tapestries. While this is the latest in a series of single-artist collaborations for Madlib, after Jaylib (J Dilla), Madvillainy (MF Doom) and the street-centric O.J. Simpson with Detroit's Guilty Simpson, the pairing is unique as it is the first time for Gibbs working with just one producer."



LE TOUGH, MANO: Tempus 12" (MAEVE 003EP) 14.50
Maeve is the record label run by three close friends, Mano Le Tough, The Drifter and Baikal. This is Mano Le Tough's debut on the label, and his first original music since his album Changing Days (PERMVAC 105CD/LP). The Tempus EP consists of three very different tracks, which showcase the different sides of Mano's productions. The title-track is a warm, melodic burner. "Return to Yoz" is certainly a dancefloor moment. "Sorry Is a Useless Word" is Mano the Haus Romantiker, returning to a style reminiscent of his album.



PATTERNS: Waking Lines CD (MELO 089CD) 15.50
Melodic presents the eagerly-anticipated debut album from Patterns, a band marking themselves out as true scientists of songcraft. With its array of field recordings, samples, original compositions and an epic haze of spellbinding loops, sonic sparks are set to fly from this thoroughly modern shoegaze-pop record. Patterns' fusion of head and heart may well induce a dream-like state, but across Waking Lines' 10 tracks, every note has been constructed with meticulous focus. This is a band who've always known what they wanted to achieve -- a group who together and individually, have spent time honing their craft, not to mention their spectacularly colorful live performances into an entity that's indisputably Patterns. Made up of foursome Ciaran McAuley (vocals/guitar/keyboards), Alex Hillhouse (bass/samplers), Jamie Lynch (drums) and Laurence Radford (guitar/samplers), the band's unique approach is what has had DJs from Mary Anne Hobbs and BBC 6 music's Steve Lamacq foaming at the microphone. Upon hearing Patterns' equally glistening and smouldering wall of noise, Huw Stevens picked the band to perform at Swn Festival, Rob Da Bank chose them to play at Bestival, and there have been shows all over France and Spain, not to mention a scholarly hometown show amongst the book shelves of Manchester's John Rylands Library. Already Waking Lines has been a long time coming, but it's been well worth the wait. Complemented by an array of psychedelic visuals, Patterns' knack for transcending both time and space can transform even the dingiest back room of a pub into a star-filled galaxy with an array of shimmering, delicately-melded guitars and evocative electronica. Take recent single "Blood," which was mainly inspired by the band's fascination with aesthetics and VHS equipment. Abandoning normal recording techniques and expensive producers, the band opted instead to record the album themselves. With one good microphone and a laptop, they have managed to create an infinitely large imaginary space to express their vision. From "This Haze," which was written eschewing male "indie" singer conventions by thinking of how a woman might sound had she sang instead, right through to "Our Ego," a song about the use of psychedelic drugs in psychotherapy in the '60s, Waking Lines flawlessly depicts that point where dreams and reality meet. A word to the wise, it's time to wake up. Patterns are here to open your mind and shape your world.



DAPAYK & PADBERG: Silent Fireworks 12" (MFP 070EP) 12.50
Mo's Ferry presents the first remix from the album Smoke (MFP 067CD/LP) by Dapayk & Padberg. Marek Hemmann turns the track "Fireworks" into a lively, ear-catching hymn for every sun-worshipper. He makes use of the full toolbox -- from ultra-harmonic bass-lines to pleasing melodies. Dapayk sat down again and formed a new version of this track with focus on danceability. The remix grooves into your ear but retains the longing mood of the original version by spreading the lead vocals in far distance. The second track on the B-side is the album version, for comparison.


NEOS 11101CD

RUZICKA, PETER: Orchestra Works Vol. 2 CD (NEOS 11101CD) 15.50
German composer and conductor Peter Ruzicka holds a professorship at Hamburg University of Music and Theater, is a member of the Bavarian Academy of Fine Arts and the Hamburg Free Academy of the Arts, and is artistic director of the Munich Biennale for New Music. He also served as artistic director of the Salzburg Festival. On this CD, Ruzicka conducts the Deutsches Symphonie-Orchester Berlin, playing three of his large orchestral works: "Über Unstern," "Trans" and Mahler|Bild -- all composed between 2009 and 2011. Ever since creating his earliest works, Peter Ruzicka has been acutely conscious that composing occurs within a place in history in which the past serves not merely as a breeding ground, but also as a part of the present and as an enquiry of it. The dialectic of adopted, suppressed and violated history has assumed a particular role in this reflexive creativity. Time and again, quotations from Alban Berg, Anton Webern and Arnold Schönberg, but also earlier masters such as Robert Schumann, Ludwig van Beethoven, Joseph Haydn, Thomas Tallis and especially Gustav Mahler have appeared in his works, serving as a critical mirror or catalyst of his own musical language. Now, after almost five decades of musical creativity, his own quality has also acquired its own specific historicity and has become, like foreign elements, an object of his late style.

NEOS 11110CD

GERHARD, ROBERTO: Leo/Gemini/Libra/Concerto for 8 CD (NEOS 11110CD) 15.50
Roberto Gerhard was born in 1896 in Valls, Catalonia as the son of a Swiss father and an Alsatian mother, and received his education in nearby Barcelona. He received piano instruction from Enrique Granados and also studied with the composer and ethno-musicologist Felipe Pedrell, who awakened his interest in Catalan folk music. In 1924 Roberto Gerhard became the first (and only) Spanish pupil of Arnold Schönberg. He studied with him for four years, then returned to Barcelona where he committed himself fully to the New Music. Gerhard, who was known as a supporter of the Republicans during the Spanish Civil War, left Spain before Barcelona fell into the hands of the Nationalists. After a brief sojourn in Paris, he settled in Cambridge with a research stipend. Gerhard's production during the 1940s was characterized by explicit treatment of Spanish, and especially Catalan, culture. After his death in 1970 in Cambridge, his music at first went into an eclipse. On the occasion of his 100th birthday, however, a series of new recordings and publications appeared, marking a renewal of interest in Roberto Gerhard's music. The Collegium Novum Zürich recorded four of his works for this CD, conducted by Peter Hirsch. The three zodiac pieces are fruits of the composer's final years. Whereas Leo and Libra are related through a certain kinship in their substances, Gemini asserts a rather solitary status in scoring and structure. This Duo Concertante was composed in 1966. In its sonic gestures, it appears predominantly rough, wild, and rutted with tensions. The composer commented on his "Concerto for 8," premiered in 1962 at a concert of the BBC, as follows: "My intention was to write a piece of chamber music in the style of a divertimento, almost in the spirit of the commedia dell'arte. The eight instruments could represent something like dramatis personae, but what they play are purely musical events not at all intended to conjure up any extra-musical ideas or illustrate anything. Two characteristics of the commedia have been adapted: zest for the spontaneous idea, improvisation and for disguises and putting on masks -- with which I mean that the instruments are played in unconventional ways. The piece consists of eight parts following each other in uninterrupted succession." Collegium Novum Zürich; Peter Hirsch, conductor; Rahel Cunz, violin; Christoph Keller, piano.

NEOS 11309CD

WOHLHAUSER, RENE: Quantenstromung CD (NEOS 11309CD) 15.50
The second release of the "Wohlhauser Edition" combines another seven works by the composer, conductor, baritone and pianist René Wohlhauser, played by the Ensemble Polysono during their European tours between 2008 and 2012. In the piano quartet, Wohlhauser attempted to compose the dimension of depth, which led to a compacted musical duration, a form of "textural polyphony." The title "Duometrie" points to the fact that the composer developed the entire music of this duo from predetermined meters, i.e., from time signatures defined in advance. "Gedankenflucht": Different moods that flow into one another. A piece about distraction by the daily flood of information. "Quantenströmung": In the work of Gilles Deleuze, "quantum flow" refers to the transition from one energy state to another. Of the various forms of energy, the ones that interested Wohlhauser most in this piece were potential and kinetic energy. "Die Auflösung der Zeit in Raum": A piece about the disappearance of temporal experience in the infinitude of space. "Studie über Zustände und Zeitprozesse": The piece plays with human perception in relation to the passing of time, in that human perception often creates connections where almost none are present. "Ly-Gue-Tin," a (not entirely serious)-sounding work monograph for voice(s) and piano sounds, composed for the inauguration of the life tables of Jean Tinguely (May 22, 1925-August 30, 1991) in Basel on his 83rd birthday, using phonopoetic texts by the composer.

NEOS 11310CD

SCHULER, DENIS: The Lines: Solos & Duets Cycle CD (NEOS 11310CD) 15.50
Born in Geneva, Denis Schuler began his studies with drums and classical percussion before moving on to composition, studying with professors Nicolas Bolens, Éric Gaudibert, Michael Jarrell, and Emmanuel Nunes. In his rich and atypical path, Denis Schuler seeks inspiration in a wide range of areas, such as traditional music, improvisation, and written music: he confronts and gathers multiple influences, enabling a singular and personal voice to come forth. Through the study of rhythm and aural material, his work explores the liminal conditions of listening, especially those approaching silence. His music calls for a particular focus, in which the ear must often remain very alert, picking up on breath and noise, and requiring involved listening. "The Lines is a cycle of compositions for solo musicians and duos that originated as a meditation on 'lines of time,' inspired by the writing of Virginia Woolf in Mrs. Dalloway. As a work researching interiority and exteriority, this series of intimate pieces freely explores how duration and form interrelate, particularly through the relationship of a musician with his/her instrument. A precise frame is marked out for each score. Once specified, this universe allows me to take advantage -- ultimately with more liberty -- of both musical and conceptual materials: vibrations and flutters between two notes for 'Perpetual Sense of Being Out,' the relationship between sound and silence in 'Sept secondes arrêtées,' monody and non-tempered scales in 'Melody,' very slight rustling in 'Dans un pli,' minimalism in 'Tan-ka,' breath and leaps in 'Spring,' multiple notes and chords for the viola in 'Lune bleue' and an ostinato in 'Loisaida.'" Alexandre Babel (percussion); Tamar Halperin (harpsichord); Tanjia Müller (bass flute); Cristina Presutti (soprano); Anna Spina (viola); Paolo Vignaroli (flute/bass flute); Gyslaine Waelchli (soprano); Eliane Williner (flutes); Béatice Zawodnik (oboe).

NEOS 21302CD

"When do you call a piano duo really good? Without doubt as soon as the four hands acting on the -- normally -- 88 keys become a complete unity. The GrauSchumacher Piano Duo has been residing in this Mount Olympus already for a long time..." --Badische ZeitungFollowing the successful CD release with works by Mozart, Liszt and Bartók, the GrauSchumacher Piano Duo (Andreas Grau and Götz Schumacher) presents new recordings on Concerti II, together with Deutsches Symphonie-Orchester Berlin, conducted by Martyn Brabbins. For this CD, they recorded the "Concerto Pathétique" by Franz Liszt transcribed by Stefan Heuke (2008), with an approximately hundred-bar, unmistakably contemporary cadenza. Furthermore, Andreas Grau and Götz Schumacher play the Concerto for Two Pianos by Johann Sebastian Bach, as well as the "Concerto per due pianoforti soli" by Igor Stravinsky. Andreas Grau and Götz Schumacher together form one of the most internationally prominent piano duos of the present day. The pianists have been performing together for 30 years, a partnership that has meanwhile been documented by numerous prizes and over 20 CDs. GrauSchumacher Piano Duo; Deutsches Symphonie-Orchester Berlin; Martyn Brabbins, conductor.



TOBIAS.: A Series of Shocks 2LP (OSTGUT 016LP) 23.50
Double LP version. A Series of Shocks is the second solo album from accomplished Berlin-based producer Tobias Freund. Continuing his exploration into "non-standard" electronic music, and expanding on the rich sound palette charted in his first LP, Leaning Over Backwards (OSTGUT 018CD/009LP), this new chapter presents 10 versatile tracks taking us ever further into the purist, evolving sonic world of Tobias. A warm wash of synthetics begins it all with opener "Entire," a lush synthesizer sequence with additional contributions from NSI.'s Max Loderbauer, the track casually flaunts the sheer depth of sound and sense of space awaiting the listener. Varied, playfully contrasting moods then follow, with great finesse and an ever-present attention to detail. Freund's live shows, where the use of either the Roland TR-808 or TR-909 has become an integral part, have clearly played a role in the development of the Tobias. sound manifesto, and a large proportion of A Series of Shocks has the 4/4 structure at its heartbeat -- indeed, track two takes this as its namesake, in a submerged and tense exercise. Exceptions to that steady throb are also a joy to be found, with the frenetic techno syncopations of "Testcard" offering an early moment of broken-beat hypnosis, and the brash dub of "If" proving there are indeed complex systems at work. Reaching for more energetic zones, fans of classic Tobias. jams like "Street Knowledge" or "Dial" will be pleased to find several well-honed and on-target club tracks, like the textural "Instant," "He Said," or the more meditative, but no less visceral "Ya Po." Snaking, arpeggiated synth patterns are Freund's go-to tool to build paranoid, yet at once funky and complex moments of mystery. Repeat listening will reward the listener by unearthing even more subtleties beneath these undulating elements. For an album produced largely with machines, the end result is in fact anything but rigid; a multitude of dynamics breathe life into every track. Synth elements swim in tension, build and recede with grace, and intertwine themselves into oblivion. Warm, natural drums state their presence, but do not overpower, letting the sum of the parts create the power, rather than merely the kick alone. The resonant sting of "The Scheme of Things," matched with its smooth undertones, illustrates this perfectly. With clarity of sound and a conscious mind to allow each element its place, Tobias. has found a maturity and a true art in controlling the lively dance of the constituent parts. A master at the mix-down, everything gels; nothing is left in-concluded. This sense of togetherness continues until the very final bars of "Fast Null" leaving us in a suspended moment of wonder, and appreciation. What becomes apparent is that this album carries not only 61 and a half minutes of inventive contemporary electronic music, but also decades of experience, knowledge and passion for an artform that can only grow through the work of activists such as Tobias Freund.



HEATSICK: Intersex LP (PAN 019LP) 25.50
2014 repress. Intersex is the debut LP by Steven Warwick aka Heatsick. The title references the work of German sexologist Magnus Hirschfeld, looking at how music and sexuality can operate in flux on a constantly sliding scale. Executed on just a Casio keyboard and manipulated loops via guitar pedals, Intersex deliberately evokes "ersatz" notions of electronic dance music and early electronics in the line of Roberto Cacciapaglia's Ann Steel record, the work of Warner Jepson and the kaleidoscopic sound of Ron Hardy, pushing dance/body music through a saturated psychedelic lens. Steven Warwick is a Berlin-based performer, also known for his work in the electronic duo, Birds Of Delay. His approach is one of carefully thought-out loops which are then sent into varying interactions and play. Active in the club, art and music scenes, Warwick's work is one existing in a luminal space, meditating both at once in real time and the "just past." The LP is mastered and cut by Rashad Becker at Dubplates & Mastering, in a limited edition of 500 copies, pressed on 140 gram vinyl and comes in a poly-lined inner sleeve. It is packaged in a pro-press color jacket which itself is housed in a silk-screened PVC sleeve with artwork by Steven Warwick, Kathryn Politis & Bill Kouligas.



KALKBRENNER, PAUL: Kleines Bubu 12" (PKM 009EP) 12.00
It's not an everyday happening that your wife remixes one of your tracks. This is exactly the case with Simina Grigoriu's brand-new remix for Paul Kalkbrenner. Simina, who has been married to Paul Kalkbrenner for almost two years, remixes his track "Kleines Bubu" from the 2011 album Icke wieder (PKM 002CD/LP). The original version gets a huge tech-house update, using the original strings ensemble hook-line. The additional vocal samples and the big disco-bass line give a unique flavor to this well-made remix.



Harald Grosskopf is a member of legendary German cult band Ashra (Ash Ra Tempel) around guitarist Manuel Göttsching. In the beginning of the '70s he was drummer for classic rock band Wallenstein, the Cosmic Couriers and on a few albums of Klaus Schulze. "Subconscio" sounds like a water serpent orbiting around a black moon; elusive artist Efestion and Krautrock pioneer Harald Grosskopf lead the beast. Remix by Permanent Vacation.



VA: Trackworx 1 12" (PHP 070EP) 15.50
Roman Rauch joins IKE. Something beautiful doesn't beg for attention. Includes an edit by SoulPhiction.


PL 001EP

FEATHERED SUN: Deer Fox 12" (PL 001EP) 14.00
NU, J.O.K.e, Raz Ohara, Chris Schwarzwaelder, and Iannis Ritter, have recorded as a band called Feathered Sun. All these artists have known each other for years and have been recording on the road or during retreats in Peru. They all may sound familiar, as most of them have been touring the world for the past few years accumulating hits, especially NU, who received recognition after the "Who Loves the Sun" song with J.O.K.e's haunting voice.


PT 8018CD

MIDWINTER: The Waters of Sweet Sorrow CD (PT 8018CD) 17.00
Midwinter's now legendary status in the field of acid-folk had only been established when their 1973 demo recordings were unveiled to a wider audience 20 years after their conception. Until then, Midwinter had existed only in local knowledge and in the shadows of Stone Angel, the post-Midwinter outfit whose privately-pressed LP from 1975 has since commanded deserved attention by fans and collectors alike. Also included in this retrospective edition is the earliest-known recordings by Midwinter/Stone Angel front-man, Ken Saul taken from his highly rare and sought-after debut single from 1970. Includes detailed liner notes. Digitally remastered.

PT 8021CD

NIGHTWING: Black Summer CD (PT 8021CD) 17.00
Nightwing rose from the ashes of legendary mid-'70s hard rockers Strife, with the phenomenal power of Gordon Rowley's bass guitar leading the assault. Nightwing offered a new breed of rock and NWOBHM (New Wave of British Heavy Metal) that would culminate in their second and most revered LP, Black Summer. This celebratory reissue presents the complete history of the band with rare photographs and comprehensive liners, thus celebrating the band's legacy and cult status. Digitally remastered.



ANAXANDER: More About These So Called Love Songs 12" (QUINTESSE 038EP) 12.50
Anaxander's talent is obvious -- he has been producing different types of music and has been releasing on labels such as Local Talk and Dame Music. His music is raw yet smooth and has a lot of soul and is reminiscent of some good old Detroit techno. No exception is his More About These So Called Love Songs EP for Quintessentials. There's also a great remix from man of the moment Borrowed Identity, another Quintessentials buddy.



NOCHEXXX: Thrusters CD (RAMP 057CD) 17.00
Ramp are ecstatic to announce Nochexxx's debut album Thrusters. Beginning his career in 2010 with "Smashing Your System," featuring Jungle Brother Sensational on Werk Discs, and Ritalin Love/Timepiece for RAMP, NCHX has kept his discography lean. Keeping his head out of the scene, NCHX has built a castle of delirious arpeggiators and intertwining bass lines which recollect the rich synthesized lexicon of Drexciya and the prismatic glory years of Zomby. Thoroughly funky and profoundly nasty, Thrusters is a producer pushing himself to the next level, generating a kaleidoscope of sound that is all his own.


R-N 154CD

KANGDING RAY: Solens Arc CD (R-N 154CD) 17.00
A stone thrown, just to watch it fly. A projectile launched for the sole purpose of drawing a ballistic trajectory in the sky. The Solens Arc is what remains after the subtraction of the goal; a simple parabolic curve defined by gravity, impulse and starting angle. No target to hit, no catharsis to wait for, just the beauty of the flight. Solens Arc is Kangding Ray's fourth album on Raster-Noton and the follow-up to The Pentaki Slopes EP. The twelve tracks of this record are assembled in the form of four "arcs." The different sequences are arranged seamlessly into dense, evolving compositions, while keeping their autonomy, and their role in the global dramaturgy. Pointillist serial loops and disintegrated melodic textures morph into abrasive rave anthems, broken club rhythms are refitted into uneven patterns, like deconstructivist sound architectures. Industrial techno stompers dissolve into granular sound waves and filtered space pads, before being overtaken by cinematic drums and rising arpeggios.



VA: Traces One LP (REGRM 004LP) 22.00
2014 repress. Beatriz Ferreyra's "L' Orvietan" (1970) is a work composed of two separate movements, the first drawing from electronic sounds, the second from concrète ones. These two sources do not meet, but tend equally towards sound antagonism and a complementarity of spirit. Philippe Carson Turmac's (1961) was created from machine-sounds from the Stuyvesant factories (Holland). Three movements follow one another: first, the spell of rhythms and a build-up that gradually removes the listener from mechanical reality. A more animated movement follows, full of contrasts. The third part is a long crescendo in terms of intensity, density and thickness, which results in a paroxysm. "The noise environment of the workplace is thus transposed, ennobled and magnified." (J. Roy, 1961). Edgardo Canton's "I palpiti" (1966) is described by the artist as follows: "For some time I thought that Gaetano Donizetti had written an aria called "I palpiti," but apparently this is not the case. Nevermind. This piece acquired an evocative value linked to the pleasure the music of this composer gives me. Just like the fervent 'prima donna' donizetian choirs, anything that lives, also pulses, shivers and quivers. These are the qualities of life I have tried to convey here." "Chemins d'avant la mort" (1968) is one of the few works created by Francis Régnier at the GRM, where he was technical coordinator. It is a short piece, composed as a gesture, a dramatic sound blast stretched between two sound lines rising from and returning to silence. Mireille Chamass-Kyrou's "Etude 1" (1960) consists of three sequences, the first two each develop a single sound object. The one that generates the first sequence is characterized by an asymmetrical crescendo-decrescendo and a material whose grain constantly fluctuates. The second sequence multiplies a sound object reduced to its attack in tiny elements divided into three zones that differentiate the overall density and size of the elements: Giant molecules, more defined constellations and fine dust sound. They gradually condense in the third sequence as a kaleidoscopic stretto. Cut by Rashad Becker at Dubplates & Mastering, Berlin, June 2012.


VA: Traces Two LP (REGRM 008LP) 22.00
2014 repress. Recollection GRM, a label within the Editions Mego family of labels, offers a second selection from the vast archives of Groupe De Recherches Musicales (GRM). "The idea of the Traces series is to unearth from the GRM Archives short, forgotten, or ignored pieces of music. This second volume, which gathers works prior to 1976, features the 'early' works of four composers who each went on to leave a unique trail of music. In addition to reflecting the extraordinary vitality of the musical experimentation of bygone times, Traces aims to reactivate the audibility of such pieces, some of which have never been released before." --Christian Zanési & François Bonnet; Dominique Guiot, "L'oiseau de paradis" (1974): "The composition of this piece was inspired by the rules of cinematic screenwriting. Indeed, the possibilities of an electro-acoustic music studio are very similar to those found in the audiovisual field (particularly editing). Based on this similarity, I thought it would be interesting to compose a series of scenes, dramatic atmospheres, and suddenly interrupted soundscapes." Pierre Boeswillwald, "Nuisances" (1971): Starting from microphone recordings of numerous sounds, the author chose not to systematically use the "best ones." Therefore, this construction always tried to refine itself while constantly being polluted by interferences which are nuisances. As in nature, man seeks to refine his environment but destroys it through his mistakes. Rodolfo Caesar, "Les deux saisons" (1975-1976): "This piece results from instrumental improvisations: the first one with the Baschet brothers' glass organ, the second one with a frequency modulation device assembled by Bernard Dürr, who co-created the 'Trièdre Fertile' (Fertile Triad) with Pierre Schaeffer. These were two input channels for a kind of 'anecdotism' I was interested in." Denis Smalley, "Pentes" (1974): The main features of the piece evokes vast landscapes, with their ascents and descents, hence the title, 'Pentes' (both French and Latin, meaning slopes, inclines, ascents). Most of the music was created by transforming instrumental sounds, but there are also synthesized sounds. However, the only recognizable sound source is the Northumbrian Pipes, whose drone is responsible for the slowly-evolving harmonies out of which its haunting traditional melody appears. Last copies...


RISSET, JEAN-CLAUDE: Music from Computer LP (REGRM 011LP) 22.00
Recollection GRM presents computer works from French composer Jean-Claude Risset. "Sud" (1985): This work was commissioned by the French Ministry of Culture, from a project initiated by the GRM, where it was produced circa 1984-1985. The piece mainly uses sounds recorded in the Massif des Calanques, south of Marseille, as well as sounds synthesized via a computer (again in Marseille). These sounds were then treated via another computer at the GRM. The natural and synthetic sounds are first presented separately. Along the piece, they increasingly merge, through mixing and processing. Thus real bird songs, as well as synthetic bird-like or insect-like sounds, have been spatialized. In the third movement, the filtering of birds' caws first appears as a colored echo, later as a genuine bird's "raga" using the defective scale. The origin of the many sounds deduced from the germinal material can be ascribed to a "family tree" displaying the sonic proliferation and resembling a rhizome. (J-C. R.) "Mutations" (1977): Piece for a two-track tape, computer-synthesized in 1968 at the Bell Laboratories. Commissioned by the GRM and premiered at the Moderna Museet in Stockholm in 1970. This work attempts to explore (particularly within the harmonic order) some of the possibilities offered by the computer to compose at the very level of sound -- to compose sound itself, so to speak. The title refers to the gradual changes that occur throughout the piece, including the shift from a range of discontinuous heights to continuous frequency variations. (J-C. R.) "Computer Suite from Little Boy" (1968): This piece, composed in 1968, is one of the first significant works entirely produced via a computer: all sounds were synthesized using the MUSIC V program. The piece features several experiments on Sounds Synthesis I produced between 1964 and 1968, while working with Max Mathews at the Bell Laboratories. (J-C. R.) Cut by Rashad Becker at Dubplates & Mastering, Berlin, November 2013.


REL 3029CD

LIQUID SMOKE: Liquid Smoke CD (REL 3029CD) 17.00
This gritty quintet's roots lay in North Carolina, but they made their name in Long Island. Their sole album was recorded in 1969, and originally issued in January 1970. Produced by Vinny Testa (best-known for his association with Frijid Pink), it's a hard-edged mixture of originals and covers, with plenty of fuzz guitar and meaty organ. It makes its long-overdue return to CD here, complete with background notes.



VLADISLAV DELAY: Ripatti03 12" (RIPATTI 003EP) 14.50
Following on from his debut release as Ripatti, and a complex riddim trip in collaboration with Max Loderbauer (NSI., Sun Electric, MvO Trio) as Heisenberg, Sasu Ripatti returns with his third release for the label, his first as Vladislav Delay. "#5" is complex and unforgiving, an intense percussive tangle that takes the dub essence of so many classic Vladislav Delay productions and re-assembles them into a frazzled steppers-riddim at double speed. "#22" opens with more immediately familiar Delay markers, a dub bass-line lures you in before once again re-configuring the template with a jittery percussive tangle that runs amok.



MORGAN, DERRICK: Shake A Leg LP (SUNR 015LP) 21.00
LP version on 180 gram vinyl with insert.. "Compilation of early reggae and ska tracks by Derrick Morgan, featuring The Hop, Fat Man, Shake a Leg and Forward March a song about Jamaican Independence. Compiled from the famous Blue Beat Records."



VANGELIS: Sex Power: Bande sonore originale du film de Henry Chapier LP (SLLP 2003LP) 22.00
2014 repress. Limited 180 gram vinyl reissue of the soundtrack for Henry Chapier's film Sex Power, starring Jane Birkin. Originally released in 1970 by Philips, this electronic/prog classic is essentially Vangelis' first full-length solo effort, as around this time his band Aphrodite's Child released their last album, 666. The soundtrack consists of 11 tracks and all the future Vangelis trademarks are already there in rudimentary form.


SP 033CD

DOZZY & NUEL, DONATO: The Aquaplano Sessions CD (SP 033CD) 15.50
When the Aquaplano records were first released in 2008 and 2009, emerging out of Hardwax with little fanfare, they were distinctly out of step with the way techno appeared to be heading. The minimal detour was reaching its logical endpoint, and producers were returning to the 1990s for inspiration, with Berghain and Sandwell District at the vanguard of a new techno movement. What the Aquaplano sessions shared in common were slower BPMs and finding inspiration in the 1990s, but there they parted ways. The influences these Italians were drawing on were rather different, returning to tribal rhythms and ambient textures to sketch out a much more heady, psychedelic form of techno. The results were a perfect balance of hypnotic beats and swirling atmosphere geared for a broken-in dancefloor or the hazy afterhours. Across these two records Donato Dozzy and Nuel would go a long way towards creating the template for a brand of deep, atmospheric techno that has become much more prominent in the years since. And while many have sought to imitate this sound, few -- if any -- have matched what first emerged from the Aquaplano sessions. After only being available in a very limited run, it is fitting that the sonic blueprints provided by Dozzy and Nuel are now available again -- and much more widely -- at a time when their influence is as strong as it has ever been. All music produced and mixed by Donato Scaramuzzi and Manuel Fogliata at Nautical One Studio in San Felice Cireco, Italy, between 2007 and 2008. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin, December 2013.



MIXED BAND PHILANTHROPIST: The Impossible Humane LP (STAUB 129LP) 18.00
Recorded from 1984 to 1986, The Impossible Humane is the sole album from The New Blockaders side project Mixed Band Philanthropist. Originally released on the German Selektion label in 1987 and impossible to find nowadays, Staubgold makes this rare gem of industrial-goes-musique concrète available again in a strictly limited edition of 400 copies. Furthermore, the reissue contains two bonus tracks taken from the 7" single The Man Who Mistook a Real Woman for His Muse and Acted Accordingly. The album is assembled of exclusive source material by the who's-who of the industrial music scene of the time, including contributions from Nurse With Wound, Organum, Andrew Chalk, The New Blockaders, Etant Donnes, H.N.A.S., P16.D4, Asmus Tietchens, Controlled Bleeding, Smegma, Merzbow, and many more. "A classic chunk of destroyed concrète. Assembled from a variety of musical and spoken sources, this is a nonstop barrage of genius. Filled with headsnapping changes, sexual innuendo and general confusion, it's a totally great listening experience," said The Wire. Idwal Fisher wrote: "This car-crash tape collage still stands today as one of the best examples of the genre. Its perpetual barrage of split-second samples are a dizzying mess of '60s pop songs, scrapes, industrial whirr, uncategorizeable racket, ghostly voices, electronic beebles and burrs, sped-up records, tape whizz, machine rumble, snatches of reggae, bucket damage, kazoo farts, disco spots and about three-thousand or more (I'm guessing) other samples that really shouldn't work, but, by some sleight of hand or genius, actually do. On paper, snatches of steel bands shouldn't be found on the same side of tape as Geordie MCs, Michael Jackson, pneumatic drills, early Merzbow and '50s doo wop, but here they are and it works. Totally. Then comes the added bonus of being able to listen to this to the point of ad nauseam, mainly due to the fact that there are so few reference points that every listen brings something new."



BABA STILTZ: Palats/Crypt 12" (BARN 020EP) 14.00
Oh-so-fresh 12'' from the Studio Barnhus camp -- music by Baba Stiltz, artwork by Theodor Johansson. "Palats" lures you in with its grandiose synth theme over popping percussion before all bass line mayhem breaks loose -- "Crypt" is a soft whisper of a house anthem, full of beautiful Babaesque melodies that finally disintegrate into heavenly static. Watch out for a Baba Stiltz album dropping on Studio Barnhus later in 2014.


SF 060CD

VA: Saigon Rock & Soul: Vietnamese Classic Tracks 1968-1974 CD (SF 060CD) 15.00
2014 repress. The long-awaited foray into the Vietnamese rock, pop and soul sound of the late 1960s and early 1970s is finally here. Saigon Rock & Soul delivers the goods international retro collectors have been searching for in vain for many years -- and it delivers beyond belief. Every song is a mini-masterpiece, be it heavy acid-rock psychedelia, horn- and guitar-drenched funk grooves, or gripping soul ballads reflective of life during wartime. The tracks that form this collection cut a window into a rich musical Vietnamese music scene that has long been obscured, and for the most part, forgotten. As the scope of electrified Vietnamese music from the 1960s and 1970s begins to be revealed, it becomes evident that this was among the heaviest and most eclectic musical scenes of Southeast Asia at the time. These songs tell of war, love and what war does to love. All of them were recorded in makeshift studios and even U.S. army facilities while the Vietnam War raged -- and were issued by a handful of Saigon record companies on vinyl 45s and reel or cassette tapes. Westernized forms of music in Vietnam had appeared during the latter 19th century, and especially during the early 20th century, under the influence of the French colonizers. Tan Nhac (trans. "modern music") always incorporated both domestic and international sounds, and continued to develop alongside Western musical trends. During the 1960s and 1970s, pulp ballads were being recorded by leading crooners of the time who alternated between modern and traditional forms of regional music. When the electric guitar hit the streets of Saigon, Vietnamese renditions of contemporary instrumental trends such as surf-rock, beat and twist soon emerged, followed by some pretty deep soul sounds inspired by Motown radio hits as well as funk grooves brought on by James Brown and his contemporaries. By the mid-1960s, Vietnam had been ravaged by war for years. American G.I.s had become a standard fixture in Saigon, as did many of the cultural artifacts they brought with them. This certainly included the music. The sounds of rock and roll dominated the radio waves, and Saigon nightclubs were teeming with new sounds. Musically, The Shadows and The Ventures soon gave way to The Beatles and The Rolling Stones as an enthusiastic set of young Vietnamese rockers signed on to the lifestyle, always eager to hear the latest musical trends the G.I.s would bring in on LP or tape. This era saw the birth of a vibrant rock scene, yet rock music and anything that came close was commonly referred to as "soul" in the Vietnamese genre-listings. Like many cultures in Asia, Vietnamese music is recorded, marketed, listened to and disposed of in a relatively quick manner. This level of advanced ephemera ensures a degree of difficulty when trying to unearth and discover cultural histories. Literally, most of the music heard here has been brought back from the dead. Artists featured include some of Vietnam's most popular at the time: Elvis Phuong, Hung Cuong, Mai Lei Huyen, Le Thu, Thai Thanh, Giao Linh, Mai Lei Huyen and the CBC Band. Features 70 minutes of classic original recordings compiled by Mark Gergis with extensive liner notes.


SBR 5097CD

LAMBERT AND NUTTYCOMBE: Eternal Rivers: Demos 1969-71 CD (SBR 5097CD) 17.00
Denis Lambert and Craig Nuttycombe joined forces in Hollywood at the end of 1967, and went on to create some of the most haunting and touching acoustic music of the era. Initially signed to Elektra, and then A&M, they taped many demos before finally making their classic debut at the turn of the decade. This superb set gathers 30 tracks that didn't make it onto either of their LPs, as well as offering detailed background notes, rare photos, and an introduction from Craig Nuttycombe.



ISAACS, GREGORY: In Person LP (SUNSP 015LP) 21.00
"Classic 1975 Gregory Isaacs reggae album re-issued on 180 gram vinyl, issued in the original cover. Comes with a double sided insert featuring track by track breakdown and biography."



Supply Records welcomes Will Martin to the label for his debut collaborative EP with John Barera. "Awake" is a storming disco house cut drenched in soulful strings and cracking drums. "Say It Now" is a Rhodes-driven piece, also for the dancefloor. "Unknown Factor" starts the B-side off in a different mood, with a stiff and rolling exercise in string and stab-driven techno funk. Title-track, "Yen," closes the record with a haunting atmosphere and cascading synthesizer washes.


TR 280LP

PRITCHARD, BILL: A Trip to the Coast LP+CD (TR 280LP) 22.00
LP version. Includes a CD copy of the album. Bill Pritchard is a British singer/songwriter -- you may remember, you may not. He started writing songs for various bands at school but it wasn't until he spent time in Bordeaux as part of a college degree that his style flourished. He did a weekly show with two friends on the radio station La Vie au Grand Hertz (part of the burgeoning "radio libre" movement) and was introduced to a lot of French artists from Antoine to Taxi Girl. His eponymous debut album was released in 1987 on the Third Mind label, with a second following in 1988. He then signed to Belgian label PIAS Records. Working with and alongside the likes of Daniel Darc, Etienne Daho, Francoise Hardy, and Ian Broudie, Pritchard expanded his audience from Europe to the U.S., Canada, and Japan and became both commercially successful and a cult classic. In 1995 he formed the band Beatitude, his first collaboration with Tim Bradshaw as guitarist/keyboard player, releasing the single "Baby in Brylcream." In 1999 he released Happiness and Other Crimes, again with Bradshaw, which has become something of a rarity as the distributor of this album went bankrupt, although a few copies did escape. And then he disappeared a little before resurfacing with a new record deal and the more electronic album By Paris, By Taxi, By Accident, with versions both in French and English, and the album came out in France, Switzerland and Belgium on the Universal label. And then another little disappearance. Then something slightly strange happened. Tim Bradshaw moved to within a couple of miles of Bill's house in Staffordshire and after a gap of about eight years, there was suddenly the opportunity to work together again, something they'd talked about before. "We did the album together basically because we're mates and we thought we'd have fun doing it," said Bill, "with no label pressure we just did what we wanted to," he adds. "It was a time of change in my life and the album and the songs on it reflect that. And when Tim turned up out of the blue, it was perfect coincidental timing." A Trip to the Coast is the end of that period and the beginning of the next. Chapter closed. Chapter opened. The songs on the album are classic Bill Pritchard. Guitar pop, hooky chorus, melodic ballads and personal everyday lyrics about love, loss, and Stoke-On-Trent.

TR 282CD

SOFT HILLS, THE: Departure CD (TR 282CD) 17.00
The Northwest of the United States: home to The Soft Hills. For the music fan, the area has always been a wellspring of pure joy. Punk was invented there in the 1960s (The Wailers, The Sonics), Jimi Hendrix was born there, K Records, one of the most influential indie labels of all time, was baptized there, then came Sub Pop, Mudhoney, Nirvana. But where there is light, there is shadow. So excellent is the music that has emerged to conquer the world from Seattle, Olympia, et cetera -- and so dreary the weather. Rain and more rain. It can dampen your spirit and damage your health. This painful experience is all too well known to Garrett Hobba, songwriter, singer, guitarist, and mastermind of The Soft Hills. Soaked through from continuous precipitation, his room began to molder, with the result that Hobba fell seriously ill. After several hospital stays brought no relief, Hobba gathered his belongings and headed down to Southern California for a few months of recuperation, a change that can be heard on the new record. Departure convinces through contrasts that can be clearly linked to the different geographical conditions: the harmonies and colors of Southern California on one side, and the dark, monochromatic light of a rainy day in Seattle on the other. Golden light here, then shadows. A kind of sad euphoria. On Departure Hobba disposes entirely of the Americana leanings which have characterized the previous albums, allowing European influences to become more apparent. These include Syd Barrett-era Pink Floyd, Brian Eno, and the Factory Sound of the early '80s, which might be due to the fact that Hobba started to write the songs during a several-month stay in Europe. The instrumentarium was supplemented by Mellotron, Moog, Hammond B3 and a Rhodes piano. Departure is a monolith of an album, an album of contrasts -- unlike its predecessors, yet unmistakably The Soft Hills. Hobba is simply an excellent songwriter and his voice unmistakable. The album was mixed in London by no less than Abbey Road veteran Guy Massey (Spiritualized, The Beatles, Manic Street Preachers). So what is the best way to listen to Departure? Hobba: "The best situation is probably to listen to the album on vinyl with headphones alone in the dark or lying on your back next to your best friend with a good stereo and a bottle of opium."


WIRE 362

WIRE, THE: #362 April 2014 MAG/CD (WIRE 362) 9.50
"The Wire Tapper 34: Yes, the latest volume in our ongoing and exclusive series of underground music CD comps will be attached to the cover of every copy of the April issue. On the cover: The Ex (Daniel Spicer travels to Amsterdam to talk DIY survival strategies with the Dutch ethno-improv-punk collective). Inside the issue: Invisible Jukebox: Marissa Nadler (The singer and fingerpicking guitarist gets lost in time with The Wire's mystery record selection); Akira Sakata (The Japanese saxophonist's four decade career takes in noise face-offs, free jazz and TV celebrity); Early DIY synthesists (How Practical Electronics magazine provided a hub for UK synth-pioneers in the early 1970s); Maya Dunietz (The Tel Aviv improviser is making connections across the board); Cross Platform: Cevdet Erek (The Turkish artist's installations investigate time and motion); Global Ear: Rio De Janiero; Tashi Dorji (The rootless explorations of a Bhutanese improvising guitarist); Laurence Crane (The UK composer's chamber works explore motion and repetition); Drew Daniel on Slint; Mark Fisher on Sleaford Mords."



VOGUE, THE: Running Fast: The Complete Recordings CD (TROST 121CD) 17.00
This legendary Austrian psychedelic beat/mod band existing from 1978-1982 released two 7" singles, a vinyl album and a couple of tracks on compilations -- all in small, private underground editions. The album A Doll Spits Cubes (CFX 004LP) was self-released by the band in an edition of 300 and was gone in days. It was once repressed as a bootleg and heavily sought-after in the years to come -- a great mix of electrifying original songs in addition to covers of The Who, The Kinks, and The Standells. The song "Frozen Seas of Io" made it to #2 in the Austrian charts.



GRAHAM, KENNETH: The Small World of Sammy Lee (Original Motion Picture Soundtrack) CD (JBH 051CD) 15.50
This is the beautiful unreleased British jazz score to the classic Anthony Newley '60s Soho underworld thriller. Recorded in 1963 and never issued, the master tape was discovered in the loft of Kenny Graham's daughter's home by Jonny Trunk. Don't ask what he was doing up there, but he found the tape. Little is known about this jazz score, apart from the fact that it comes from one of the great early '60s London movies, and was written and performed by one of the more important jazz mavericks of modern times. Kenny Graham was a jazz musician like no other. He'd formed an Afro Cuban band in the early 1950s, made an album of Moondog covers in 1957 (Moondog and Suncat Suites), been commissioned for advertising music, library music, jazz compositions and film scores, too. But he got little in return, so he'd turned his back on music by the late '60s, never to write or perform again. A true maverick and simply too far ahead of the jazz crowd to get noticed, this charming little score demonstrates just what a great composer he really was. The opening theme alone is one of the more sublime, early morning jazz numbers you could ever wish to hear. Available here for the first time ever on vinyl, CD and download, the CD comes with an 8-page booklet and rare stills from the film. The vinyl will probably sell out really fast and get stuck back on the market by those horrid record flippers for about four times the price.



SILVER FOX: Silver Fox CD (UTR 059CD) 12.50
Upset The Rhythm present the debut full-length album from Silver Fox. This is music with no rules or preconceptions; pooling ideas and observations into music that can be raucous, sad, reflective, powerful, wistful, or whatever it needs to be. With vibrating harmonies and primal beats at its heart, sounds and words form together in response to the lives we all live. Silver Fox is a place where anything can happen, where ideas are free to move and change. Pulling together lyrics and sounds from collective experience, Silver Fox create music that surprises and refuses to be categorized. Silver Fox make intuitive sounds led by a responsive, if-it-feels-good-do-it approach, giving free reign to all ideas large and small. Their self-titled album with Upset The Rhythm was recorded in one day -- Silver Fox partnered up with their long-time friend and producer, Andrew Hodson (Warm Digits) to create an album that reflects the energy of their live performances. Silver Fox are Susie Green (vocals, keyboards), Rebecca Knight (drums), Laura Lancaster (guitar, vocals), Rachel Lancaster (bass guitar, vocals). They formed in 2009, and have had well-received single releases on M'Lady's and Milk in 2012.


VG 012CD

MATTHIAS, JOHN: Geisterfahrer CD (VG 012CD) 15.50
John Matthias is a musician, composer, and physicist. In 2008, he won the PRS Foundation New Music Award (The "Turner Prize" for music) with Jane Grant and Nick Ryan for the development of a huge sonic installation across the UK entitled "The Fragmented Orchestra." Also known for his collaborations with Radiohead, Matthew Herbert and Coldcut, Mattias combines ambient, post-classical pieces with heartfelt folk songs for his third studio album. Geisterfahrer is made up of 13 stunning tracks that were recorded in two sessions with John Matthias performing on piano, violin and guitar, with all of his vocal performances being recorded live alongside the guitar parts. For fans of Nico Muhly, Max Richter, Sam Amidon and Arvo Pärt.



MELA, DAN: The Day of the Black Panther 12" (WEN 004EP) 14.00
Dan Mela's The Day of the Black Panther EP shows a lot of respect for the movement that, with strength and deaths, marked the destiny of many Afro-Americans and allowed them to obtain, at least on paper, equality between blacks and whites. This EP is characterized by a very dirty sound: bits and pieces of audio documents from that time and the use of analogic machines. And who's the best to be in charge of manipulating this EP? Vakula, who in his country, Ukraine, is still experiencing a dramatic, revolutionary, situation of fighting.



ALTARBOY: Slow Ghost 12" (WWR 011EP) 12.50
Fifth single from the duo Altarboy. "The Marathon Thing" is a slow and esoteric track with a long break in which the Roman producers promote the rise and fall of the bpm. The song takes you on a world reminiscent of memory lane's horror movies. The B-side "Blackmail" is a techno bomb with references to the early '90s.

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