Forced Exposure New Releases for 2/29/2016

Sunday, 28 February 2016 10:34 Forced Exposure News & Events - Release Dates

New music is due from Strategy, Reinhard Voigt, and Kim Salmon, while old music is due from Harry Bertoia, Lee "Scratch" Perry, and Lizzy Mercier Descloux.


we also accept orders via FAX at 781 321 0321.

and via mail:
FORCED EXPOSURE / 60 Lowell Street / Arlington, MA 02476 / USA

for more information about shipping or ordering
please refer to our FAQ:

direct any questions to This e-mail address is being protected from spambots. You need JavaScript enabled to view it



AGNES: Accent Grave EP 12" (AGD 001EP) 14.00
Agnès inaugurates his Accent Grave Disques label with his first release since 2013, the Accent Grave EP. Genuine MPC build beats with Agnès's signature blend of raw house music, made in Western Switzerland.



AMBIQ: ambiq Remixed by Thomas Fehlmann and Margaret Dygas 12" (AMEL 710EP) 16.50
ambiq presents the second 12" of remixes of tracks from their 2015 album ambiq 2 (AMEL 708CD/LP), following Ricardo Villalobos and Tobias Freund's 2015 remixes. Thomas Fehlmann (The Orb) remixes "Meta" with classic rolling techno elements, while maintaining the eerie musical saw quivers and drum kit chatter of the original; it's a mutant dub that permeates every corner of listener's active imagination. Margaret Dygas's noir-tinged remix of "The Mother" incorporates all kinds of clever low-end subtleties and sliced-and- diced sound fragments while still leaving plenty of room for ambiq's woodwinds and percussive commentary.



SEI A: Space in Your Mind 2LP+CD (AUS 006LP) 25.50
Scottish producer Sei A presents his third album, Space in Your Mind. Sei A is Andy Graham, an ever-evolving producer who has cooked up many different shades of house and techno since emerging in 2008. With work that moves from dark and melodic to swinging and bass-heavy, Graham is not one to repeat the same trick twice, as his two previous albums and more than 15 EPs on labels like Turbo, Life and Death, Kompakt, Simple, and Aus Music have shown. As if to cement the point, this full-length finds Graham straying from the dancefloor to cook up an album that stands up to introspective home-listening. "The LP came from writing a lot of music in a short space of time," says Graham. "I felt I had grasped a sound and I wanted to expand it further. Musically I was finding that the material had much more space within the sound, with the main structure of it being melodies, therefore giving it quite a rich feel throughout. I was also aiming to expand on writing actual songs that take in verse/chorus, verse/chorus structures." And he has sure accomplished that, because with the help of guest collaborators Will Samson and Daudi Matsiko on four tracks, Space in Your Mind is an absorbing listen with melodies and vocal lines sure to linger in the listener's memory.

AUS 1692EP

HAWKES & BLAKE: Love Precipitation 12" (AUS 1692EP) 14.00
Timothy Blake and Marquis Hawkes, who both released their first Aus Music 12"s in 2015 (Blake with The Stormy Search (AUS 1586EP) and Hawkes with Chances (AUS 1589EP)), join forces as Hawkes & Blake for Love Precipitation. The Stormy Search featured a remix by Hawkes, and here the artists build on that studio chemistry with a pair of no-frills bombs built strictly for the dancefloor. Expertly crafted 909 drums propel playful piano lines and jubilant synths, recalling in equal measure the classic garage sound of Detroit and the soulful grooves that emanated from New Jersey in the '90s.



SALMON, KIM: My Script 2LP (BANG 097LP) 30.50
Two 150-gram LPs in gatefold sleeve. Limited edition of 500. Australian living legend Kim Salmon presents My Script. Salmon presents his versatility in the style of minimal sounds à la Kim Salmon & The Surrealists, with a strong base of UK glam like Slade and T. Rex, while also finding his way into the melodies of The Only Ones, all of it with his unique personal stamp. 100% composed and performed by Salmon, this music will be immediately recognizable to fans of Kim Salmon the world over. No need to say more -- Kim Salmon in his purest essence.



Released on the occasion of the Claap label's 2015 fifth anniversary, Five Years Claap opens with "Paraphonic State" by GummiHz, which moves between Detroit techno and minimalism and explores the beauty of paraphony with nothing but a drum machine and a paraphonic synthesizer. Nikola Gala presents a 2015 version of his 2011 track "Paradise" (CLAAP 003EP), turning it into a powerful cut that's tight, dirty, and raw. Kindimmer's "Everything Looks Yellow" is another excellent production; a smooth melody locks over some solid drums that carry Kindimmer's trademark rough sound.



COIL: Backwards 2LP (CSR 203LP) 28.50
2016 repress; Gatefold double LP version. Includes insert and download code. After the groundbreaking release of 1990's Love's Secret Domain album, Coil were not dormant; their main project was Backwards, which was started in 1992, updated considerably between 1993 and 1995, and transferred in 1996 to New Orleans, where it was finished in the magic of the Nothing Studios of Trent Reznor (Nine Inch Nails). The album saw the fruition of Jhonn Balance's recent vocal-coaching, which produced haunting, passionate vocals while reaching new heights. Now, in 2015, 23 years after its initiation, these tracks have been beautifully preserved by Danny Hyde and are finally available in highest quality audio. Differing substantially from the later, remixed incarnation, The New Backwards (2008), Backwards contains the original versions of Coil's much-loved tracks "A Cold Cell" and "Fire of the Mind," which have appeared on various compilations over the years, and are now presented as originally intended. This album is the essential bridge between LSD and the later Musick to Play in the Dark series; an essential conduit to understand the journey that Coil took.



FANGO: Tuono Remixed 12" (DEGU 018EP) 12.00
Fango presents an EP of remixes of tracks from his 2015 Tuono album (DEGU 001CD/016EP). Rebolledo's remix of "Dritto" premiered on Maceo Plex's BBC Radio 1 Essential Mix; it's a driving track that expertly draws out the original's drama. Norwegian DJ extraordinaire and space disco heavyweight Prins Thomas remixes "Saetta" with warm, funk-tinged basslines complemented by driving synths and Latin folk guitar elements. Prins Thomas's remix of "Tuono" wraps the original around a driving bassline and horn synth textures. Magazine cofounders Barnt and Jens-Uwe Beyer open their remix of "Tei" with a cinematic flute before kicking up the percussion.



FLASHBACK: Flashback #8 Spring 2016 MAG (FLASHBACK 008) 22.00
Issue #8 of Flashback, Spring 2016. Edited by Richard Morton Jack, Flashback covers overlooked '60s and '70s music in depth, with expert writing, original research, and many rare and previously unseen images. In this issue: The Koobas: This Liverpudlian quartet released numerous 45s; toured with The Beatles; gigged with Jimi Hendrix, The Who, and Pink Floyd; made a fine album in 1968; and became stars in Switzerland -- but success at home proved hard to find. Richard Morton Jack tells their story for the first time. Jukebox: Michael Tanner of The A. Lords and United Bible Studies on 12 tracks that have inspired him. Album by Album: David Hitchcock oversaw classic records for Caravan, Genesis, Camel, and many others. Here he talks Flashback through his productions one by one. Time Out: Starting in August 1968, Time Out quickly became the most important source of information about what London had to offer, musically and otherwise. First Person: Robert Calvert recalls the short and intense career of Catapilla, with contributions from his bandmates Hugh Eaglestone, Brian Hanson, and Ralph Rolinson. Paternoster: Swiftly recorded and only released in their native Austria, Paternoster's sole album is one of the most despairing and enigmatic recordings of its time. Stephan Szillus tells its tale for the first time. The Human Beast: Though this Edinburgh trio disowned their weird, hard-rocking LP, it has gone on to become a firm favorite around the world. Richard Morton Jack speaks to them. George Martin: A long-lost and revealing 1968 interview with The Beatles' producer, conducted by the late J. Marks and exhumed from the pages of Eye magazine. The Evolution of Rock Critics: Aaron Milenski explores the changing tastes of rock critics -- and how they shaped his own tastes as a teenager. Mushroom: These Dublin teens had a big hit in 1973, toured Ireland relentlessly, and made one of the best "Celtic rock" albums of all time. Richard Morton Jack gets their story straight. Tamam Shud: Tamam Shud was one of the first Australian bands to embrace late '60s acid culture. Ian McFarlane tells their story. The Parlour Band: This Jersey quintet made one of the most highly regarded progressive pop albums of the early '70s. Austin Matthews gives their full history. British Private Pressings: Fifty of the best privately released albums from the heyday of British underground music. Reviews: Thorough coverage of recent CDs, LPs, and books, taking in household names (The Beatles, David Bowie, Van Morrison), cult heroes (Captain Beefheart, Procol Harum, Françoise Hardy), and ultra-obscurities (Robbie The Werewolf, Fuchsia, Lucifer). Crying to Be Heard: The enigmatic Day Breaks by John Wonderling, lost since 1973.



EL_TXEF_A: We Walked Home Together Remix Pack III 12" (OFOC 002EP) 14.00
The final remix pack for El_Txef_A's 2014 sophomore album We Walked Home Together (FIAKUN 002CD/LP). Kompakt co-owner Reinhard Voigt delivers a weird, dry, yet easy and acid-influenced reinterpretation of "The Love We Lost (feat. Woolfy)." Dave DK is the first one to rework "Mugarrirantz (feat. Napoka Iria)," showing his love for the Basque Euskara language in which the song is written. Bringing in the classic analog flavor is Damian Schwartz with a classic MPC sound for "Claim of Planet Earth." Finally, El_Txef_A delivers a reinterpretation of the same track, giving it a mystic feel reminiscent of Orbital's first albums. Limited edition of 300.



RANDWEG: Meanderlust LP (FUNKEN 002LP) 23.00
Includes download code. With their second album, Meanderlust, Randweg undertake a trip along melodic fields and rhythmic turns. They make feel-good music with an experimental core, using clarinet, guitar, bass, cajón, and computers to tread previously untrodden paths. The duo breaks with any expectations one might have for this kind of instrumentation; the clarinet playing in particular "has nothing to do with the usual clichés one may associate with this in itself innocent and lovable instrument. On the contrary, its sounds remind us a lot more of our well-loved vintage analog synthesizers" (Groove). Andreas Ernst has played the clarinet since he was 12 years old. The way he puts his instrument to use is exceptional; the clarinet serves as something of a natural oscillator, as its vibrations are alienated with effects and transferred to a different world of sound. A woodwind instrument as a controller for sound transducers, filters, and delay. Ernst's distinctive playing style can also be found on tracks by Ripperton, Ellen Allien, and Der Dritte Raum. David Baurmann forms the musical counterpart on bass and guitar and enriches Randweg's electronic beats with cajón. Firmly anchored in the electronic music scene of Aachen, Germany, as a DJ, here he is a multi-instrumentalist, giving the duo's music its peculiar band-like sound. Following the 2013 release of Randweg's debut, Equisetales (FUNKEN 001LP), the duo began performing live and laid the foundation from which they have since meandered into further-out territory, with releases on Dock Records and Nachtdigital. The ten seamless songs of Meanderlust effortlessly wander across genre boundaries, from folk melodies and jazzy playfulness to clubby electronics -- sometimes even with an open sympathy for epic rock.



STRATEGY: Information Pollution LP (FUR 101LP) 23.50
180-gram LP. Includes printed inner sleeve. Like some ingenious combination of John Cage's chance operations and the numbers station data stream captured on The Conet Project, Strategy's Information Pollution immerses listeners in baffling sonic waters. It's a riveting work that converts the enigmatic effluvia of shortwave and dispatch radio chatter into thrumming, static-riddled clouds of ambience. An undercurrent of unease wafts through Information Pollution's four lengthy tracks, as barely audible molecules of aural junk never meant for public consumption are repurposed into an unsettling strain of inverted chillout music. Information Pollution was born out of restraints. After moving into a new house with little space to set up his studio properly, Strategy (Portland producer Paul Dickow) could only work with a few devices at a time. He'd acquired an old Akai reel-to-reel tape deck with tube preamps from his father, who'd recently cleaned out his own studio. Using radios, homemade effects boxes, and the tape deck, Strategy recorded these sound collages live to tape, without touching any synths or deploying any samples. "I discovered a lot of ghostly shortwave sounds," Dickow says, "but also ambulance, parking, and school bus dispatch channels on forgotten frequencies that I think might have been once used for police or broadcast TV." The result falls somewhere between Philip Jeck's eroding turntable symphonies and William Basinski's poignantly decaying Disintegration Loops. Dickow explains that he uses the term "Information Pollution" to classify "any spam, broadcast saturation, junk mail, invasion of unwanted information [that enters] the socialemotional public realm." As with the material Strategy created with cassette tape loops on his previous Further release, 2015's Noise Tape Self (FUR 096LP), "there's a sense of machines having their own life, beyond our control." But instead of chaos, Strategy has produced an artful alchemization of discarded tones. Although Information Pollution sounds unlike anything in Strategy's sprawling catalog, he likens the album to his activities within Portland's '90s/early-'00s experimental/noise scene. The reason he hasn't issued anything in this style till now? He wanted to wait until he was sure he'd "given it the necessary rigor and study." With this album, Strategy has shaped the random output of radios into a gripping document. As Dickow puts it, "This is the audio equivalent of photographing the oil slicks that appear in the puddles of parking lots."



BRAVE TIMBERS: Hope LP (GZH 063LP) 23.50
Includes download code. Hope is the second album by North Shields, England-based Brave Timbers, originally the solo project of multi-instrumentalist Sarah Kemp. It follows the 2010 debut of the project, For Every Day You Lost (which sold out of its limited pressing), and contributions to Second Language's Minute Papillon (2011) and Music and Migration (2010) compilations (alongside artists including Peter Broderick, Vashti Bunyan, Hauschka, and Dustin O'Halloran). Joined by Andrew Scrogham, Kemp recorded Hope in a Victorian concert hall in Salford, England. It is a reflective, pastoral album of carefully built ambient landscapes. These 11 instrumental compositions demonstrate the minimal clarity of Brave Timbers, with the piano and violin circling one another and creating a sense of space and terrain. There's also dreamy timelessness within the music's flow and weave, from the gauzy atmospheres of "Swimming in the Isar" to the brittle warmth of "The Well Worn Path." Hope has a purity and a simplicity that Brave Timbers bathe in a golden, spectral light.



SIMON12345 & THE LAZER TWINS: Cheveux Propres, Cheveux Gras 12" (HOLGER 009EP) 14.00
Carving out their own niche with Doumen Records and its main project Praezisa Rapid 3000 since 2013, Simon12345 & The Lazer Twins now join the Holger family with a record that fits the label philosophy quite perfectly. Cheveux Propres, Cheveux Gras is yet another record in between everything; it's loud but with sensitive moments, stomping and danceable, fuzzy and wild, and demanding at times yet always a pleasure to listen to. An up-and-down journey off the beaten path, willfully ignoring conventional rules and listening habits. Typical Holger -- a radical statement of self-expression, full of character and highly personal.



PERRY, LEE 'SCRATCH': The Return Of Pipecock Jackxon LP (HJR 109LP) 14.50
2016 repress; LP version. Originally released in 1980, this album from Lee "Scratch" Perry is the final work to emerge from the Black Ark studio, before its permanent destruction. It concludes a series of such LP masterworks such as Super Ape, War In Babylon, Police And Thieves, and Return Of The Super Ape. Enthrallingly, it crosses the sound world of Roast Fish Collie Weed & Cornbread with new hybrids -- like the irresistible 11-minute opener, rolling and delirious, a kind of reggae prophesy of Marvin Gaye's "Sexual Healing," but musically richer, and more glazed, randy and visionary. Includes an insert with extensive notes by David Katz.



DMX KREW: You Exist 2x12" (HYPE 005LP) 28.50
Ed DMX aka DMX Krew, the visionary British electronic producer responsible for a slew of excellent releases for labels like Rephlex, Spectral Sound, and Permanent Vacation and his own Breakin' Records and Fresh Up Records since the mid-1990s, presents You Exist, his debut appearance on Hypercolour. Nine tracks of beautifully crafted, melodic electronic sounds. From the opener, "Spiritual Encounter," DMX sets the tone perfectly with oodles of pitch-perfect synth riffs and driving drums, working his way through snappy and bright pop moments like "Hard Copy" to darker, more melancholic cuts like "Computational Paradigm Shift." DMX breezes in and out of electro techno territory and more contemplative IDM vibes with ease. You Exist is a consistent, engaging work that captures a truly genuine musical form, produced and delivered with love from one of the scene's unsung heroes to please the ears of discerning listeners everywhere.



BERTOIA, HARRY: Complete Sonambient Collection 11CD BOX (IMPREC 419CD) 98.00
Harry Bertoia's Complete Sonambient Collection features all 11 of Bertoia's original records newly restored from their master tapes and housed in replica jackets. A heavy duty box, printed with metallic inks, holds the 11 discs as well as a 100-page book containing a lengthy historical essay, an interview with Harry Bertoia from the Smithsonian Archives of American Art, exclusive Sonambient-era material from the Bertoia archive, modern and archival photos of the Bertoia barn, and reflections on Bertoia from David Sefton, Tom Welsh, David Harrington (Kronos Quartet), and all three of Bertoia's children. The Complete Sonambient Collection celebrates 100 years of Harry Bertoia in 2015, the centennial of his birth. In the late 1950s, Harry Bertoia (1915-1978), already a renowned American sculptor, began creating long-form, improvised pieces of music utilizing pure acoustic tones evoked from his sound sculptures. Around this time Bertoia came up with the term "Sonambient" to describe the music and environment created by his tonal sculptures and their lush harmonic overtones. In a renovated barn on his property deep in the Pennsylvania woods, Bertoia curated a harmonious selection of his sculptures and gongs, often recording his frequent, intuitive sound experiments using four overhead microphones and a ¼" tape recorder. Bertoia dedicated the last 20 years of his life to his Sonambient work and in 1970 he released the first Sonambient LP. In 1978, in the final months of his life, he selected recordings from his archive and produced ten more Sonambient records. He would not live long enough to see or hear these records himself. Bertoia died in 1978, at age 63, and was buried beneath a giant gong behind his Sonambient barn. Bertoia's recordings are as much a celebration of sustained tones, slow decay, healing vibrations, and shimmering harmonics as Indian classical music, singing bowls, La Monte Young, or Benjamin Franklin's glass armonica. Through these rich harmonics, pulsing tones, and pure gongs Bertoia was able to more clearly articulate his inner spirit than he could with sculpture alone -- a point he made himself many times in interview. His single greatest piece of art is the totality of his life, which is nearly impossible to measure but easy to feel. Important Records hopes that somehow this box set evokes some of the same sacred, personal feeling that one has in Bertoia's barn. "I don't hold onto terms like music and sculpture anymore. Those old distinctions have lost all their meaning." --Harry Bertoia, 1976



VOIGT, REINHARD: Reisen & Speisen 12" (KOM 338EP) 12.50
Returning to his classic style of rugged, explosive techno, Kompakt luminary and cofounder Reinhard Voigt certainly isn't one to mince beats; Reisen & Speisen delivers two intense, minimalist bangers with lean and efficient structures finely tuned for maximum impact. The title-track drops a simple yet mind-melting synth horn into a seething primeval soup of stoic bass and stomping drums; it's a dead-aim floor projectile packing a worrying amount of punch. Flipside surprise "Wühler" showcases a rare electro exploit by an artist mostly known for unerring techno, indulging in a gnarly new wave bassline and some expertly placed synth splashes.


ORB, THE: Alpine 12" (KOM 339EP) 12.50
Pioneers The Orb (Alex Paterson and Thomas Fehlmann) followed their acclaimed 2015 album Moonbuilding 2703 AD (KOMP 124CD/KOM 330LP) with a contribution to Pop Ambient 2016 (KOM 345LP), the joyously meandering cut "Alpine Dawn." But this track was only one piece of a psychedelic puzzle, and the full Alpine trilogy now gets the attention it deserves. Spiritually and texturally akin to "Alpine Dawn," "Alpine Morning" starts off with actual cowbells and looping synth pads before changing lanes several times and introducing a relaxed downbeat flavor mid-track. Centerpiece "Alpine Evening" comes comfortably grounded in a heavy-duty rhythm section reminiscent of classic Kompakt stomp.



"Remastered from the original tapes. Essay by 'Punk Professor' Vivien Goldman, interviewing key players. CD includes full album plus 6 bonus tracks. After 1979's Press Color - reissued by Light In The Attic - Lizzy Mercier Descloux went tropical. Mambo Nassau, released in 1981 on Philips Records, saw the vagabond Parisian poet, artist and musician decamp from New York to the Bahamas with her manager and sometime lover, Michel Esteban. The effect on her music was not as expected. Press Color had been an album of dissonant, distorted disco influenced by the New York no wave scene, but Chris Blackwell's Compass Point Studios provided a hermetically sealed environment into which the island's relaxed atmosphere did not seep. Instead, music from within those four walls -- made by Tom Tom Club and Grace Jones -- had the effect of a feedback loop. The album, meanwhile, reflected the growing confidence of Descloux as a musician, an increasing interest in African music and the input of two new collaborators: synthesizer innovator Wally Badarou and Jamaican engineer Steve Stanley, the album's de facto producer. 'Since 1975, we had spent seven years in New York and it felt like the end of a cycle,' says Esteban, who co-founded ZE Records, on which label Descloux's first album was released. 'We wanted to get out of Manhattan and move towards Africa. We needed new adventures and change. Mambo Nassau was our next stage.' Mambo Nassau's skip through styles is like a tour of Lizzy's musical DNA, embracing not just mutant funk, disco and punk but a pastiche of Bavarian oompa music ('Milk Sheik') and even cocktail jazz chanson ('Les Baisers D'Amants'), a duet with DJ Philippe Krootchey. Mambo Nassau did speak to the mavericks enamored of Lizzy's free spirit but it did not sell well. 'We never were commercial,' notes Esteban. The album is presented now with bonus tracks including 'Mister Soweto', 'Corpo Molli Pau Duro' and a cover of Bob Marley's 'Sun Is Shining', all of which were intended to help score a record deal that would allow her to record in Soweto, South Africa. It worked. With the follow-up, Zulu Rock, on the horizon, Descloux's African adventure was only just beginning..."


LP version. Includes download code for full album plus six bonus tracks.


"Remastered from the original tapes. Essay by 'Punk Professor' Vivien Goldman, interviewing key players. CD includes full album plus 5 bonus tracks. In the course of three albums, Lizzy Mercier Descloux, the rogue poet, artist, and singer-songwriter, travelled on a musical voyage from Manhattan (1979 debut Press Color) to The Bahamas (1981 follow-up Mambo Nassau) and apartheid South Africa (1984's Zulu Rock) -- a controversial cultural boycott in protest of the nation's racially divided society. One place Descloux had never visited was the pop charts, but that changed when 'Mais Où Sont Passées Les Gazelles? (Where Have The Gazelles Gone?)' -- a reworking of a South African Shangaan disco hit -- went all the way to the top spot in her native France, giving her a platform and a profile in the land she'd fled many years before. Recorded at Satbel Studios in Johannesburg, the album followed what her mentor Michel Esteban describes as 'an extraordinary adventure' through eastern Africa following the footsteps of 19th century poet Rimbaud through Sudan, Ethiopia, the East Coast. A socially conscious person, Descloux wanted to use her music to draw some attention to the situation in South Africa, even obliquely, but there were musical motivations too -- she was tapping into a hot and little-heard dance music in the aforementioned Shangaan disco, Soweto jive and mbaqanga, the style Malcolm McLaren had mined for his mash-up hit 'Duck Rock' a year before. The music of South Africa seduced, subsumed, and molded Lizzy, who sounds surer and more swinging than ever before throughout Zulu Rock, but credit must also go to British producer Adam Kidron, then best known for his work with Scritti Politti, who joined Esteban and Descloux for the entire African journey. Lizzy and Adam's was a battle of wills from the start, but his insistence on getting Lizzy to sing in a more conventional, tuneful way resulted in an emotional, ambitious, creative power struggle that delivered arguably her best vocals yet. In Vivien Goldman's new liner notes for this reissue, Kidron says: 'My first impression of Lizzy was that she couldn't sing but that she had that crazy Madonna, Neneh Cherry, Nina Hagen attitude thing going on and a magical way with words -- a marketer's gift for getting to the essence of a feeling or idea.' And for once, on this album, the marketing did itself."


LP version. Includes download code for full album plus five bonus tracks.


DESCLOUX, LIZZY MERCIER: One for the Soul CD (LITA 139CD) 15.00
"Remastered from the original tapes. Essay by 'Punk Professor' Vivien Goldman, interviewing key players. CD includes full album plus 2 bonus tracks. By the time poet, singer-songwriter, and artist Lizzy Mercier Descloux recorded 1984's Zulu Rock, she'd marked herself out as both a globe trotter with more passport stamps than Tintin and a musical innovator whose loose, arty spirit could be applied to styles as varied as no wave, Bavarian oompa and Soweto jive. She'd also established a tight-knit threesome with muse/former lover Michel Esteban and producer/on-off lover Adam Kidron, who all reunited to follow Zulu Rock -- a surprise hit in her native France -- with something that, once again, represented a complete about-turn. The location, this time, was Rio De Janeiro, a suitably exotic location to follow their sojourn in Soweto given that Brazil had recently emerged from twenty years of dictatorship. But unlike Zulu Rock's broad appropriation of the local sound, One For The Soul borrows very liberally from Brazilian culture. The aim, says Kidron, was to 'reimagine the blues', but Lizzy's musical essence was in flux. 'A Word Is A Wah' meshes reggae with her beloved accordion, 'Women Don't Like Me' is wild, new wave pop, and she even wanders into soul territory, with whispery lounge versions of Al Green's 'Simply Beautiful'. Most notable is the album's foray into jazz, and the fact that Chet Baker, the master jazz trumpeter, blew his last on 'Fog Horn Blues' and the sensuous 'Off Off Pleasure'. Rio was to be the last great hurrah of Lizzy and Michel's global recording adventures, and although work proceeded apace, the experience was often quite tense. 'The sessions were tough work,' says Kidron, in the new liner notes by Vivien Goldman accompanying this deluxe reissue. 'Lizzy never quite got singing, no matter how much she drank, and no matter how hard she tried. Chet was very much at the drug-ravaged end of his life and had very little stamina or dexterity left... but there is a deep, sad, lyrical tone to his performances on the album.' So fraught were the sessions, it's a miracle that such a cohesive, sparky record emerged. The record-buying public did not agree, and as the album crashed and burned, so did the relationship between its three heroes. Lizzy was, for the first time, about to take on the world alone -- and there was but one album left in her."


DESCLOUX, LIZZY MERCIER: One for the Soul LP (LITA 139LP) 24.00
LP version. Includes download code for full album plus two bonus tracks.


"Remastered from the original tapes. Essay by 'Punk Professor' Vivien Goldman, interviewing key players. CD includes full album plus 6 bonus tracks. By the time bohemian singer/poet/artist Lizzy Mercier Descloux recorded her fifth album, 1988's Suspense, she'd enjoyed a recording career that was as far from the clichés of music lore as is possible, flitting between genres, continents and collaborators, enjoying great success and equally great failure and even stealing the final breaths of master trumpeter Chet Baker for 1986's One For The Soul. When she came to make Suspense -- reissued here as the final album in our series -- she was, for the first time, working without her longtime muse, partner and manager Michel Esteban, with whom she'd first moved from their native France to New York, where it all began. The pressure was on to repeat the success of 'Mais Où Sont Passées Les Gazelles', a smash hit in France, and Descloux's label were keen to make a conventional artist of her, pairing her with John Brand, an in-vogue producer with a style geared to a big, shiny 1980s chart sound -- an approach Lizzy had never experienced before, nor intended to. Recorded in Oxfordshire and Wales, it features songs recorded in both French and English, with lyrics by Mark Cunningham, the trumpet player of the avant-garde band MARS, and James Reyne, the Australian artist who co-wrote much of One For The Soul. In Vivien Goldman's new liner notes, Esteban notes that Suspense sounds 'less Lizzy than the other records, less open,' but in splitting herself into two -- English and Francophone -- the album has two personalities too; oddly, it shines a light on the real Descloux that her cultural experiments never did. Though the initial aim was to make a folky, acoustic album, the pop sound suited the singer, and 'A Room In New York' is as fine and sparky as AOR gets. But when early single 'Gueule D'Amour/Cry of Love' stiffed, EMI lost confidence and buried the LP. Bound by her contract to the label, Descloux moved away from music and focused on painting. She eventually settled in Corsica, the French island, where she died, aged 48, of cancer. Descloux's musical career ended, therefore, with the aptly titled Suspense. It was only a matter of time before this furiously creative artist's work was re-evaluated, and with these deluxe reissues, that time is now."


LP version. Includes download code for full album plus six bonus tracks.



PORTABLE: I Reflect Thee 12" (PLAYRJC 040EP) 12.50
Alan Abrahams, better known as Bodycode and Portable, returns with a fragile and romantic piece of house music, "I Reflect Thee," under the Portable alias. "I Reflect Thee" features all of his great signature moves, and is backed here with an a capella version for brave DJs and a serious "Flutramental."



BOOKBINDERS: Bookbinders EP 12" (MEANDYOU 004EP) 15.00
"Featuring four close affiliates: vintage Even Tuell, from Workshop; some dark, slowly building Sul; the Belgian producer Sensu, making his recording debut with some paranoid, trippy lo-fi; and Fabric, from Mego and Spectrum Spools, back on Meandyou with some dubwise cut-and-thrust."


MG 112LP

DE LA CALLE, EDUARDO: Analog Grooves (Collected) 6x12" BOX (MG 112LP) 150.00
Six-12" box set version. Limited edition of 150. Clear vinyl. Deluxe thick matte black box with reflective golden print. DJ and producer Eduardo de la Calle presents a complete collection of tracks from his four Analog Grooves 12"s released from 2012 to 2015. "Among De La Calle's expansive output of 60 records over the past half decade -- and aside from releases on his own label Analog Solutions, and the likes of Nonplus, Cadenza and Semantica -- is a series of four for Mental Groove, collected under the Analog Grooves banner. Started in 2012, the project focuses on a more experimental, and more meditative, approach to techno, one suffused with jazz sensibilities and a cosmic mindset" --Brian Kolada, Resident Advisor. Rather than a collection of disparate dance tunes, the 12"s were initially intended to form a complete journey, which is fully realized in this collection. The cover artwork reproduces the cover of the Voyager Golden Record, which was included aboard both Voyager spacecraft launched in 1997, intended for any intelligent extraterrestrial life form or future humans. The 12" labels reproduce selected images from the 116 images contained in the Voyager Golden Record. The fifth and sixth 12"s include three vinyl-only tracks -- the rare "SP0000," originally released as a single-sided 12" in an edition of 50 in 2012; the exclusive track "The Window Rocket"; and a 20-minute live space jam inspired by the classic KLF album Chill Out (1990) and Galaxy 2 Galaxy's seminal "Metamorphosis (The Creation Of I.S.F. Unit ZC-121861 Stardate: 05 30 93)" (1993) -- plus ten locked grooves of vinyl-only loops inspired by the Solar System.



TARON-TREKKA: Akvarium EP 12" (MMR 025EP) 12.50
Taron-Trekka are back on Milnormodern. Two tracks for the club on limited vinyl. Written and produced by Daniel Müller-Sachs and Andreas Kriester.



BRECHT, JOHANNES: Freedom Walks Henrik Schwarz Remix 12" (MUSIQ 197EP) 12.50
Henrik Schwarz remixes Johannes Brecht's "Freedom Walks" in advance of Brecht's 2016 debut album.



EYE: Come On 12" (EYEREC 003EP) 12.00
"The third Eye, as per -- intrepid, ecstatic, off-grid wandering; one-sided, etched discs resplendent in hand-painted sleeves. Epic, this time . . . drenched, dazed, debauched . . . with Sly, Prince and Marvin amongst its guiding stars. Refreshing; very limited. Support from Benji B, Gilles Peterson and NTS."



VA: Zehn / Drei 12" (OSTGUT 020-3EP) 12.00
Standalone edition of Zehn | Drei, originally included as one of ten 12"s in the 2015 Ostgut Ton | Zehn box released for the Ostgut Ton label's 2015 ten-year anniversary. Len Faki's remix of "Roller" by Luke Slater (as L.B. Dub Corp) featuring Dave Sumner aka Function is a subtle but intensifying update of the original's nuanced kick drum. With "DX3_Analog_Bass_Seq," Function focuses on pulsing, modulating, warm synth basslines with subjacent, haunting blank spaces and a straight drum beat. "Keine Angst" by Substance aka DJ Pete offers a fleet-footed stomper with lots of drive and some jacking vocal samples.


VA: Zehn / Vier 12" (OSTGUT 020-4EP) 12.00
Standalone edition of Zehn | Vier, originally included as one of ten 12"s in the 2015 Ostgut Ton | Zehn box released for the Ostgut Ton label's 2015 ten-year anniversary. Matthew Styles's vinyl-only dub remix of Dinky's "Planes" takes the original in a totally new direction, focusing on synth pads and piano melodies. Nick Höppner's percussion-heavy contribution "Double-Cross" is in the vein of his critically acclaimed 2015 album Folk (OSTGUT 033CD/019LP). The soulful vocals of Virginia's "Never Underestimate" (released in advance of her 2016 debut album) correspond nicely with the track's electro-influenced, percussive, and dreamy vibe.



OTTO, ANDI: Bangalore Whispers (feat. MD Pallavi) 7" (PING 052EP) 12.00
South-Indian singer M. D. Pallavi, one of the most prominent protagonists of Bangalore's traditional music scene, has collaborated with Andi Otto (aka Springintgut) in various theater productions; the duo now present their first track together, "Bangalore Whispers" (preceding more to collaboration in 2016). Otto's composition for "Bangalore Whispers" creates the spine for Pallavi's virtuoso performance of carnatic (traditional South-Indian) syllables. The track pulses at 95 BPM with an organic cluster of piano, cello, and psalterium strings, over which the vocals erupt in a mesmerizing vocal solo in the middle of the track. The euphoric B-side, "6-6-6-5," was made exclusively for this 7".


PL 013LP

POLE: Wald 2LP (PL 013LP) 23.00
2016 repress; Double LP version. Etching on side D. "Wald begins immediately, ends abruptly, and is divided into three acts of three tracks each. It is the first studio album under Stefan Betke's Pole moniker in eight years... half an eternity in the digital age -- yet the pieces on Wald seem timeless, or to have fallen from time. Stefan Betke: 'After Steingarten (SCAPE 044CD, 2007) I was on tour for two years. At the same time, Barbara Preisinger and I set up our record label ~scape. Those were two hindering circumstances that were not exactly conducive to a creative restart... I couldn't have really added anything new in the wake of Steingarten and the dub declensions I had made in previous years.'... Over several years, long walks in the woods preceded the resumption of the production of his own material: 'Walks through the Isar valley, but also through the forests in the Alps... You have to go through life with an open mind and with extended antennae. If something strikes you and inspires you to create new music, then it will be for a reason...' For Pole, it was the forest; its spatiality... manifested, for example, in raw sounds (second act) and in psychedelic structures (third act), which sound as if they might be guitars (but are actually distorted synthetic lines)... From the tangible experience of the forest, a rather abstract question emerges: 'How can I take what I have seen or felt and make it audible?' This question becomes a narrative, a storyline. The initial story is that Pole went into a dialogue with his instruments, and the second story can be heard in the three acts of Wald. The new compositions on Wald do not deny their inheritance within the continuum of dub, yet they bring an entirely new vocabulary to Pole's sonic and spatial universe... 'If Wald had nothing to do with the world of Pole, then I would have come up with a new alter ego and produced it under a new name.' The structures, forms, and processes that Betke perceived in the forest were translated into musical structures, forms, and processes that inherently sounded like Pole. Perhaps the forest simply produces reverberations (just like the echo in the mountains!) that give rise to a bounty of thoughts. The story behind it is told in music, without the use of words -- as has previously so often been the case with Pole." --Max Dax



TESSELA: With Patsy/Swimming 12" (POLY 004EP) 16.00
"Following on from Haroon Mirza's locked grooves, Tessela returns to Poly Kicks with a two track single of weighty, rhythmically satisfying techno, in his own trademark style."



RAAM: Raam 004 12" (RAAM 004EP) 12.00
Raam is back with a killer EP, moving deeper into his gritty and heavy soundscapes with influences from both Detroit and Chicago. "Alvar" is a straight-up chord-driven banger, with classic 909 drum patterns. "Unfold" is a warm, spaced-out Chicago track, reminiscent of Boo Williams. "Brink" has that magic disco flair; woofing basses and sparkling pads create a shimmering atmosphere. This track is perfect to play whenever, wherever.



FRASER & DEBOLT: This Song Was Borne 2LP (ROAR 039LP) 31.00
"Allan Fraser & Daisy DeBolt met in the summer of 1969. They had both been working individually on the coffeehouse circuit in their native Canada; over the next five years, as the duo of Fraser & DeBolt, they created a sublime body of work that still sounds remarkably fresh decades later. They recorded two albums for Columbia which garnered rave reviews at the time, but saw little commercial success. Both have since become cult classics in psychedelic folk circles; the first, With Ian Guenther, being particularly beloved amongst a coterie of die-hard fans. Their combination of ragged-but-right / salt & pepper harmonies, evocative lyrics, beautiful songs shot through with occasional dissonant grace notes, and careful arrangements that still managed to sound off-the-cuff made for some of the most beguiling music of the day. Now, Roaratorio is proud to present This Song Was Borne, a double LP collection of previously unreleased demos, studio outtakes, radio sessions and live recordings from Fraser & DeBolt's archives, spanning their entire career, in a deluxe tip-on gatefold jacket with detailed liner notes from Allan and Daisy. Download coupon included."



CHAPMAN, MICHAEL: Journeyman 2CD/DVD (SEC 113CD) 29.00
"A two CD/single DVD package recorded live at Barrel's Ale House in Berwick-on-Tweed 15th August 2003."



DUCROS/L. SIMONCINI, R.: America Amore Amaro LP (SME 013LP) 23.50
180-gram LP. Limited edition of 500. First reissue. One of the most elusive Italian library records on the Edi-Pan label, America Amore Amaro is an inspired musical interpretation of mid-'70s young America with spacey funk breaks and strung-out Italian sounds of the period. A sure shot from Remigio Ducros and Luciano Simoncini (Arawak, Jason Black, etc.), originally released in 1977. A fantastic record for those who are into the classic Simoncini/Ducros sound, very reminiscent of Arawak's Accadde A......... (1970) and Jason Black recordings. Tight drums, stoned flute sections, shouting horns, Fender Rhodes, heavy basslines, and that signature spacey wah-wah guitar that's on all of the earlier Simoncini recordings, plus variations on Ducros's 1970 "Sgambata" theme -- not to mention that Daniela Casa is probably the person playing all the wah-wah and cosmic fuzz distortions. Great samples for producers and DJs. As with much of Ducros and Simoncini's collaborative work, America Amore Amaro seems to be a geographical tour of America, and shows the duo's take on American culture at the time.


DE FILIPPI, RINO: Riflessi LP (SME 014LP) 23.50
180-gram LP. Limited edition of 500. First reissue. Riflessi is a slick stand-out Italian library LP for your delectation; this reissue replicates the Italian Edi-Pan label's 1978 release, which changed the title, track list, and cover art from the original 1973 release on the Italian Smash label (the cover of the Edi-Pan release bears the butterfly so common in library sleeves of the era). Chock-full of keyboard-laden moods and grooves, the entire record features stunning, moody, down-tempo funk accompanied by groovy synthesizer electronics. Lounge breaks and themes tinged with prog -- a total must-have.


ROCCHI/GODI/CHIAROSI: Pop-Paraphrenia.... LP (SME 015LP) 23.50
180-gram LP. Limited edition of 500. First reissue. Absolutely one of the best library LPs by Italian jazz pianist Oscar Rocchi, 1972's Pop-Paraphrenia...., released on the Italian Fonovideo label, was also released on the Italian Music Scene label under the title Jungle Birds, with the same matrix number stamped on dead wax. Totally killer jazz-funk vibes with outstanding Tullio de Piscopo drumming to die for, and Oscar Rocchi on Fender Rhodes and organ accompanied by his colleague Giancarlo Barigozzi on flute and soprano sax. A fantastic album, featuring the best jazz-funk breaks for samples on side A and stellar experimental avant-garde jazz sounds on side B. Psychedelic and moody, and as beautiful as its original edition is rare. Some tracks were used in 1972 and 1973 as soundtracks for Italian TV shows.


FABIO FABOR: Aquarium LP (SME 016LP) 23.50
180-gram LP. Limited edition of 500. First reissue. Welcome to the peak of underwater Italian library music. This is Fabio "Fabor" Borgazzi's Aquarium (1980), a totally amazing underwater modal jazz and lounge album with loads of vintage electronic keyboards, marine echoes, whirling organs, weird underwater synthesizers, jazzy drumming, and so on... This record is clearly a Holy Grail, with a bunch of lascivious tracks that simply let the listener's enjoyment grow so smoothly -- after many a delightful replay, one is moved to call it a perfect masterpiece.


SAVINA, CARLO: Grand Tour LP (SME 017LP) 23.50
180-gram LP. Limited edition of 500. First reissue. Killer Italian library LP by Carlo Savina and his orchestra, originally released on Fabio Fabor's Edizioni Musicali Minstrel sublabel Ring. Shocking and still underrated panoramic electronic lounge sounds spaced out by jazz-funk, dope funk breaks, and amazing electronic underwater effects. Music inspired by the sea and islands for a total aquatic lounge trip. A stunning bassline opens "Canaries," the best shot from this album, with Fender piano over slow drums, infectious acoustic guitars, and insane breaks.



VA: The Beat from Badsville Vol. 4: Even More Trash Classics from Lux & Ivy's Vinyl Mountain 2x10" (STAGO 076LP) 22.00
Brought up on the radio shows of such legendary rock 'n' roll DJs as the moondogging Alan Freed, Mad Daddy, and, later, the ghostly Ghoulardi, it was hardly surprising that The Cramps' Lux Interior and Poison Ivy began trawling thrift stores for juvenile delinquent tunes, lip-curling bad boy rock 'n' roll, strange exotica, bizarre novelty 45s, dysfunctional doo-wop, psychedelic weirdness, and instrumentals made by madmen. In America in the 1950s and 1960s there seemed to be small-town versions of such vinyl madness everywhere that, by 1970s, were remaindered and -- to the majority of people -- unwanted. To the fledgling Cramps this was nothing short of heaven. The duo filled their house with novelty memorabilia, schlock horror furniture, and a record collection to die for. Lux eventually gravitated to his own Purple Knif radio show and The Cramps delivered their versions of some of the stuff they'd found. The duo name-checked many a 45 along the way and seeking them out and sampling their eccentricities is nothing short of mind-blowing. This 24-track collection positively effervesces with eccentricity. As with every installment in the series, these tracks are divided into four themes: The Rock'n'Rollers, New Dance Trend, Instrumentals, and The Mad Daddies. Every track pirouettes dangerously and at times haphazardly around the expected. These are songs for strange times by artists who can definitely be considered strange people. Gems and nuggets that sparkle even more bright in the manufactured music maelstrom of the 21st century. The population of Badsville welcomes you aboard. Includes tracks by Gary Link & the Rock-a-Fellas, Buddy Starr & the Starliners, The Saints, Jamie Coe, Bo Toliver & His Timers, Dossie Thunderbird Terry, The Vocaleers, Celestine, Young Jessie, Creel Sisters, The Phaetons, Burt Keyes with Teddy McRae & His Orchestra, The Downbeats, The Stereos, The Ramblers, The Storms, The Renegades, Nightmares (Jimmie Maddin Orchestra), Don Johnston, Jivin' Gene and the Jokers, Freddy Montell, Terry Corin and Her Boyfriends, and Mr. Undertaker.



DUNGEN: 4 LP (SUBL 030LP) 25.50
2016 repress; this is the clear-vinyl Swedish edition of Dungen's fourth studio album (released on CD in the U.S. via Kemado; no longer in print on vinyl from Kemado however), extending the acclaimed Swedish outfit's sound past psychedelia into something far more rare. Moving beyond mere stylistic concerns, 4 finds Gustav Ejstes' focus on the extremes of Dungen's sound separating into two entities. Blazing, raw guitar workouts have their own time and place, but now, so do stirringly orchestrated, jazz-cooled compositions with cinematic undertones. Bandleader Gustav Ejstes has made many allusions to his creative process as it likens to that of a hip-hop producer. On 4, that process is more evident than ever, both in the feel of each piece, and in the sense of intuition and control within the members of the group. New drummer Johan Holmegard joins guitarist Reine Fiske and bassist Mattias Gustavsson, while Ejstes steps away from guitar for the entire album, focusing on the piano as his lead instrument. Together, they have honed a classic and seamless sound, constructed with lavish studio flourishes and moving, narrative arrangements, and yet able to toughen up to tear veins of fierce blues-psych instrumentals up from the surface. The ten tracks on 4 comprise Dungen's most concentrated effort to date, beats surging forth and atmospheres changing as their sound continues to evolve. Every song here runs under five minutes, pushing the group to introduce confident melodies and arresting ambiance in tighter frameworks.


ALGARNAS TRADGARD: Framtiden är ett svävande skepp, förankrat i forntiden 2LP (SUBL 110LP) 43.00
2016 repress. Subliminal Sounds presents a vinyl reissue of Älgarnas Trädgård's 1972 debut album Framtiden är ett svävande skepp, förankrat i forntiden, a rare and totally flipped-out psychedelic underground space rock masterpiece from Sweden. The band name translates to "The Garden of the Elks" and the album title to "The Future Is a Hovering Ship, Anchored in the Past." A long, long time ago, long before our time, there was high-standing civilization on earth. It was then that the elks lived. In their garden was a huge generator of pink glass that radiated the four elements. It was a sort of primal force for everything that one might call God. These elks eventually learned to master the matter and then went into the astral transcendental plane. Since then nobody has seen them... This reissue is a facsimile deluxe re-release from the master tapes. Includes additional LP with previously unreleased recordings from the same time period. Features never before seen photos and liner notes by the band.



RODRIGUEZ JR.: Mistral (Remixes) 12" (SYST 110EP) 12.50
French DJ and producer Olivier Mateu aka Rodriguez Jr. stands for sophisticated and musical techno music, with releases on imprints like F Communications, Mobilee, and Systematic. His productions always have a certain passion and love that most producers don't deliver. "Mistral" was first released on the 10 Yrs Systematic compilation in 2014 (SYST 020CD), and after massive public demand, it's now available on vinyl with two epic, energetic, symphonic remixes by none other than Marc Romboy and Stephan Bodzin, Systematic's two best-selling artists.



NOTHING: The Wrong Answer Became Right Cassette (TTW 082CS) 7.00
In 2001 Savage Pencil, Zenlo, and Skylon formed an improvising trio named Nothing. Aptly, nothing was ever released. But now, The Tapeworm rectifies this with The Wrong Answer Became Right, a limited single-sided cassette in an edition of 100 copies. Zenlo: soprano sax, harmonica, psalmody. Skylon: beats and electronicz. SavX: forgotten Fender. Recorded at The Garage, Highbury and Islington, London, UK, June 30, 2001. Recorded live and totally improvised.



MM/KM: Have You Seen Them? 12" (TTTPALACE 001EP) 27.00
"Taking a torch to a drum machine, getting biscuit crumbs stuck in between synth keys. There's MM, fresh off a couple of EPs in the past year or so, and there's KM, who stays doing whatever the fuck he wants to. Then, there's MM/KM, who stitch burnt-out house jams together for the listening/buying public (note that their self-titled release has been $old out for a minute). This latest 12" is business as usual for the duo, sculpting some seemingly weightless trax that revel in doing it wrong, a tidy mess of beats, surface noise and any/everything that sticks. Bust a move, end the funk, flip Have You Seen Them? over and do it all again. I just wanna know: when do we get to hear more?" --Tiny Mix Tapes



BOTO CONLEY'S MUSIC WORKSHOP, ARTHUR: Don't DJ & Metasepia 12" (TBG 006EP) 17.00
"Travel by Goods is a German label run by the ethnomusicologist Arthur Boto Conley. After investigating the socio- cultural conditions of live-performances in the field of electronic music, the topic of the latest release TBG06 is the history and perception of the euclidean rhythm pattern. The three tracks on the stamped 12"-vinyl which is housed in a gatefold cover were produced by the elusive german producer Don't DJ. Comes with a transcription of a conversation between Florian Meyer (producer) and Wouter Hisschemöller (software-engineer) about the Euclidean rhythm pattern generator, bugs and the future of musical production."



HASHISH: A Product of Hashish LP (WOAH 020LP) 29.00
The long-awaited debut album from Hashish. Limited edition of 499. Deluxe silver foil sleeve. Includes poster. Top-class psychedelia, taking the genre to a new level with a sophisticated approach to afro-funk grooves accompanied by dreamy, playful melodies that range through a spectrum of Scandinavian occult psychedelia, minimal synth, surreal electronic soul disco, and rare groove. Some have described Hashish as a project that picks up what Goat started. Welcome to tomorrow. The sounds transport the listener into a forgotten world where the future looks different from what it became. On his soft, subtle island capped with clouds of cool fire, Pan weaves his teachings with the wind and the sun, raining sacred melodies on the hearts and minds of humanity and bestowing desperate loves and yearnings with songs of sainthood and madness. Transient temples of the flesh, laughing at death, clothe our lives in fire. On rippling altars of skin we sensual magicians worship bright burning desire.


ZE 015CD

VA: ZE Christmas Record - ReLoaded 2004 CD (ZE 015CD) 16.00
2016 restock. The Ze Christmas album, originally reissued in 2004. In 1981 and 1982 ZE Records published its own Christmas album under the supervision of Michael Zilkha. All the American artists on ZE answered the call and came up with a Christmas track. Cristina, with the two Was brothers, went to Detroit to record 'Things Fall Apart,' David & Don Was also recorded 'Christmas Time in Motor City' with their band Was (Not Was). August Darnell drew inspiration from New York for his 'Christmas on Riverside Drive.' Chris Butler composed a piece for his band The Waitresses entitled 'Christmas Wrapping,' later covered by Spice Girls. Material, Bill Laswell's gang along with Nona Hendryx, recorded 'It's a Holiday' during the 'Bustin' Out' sessions. James White, in the 1982 version, spent 'Christmas with Satan.' Charlelie Couture as a French guest interpreted a track in English: 'Christmas Fever,' the only recording by this artist for ZE Records. Davitt Sigerson shared his angelic version of 'It's a Big Country.' Alan Vega and Martin Rev offer two magnificent variations on the same theme: 'Hey Lord' by Suicide and 'No More Christmas Blues' by Alan Vega. In order to add a personal touch, I have added three new songs to the original track list: 'Sleigh Ride,' which was recorded in 1988 with Lio, Helena Noguerra & Marie France, during a TV show with Lio at the Lido in Paris. This year also Miss OD and Gentleman League pay indirect homage to Brian Wilson, to whom the present album is dedicated. LISI, also a new recruit in the ZE team, generously offers us the gift of a very personal and utterly contemporary version of a 'Rock & Roll Christmas.'

ZE 017CD

LIO: Suite Sixtine CD (ZE 017CD) 16.00
2016 restock. 2005 reissue; originally released in 1982. Only one year after her hugely successful debut, Lio, the emerging Belgian/Portuguese sexy pop icon went on to record her sophomore project: Suite Sixtine. Ze Records has now remastered this second release, originally released in 1982, which features English versions of her past songs plus various new singles. At the time of this recording, Lio was still divided between schoolrooms and studio sessions and the idea of adapting her songs into English was crucial to launching her '80s digital French pop on a global scale. On top of that, Lio collaborated on this project with Californian producers Ron and Russell Mael of Sparks-fame. It was a genuine challenge for Lio to retain her strong personality while immersing herself in the Mael brothers' very particular musical world view. Lio proved her composure and nerve against the frenetic synths of "Marie Antoinette" and "Housewife Of The Year," and on the hypnotic hook of "I'll Expose You." Alongside the disco-oriented hit single "Sage Comme Une Image" and the more pop (ular) "Mona Lisa," this album is also marked by the apparition of amazing French songwriter Serge Gainsbourg (with the cover of "Baby Lou"), and Alain Chamfort who will produce her next album. Instant child-star in the early eighties, Lio's popularity has never really decreased, whether she's insouciantly smoking out candy-coated Human League-infused pop songs, or whether she's burning up the silver screen.

ZE 018CD

LIO: Amour Toujours CD (ZE 018CD) 16.00
2016 restock. 2005 reissue. This is Lio's third album, originally released in 1983, now remastered and reissued with five bonus tracks by Ze Records. At 20 years old the pop singer/icon was already catapulted to fame overnight, her image plastered across the covers of mainstream European music magazines, and her reputation of "techno pop" artist was already established. Lio decided to stir things up a bit with Amour Toujours. With its fine and delicate melodies, its daring but nevertheless gentle vocals, Amour Toujours falls within the scope of purely traditional French songs with an ambiance perfectly displayed by famous photographer Robert Doisneau who shot the album cover and the pictures included in this booklet. Producer Alain Chamfort brings his whole variété background to Lio's Lolita universe: from the typically French association ensues a series of sincere and touching songs ("La Vérité Toute Nue," "Je Voudrais Bien Me Sentir Mal," "Motus à La Muette") where you can still notice the distinctive lyrics of songwriter Jacques Duvall. After the energetic effervescence of her first albums, Lio shows her ability to follow a softer and milder path. Far from being disappointed, the audience was still pleased with Lio's new direction, soon confirmed by the commercial success of the later released single "Tétéou" (which is included here on the bonus tracks). Whatever the team behind the desk, whatever the color of her songs, Lio's music is still what a Belgian reviewer/archivist once said: "...perfect French bubble-gum pop by a vivid young girl."

ZE 019CD

LIO: Pop Model CD (ZE 019CD) 16.00
2016 restock. 2005 reissue. This is Lio's fourth album, originally released in 1986, now remastered and reissued with seven bonus tracks by Ze Records. After a little break in her musical career -- filled with delightful movie appearances, Lio headed to Los Angeles with her new partner/producer Michel Esteban to start on the Pop Model recording sessions. Joined by legendary Tom Tom Club member Steven Stanley, the new team was certainly impressive. In addition to being part of one of the most influential dance acts ever, Shanley was also a fantastically talented Compass Point Island Studios resident sound engineer who collaborated with Grace Jones, Bob Marley, B52s and Talking Heads and who also co-produced the classic, numerously sampled, "Wordy Rappinghood." Recorded between Los Angeles and Gilberto Gil's own studio in Rio de Janeiro, there was a special communicative euphoria among the musicians, Lio and additional producer teammate, John Cale. Vibrantly colored by the wonderful lyrics and bongo and brass accompaniment for "Pop Song," and the orchestral "Veste Du Soir," driven by hit singles "Les Brunes Comptent Pas Pour Des Prunes," "Fallait Pas Commencer," and boosted by Hollywood-budget videos for "Barbie" (inspired by Ciao Manhattan), Pop Model established itself as a critically-acclaimed solid album, which catapulted Lio to the status of perpetually-winking cover girl. Not bad for the "French variété Lolita." Lio is a permanent surprise, constantly redefining herself for the pleasure of our amazed ears.

ZE 023CD

LIO: Les Pop Songs: Best Of CD (ZE 023CD) 16.00
2016 restock; originally released in 2005. Les Pop Songs: Best Of and Les Ballades: Best Of comprise two CD compilations encompassing the very best of Lio's pop songs and ballads. Twenty-five years? From the 17 year-old Wanda, hanging out in her room, listening to Blondie, Chiffons or Jane Birkin, to the established artist in the European music scene with more than eight albums, numerous singles, some amazing videos (with such directors as Jean-Pierre Jeunet), and hundreds of worldwide shows. These compilations are a journey into Lio's universe, filled with delightful images and insolent dreams; from the stirring "Sage Comme Une Image" or "Les Brunes Comptent Pas Pour Des Prunes," to the softer and emotional "L'Autre Joue" and "Je M'ennuie De Toi." Whether it is on Pop Songs or Ballades, you'll find that the songs lie somewhere between cynicism and tenderness, a subtle mix of naïve character and strongly shaped personality. Lio's legendary energy and cheeky enthusiasm are felt all over this compilation, sometimes in a cheerful way, sometimes through poetic melancholy. The cover illustration of Pop Songs and Ballades, by famous artist Guy Peeleart, symbolizes perfectly this artful and sympathic duality, or, to be true to Lio's verbal combinations, this "sweet schizophrenia."

ZE 025CD

2016 restock; originally released in 2006. Ze Records presents a compilation of some of the best work from Lizzy Mercier Descloux. Having already established herself as Paris' punk muse as a correspondent for Rock News, in 1978 Lizzy Mercier Descloux moved permanently to New York City and took a huge empty loft in Soho with friends Patti Smith and Michel Esteban, who would later go on to found Ze Records. They used the space as a workshop to play guitar, produce art and music. Under this incredibly influential umbrella, Lizzy and DJ Banes started a pretty obscure and nervous combo called Rosa Yemen. Drawing from the fertile grounds of punk, new wave and avant garde from the likes of Arto Lindsay, Lydia Lunch, James Chance/White and the rest of the new Ze Records signings, Lizzy eventually produced her own infamous first full-length Press Color (1979), which sounded like nothing that came before it, with angular guitar raves, feminine punk scrawls, and African-influenced dance beats, all liberated by Lizzy's yelps. Her versions of "Fire" and "Mission Impossible" would soon fill the dance floors in Tokyo, London, Paris and Berlin, signalling the transition from the grit of punk to the cheekiness of New Wave. Lizzy continued to expand her palette by recording in the Bahamas, South America and South Africa, recruiting musicians who would bring their diverse worldbeat influences to develop soul/funk/dance/no wave crossbreed records of inimitable originality. For her second record, Mambo Nassau (1981), Lizzy would work with Steve Stanley (who would also work with Grace Jones, and the Tom Tom Club) and employ the talents of Wally Badarou (Herbie Hancock, Level 42, Black Uhuru) as well as no wave founding father Arto Lindsay. After much acclaim for her next record Gazelles (1984) which won Album of the Year award in Paris, she then went on to record One From the Soul, in which she collaborated with Brazilian musicians and jazz trumpeter Chet Baker. After one more somewhat unsuccessful release, and some appearances in films, Lizzy moved to the West Indies, devoting herself to her painting, though she would record one last, unreleased album in 1995. Best Off is a compilation of the most riveting of Lizzy's work, showcasing worldbeat, discordant punk, celebratory no wave, boisterous Latin-infused funk, to comprise a joyful, frenetic celebration of this pioneering, unforgettable artist.

ZE 026CD

2016 restock. 2006 reissue. This is the third record Lizzy Mercier Descloux recorded, originally released by CBS Records (France-only) as Gazelles in 1984, now repackaged by Ze Records, including five bonus tracks. After having spent the previous few years promoting the Mambo Nassau album, Lizzy became enamoured of her trips to Africa and its music: highlife, Zairian rumba, Manu Dibango's makossa, King Sunny Adé's Juju music and Fela Kuti's Afrobeat and Julius Levine's African pop. The music you will hear on Zulu Rock is as diverse as the blend of ethnic groups in South Africa itself: it is mbaganga -- which literally means "the poor South-African stew," a musical blend of different local styles and Anglo-Saxon pop. A heavy and emphatic bass line characterizes this sound, with a technique inspired by Zulu guitars. Against all expectations, the record was very well received in France, both by the critics, who awarded it Best Rock Album of the Year, and by the public. "Mais oét Passé Les Gazelles?" went on to be the unlikely hit single of summer 1984. .

new releases are also viewable at

to subscribe to this list, send a blank email to This e-mail address is being protected from spambots. You need JavaScript enabled to view it