Forced Exposure New Releases for 10/14/2013

Sunday, 13 October 2013 00:00 Forced Exposure News & Events - Release Dates

New music is due from Tim Hecker, Cave, Rainforest Spiritual Enslavement, Niconé, Michaela Melián, DKV Trio, Mathias Kaden, John Harrison, and Ultramarine while old music is due from Cabaret Voltaire, Current 93, Eliane Radigue, Harold Budd, Twink and the Technicolour Dream, and The Reactionaries.


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200BLACK 002EP

REFERENCE: Ghetto Nebula 12" (200BLACK 002EP) 14.00
200 Black is a new vinyl series focusing on organic and analog techno. Their second release comes from Detroit's Reference (Brian Kage and Luke Hess). Reference has released on Planet E and Beretta Music before -- and now here are two superb tracks on 200 Black to you.



ALVARIUS B.: Fuck You and the Horse You Rode In On LP (ABDT 052LP) 22.00
The album title pretty much says it all. A brain-splattered document of pre-Sun City Girls weirdness by Alvarius B. (Alan Bishop) from 1981-1983, consisting of raw, live and unfiltered home recordings on acoustic and electric guitar with effects, vocals, flute, harmonica, and other miscellaneous odd instruments. Extremely limited one-time pressing of 400 LP copies.



Recorded on October 13, 1984 at Rote Fabrik in Zurich, Switzerland. Originally released in 1985 as a double LP. "What is best about Sauter, Dietrich and Miller is that they are playing what jazz should be and not just emptying the tradition through some plastic-sounding fusion of jazz as a 'universal language.' They expand the frontiers of the trance-state without resorting to formulaic repetition and take the expressiveness so natural to jazz to new heights, turning over the conventions common to European improvised music. In short, they are a cleansing experience and force us to readjust our ears to a new sonic landscape. Borbetomagus is one of the best things to come out of the United States in a long time" --Gustave Cerutti, Editor; Jazz 360° No. 73, November 1984. Borbetomagus is: Donald Miller (guitar, alto saxophone), Jim Sauter (tenor saxophone, alto saxophone, baritone saxophone), and Don Dietrich (tenor saxophone, alto saxophone, guitar).


RB 104EP

RIDGLEY, TOMMY: Jam Up/Jam Up Twist 7" (RB 104EP) 11.00
Classic R&B house-rocker from New Orleans born and raised bandleader, Tommy Ridgley. He started out as a featured vocalist for various bands, including a four-year stint with Dave Bartholomew, with whom he recorded his debut releases for Imperial Records. Finally forming his own band, Ridgley cut two discs for Atlantic in 1953, Jam Up being the second. A sure-fire way to get any party going, the uptempo, raucous "Jam Up" proved to be a popular number in its day, even so much that it was reissued and repackaged with over-dubbed lyrics and an alternate sax solo in 1962 as "Jam Up Twist," in an effort to cash in on the twist dance craze of that year. Sixty years on, in 2013, "Jam Up" continues to have much the same effect on the dancefloor.


BEC 5161627

AVERY, DANIEL: Drone Logic 2LP (BEC 5161627) 26.50
Double LP version. Comes in a gatefold sleeve and includes download card. This 12-track album by Daniel Avery was written and produced since the turn of 2013 and mixed with Erol Alkan at The Phantasy Sound studio in London. Like Carl Craig's More Songs About Food and Revolutionary Art, Plastikman's Consumed or more recently, the work of Four Tet, this album works as a cohesive whole rather than a disparate collection of tracks. Innovative and forward-thinking, Drone Logic manages to draw influences from beyond the dancefloor via My Bloody Valentine, NEU!, and Chris Carter, while still having the techno pulse to scale the walls of any club. The wide array of plaudits and early adopters of Avery's music is proof of this, ranging from acid house legends like The Chemical Brothers, Andrew Weatherall and Richie Hawtin to the best of the new breed in Maya Jane Coles, James Holden, and Factory Floor. Firmly established as one of the UK's most exciting new DJ/producers, having cut his teeth in Weatherall's Shoreditch studio bunker, Drone Logic follows up Avery's universally-acclaimed mix CD for London clubbing institution Fabric where he remains a resident, recent remixes for Primal Scream, The Horrors, and Django Django and 2012's Need Electric and Water Jump EPs on Alkan's Phantasy label.


BT 010LP

TILBURY & OREN AMBARCHI, JOHN: The Just Reproach LP (BT 010LP) 20.00
The Just Reproach documents the second concert given by John Tilbury and Oren Ambarchi as a duo. When they first performed together in Reykjavik, Iceland in March 2012, the aptness of the pairing was evident. When they reprised the duo at London's Cafe OTO in September the same year in the concert presented here, the city was in the midst of a heatwave. With the air-conditioning turned off to accommodate the low volume of the performance, the uncomfortable squirming of the audience members in their sweaty chairs becomes, alongside the occasional dropped glass and cough, an additional sonic element in the duo's performance, providing a randomized accompaniment to the duo's careful exploration of tonal and textural minutiae. As always, Tilbury displays a remarkable sensitivity and inquisitiveness, investigating the unique character of specific harmonic intervals through iteration and slight variation in a way that displays the same remarkable care for the individual sonic event that he found many years ago in Webern's Variations for piano. In Webern, Tilbury found a freedom from harmonic context that allowed normally jarring dissonances to appear "warm, even sensuous" because they were transformed into timbres, into pure sounds rather than relational harmonic values. This same concentration on every individual sound allows Tilbury to breathe new life into a tap on the piano's strings, a simple sequence of descending notes or even a commonplace consonance. ?Indeed, there are moments of simple beauty in The Just Reproach that remind us that, in addition to his devotion to the work of Morton Feldman, Tilbury is also the major interpreter of the piano music of Howard Skepton, with its reduced folk-forms and static airs. Ambarchi's guitar does not simply provide the steady backdrop for Tilbury's articulations that we might expect, but rather engages in a more complex interaction. Gentle swells of tones, sometimes supporting Tilbury's iterations, at other times complicating them, alternate with occasional bursts of abstract electricity. Ambarchi constantly moves his sounds around between multiple amplifiers and a Leslie cabinet to produce a subtle yet environmental whole, interacting both with Tilbury and the sound of the room, edging forwards into a clear sonic presence before dispersing back into silence. Despite the hushed nature of the performance, Ambarchi's signature sub-bass tones are not absent, but in fact form an essential part of the texture woven by the two musicians, taking on an ominous quality like the distant rumblings of a helicopter through the night sky. Far from a simple exercise in reductionism, the reduced volume of the duo's performance acts like a microscope focusing the audience on an incredibly rich palette of sonic details. As in the late works of Morton Feldman, a seeming homogeneity to the proceedings reveals itself on closer inspection to be a ceaseless investigation and reconfiguration of sonic events, allowing the listener to move freely between the lushness and warmth of the sounds themselves and the questioning, non-linear forms Tilbury and Ambarchi spontaneously construct from them. Deluxe limited edition vinyl designed by Stephen O'Malley with stunning artwork by Shunichiro Okada.



ONO PLASTIC ONO BAND, YOKO: Take Me to the Land of Hell LP (CHIM 019LP) 16.00
Gatefold LP version. "The 13 tracks on Take Me to the Land of Hell were recorded in NYC and produced by Yoko, Sean Lennon, and Yuka Honda. Yoko Ono Plastic Ono Band includes members of Cornelius and Cibo Matto, plus special guests for this album: tUnEyArDs, ?uestlove, Lenny Kravitz, Nels Cline, and Andrew Wyatt. The album includes remixes by Mike D & Adrock and Keigo 'Cornelius' Oyamada."



SKULLFLOWER/MASTERY: Skullflower/Mastery LP (CSR 165LP) 25.50
Skullflower presents a trinity of sombre meditations evoking Europe after the rain, drowned ruins, sunken dreams: spiders run across harpsichords in deserted schlosses and chateaux, doors slam and phantom demon choirs are summoned at séances by Blavatskian crones, whose impenetrable china blue doll's eyes open onto Tibetan vistas, terrible, ancient, and remote. Mastery is improvised one-man cosm(ag)ick. Total berzerker black metal, rooted in the tradition of true grim blackness, but filtered through Mastery's cracked perception, transforming this into something beyond true; a droned-out and damaged, outsider blackness that sounds pretty much unlike almost any other black metal.



SEMI-COLON, THE: Ndia Egbuo Nida (Afro-Jigida) 2CD (CRZR 1002CD) 21.00
"The long-lost masterpiece of Afro-rock n' roll. Reissued for the first time on two compact discs. Ndia Egbuo Ndia (Afro-Jigida), recorded by the Nigerian rock group Semi Colon in 1976, was an experimental response to Fela Kuti's then-dominant afrobeat sound, substituting Fela's sophisticated horn charts and jazz leanings with wiry electric guitar work and a passion for vintage rock 'n' roll. Long fabled and coveted amongst collectors and DJs alike, the album has remained one of the rarest of the Nigerian 1970s 'afro' cycle. Comb & Razor Sound is proud to be reissuing this lost gem of Afro-rock for a new audience. The original LP reissue was the second release from Comb & Razor Sound, following up the success of its inaugural offering, 2011's Nigerian disco and boogie compilation Brand New Wayo, which was spotlighted on NPR's All Things Considered and received favorable mention on its 'Song of the Day.' This new edition of Afro-Jigida continues Comb & Razor's exploration of rare, cutting-edge popular music produced in Nigeria in the 1970s and '80s, now for the first time on compact disc, bundled in a deluxe book with assorted photos, liner notes, and lyrical translations."



RATIER, RENATO: Black Belt CD (DEDGE 012CD) 17.00
D-Edge Records are proud to present Black Belt, the debut album from Brazilian DJ, producer, club, and D-Edge Records label boss, Renato Ratier. After emerging with some already impressive EPs, the time has now come for a full artistic statement that spans 17 tracks of slo-mo electronics, deep house ambiance, and tripped-out, disco-inflected grooves. Rather than this being a collection of dancefloor tracks, it's more a carefully programmed journey that takes you up and down through many different moods and grooves, but all of them united by Ratier's analog textures, unfamiliar hooks and futuristic melodies. Opening with the found sound recordings and muffled ambiance of "Love Me Tokyo," the album goes through the funky licks of "Jamaicanese," the well-sampled "Midnight Sun" and freewheeling deep house and ethereal melodies of "Teatime." The latter half of the album points more towards the dancefloor with the title-track's knotted bass line, the deep and spaced-out house hypnosis of "Fetisshu," and plenty more besides. It's a stunning debut from one of Brazil's most important figures.


RATIER, RENATO: Black Belt 2LP (DEDGE 012LP) 23.50
Gatefold double LP version.



ELEKFANTZ: Diggin' On You 12" (DOC 001EP) 15.50
Elekfantz presents Diggin' On You on the new Kompakt-distributed label outfit D.O.C. Daniel and Leo first met 20 years ago, when they played together in a blues band. After two decades, they met up again and created "Wish." Gui Boratto heard it first, deciding that not only was this music he'd love to see released, but also a talented duo he wanted to work with, becoming their manager and collaborator. Thus, a new label was born: D.O.C., Gui's very own label imprint. Remixes by Boratto and Solomun.


DEC 1102LP

PLEASURE: Glide: The Essential Selection 1975-1982 3LP (DEC 1102LP) 28.00
"Pleasure originated from the ashes of two local Portland, Oregon bands - The Soul Masters and Franchise - to become veritable monsters of funk, soul, and jazz. Their sound is often compared to Earth, Wind and Fire or Kool and the Gang. They had an inspired run of seven albums, six for Fantasy Records and one for RCA, from 1975 through 1982. The group was discovered by Grover Washington Jr.; he passed their demos on to Wayne Henderson of The Crusaders who signed them to his production company, At Home Productions. Tracks from all seven Pleasure albums are featured on this multi-LP set, Glide: The Essential Collection 1975-1982, many of which have never been reissued on LP before, including an extended disco/dance remix of 'Foxy Lady' which was lost in tape vaults for 35 years. Rounding out this deluxe package are many rarely seen group photos, along with extensive liner notes featuring newly-commissioned interviews with original band members by veteran Urban music critic and historian A. Scott Galloway."


DV 9071EP

YANCEY BOYS: Quicksand/The Fisherman 12" (DV 9071EP) 13.00
First single from Delicious Vinyl's "Sunset Blvd., the all new album from Yancey Boys, the group piloted by John 'Illa J' Yancey and Frank Nitt. The dynamic new collection is built around previously unheard tracks created by Illa J's brother: the late, great J Dilla (James Yancey). With Frank Nitt's standing as J Dilla Music Catalog curator and the official approval of Yancey Media Group, all productions on Sunset Blvd. originate from The Lost Scrolls -- the stunning cache of beats Dilla left behind. The first official single from Sunset Blvd. is 'Quicksand' with features Common and Dezi Paige. And the B-Side is no sleeper; 'The Fisherman' is a full-court press featuring a chorus from Vice and blistering rhymes from Detroit Serious and cuts by J.Rocc of Beat Junkies."



CURRENT 93: Like Swallowing Eclipses (Dreamt By Andrew Liles) 6LP BOX (DPROM 076BOX) 38.50
New lower pricing; originally released in 2010. For the first time on vinyl, the complete, highly-acclaimed Andrew Liles remixes of the first five classic Current 93 albums. Andrew Liles has re-imagined Nature Unveiled (1984), Dogs Blood Rising (1984), In Menstrual Night (1986), Dawn (1987) and Live at Bar Maldoror (1985). Also exclusive to this set is a sixth LP, Haunt Invocation (Apadno), which is a remixed version of Faust (2000) and A Special Plan (2000). These influential albums by Current 93 are regarded by many as ground-breaking and innovative -- building upon this, Andrew Liles has re-dreamt and re-imagined these pieces with the flare and vision that he is renowned and respected for. All the records in this 6LP set come in individual covers in a beautiful spot-varnished box and are adorned with astounding artwork by David Tibet and photographs by Simona Dalla Valle.


DC 378LP

J.T. IV: Cosmic Lightning LP/DVD (DC 378LP) 21.00
"Like a flash, Cosmic Lightning is back among us. The sounds of J.T. IV were barely heard to begin with, and the 2000 or so that we made back in 2008?2009 didn't sate the pubic appetite, so here we are again. For the official third version of the album (the second Galactic Zoo Disks / Drag City pressing), further research from Robert Manis (the sonic voyager who brought us Death, as well as J.T. IV) has led to the cover artwork being changed and, additionally, the enclosed DVD contains the entirety of John Henry Timmis IV's 1985 splatter-core opus, Cannibal Orgy. Additionally, a new insert has been created out of additional archival materials, including a brief excerpt from his as-yet unpublished memoir, From The Inside and the cover sleeve for the Cannibal Orgy VHS tape."

DC 552CD

CAVE: Threace CD (DC 552CD) 13.50
"There are no words. Ha! That's funny because Cave play mostly songs without singing in them -- but it means something else again after you hear Threace, you actually are speechless. Threace might just bring an end to your party, too -- no more dancing, no more talking, just people listening to every last clang, tweet and honk of a band really getting after it. Threace is an album that appeals on all levels: animal, abstract and alien, and all at once; one multi-colored-circa-2013 grab-bang. Threace was a real 'back to the lab' kind of album for Cave -- with a few more guitars and a few less keyboards on board, the band were energized and ready to try things in a new way. All Cave music grabs at your ears and the soft tissue within, and yet this time, it's just so much more super-crystalline, bottom- booting and all-spacious than ever before."

DC 552CS

CAVE: Threace Cassette (DC 552CS) 7.50
Cassette version.

DC 552LP

CAVE: Threace LP (DC 552LP) 17.00
LP version.

DC 562LP

"Here Am I isn't just the expression of a working-class hero's musical fantasy circa 1976: it's also a marvelous mashup of outsider-insider production styles, the best evidence of which is the synth-laden robot-rock of 'Love You Anyway.' But how did it come about? Today, Frederick is an archeologist who managed to hang on to his own tapes from the now long-ago adventures of F.M. St. Jude -- thus allowing us to present a pristine reproduction of the wild sounds of Here Am I. Freddy's vigorous delivery, sensitive-man lyrics, and the moogy synth touches make the album an unique and notable entry from its era. Faithful reproduction of the album artwork and an exhaustive essay from Brandan Kearney complete the experience with all thrills intact."

DC 563CD

"WOT's the name of this bolt from weed-ridden left field, the most hands-down, top-up debut album rolling 'round in 2013. Rife with riffing tunes. Of course, Donovan's debut comes following a distinguished run of tune-smithing for noise-popster poster boyz Sic Alps, so he's well prepared to go the solo route with a sac fulla songs. But shedding Sic skin so cleanly while still retaining the thing called 'essence,' how's he do it? WOT's the secret?"

DC 563CS

DONOVAN, MIKE: WOT Cassette (DC 563CS) 7.50
Cassette version.

DC 563LP

LP version.



PSICOMAGIA: Psicomagia CD (EPR 014CD) 16.50
Despite the rumors, pre-fusion acid jazz-rock is alive and well, living it up in Southern California. Psicomagia is the joint forces of leading members of noted prog and stoner-rock outfits Astra and Radio Moscow. The band serves up a mixture of the same essence that Soft Machine, Tony Williams Lifetime, and Magma pioneered during that magical period just seconds before progressive electric jazz was grabbed by the institutional jazz scene. A formula thought lost until this day, when seemingly out of the blue, the relentless force of Psicomagia appeared. Spearheaded by multi-instrumentalist and producer Brian Ellis' roaring saxophone, constantly interplaying Tyler Daughn's franticly screaming organs and synthesizers, the soul of Psicomagia is in the endlessly permutated bursts of energy of the two. The relentless heart, however, is kept going by drummer Paul Marrow (Radio Moscow), who carves out a constantly brooding and shifting rhythmic base along with the heavy, travelling bass of Trevor Mast. Together they balance a line between an insanely tight and rhythmic notion of progress, as well as transgressing each instrument's carved path on this cataclysmic journey of musical events. Imagine, on top of that, two poets, repeating obscured mantras, rumbling bells and gongs, and you're getting closer to playing your own Jodorowsky-does-jazz movie playing in your head via Psicomagia. If Psicomagia sounds like a thing of the past, it's simply because they have inherited a unique quality lost in music today: grabbing onto a wide array of genres, and permuting them into their own distinct musical landscape. Roaring with the same neverending energy of SoCal brothers Earthless, Psicomagia opens up a dimension thought lost in music, reshaping a new possible outcome of progressive rock, building their own present time. It is beyond doubt that Psicomagia is not a pastiche retro band -- they are the real deal. True to original formula, the album is produced with a grace and warmth, maintaining a full dynamic range. Mastered on analog tape by Causa Sui's Jonas Munk.



DARE, DOUGLAS: Seven Hours CD (ERATP 051CD) 14.00
London-based singer-songwriter Douglas Dare releases his debut EP Seven Hours as the newest artist on Erased Tapes. The EP was recorded in various spaces, including drummer/producer Fabian Prynn's home-studio in South London. The four tracks are the first recordings the musicians have made together and with all songs written by Dare and all tracks engineered, mixed and produced by Prynn, it is a true collaboration. With the songs beginning as poems and short prose, Dare later improvises melodies and piano parts. This process was continued by Prynn with all the percussive rhythms coming from improvising to the original pieces. The performances were captured using a cassette recorder, keeping recording fresh as full takes had to be committed to at the recording stage. This process led to unexpected parts and ideas that now are integral to the sound and feel of the EP.



FRICTION: Fabriclive 70 CD (FABRIC 140CD) 16.00
BBC Radio 1's voice of drum 'n' bass, stalwart of the scene, and figurehead of the seminal Shogun Audio label, Friction presents Fabriclive. 70. Dedicating this mix to "the heads," the mix showcases not only his outstanding technical ability, but also his musical breadth, as he seamlessly moves from deep grooves through hands-in-the-air euphoria and heads-down, tech-edged power -- usually with at least two tracks in the mix at any one time. Artists include: Optiv & BTK (feat. Sam Wills), DC Breaks, Enei & Emperor, Joe Ford, InsideInfo & Mefjus, Nymfo, Badmarsh & Shri, Calibre, Technimatic, Alix Perez (feat. D.Ablo), Villem & McLeod, AI, Total Science, Dramatic, Kove, NZShapeshifter, Break, Kasra, Icicle (feat. SP:MC), Ulterior Motive & Judda, Friction & K Tee, Icicle, Rockwell, Usual Suspects, Donny & Audio, Phace & Misanthrop, and Noisia.


CASSY: Fabric 71 CD (FABRIC 141CD) 16.00
Cassy has effortlessly managed to garner almost universal respect and admiration from the house music community, holding residencies at four of the world's leading venues; Panoramabar in Berlin, Trouw in Amsterdam, Rex Club in Paris, and Output in NYC. Following up acclaimed compilations for Cocoon and Panoramabar, Fabric 71 provides a snapshot of Cassy's raw, unadulterated sound; that unashamedly intricate mix of stripped-back hedonism and an all-encompassing warm sincerity. Artists include Arttu (feat. Diamondancer), Kuumba Project, Livio Improta, Norm Talley, ItaloJohnson, Alex Cortex, Freestyle Man, Basic Soul Unit, John Talabot, Pachanga Boys, Basic Soul Unit, Affie Yusuf, Losoul, Marco Zenker, Emptyset, Benjamin Damage, Adam Marshall, Todd Sines, and Duster Valentine.


DJ EZ: Fabriclive 71 CD (FABRIC 142CD) 16.00
One of the UK's finest, DJ EZ delivers Fabriclive 71 -- a journey into the past, present and future sounds of UK garage and beyond. Showcasing his legendary DJ technique, EZ combines fast cuts, volume manipulation, loops, effects and drops with longer blends to not only contemporize classic records, but ultimately bring dancefloor devastation. Switching effortlessly between styles and eras, Fabriclive. 71 demands respect from the original heads, while showing the kids exactly how it's done. Artists include: Artful Dodger (feat. Zoe Kypri), Disclosure, Moony, Cleptomaniacs, Jammin, Sia, Exemen, Jook 10, SBTRKT (feat. Sampha), Lil' Silva, Cause & Affect, Shystie, N'n'G, Mike Delinquent Project (feat. KCAT), Dem 2, Majestic, Royal-T, Nativ, DJ Q pres. Classified, Todd Edwards, Once Waz Nice, Wideboys, Ed Case (feat. Shelley Nelson), Smokin Beats, Issac Christopher, Kerri Chandler, MD X-Spress, Cause & Affect, RiP Productions, MJ Cole, and Jess Mills.



AEBELOE: Manon 12" (FARV 006EP) 14.50
Natal Zaks is the 21 year-old hyper-talented Danish wunderkind behind a multitude of monikers and projects that can each be easily classified as state-of-the-art music. He is so various and multifarious, that he can single-handedly sustain a concert with a few clicks if he doesn't have his whole arsenal at hand. Yet his Aebeloe handle is the only one that truly does justice to his ample taste-range and personality. A modern prodigy in the very classical sense, Aebeloe transpires raw talent layered upon years of exploration, schooling and constant curiosity. His Manon EP will become an instant classic, given its elaborate and super-relatable sound.



MURO, DON: It's Time LP (FGR 033LP) 23.00
"Originally self-released in 1977, synthesizer pioneer Don Muro's It's Time is the singular work of one man combining his skills as a trained musician with a truly creative spirit and the somewhat unmarketable insistence that all of these different styles of music would make up his debut album. While this kind of genre hopping can often take away from an album's coherence, It's Time works as a whole because these are such well-crafted and interesting songs. At times playfully fun, at times beautifully earnest, It's Time is consistently engaging for its entire 42 minutes. Muro's sincere love of what he is creating shines through whether it's a catchy, triumphant rock anthem, a subtly emotive instrumental synthesizer piece or an intense fusion dance jam. 'This album was released 36 years ago. Listening to it now brings fond memories of an intensely creative period in my life. There was time to explore many styles of music, and there was time to experiment with new instruments and equipment. No computers, no MIDI - only a room crammed with guitars, drums, keyboards, and an 8-track tape recorder. I didn't have a specific audience for the album, hence the variety of styles. Back then people would actually sit and listen to albums as a total experience. I started and ended the album with aggressive synthesizer music, but in between those songs I was inviting listeners to go for a ride. Looking back, I would say that the variety of styles is both the strongest and weakest aspect of the album. But that's who I was and, to a degree, who I still am.' - Don Muro, 2013"



YOUNG TRADITION, THE: Oberlin 1968 CD (FLED 3094CD) 15.50
The live reputation of the mighty Young Tradition lives long in the memories of all who heard them during their brief career. Live recordings were thought not to exist until, 45 years later, an American fan remembered the reel-to-reel recording he'd made at Oberlin College on November 17th, 1968. Carefully restored, these tapes are now released by Fledg'ling Records on CD. The Young Tradition formed on April 18th, 1965 by Peter Bellamy, Royston Wood, and Heather Wood -- with a repertoire from the British folk tradition, style from Carnaby Street and lashings of attitude, they soon firmly established themselves on the folk scene. They recorded for Transatlantic Records and international tours soon followed. Record companies will always make extravagant claims for their releases, but Oberlin 1968 really is a rare and truly wonderful historical release.



MURDOCH, CHARLES: Weathered Straight 10" (FCL 091EP) 12.50
Charles Murdoch, Future Classic's latest signing, caught the attention of the Future Classic group with his remix of Flume's "Sleepless" for Beatport's remix comp. Already having success in Mitzi, the Brisbane indie-dance 4-piece, Murdoch's solo work exhibits his masterful knack for sophisticated, cerebral bass and house music. Features Oscar Key-Sung and Steffaloo.


GR 2130LP

ESPLENDOR GEOMETRICO: Ultraphoon 2LP (GR 2130LP) 25.50
Double LP version. The double vinyl version master sees the collaboration of Teho Teardo, the prestigious Italian musician, composer and sound designer. The double vinyl is comprised of 13 tracks, three of them exclusive for this format. Recorded in Madrid and Rome during 2013, this is the new album by the influential Spanish cult electronic duo ranked as industrial music pioneers, Esplendor Geométrico. Ultraphoon is a leap ahead in production and sound quality, with a stunning and brutal outcome, richly detailed nonetheless. Rhythms, noises and processed voices from different sources come together in hypnotic -- bordering on trance -- soundscapes along the lines of previous releases such as Pulsión (2009) and Desarrollos Geométricos (GR 2123CD/LP, 2011).



LOS MOCKERS: The Original Recordings 1965-1967 CD (GHAS 5065CD) 15.00
"This album collects the entirety of Los Mockers' original recordings, including an LP, several singles, and a cover of the Rolling Stones' seminal 'Paint It Black.' The record is presented by Get Hip Recordings in gorgeous hi-fi, pressed on durable 180 gram vinyl and compact disc. Los Mockers are widely regarded as one of the best Latin American bands to emerge from the Uruguayan Invasion of the '60s. Formed in 1963 in Montevideo, Uruguay, the young group relocated to Argentina in 1966 after winning a contract with EMI Argentina. Los Mockers modeled themselves heavily on the Rolling Stones, covering many of their songs (in English). Vocalist Polo Pereira (with a slight accent) emulates Mick Jagger's early snarl more accurately than anyone else from the time."


GET 54056LP

TOOTS & THE MAYTALS: Funky Kingston LP (GET 54056LP) 21.00
"Though originally released in 1970, the US wouldn't get to experience 'Pressure Drop' until 1975, when it was released on the US version of their album Funky Kingston, easily considered one of the strongest albums in Toots & The Maytals' catalog, not to mention one of the greatest in reggae history. Upon its release in the States it received massive critical applause (even warming the cold, icy heart of Robert Christgau) for its infectious melodies and rhythms on tracks like 'Sailing On,' 'Time Tough,' and the eponymous title track, quirky Jamaica-infused covers of tracks by John Denver and Ike Turner, and of course the influential 'Pressure Drop.' Reissued in a lovingly re-printed version of the original LP sleeve, Get on Down now presents a superb reissue of a legendary piece of music history."



NOVICK, DAVID: David Novick LP (GODRECORDS 004) 17.00
"God? Records re-presents the debut of David Novick. His self-titled album is officially a reissue, though the original was pressed in a short edition, for only one hundred souls. David and his bandmates in San Francisco Water Cooler put it out as the third release on their Sun Sneeze Records, and the copies were sold or handed out at shows. Braid twisted with folk and experimental and psychedelic artifacts that come on with a distinct aroma. If you've enjoyed hanging around the San Francisco Water Cooler, this here is a bit more lo-key than those songs. Busting out of the gate fleetly, like Lindsey Buckingham of the no-budget (and no-Nicks!) set, David Novick flashes through seven ambitiously built songs recorded in his Santa Cruz bedroom a few years ago, using Tascam four-track and eight-track cassette machines."


HH 002LP

THESE HIDDEN HANDS: These Hidden Hands 2LP (HH 002LP) 23.50
Over half a decade since their creative partnership was first brought to the public's attention, Tommy Four Seven and Alain reconvene after time spent establishing themselves within their own respective fields to present These Hidden Hands; a musical album that exemplifies the pair's unique approach to production. If the Strix EP saw them channel their energy solely towards the dancefloor, this project sees them at their most visceral, refreshingly embracing the extended format with a vigor akin to that first demonstrated on Tommy Four Seven's debut album for CLR, Primate. From the confrontational textures of opener "Trelesire," to the sonically abrasive "Severed," it's clear that THH are far from just indebted to the innovators of old. The engulfing drama of "When Told" and harrowing tension of "Kheium" showcase their singular approach to sound design and their adept versatility in utilizing both industrial tones and ethereal melodies. "Laika," is a case in point. Scattered rhythms, gauzy synths and rugged atmospheres conjure a distressed nostalgia. "Diesel," which was offered by the pair as the first tantalizing glimpse into the project, melds sparse beats with a soaring, creature-like drone before the ghostly motifs of "Hidden" bring the body of work to a natural close. Edition of 380 copies pressed on 180 gram double vinyl. Includes a download voucher.



Now available on vinyl for the first time, following on from an excellent LP for Blackest Ever Black and a 12" for Bed of Nails. The project has become one of Dominick Fernow's most intriguing, offering an artificial, unnerving take on both ambient and more propulsive electronic music, in turns reminding us of everything from Aphex Twin's Selected Ambient Works Vol. II to John Carpenter, Vangelis' Blade Runner soundtrack, Leyland Kirby, classic Chain Reaction, Demdike Stare and, of course, Fernow's own myriad productions under various aliases (Prurient, Vatican Shadow, etc.). Spread across 40 minutes, The Plant With Many Faces develops from Carpenter/Frizzi-esque bass arpeggios and abandoned cabin vibes on "Abaxial Masks...," to the petrifying Killer Bob themes in "Out of the Mess..." and the gloaming drones of "Complex Rituals...," finally brought to a close with the miasmatic clamminess of "Poisonous Spirit Species."


Now available on vinyl for the first time, following on from an excellent LP for Blackest Ever Black and a 12" for Bed Of Nails. The project has become one of Dominick Fernow's most intriguing, offering an artificial, unnerving take on both ambient and more propulsive electronic music, in turns reminding us of everything from Aphex Twin's Selected Ambient Works Vol. II to John Carpenter, Vangelis' Blade Runner soundtrack, Leyland Kirby, classic Chain Reaction, Demdike Stare and, of course, Fernow's own myriad productions under various aliases (Prurient, Vatican Shadow, etc.). For the most part, the project has been an experiment in tonal dread and dankest atmospheres, but on Folklore Venom rhythms play a more prominent role, pacing anxiously below the dense murk of "Upside Down Left Eye," or as a stodgy techno bedrock to the inclement conditions of "The Spirit Wore the Shoes of the Boy," or a sputtering, diesel-powered chug to the noxious vibes of "Black Magic Originated in Nature." Factor the petrifying gloom of "Spirit Companion Sick-Bed" and the unheimlich, exotic sonic ciphers of "Malaysia Yellow Herbs," and you have one of the strongest releases on Hospital Productions yet.



SPECIAL REQUEST: Soul Music 3LP (HTH 012LP) 33.00
Triple LP version. Pressed on 180 gram vinyl. Following a run of four incendiary 12"s on his own imprint that drew attention from right across the dance music community, UK producer and DJ Paul Woolford delivers Soul Music, his debut full-length album as Special Request -- diving even deeper into the raw energy of UK pirate radio influences that informed his previous EPs. Using a studio built almost exclusively from vintage hardware and boosted by industrial-strength EQ and an FM transmitter, Woolford constructs what he refers to as "false memories" -- broadcasting his material in order to sample and re-incorporate it in a myriad of different ways. The outcome of this unorthodox method is an album of considerable weight. Presented in bespoke PVC sleeve with spot varnish pattern.



DALT, LUCRECIA: Syzygy CD (HEMK 032CD) 15.50
For her follow-up album to 2012's Commotus (HEM 019CD/LP), Lucrecia Dalt treats listeners to a perilously brief, intricately conceived meditation. At times rich and cinematic, and at other times, delicate and fragile, Syzygy is a journey into a kind of Ursprung of beautiful distress. Another stylistic leap for Dalt, Syzygy eschews her quietly textured, bass-guitar-driven method of song craft for a more direct approach to production. Syzygy furthers her previous album's raison d'être, being never simply easy to get, but never forbidding or inaccessible. Composed in a whirling interstitial moment between Barcelona and her recent relocation to Berlin, Syzygy brims with uncertainty and suspense. Fluttering arpeggios, unexpected bursts of tone, surrealistic tropical interludes, and deep, contrapuntal sub-bass drones are the language of Syzygy. It's hard not to make a comparison to the zoo of elementary particles, or a space age sound library; Except the album advances forward with such inexorable cohesiveness that its brevity comes as the most electric shock of all. Dalt's trilingual vocals (Spanish, English, Catalan) ride the edge between psychological drama and philosophical reverie, swirling complex themes sourced from texts by Walter Benjamin, Italo Calvino and films by Antonioni and Bergman, into a freeform confessional fabric. Dalt let these classic films run straight through while she worked on the album, allowing the films' sudden changes of mood and tempo to push her music in new directions, as if these cinematic moments were simply stems in the mix. The end result is a listen more tempting, and yet more mystifying than ever. Syzygy encourages repeat listens and addictive contemplation, and represents Dalt's most definitive statement yet. Cover image by Tonje Thilesen. Vinyl color: deep, deep midnight blue.



"Eliane Radigue's Adnos trilogy was composed between 1973 and 1980 and is among her finest compositions. Adnos is a deeply meditative work of infinite depth and sensitivity; one of the high points of modern minimal electronic composition. Packaged in a heavy duty 3CD jacket much like the recent Eleh releases and containing extensive archival materials."


TOTAL LIFE: Radiator LP (IMPREC 388LP) 20.00
"Beautiful new work from Kevin Doria (Growing). Radiator's companion piece, titled Burner. Deluxe LP edition housed in thick screen printed jackets and pressed in an edition of 500. Recorded and mixed at home in the winter of 2012, Radiator represents the first proper full length release by Total Life for Important Records. Radiator is inspired by standing on the gas and pushing forward by any means necessary in a fog of high volume and hazy memories, true love and terminal velocity. Intended for high volume playback. Kevin Doria plays the Endangered Audio Research AD4096 analog delay pedal modulated and tweaked by the GRIZLA Gristleizer through Ampeg Amplification as loud as possible with the aid of Ninkasi Brewing Company India Pale Ales."



CABARET VOLTAIRE: Archive #828285 Live 3CD (INTONE 008CD) 34.00
The Intone label was originally founded back in 1992 as a vehicle for Richard H. Kirk's Sandoz project, initially a series of three 12" singles. Richard H. Kirk is perhaps best-known as co-founder and now sole member of the hugely influential Cabaret Voltaire. The Intone label is now re-launched with a 3CD boxed set of Cabaret Voltaire live recordings from 1982 and 1985: Live in Liverpool (1982), Live in Sheffield (1982), and Live in Toronto (1985). Further releases are planned for 2014, including a new album by Kirk and also a 3CD boxed set of previously-unreleased Kirk recordings from the mid-'90s. Cabaret Voltaire circa 1982 was kind of post-Rough Trade, pre-Some Bizarre/Virgin. Following on from and with the same line-up as the successful dates in Japan (Tokyo, Osaka), resulting in the live album Hai, the two live recordings from 1982 on these CDs come from what was referred to as the "2x45" tour. The performances here are unique in that they show Cabaret Voltaire in a period of transition, following the departure of co-founder Chris Watson, and had more studio recordings been made of this phase (see record 2 of "2x45"), it could have well developed into something very different from the subsequent albums made during the Some Bizarre/Virgin period of 1983-1985. The recording from Toronto was the next-to-last date of a North American tour from April/May 1985. The Cabaret Voltaire live concerts of the '83-'85 period were much more anarchic than the studio recordings and arguably just as interesting in their own way, like some kind of soundclash going on in real time. This release will be a good primer for the forthcoming Cabaret Voltaire boxed set, #8385 (Collected Works 1983-1985) out on Mute in November 2013.


JM 096EP

TAMMYS, THE: Egyptian Shumba 7" (JM 096EP) 8.00
With their insane party-rocker "Egyptian Shumba," laden with wild shrieks and minor-key garage groove, The Tammys were not just another '60s girl group. When the teenage Owens sisters were thrown out of a posh restaurant in 1962 for singing along to the jukebox, they vowed that one day they'd have a record on that jukebox. So they teamed up with a girlfriend and the trio performed as The Tammys at school dances and around the Pittsburgh area. With its raucous, demented shrieks and screams over an incessant, primitive beat, "Egyptian Shumba" may never have made it onto that jukebox, but with Jazzman's reissue 45, it can now annoy grown-ups forevermore.


KL 081CD

GLASS COFFEE: Eclettica CD (KL 081CD) 17.00
Following the success of his compilation Singita Miracle Beach 10th Anniversary together with the legendary Jose Padilla, Glass Coffee is back with his second compilation for Klik Records, Eclettica. A man of great taste, a crowdpleaser behind the decks, a true music lover, Glass Coffee handpicks 14 tracks of contemporary electronic, creating a unique soundtrack for these times when the sun meets the sea and hearts and minds feel like floating. Tracks by Nosaj Thing, Kasper Bjørke, Cayetano, Haraket, Chris Coco, and Pedestrian will accompany us all through a magnificent summer. Other artists include: Allone, Serafim Tsotsonis, Alex Dimou, Lee Burton, Synkro, Mano Le Tough, Nils Frahm, Essay, Mono Filter, and DJ Orion/J.Shore.



HECKER, TIM: Virgins CD (KRANK 183CD) 13.00
"Virgins was recorded during three periods in 2012, mostly in Reykjavik, Montreal and Seattle, using ensembles in live performance. The sound palette of this work is wider, almost 'percussive' and tighter sounding than previous works. While this album remains committed to a painterly form of musical abstraction, it is also a record of restrained composition recorded live primarily in intimate studio rooms. This record employs woodwinds, piano and synthesizers towards an effort at doing what digital music does not do naturally--making music that is out of time, out of tune and out of phase. This follow-up to his Juno-awarded Ravedeath, 1972 album exchanges gristled distortion and cavernous sound in favour of a close, airy, more defined palette. At times it points to the theological aspirations of early minimalist music. But it is not 'fake church music' for a secular age, rather something like an attempt at the sound of frankincense in slow-motion, or of a pulsing, flickering fluorescence in the grotto. Some pieces go off the rails before forming into anything, others eschew crescendo compositional structures or bombastic density while going sideways instead. It points to the ongoing development of Hecker's work. It suggests illusory memories of drug- hazed jams or communal music performance that may have never been performed or been heard. These are mp3s that give confusing accounts either of sound's glowing physicality or of its prismatic evasiveness. It is an offering of music into the void, a gift of digital filler between distractions. Yet hopefully it also stands as a document of the enduring faith in the narcotic, enigmatic function of music as long-form expression."


HECKER, TIM: Virgins 2LP (KRANK 183LP) 19.00
Gatefold double LP version.


LL 012CD

GESAFFELSTEIN: I Love Techno 2013 CD (LL 012CD) 17.00
Taking place on the 9th of November, 2013's I Love Techno is held at the Flanders Expo in Ghent and, as ever, is expected to attract some 35,000 people across five rooms, making it Europe's leading indoor dance event. Gesaffelstein is one of the headliners this year, next to other hot acts such as Disclosure, Nina Kraviz, Baauer, Laurent Garnier, Len Faki, The Bloody Beetroots, and many, many more. Gesaffelstein is a DJ and producer from France. He has released EPs on Bromance and Turbo, amongst others, and is set to release his debut album later this year. Gesaffelstein had the honor of remixing big names such as Depeche Mode, Laurent Garnier, Justice, Boys Noize, Erol Alkan, Lana Del Rey, Moby, and Cassius, just to name a few. He also recently co-produced, alongside Brodinski, two tracks on Kanye West's new album, Yeezus. Lektroluv is very proud to present you his debut mix CD. Artists include: Creepy Autograph, Rebolledo, Djedjotronic, Daniel Avery, Maelstrom, Boys Noize, Jimmy Edgar, Jeremy Greenspan & Borys, The Hacker, Bobmo, Adam X, MPIA3, I-F (feat. Helga La Blaque), Luke Eargoggle & Johan Inkinen.


ALLC 18002CD

LEGIONAIRE'S DISEASE: Catch the Disease: Un-Re-Leased CD (ALLC 18002CD) 11.00
"Jerry Anomie was born in Tennessee but moved to Houston as a young child. Music never appealed to him growing up until a friend of his who worked at a record store played him the Sex Pistols and Iggy Pop. He ended up meeting Iggy soon after that, which helped give him a new outlook on life. Having recently spent five and a half years in prison, he started realizing he didn't have to be a criminal. He could be in a band. Great 1977 Texas punk mayhem, issued for the first time by Lunar Lab."

ALLC 18002EP

LEGIONAIRE'S DISEASE: Catch the Disease: Un-Re-Leased 10" (ALLC 18002EP) 11.00
10" version.



NEO BOYS: Sooner or Later 2LP (MRP 055LP) 20.00
"At last! A comprehensive double LP featuring one of the most important bands of the Northwest punk scene - The Neo Boys. Active for five years (1978 - '83) teenage sisters KT (bass) and Kim Kincaid (vocals), Pat Baum (drums), and guitarists Jennifer Labianco and Meg Hengtes created some of the most melodic, creative, and daring punk music of the period and helped forge a place for women in the growing pink music scene. Calvin Johnson has been working with band members to track down the missing tapes of their recordings through the rabbit hole of Northwest basements and closets, and after 20 years of effort, the results are this LP. These recordings span from 1977 - 1982, including the long out of print 1980 7" EP (released on Trap Records) and 1982 self released EP Crumbling Myths. Sooner or Later also contains many early demos and live sessions that have never been released until now. Includes liner notes. A must for fans of the Wipers, Slits, Raincoats, and Dead Moon. Co-release with K Records."



DAPAYK & PADBERG: Smoke CD (MFP 067CD) 17.00
Change, transformation, development -- these have always been the motor behind Berlin electronic duo Dapayk & Padberg. On their fourth album, they have made, perhaps, the most uncompromising step during their 10-year career, in which they have become one of Europe's most fascinating club acts. Their magic formula? Looking for alternatives. With Smoke, they bid a temporary farewell to the dancefloor. They are taking new paths, searching, trying new, never-before-seen patterns. These paths led the duo from the golden hills of Provence to the dark, autumnal lowlands at the border between Scotland and England. The influence of those places is felt throughout the whole record with its atmospheric hybrid tracks. After their album Sweet Nothings (SVT 073CD), with its summery/ funky sound, Dapayk & Padberg now open the door to a gloomy, melancholic world. While Sweet Nothings was a balancing act between the club and home-listening electronic, the duo now turns their back on the dancefloor to take the listener on an acoustic tour through their personal Amber Room. With their chamber-electro mix, containing characteristics of dubstep, catchy pop-elements, classical string arrangements and a singer/songwriter-like intimacy, they create new sound-rooms. Dapayk & Padberg's albums have always been snapshots of their current emotional world -- with Smoke they created their most consistent and self-contained collection of songs to date. Against all expectations, sometimes even against their own natures as artists, they let go of all-too familiar and comfortable structures. Smoke is all about overcoming those lines between different genres, letting go, opening their mind to the new, without worrying about fitting into a certain niche or having to compromise. "Silent Fireworks," with its song-like structure, brings to mind the hymns of Lamb, Jamie Woon or James Blake. Eva's voice delivers a broken intimacy which is carried by Niklas' adventurous and sophisticated sound structures. The hypnotic "No Words" starts out with Eva's ethereal, fragile vocals spun around a dry, blurred electronic track which then explodes into a huge, unknown universe of sounds. "Headless Queen" was inspired by the imprisonment and execution of Mary Queen of Scots in 1587. The inspiration for the album title came not only from those cold days spent in Scotland but also has its historic routes in Niklas' family tree. "My grandmother is a true well of inspiration. She told me that she was faintly related to the Austrian painter Oskar Kokoschka, so I decided to name one of my projects Kokoschka. But also, that there was a blood relative on her side of the family who came from England by the name of Smoke. The name has been spooking around in my head for years and I always wanted to name an EP or track after it. We thought that it was an excellent title for the album." CD is housed in a digipak and includes a photo booklet.



Following her previous albums, Baden-Baden (MONIKA 039CD/LP) and Los Angeles (MONIKA 059CD) on Monika, F.S.K. bassist Michaela Melián now continues the theme of geographically-titled albums with Monaco. Again, the record is rich in hypnotically-woven sounds with a resolute mood reminiscent of film music. In keeping with the previous two albums, the instrumentation is made up of largely classical acoustic instruments which are layered in loops to create mesmerizing soundscapes. In addition to the traditional instruments such as violoncello, Spanish and electric guitar, and banjo all played by Melián herself, the album also features synthesizer and even a mellophonium played by guest instrumentalist Ching Ying Hsieh. Once again, Michaela has been assisted on the production by fellow Freiwillige Selbskontrolle band member (namely the drummer) Carl Oesterhelt. And as with her former albums on Monika, Melián plays tribute to a musical hero -- this time David Bowie, in the form of a cover song with her rendition of "Scary Monsters." This rendition at the end of side one is the only lyrical relief on an otherwise instrumental album. Otherwise, the compositions explore the realm of sound art and ambience, drifting pieces with a dark and melancholy beauty. The music is atmospheric, brooding, and contemplative -- such are the conceptual similarities between this and Melián's work. In any case, Monaco now takes its place with the earlier LPs to form a powerful trilogy.



KK NULL + THE NOISER: KK Null + The Noiser CD (MONO 054CD) 16.50
For a few years now, KK Null and The Noiser have been playing together throughout Europe, giving their best version of a new noise and contemporary music mixing critical beats, electroacoustic composition combined with improvised sound poetry and extreme post-punk. This first album of their collaboration, released by Monotype Records, is a glimpse of their live act and studio recordings, as it has been composed and played in both situations. KK Null (computer, Kaoss Pad, voice - Japan - member of Zeni Geva); The Noiser (machines, Kaoss Pad, voice - France - member of Formanex).


Charles-Eric Charrier is one of those musicians for whom it is difficult to sum up the career process with just a few lines; there are curves, digressions, great jumps, doubts, daring. Since his beginnings with Dreta Lorelie, he has never ceased to explore new horizons, to open up to the world, to look behind the scenes, to question his music, and music in general -- and thanks to all this, he has drawn the map of his inner world. We will avoid talking about rock, jazz, ambient, contemporary music, post this and that, we would be worried to lack certain labels. Charles-Eric is not an instrumentalist in the strict sense of the term. Obviously, the bass is central in his music, but neither in terms of a display of technical skills, nor in terms of musical theory, or through notes in excessive quantities; he rather searches for the perfect line between improvisation and composed music; depending on the context.



DIRTY DUBSTERS (FEAT. CHIP FU & SCREECHY DAN): Chant Down Babylon 12" (NUP 010EP) 10.00
Dublin's other finest export, the Dirty Dubsters, make their first team debut on Nice Up! following a selection of brilliant tunes on their own Irish Moss imprint. Teaming up with rap innovator and member of the legendary Fu-Schnickens (responsible for dabbling with reggae and hip-hop very early on with tunes such as the classic "Ring the Alarm"), Chip Fu delivers his trademark fast-chat over a skanking reggae beat. Another legend of the '90s NY hip-hop/reggae scene Screechy Dan also jumps on the track to make this a killer old-meets-new collaboration. Remixes come from Chopstick Dubplate (aka Jacky Murda and Aries), who drop a killer ragga jungle refix that will destroy any dancefloor, plus label head-honcho Shepdog flexes his studio muscles with a '90s dancehall-inspired rework.



KIVEL, MATT: Double Exposure LP (OESB 077LP) 18.00
"The debut solo album by Los Angeles based musician Matt Kivel. Double Exposure was recorded over the span of a year and a half in various L.A. locations with the assistance of Mark Nieto and it was mixed by Paul Oldham. The album art features original paintings by Max Markowitz. 'Most of the record was done at this rehearsal space that Mark had moved into above Solutions Audio in Los Feliz. He was living there and there was no shower. It was pretty gnarly. We would meet at night, drink whiskey, and talk about music... I was watching a lot of movies -- I have this ambitious program where I'm trying to watch the entire Criterion Collection. A lot of those films influenced the work on this record: Kurosawa's Ran and Pasolini's Salo left a big impression on me. Salo is one of the most horrifying things I've ever seen. Other things that I was into at the time of this record: John Renbourn The Lady and the Unicorn, Saul Bellow's Herzog, Broadcast Tender Buttons, Fennesz Endless Summer, John Woo's The Killer, Peter Weir's Picnic At Hanging Rock, Steve McQueen's Hunger, Bert Jansch Lucky 13, and lots of Nick Drake.' -- Matt Kivel."



L.B. DUB CORP: Turner's House 12" (OSTGUT 071EP) 12.50
Luke Slater's L.B. Dub Corp alias makes a welcome return to Ostgut Ton. After 2010's Take It Down (In Dub) EP, this second 12" also announces the release of the Unknown Origin album. On the three tracks for this EP, L.B. Dub Corp digs deep into the history of dance music. The euphoric early days of house make themselves apparent on "Turner's House" and are combined with tribal dub elements on "Nearly Africa Dub." Benjamin Zephaniah, arguably the UK's premier wordsmith, lends his wit and wordplay to "I Have a Dream," together with L.B. Dub Corp's treatments, they catch the listener unawares.



"Vi Ar Alla Guds Slavar is the latest missive from the long-running duo pairing of Mats Gustafsson (The Thing, Peter Brotzmann Chicago Tentet, etc) and Thurston Moore (Sonic Youth, Chelsea Light Moving, Dream/Aktion Unit, etc). The recordings presented here are continuous excerpts taken from the heavyweight, high volume duo sets that topped off each night of their two day residency at Cafe OTO in September 2012. Mats mostly plays a selection of amplified table-top electronics as well as some knotty soprano saxophone at the beginning of the second side whilst Thurston offers a fine example of the kind of liminal intensity he is capable of generating from his guitar complete with the low frequency/octave doubling dive-bombs that have had us replace the speakers in our fender twin twice since he relocated to London last year. The title Vi Ar Alla Guds Slavar translates as 'We Are All Slaves Under God' and is taken from the painting by Edward Jarvis that also serves as the three colour screenprint for the LP sleeve. Printing by Patrick Wells at Heavyrock on archival quality card stock. Mixed by Robert Harder. Mastered by Andreas 'LUPO' Lubich @ Calyx. Pressed on high quality 180 gram vinyl at Record Industry in The Netherlands. First pressing of 1000."



HARVEY: Any Way You Wanta/She Loves Me So 7" (POPC 126EP) 8.00
A bona fide classic early soul/R&B sure-shot here from Detroit legend Harvey Fuqua, a man who began his career singing with vocal group the Moonglows before going on to become a pivotal behind-the-scenes figure in the formative days of the Motown empire. Originally cut in 1962, the catchy, Latin-edge mover "Any Way You Wanta" has a 50-year history of packing out dancefloors, and who would be brave enough to say it won't still be getting people moving 50 years from now?



MILL, OLAN: Hiraeth CD (PRE 038CD) 15.50
The Preservation label presents Hiraeth, the fourth album from Hampshire, UK's Olan Mill. The work of composer and instrumentalist Alex Smalley and following on from 2012's much-acclaimed Home, Olan Mill continues to seek a higher plane of consciousness through grand and textured composition. Variously compared to the likes of Richard Skelton, Maurice Jarre and Vangelis, where Home sought to essay the life-affirming, worldly joy of travel, Hiraeth is a movingly yearning work for a lost sense of place. A Welsh word with no direct translation in English, Hiraeth is defined as homesickness for a home to which you cannot return. This is a beautiful meditation on nature irretrievably lost over time and as The Liminal wrote on Home: "Smalley can rightly be added to the list of successful composers who've managed to not only be inspired by nature, but accurately communicate it as well." With the resonance of folk melody through lilting piano and guitar and the symphonic reach of strings and soprano voice, the deep focus of Hiraeth is revealed through both intimate detail and sweeping revelations of sound. Whether through a pursuit of travel or the changing face of his native surrounds, Smalley conveys the momentum of transition through the surge and flow of his music with unerring force. Hiraeth is released in both vinyl and CD editions with each having different cover art.



IORI: Antimonit EP 12" (PRG 033EP) 14.00
Thrilling deepness from Iori, who comes back with his second vinyl release. He has fulfilled the mission with a masterpiece of pure techno. Three deep, energetic, driving tracks and a typically hypnotic bass line, based on Iori's unique style.


BORROWED IDENTITY: Love for Sale 12" (QUINTESSE 035EP) 12.50
Growing up in the deep south of Germany with multi-ethnic friends and a big interest in many different music genres of the world, Borrowed Identity built his wide knowledge of music. This variety in his musical taste is also the reason why he is working under different aliases, producing a variety of sound from ambient to house to experimental music and everything in-between. Borrowed Identity's debut EP on Quintessentials is another great example of his multi-style approach. You'll find elements of house, disco, techno, ambient and more -- always stamped with a love for music.


R-N 152CD

SENKING: Capsize Recovery CD (R-N 152CD) 17.00
Capsize Recovery takes the listener on a ride through a very dark universe of gloomy sounds and atmospheres. The eight rather longish tracks of the album are characterized by Senking's epic signature sounds -- creepy hovering bass lines, clean and slowed-down drums, paired with oscillating and sometimes fierce synth melodies and shots. With his extremely deep and dubby arrangements that explore the depths and abysses of bass heavy music, he again is able to create soundscapes that convey a subtle sense of unease or even fear, as if they were the soundtrack to a mysterious and disturbing film. Already the opener "Chainsawfish" reflects this perfectly. A minimalistic composition of droning basses and synth pad sounds is decorated by scary voice snippets that seem to be taken from a horror movie, which eventually evokes the uncanny feeling of being haunted. The track "Tiefenstop" -- a truly telling title -- is a continuation of this theme and can be seen as the lowest point of the journey where the bass is reaching ever deeper spheres. Again, voice snippets are used that intensify the hectic and stressful impression of the track, but here they are juxtaposed with rather positive and balancing melody lines. Besides the omnipresent mysterious atmosphere, the overall sound of Jens Massel's new record is organic and possesses a certain live character that can also be discovered in the last track. Senking, by the way, is also one of the few artists who creates his music without the use of a computer. "Enduro Bones" starts with a monotone beat to which single elements like echoes, synth sounds, and fragments of melodies are added. By means of repetitions and extensions, the track gradually becomes more dense and complex, and therefore it seems to be a song that is being created at this very moment. Senking's new record is an excursion into the depths of the human psyche. It's like the record is reflecting a difficult situation one can get into, as well as the struggle of getting out of it again -- hence the title Capsize Recovery.



ULTRAMARINE: This Time Last Year CD (RSOON 024CD) 17.00
This is the sixth album by UK electronic duo Ultramarine (Ian Cooper & Paul Hammond), and their first full-length release in 15 years. Featuring all-new material and recorded in the band's isolated studio on the edge of the Essex marshes, the album ebbs and flows in mood like the nearby Blackwater estuary. Working with a palette of vintage drum machines, analog synths, textural samples, acoustic recordings, electric bass and heavily-treated guitar, the songs were born out of captured live studio performances. Cooper & Hammond then rewired their initial sketches through a series of hands-on, lo-fi effects chains, blurring the edges between acoustic and electronic elements. The result is an organic, playful feel; leaving the music room to breathe and carrying distinct echoes of the band's previous work.


ULTRAMARINE: This Time Last Year LP (RSOON 024LP) 17.00
LP version on 180 gram vinyl with download card. Sleeve printed in three Pantone colors.



NO NECK BLUES BAND: Gitanjali 10" (OQEBAL 004EP) 18.00
"Long delayed, this 10" is one of two vinyl releases from recording sessions at the Chummery late in 2006. The Chummery was the Seattle home to Sun City Girls, Sublime Frequencies, Abduction, and The Sea Donkeys. In fact it was the last residence of Charles Gocher who passed away in there only a few months after this session. Making full use of the Girls' diverse collection of instruments, including an upright piano and Alan Bishop's gamelan, NNCK improvised throughout one day and night, with all proceedings being documented by a custom 16 channel mobile unit assembled by Ri Bi Xibalba. Together with live concerts in Vancouver, BC and Seattle the previous evenings, the recordings total over five hours. Distilled from this are the best of the Chummery recordings split onto two separate releases. The first is this 10", mastered at 45 RPM for the best fidelity, and pressed on 110 gram of vinyl. Using sundry stringed instruments from SCG's world travels as well as their own traveling set of instruments, the music has an air of delicate yet mysterious Javanese court music - a contrast to what SCG did with many of those same instruments. Of particular prominence on this record are the plaintive sounds of the erhu gliding through. Made up of seven members, NNCK's sound is never crowded and comes off like a well-oiled machine moving with one group mind. When they put aside their individual selves and enter the music, the result switches over into organic creation."


RS 096CD

BUDD, HAROLD: Perhaps CD (RS 096CD) 15.50
Recorded live on December 8, 2006 at a memorial event for James Tenney at California Institute of the Arts, Perhaps is Harold Budd sublimely distilled. Striking in its restraint and simplicity yet profoundly resonant in its depth and message, it is both eulogy to a departed friend and defining statement from an artist at the apotheosis of his career. Originally available only digitally (and only from Samadhisound's web site), Perhaps sees its first-ever and much-deserved physical release, mastered and cut at Dubplates & Mastering in Berlin. Engineered by Justin Jones (at CalArts), Clay Chaplin and Aaron Drake. Edited by Justin Jones. Layout by Vicky Fong. "Some 35 years ago, Jim Tenney and I were half of the composition faculty at the brand new California Institute of the Arts -- CalArts. He was in those five years (1970-1975) my best friend. We lived in an out-of-the-way rural area at the fringes of the Mojave Desert and were often to be found drinking beer and playing pool in one of a number of local cowboy bars. We never agreed about music. Jim was a champion of early 20th century modernism; I was an anti-vanguard sensualist, at least in music. In the early 70s, Jim set about writing a series of 'Post Card Pieces' -- short aphorisms for dozens of friends. The one for me was called '(night)', as I recall: asking for something that's 'very long ... nearly white' ... My performance, in Jim's memory (75-minutes, non-stop and improvised) was, thus, not a composition but a provocation, and one I whole-heartedly addressed: I loved every moment. The 'titles' were conjured a month after the performance. Mostly, they don't refer to any aspect of the music they're joined to. The final task was to edit out some (but not all) extraneous noise and to shorten some gaps (as I pondered very quickly what to do next)." --Harold Budd, January 31, 2007



OLD MAN & THE SEA, THE: Second LP (SHAD 158LP) 44.00
"'Most of the recordings were done in our own studio facility at the Traevarehuset. The equipment consisted of two Revox tape recorders and a self made mixing board. First stage was to record the band, playing live all together. Everything had to be made in one go, and if too many mistakes happened, we had to do the whole thing from scratch. Hard conditions, but we managed.' The Old Man & The Sea produced a second album in 1974 which was never released. For sure as good as the first but with more musical skills and the production was right on the spot. Every track just perfect, great organ, guitars and vocals, a very sophisticated heavy rock album with a progressive touch. One of the best albums recorded in Denmark. 500 numbered copies on 180 gram vinyl, in a gatefold heavy sleeve."


JOKERS WILD: Liquid Giraffe LP (SHAD 159LP) 42.00
"Jokers Wild recorded three singles between 1967 and 1969 in Minnesota but the complete album Liquid Giraffe was never released. Starting as a five man band most of the material was recorded by the three main members: Lonnie Knight, Denny Johnson, and Pete Huber. Later Lonnie Knight became guitarist of The Litter for a while but he returned to Jokers Wild. What a powerful band this is. Huge amp stacks guaranteed a wall of sound on stage. Double bass drum, cool outfits, they must have been been great on stage. Damin Eih, A.L.K., and Brother Clark wrote: 'In '67 I saw two local bands that again amped up the juice, The Litter and Jokers Wild. Both bands played original music and had excellent psychedelic-raved guitar players, Zippy Caplan (Litter) and Lonnie Knight (Jokers Wild). That brought everything to a new level.' Heavy underground rock with great composed songs, fuzz guitars, speedy drums and tight bass lines. If you think The Litter is the one you should listen to Jokers Wild. 500 numbered copies on 180 gram vinyl, in a heavy sleeve."


CHARLIES: Buttocks LP (SHAD 160LP) 42.00
"We always thought Elonkorjuu was the heaviest album in the early '70s from Finland. But Charlies' album features loud and wild guitars, screaming vocals, and can easily be described as the most outrageous Finnish album of the '70s not far away from Jimi Hendrix and Cream. Buttocks is a heavy, hypnotic and progressive with amazing guitar work from Eero Ravi, the musical soul of the band. So the Finnish scene had much more to offer back in the early '70s beside Wigwam and Tasavallan Presidenti. They have recorded Buttocks for Love Records. Mika Kaurismäki (film director/producer) wrote: 'I had already started to discover blues music, John Mayall, Jimi Hendrix, Cream and others, so it was quite logical, that I became of a fan of Charlies. In Lahti, we thought Charlies was the best band in Finland.' Charlies played the famous Ruisrock festival in 1970. What a great band this is. Their first album Musiikkia elokuvasta Julisteiden liimaajat will be released early next year. Buttocks is so good and rare that is deserves a good reissue. The album comes with many extras such as photos and extensive liner notes. Dave Lindholm (musician) wrote: 'Charlies was the first big Finnish rock band for me. They played loud and rough. They looked like men, not popstars. They played the music I love. Could I ask for more? Well, I didn't!' 500 numbered copies on 180 gram vinyl, in a heavy sleeve."



DEEPCHORD: 20 Electrostatic Soundfields CD (SOMA 104CD) 15.50
The third Deepchord (Rod Modell) full-length on Soma explores the ambient realm. With this album, Deepchord veers even farther away from the current trends in dance music with an assemblage of conceptual audioscapes culled from video-soundtrack and installation works made between 2008 and 2012. This highly unusual collection contains immersive, introspective audio-sculptures more akin to musique concrète or electroacoustic music rather than dance, and exemplifies Modell's importance of developing a new sound in lieu of following popular trends. With some tracks clocking in at only 60-90 seconds, and practically nothing being dancefloor accessible, this album represents a truly unique electronica offering amongst the oceans of artists following a similar formulaic sound. Much of the album has an otherworldly, nocturnal feeling that would sit well in a David Lynch soundtrack. Sound collages comprised of alien-radio transmissions and earth tones melded with lush electronic sounds and underwater atmosphere. Modell's usual arsenal of studio hardware supplies the tonal food, but much of that is further processed with granular synthesis and arranged with generative-music techniques. Pieces like "Prayer Wheel" and "Seaweed" are set into motion and left to unfold organically without interference. "De Wallen" is from the Hash Bar Loops (SOMA 091CD) period and is a night-time soundtrack for Amsterdam's Red Light District. It audibly mimics this area's quiet uneasiness... beautiful with undercurrents of activity not visible to the casual passer-through. "Trompettersteeg" is similar in feeling, with its late-night field recordings made in the streets surrounding Amsterdam's Oude Kerk. "Raval," "Barcelona," and "Rooftop" contain atmospheric recordings made around Barcelona's El Raval district (a rooftop terrace on a rainy Barcelona night, recording sounds of traffic below and raindrops on an umbrella -- in "Rooftop").



NISHIMOTO, TAKESHI: Lavandula CD (SONIC 018CD) 18.00
Takeshi Nishimoto comes from a background as a guitarist, receiving classical training from some of the world´s premier guitar players, while on the other hand, he has been steadily growing into the more electronic music scene with a bunch of albums on CCO as I'm Not A Gun alongside John Tejada. Takeshi appeared solo on record first in 2007 through CCO offset label Büro and returns now with his second album, this time for sonic pieces. Although you could say Lavandula is a guitar solo record -- that really does not do it justice if you dive deeper into the sounds that resonate within it. At times, Takeshi uses some really fine electronic methods to bend and shape the guitar and background atmospheres, like the beautifully perceived "Strassenlaterne." Other times it feels like you are in the middle of a still picture from a forest lake in the Japanese countryside, slowly waking up together with the sun. The track "Tone Water," on the other hand, sounds like Squarepusher's classic acoustic masterpiece Music Is Rotted One Note played on the guitar instead of bass and comes off as a fresh change of direction in the middle of the album. Lavandula is a very personal and beautiful album that brings to mind the film music of Gustavo Santaolalla (21 Grams, Babel, Biutiful) or Tape's classic albums for Häpna, but traveling through Japanese, North American, and European traditions. A great record to bring while traveling, wake up to in the morning, or simply enjoy on a quiet evening.



SHAKE: Lost in Space/Music Is the Only Way I Can Communicate 7" (SLSP 015EP) 11.00
Two overlooked rare disco masterpieces produced by soul legend Lenis Guess. When Soul Spectrum met Lenis in New York this year, the super-rare Shake LP Music Is the Only Way We Can Communicate was lying overlooked and forgotten on a dusty shelf. Lenis had the tapes there too, so it wasn't long before the label picked two of their favorite tracks for this killer 45. One for the rare disco and boogie-heads, and never before on 45, these won't be around long.


BURTON INC.: L.A. Will Make You Pay/Why Don't You Let Me Know 7" (SLSP 016EP) 11.00
Superb, soulful disco boogie 45 -- rare disco, boogie, and funk collectors will know this LP soon to be reissued on Jazzman's highly-collectible Holy Grail series. As a prelude to the main event, Jazzman thought it only right to drop the two strongest disco smashers on one 45. Neither issued as a single before and as always, no repress. What else to say? Loud, rare, and totally essential.



NICONE: Let Love Begin CD (SVT 112CD) 17.00
Niconé presents his first solo full-length, Let Love Begin on Stil vor Talent. Over the course of 11 tracks, Niconé showcases a versatile and distinct vision of contemporary house music that is produced beautifully but, more importantly, isn't afraid to surprise with maturity and playfulness. The title-track opens the album with style: brooding and mysterious, Niconé teases us into a deep sonic landscape of enveloping bass, moody piano keys, and epic synth pads. Malonda, who lent her voice to H.O.S.H.'s Life is Music is Life EP, acts as a shining light to guide us through the atmospheric first seven minutes. "Hysterminia" is equally subtle with its delayed chords and a classy deep house bass-line, until wild claps and a dominant piano melody eventually open fire. After the success of "Caje," a new collaboration with Narra was an absolute must. She bedazzles us next on "Candelaria." Here, the melancholic melodies of a Spanish guitar propel the track forward, while a bouncy beat seems made with the summer in mind. "You Are My Best Meowfucker" then pushes us into the club as a techy rhythm and repeated vocal hook draw us to the floor. The track's twist offers itself in the form of a string loop. Spicy and addictive. A lesser producer would have perhaps placed the following track, "Heroiné," at the album's end but Niconé and Braemer hand us the antidote with "Wish U.," with a break so big it might just be inescapable. On the last two tracks, Niconé moves away from the organic sounds that make up most of Let Love Begin as "All Right" and "Arr" are distinctly techier. On the former, Melonda compliments the techno bass-line and old-school sample stabs beautifully, making for an unexpected highlight. On the latter -- a collaboration with Gunjah -- spherical, almost operatic synths float over a sleek bass bed, thus ending an epic journey on a dazzling high. At the center of Let Love Begin, it acts as a beautiful break, as eight minutes of pure endorphin-inducing bliss. On "Burnhain" classic house sounds such as driving high-hats and '90s rave stabs offer a nod to the past, while hitting the zeitgeist. "Querido," which features Sascha Braemer and the newly discovered vocal talent Yvy, initially drops the energy before exploding with Mediterranean life, castanets included for good measure. Next, "Keep It Deep" does what it promises as Niconé leads us through an arrangement of aquatic depth with powerful bass hits vibrating underneath dub chords and Benjamin Franklin's emotional voice: hypnotic, magical and toxic.


SBR 5098CD

TWINK AND THE TECHNICOLOUR DREAM: You Reached for the Stars CD (SBR 5098CD) 17.00
Having played with Tomorrow, the Pretty Things and the Pink Fairies, Twink should need no introduction to fans of underground rock. Following the ecstatic reception of Sunbeam's release of his legendary 1969 album Think Pink (SBR 5095CD/LP), the label is delighted to announce a brand-new Twink record -- the mind-expanding You Reached for the Stars, which finds him collaborating with highly-regarded Italian psychedelic outfit the Technicolour Dream. Recorded in Rome and mastered at Abbey Road in the summer of 2013, it comes complete with eight superb bonus tracks, and is sure to delight all lovers of psychedelic rock.



SKREAM: Skream! 3LP (TEMPA 008LP) 23.00
2013 repress on vinyl, originally released 2006. Triple LP version. This is the debut album from Skream, Croydon's musical wonderkid. At 15 he discovered making music, and 5 years after, he helped to change the course of UK urban music, building the foundations of dubstep, the UK's most talked-about musical genre. Skream's clipped, techy minimal style has quickly become his trademark. Long before grime existed, it reflected dark, murky streets and sinister nights, the sound of decaying London and its frustrated communities, stuck out in satellite towns and sink estates with nothing but a PC and freely-available software to channel their frustration into. His signature tune, the scene's anthem "Midnight Request Line" is an explosion of electro arpeggios and dub sub-bass.


TSQ 2950LP

BACHMAN, DANIEL: Jesus I'm a Sinner LP (TSQ 2950LP) 16.00
LP version. "Jesus I'm a Sinner is the fourth LP by Daniel Bachman. The album was recorded in Rappahannock County Virginia at Forrest Marquisee's studio inside his father's woodshop in May of 2013 after spending just around eight months on the road. The first song 'Sarah Anne' is a song for one of his best friends and sister Sarah Anne Bachman, and is also his first full song for the lap guitar. 'Honeysuckle Reel' is a springtime tune. For that first day when the heat and humidity sets in and the smell of the honeysuckle bloom creeps in your open windows driving. 'Happy One Step' is a guitar/fiddle duet with Sally Morgan of the Black Twig Pickers/The Freight Hoppers. It is a Cajun tune by Dennis McGee. 'Jesus I'm a Sinner' is for cutting loose. 'Variation on Goose Chase' is a version of Virgil Anderson's 'Goose Chase.' Although he attempted to adapt this song to the guitar, playing it on the banjo was the only way to keep the feel of the original version. 'Under the Shade of the Trees' has the undertone and drone of the 17 year cicada hatch that hit Virginia summer of 2013. The title is taken from Stonewall Jackson's last words on his deathbed: 'Let us cross over the river, and rest under the shade of the trees.' 'Chattanooga' is played by Sally Anne Morgan (fiddle) and Charlie Devine (banjo). This version was taken from Blaine Smith. 'Blenheim' is the name of the Latané family's property in Westmorland Co. Virginia. It's a song for good food, drinks and solid company nestled on the banks of the Potomac River. 'Leaving Istanbul (4 AM)' is a frustration song and the feeling of being very tired thousands and thousands of miles away from home."



YSATIS, SAVVAS: Archiv # 08 2x12" (TRESOR 263EP) 19.50
The Archiv series is back, staying true to its mission, examining the always-surprising and neverending Tresor Records catalog. This time around, the spotlight is placed on Greek producer Savvas Ysatis. After his move from Athens to New York City in '93, Ysatis released a string of collaborative works with his production partner Taylor Deupree, before returning to Greece ?ve years later in order to help develop the local scene. Two albums came out in 1999 (Highrise) and 2001 (Select) on Tresor Records. Genuine pioneering works, both of Ysatis' LP efforts still sound as relevant today as they did nearly 15 years ago. The four classics and two original remixes present on this Archiv #08 reissue have been carefully selected by Savvas Ysatis and Tresor, to be re-mastered and cut in a new con?guration for your listening pleasure and playing comfort. Remixes by Blake Baxter and Surgeon.



DKV TRIO: Schl8hof CD (TROST 125CD) 17.00
Trost presents Chicago's premier live band, DKV Trio: Hamid Drake (drums), Kent Kessler (bass) and Ken Vandermark (clarinet and tenor sax), plus Mats Gustafsson (tenor and baritone sax), Paal Nilssen-Love (drums), and Massimo Pupillo (electric bass).



2013 repress. Subtitled: Lost Advertising & Rare Film Sounds by Mike Sammes & The Mike Sammes Singers. A few years ago the Trunk label founder, Jonny Trunk was invited to a dead man's house. That dead man was Mike Sammes, from the legendary vocal harmony group "The Mike Sammes Singers." The Mike Sammes Singers are legends. Throughout the 1960s and 1970s they were the backing singers for everyone -- Frank Sinatra, Streisand, Sammy Davis, Bacharach, they sing on The White Album, they are even the evil vocal moaners on Krzysztof Komeda's infamous Rosemary's Baby soundtrack. After Sammes' death, the contents of his house were to be destroyed, and in amongst the debris destined for the furnace was a box of old advertising jingle reels. They were saved from destruction, brought to Trunk HQ, and over the last few years have been carefully restored and together they now form the heart of this brand new and quite extraordinary release. In short these are hugely entertaining skits, scats and vocal delights from the world of 1960s and 1970s advertising. Biscuits, banks, brassieres, motorbikes and cigarettes are all represented here -- there are even vocal tracks for tractors and paint! Mixed in is the lost score from Youth, a rare film about adolescence -- the master tape of this was rescued that same day from Mike's belongings. It's jazzy and surprisingly groovy, and of course, none of this music has ever been released before. Music For Biscuits is catchy, weird, slightly kitsch and very entertaining in a mad fashion, but watch out -- this a strangely addictive release. You'll be singing some of these advertising scats for years to come. One final note -- these recordings have never been released before, ever, on any format!!


VA: Classroom Projects: Incredible Music Made by Children in Schools CD (JBH 049CD) 15.50
Trunk presents a beautiful compilation of rare and brilliant music made by children in schools. The album features some incredible sounds -- from charming folk songs to full blown avant-garde experiments. Many of these recordings are exceptionally scarce (some selling for close to £1000 these days) and it's unlikely anyone will have heard any of these since they were first recorded. Recordings made by British children are hardly ever heard. Over the last few decades some schools went to the trouble of privately pressing their own LPs for plays, concerts or celebration -- and with very mixed results. Jonny Trunk has collected these scarce UK recordings and compiled the very best ones for Classroom Projects, the first collection of its kind, presenting recordings made between 1959 and 1981. As well as excellent small group versions of traditional songs, there are specially written instrumentals, covers of Italian composer Scarlatti and even songs about drunk driving. Also, we have work encouraged by John Paynter, a free-thinker, educator and true maverick. Part of the University Of York music department, he not only believed that music lessons at school were of the upmost importance, but he also introduced pupils to the modern composers of the post-war period (such as Stockhausen). So instead of music lessons with a group of pupils all blowing the same basic tune on recorders, he encouraged experimentation with tape machines, haiku and creative thought. As a result, some of the recordings on this album sound like conceptual music from Paris in the late '50s, and not from secondary schools in Bedford in 1969. Overall the compilation brings together some inspired musical moments, some unexpected oddness as well as a warm rush of nostalgia as the small choir from St. Brandon's School (now closed) sing "Bright Eyes." The CD comes with extensive notes and images of the original albums in an 8-page full-color booklet.


VA: Classroom Projects: Incredible Music Made by Children in Schools LP (JBH 049LP) 18.00
LP version.


ELLIOTT, VERNON: The Clangers: Original Television Music CD (SOUP 001CD) 12.50
2013 repress. Both beautiful and charming, this is the long-lost music from one of the UK's most popular and important children's TV shows. Started in 1969 and produced by Smallfilms, The Clangers is a series about a small planet and the little woolen creatures who inhabit it. It ran for just 26 episodes, and grew organically as a show, with the little eco-friendly Clangers discovering music on "Music Trees," learning how to make flying machines and being aware of any space junk crashing into their planet. The music was written (like most of the Smallfilms productions) by Vernon Elliott, a composer and established bassoonist. His pastoral space music is at times slightly abstract, and builds throughout the album from small passages to larger, more complex musical sequences. On its original release (in 2001), the album gained a stunning 10 out of 10 from the NME: "Created in 1969 by Oliver Postgate, the genius who also made landmark kids TV like Bagpuss and Ivor the Engine, The Clangers was an enchanting animated program about a gang of pink alien mice who lived on a blue planet and had friends called the Soup Dragon, the Froglets and the Skymoos. Even now, it's a joy to watch. Fuck The Magic Roundabout and Pigeon Street. One of the best things about the series was the music, and this lovingly packaged collection of original material collects it and revels in its slightly sinister, otherworldly, even free jazz, feel. Sure, there's cute little oboe flourishes and sweet, clinky clanky noises, but underneath all that, there's a definite sense of being lost and alone in a vast, awesome universe, with only pink mice and a flying metal chicken for company. There's 47 minutes and 22 tracks of undiluted Clangers magic on this CD as well as some excellent, illuminating sleeve notes and the cutest 'behind the camera' picture of The Clangers you're ever likely to see. Like the best things in life, it's warm, fuzzy and makes you feel slightly nauseous." The CD version comes with a 12-page full-color booklet with archive extracts, pictures from the TV series and more.



THOMPSON/DEL VALAROS, RON: Switchblade/Pedro 7" (TTSHAKE 115EP) 8.00
Two contrasting shakers from the Minneapolis-based Soma label. Nebraska outfit Ron Thompson and the Broughams give us "Switchblade" on the top side -- a wild and savage, high-octane stomper, led by a brutal guitar riff, garnished with blood-curdling screams and snarled vocal interjections. A longstanding in-demander amongst those who like their instros rare and bloody like a steak. On the flip, a rather more languid but no less engaging affair as teen outfit the Del Valaros give us a cool riff on "Tequila."



ORQUESTA EL MACABEO/BIO RITMO: Perico/Carnaval 7" (VAMPI 45058EP) 8.00
Vampisoul's series Saoco Now! presents contemporary covers of classics of Puerto Rican dance music. On this first release, two of the most innovative salsa bands working today join forces to pay homage to percussionist and bandleader Rafael Cortijo. Orquesta El Macabeo recovers the island's salsa tradition with new ideas and the energy of its 12 musicians, with backgrounds in punk rock, ska, and reggae. "Perico" was originally released in 1959. Bio Ritmo combines '70s-style salsa with eclectic influences. Latin funk instrumental "Carnaval" first came out in 1974.



LOS BICHOS: Color Hits LP (MRSSS 036LP) 25.00
Color Hits, released in the summer of 1989, was a declaration of principles by the band Los Bichos, formed around the unique, eccentric and excessive Josetxo Ezponda (Pamplona, 1963-2013). This record represented the debut of a young man influenced by the first wave of punk, who in 1978 had started his band Tensión; an idea they developed over the years until 1987, when they found the genre and name that would fit them like a glove: Los Bichos (trans. "The Critters"). Josetxo was accompanied at all times by a legion of loyal and unique comrades, each of them with their own input. Asio, bass and vocals, was ever-present in all the Bicho-tales. Charly, lead guitar, played the role of surgeon in the weave of licks, solos and arpeggios, like Mick Ronson with Bowie. And lastly Fermín, drummer, who banged on the instrument in a manner befitting his alias. The important thing about Color Hits is that it's a totally unconditional declaration of love to icons, sounds, and aesthetics which were forgotten at the time: Bosch, Jack Vance, Wim Wenders, Dali, Tolkien, occultism, Egypt, glam-rock, blues, Latin music, Motown, black music, and noise. At the end of the '80s, some local independent labels started to release truly alternative options to the whole post-Movida Madrileña hangover. Due to that weariness of the music scene, Color Hits was embraced by a community of fans willing to get into universes born out of inspired and self-taught minds such as Josetxo's. In its purest essence, Los Bichos combine sweetness and emotion with rage and tension. And without any sort of complex, they lay down a bolero-ranchera ("Mezcalito," "Me gustaría llorar") or a delicate Temptations cover ("My Girl"). There are also nods to Captain Beefheart, with inspired and intuitive crossing of The Stooges and Bo Diddley, where they found the DNA behind all this matter. The sleeve and inner feature collages and texts painstakingly handwritten by Josetxo. A series of concerts and launch shows here and there supporting the release of the record was all the band scraped up from having an LP out. However, they managed to connect with a committed bunch of fans. This is another serious case of oblivion and injustice. But it's never too late for Los Bichos. Liner notes by Iñigo Munster. On 180 gram vinyl.



2013 repress -- on gold vinyl. "The precursor to The Minutemen. Side one documents a 10-song practice tape recorded in 1979, plus a 'bonus side' of mostly knuckleheaded San Pedro people doing their renditions of the same ten songs. 12-inch vinyl-only release brought to you by Water Under The Bridge and 45 rpm Records. Practice tape recorded in San Pedro, CA at the shed in back of George's house on 17th Street, across the street from San Pedro High School, January 1979. Bonus side features ten Reactionaries songs from Side A covered by 38 members of different San Pedro-affiliated bands, both past and present. Cover art by Joe Baiza. The Reactionaries: Martin Tamburovich - singing, D. Boon - guitar, Mike Watt - bass and back-up, George Hurley - drums."


WG 014CD

KADEN, MATHIAS: Watergate 14 CD (WG 014CD) 17.00
The soul behind the new Watergate compilation belongs to a dedicated DJ and house-enthusiast: Mathias Kaden attends to number 14 and gives proof not only of his technical finesse but also of his ability to combine contemporary releases with evergreen classics. He is always confident in his intuition and ability to freak out any crowd, no matter what time or location he plays. All the same with his own productions. He released his debut album Studio 10 on the Berlin-based label Vakant in 2009, alongside EPs on Freude Am Tanzen and recently also Desolat. That Kaden has a lot of love to spread is also being reflected in the compilation's dreamy prelude for which he elected one of this summer's ear-catchers: DJ Koze's and Apparat's "Nices Wölkchen." After some minutes, a relentless old-school vibe sneaks in, which finds an early peak in Ron Trent's "Kids at Play." Between two exclusive tracks from Rodriguez Jr. and Marco Resmann, Kaden proves that there must be a rhythm-machine beating behind his chest. In the middle, the mix rattles with Alejandro Paz' "El House" against its proper destination: house music without compromises. The last third develops an endearing atmosphere, to which Watergate contributes two more exclusive tracks. Mathias Kaden's personal farewell is named "Fin" -- but before he keeps silent, Daniel Stefanik with "Distillery" delivers the closing remarks in an exclusive edit for this CD. With this Watergate comp Kaden has achieved an energetic and elegant mix with repeat potential. Other artists include: Merveille & Crosson, Alix Alvarez, Audio Werner, Daze Maxim, Ricardo Villalobos, Emanuel Satie, Motorcity Drum Ensemble, Moodymann, Christian Burkhardt, The Mole, DJ Sprinkles, Tapesh & Maximiljan, Roman Flügel, Todd Terry & Simone Vitullo, Vjuan Allure, and Kink & Marc Romboy.



HARRISON, JOHN: Day of the Dead Original Score 2LP (WAXWORK 003LP) 38.00
"Waxwork Records is excited to announce their second release, George A. Romero's Day of the Dead. This double 180 gram vinyl release features, for the first time ever, John Harrison's complete score to the zombie horror classic including every musical cue used in the film (over an hour's worth of music). The original 1985 master tapes were restored and remixed by the composer, and re-mastered for vinyl by former White Zombie guitarist, J. Yuenger. This limited release will be pressed on cream yellow marble vinyl (Sides A and B) and military green marble vinyl (Sides C and D). All housed in a heavyweight old-school tip-on matte varnish gatefold jacket with spot UV gloss. The full LP package artwork has been created by artist Jay Shaw. Included are essay length liner notes from the 'Godfather of Zombies' himself, George A. Romero. The LP package includes an 11x22 replica of 'THE DEAD WALK!' newspaper article from the opening credits of the film featuring essay length composer notes from John Harrison."


YT 2013-1EP

VA: Young Turks 2013/1 12" (YT 2013-1EP) 14.00
Young Turks are set to release a series of uniquely artworked limited edition 12"s. Each vinyl will feature two exclusive new tracks by artists affiliated with the label in 2013. At the end of the year fans will be able to purchase a box set designed to house all of the 2013 series releases. The first of these will be the debut release from Lost Scripts (John Talabot and Pional) split with a brand-new track from Koreless.

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