Forced Exposure New Releases for 2/24/2014

Sunday, 23 February 2014 00:00 Forced Exposure News & Events - Release Dates

New music is due from Christina Vantzou, New Bums, Donato Dozzy & Nuto, and Sun Araw, while old music is due from Charles Hayward, Zamla Mammaz Manna, and Pyrolator.


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MADMOTORMIQUEL: Klinken EP 12" (ACKER 044EP) 14.50
With remarkably smooth skills, Madmotormiquel threads his audio tracks through genres and stylistic hints, creating harmonic coherence from elements that seem to be contrary. On "In Daddy Are You Proud," the producer spreads jazzy piano samples and poetic rap among a booming bass line and whipping hi-hats. The atmospheric dynamics of "Recall" evolve as a result of rhythmic chain reactions in the lower and upper frequency spectrum, diffusing into the twilight of dramatic pad sounds. " Too Much Money Not Enough Style," offers a beautiful contrast between a dreamy piano and bubbling beats. Includes a remix from Mollono.Bass.



VA: Sounds of Silence LP (ALGA 046LP) 28.50
2014 repress. Sounds of Silence is an anthology of some of the most intriguing silent tracks in recording history and includes rare works, among others, by Andy Warhol, John Lennon, Maurice Lemaitre, Sly & The Family Stone, Robert Wyatt, John Denver, Whitehouse, Orbital, Crass, Ciccone Youth, Afrika Bambaataa and of course, Yves Klein. In their own quiet way, these silences speak volumes: they are performative, political, critical, abstract, poetic, cynical, technical, absurd. They can be intended as a memorial or a joke, a special offer, or something entirely undefined. The carefully-chosen silences of this anthology are intrinsically linked to the medium of reproduction itself and reveal its nude materiality. They expose their medium in all its facets and imperfections, including the effect of time and wear. At the most basic level, these silences are surfaces. And it is in their materiality that they distinguish themselves from the conceptual experiments of John Cage with "4'33". Since the 1950s, silence has found a place in the economic structure of the record industry and since then it would increasingly be appropriated by a vast array of artists in a vast array of contexts. Indeed, the silent tracks seem to know no boundaries. The LP presents the silences as they were originally recorded, preserving any imperfection that the hardware conferred upon the enterprise, without banning the possibility of being satisfying to the ear. The liner notes provide historical background for each track, revealing the stated (or presumed) motivations for these silences, while providing novel sound correspondences or interferences. This album is meant to be played loud (or not), at any time, in any place: a true aural experience. Only a few hundred copies available for distribution, in a gatefold iconic sleeve.



LUDZHA, BUZ: Love Repetitive Rhythmics 12" (ACOS2X12) 12.50
Heading north for the first release of 2014 and the second in All City's "alias series," featuring rising producer The Cyclist debuting as Buz Ludzha. Love Repetitive Rhythmics features two tracks with distorted '80s house vibes and a more obvious nod to the dancefloor than his previous productions. Features full-color cover art and download code.


AUS 1456EP

MIDLAND: Trace/For (Yacht) Club Use Only Remixes 12" (AUS 1456EP) 14.00
"Trace" is one of Aus' most successful recordings to date and a real statement of intent for both Midland and Aus going into 2013. It was voted 16th best track of 2013 by Resident Advisor and came in at #3 in both DJ Mag and Mixmag's tracks of the year. To celebrate in 2014, we see the return of "Trace," with remixes from tribal techno legend Grain and Aus affiliate, Leon Vynehall.



BELFI/GRUBBS/PILIA: Dust & Mirrors CD (BLUE 025CD) 13.50
"The second full-length album by the trio of Andrea Belfi (drums, percussion, electronics), David Grubbs (electric guitar, piano, voice), and Stefano Pilia (electric guitar). If Onrushing Cloud represents a single stylistic arc in which these three first found commonality and shared musical means, Dust & Mirrors sees the trio confidently taking stabs in a number of opposed directions. It dramatically widens the terrain in the group operates. What changed? From the epic, multi-part sprawl of 'Charm Offensive' to Stefano Pilia's distantly Robbie Basho-esque 'The Distance, Cut,' and from the mechanized riffing of 'The Headlock' to the wild improvisation 'Ambassador Extraordinaire,' Dust & Mirrors sees this group exploding outwards from their more steely, contemplative beginnings."


BELFI/GRUBBS/PILIA: Dust & Mirrors LP (BLUE 025LP) 18.00
LP version.



MCPHEE QUARTET, JOE: Underground Railroad LP (WEAVIL 051LP) 23.50
First time vinyl reissue of Joe McPhee's classic CJR LP from 1969. Exact repress of the original artwork. Trumpeter and saxophonist Joe McPhee's first album, Underground Railroad, has been virtually impossible to find on vinyl, issued in an edition of 500 copies on Craig Johnson's CJR label -- it was recorded next to Johnson's house at the Holy Cross Monastery in West Park, New York. It sold out and was never reprinted on vinyl until now. Underground Railroad is comprised of three pieces, the title-track, "Harriett," and "Message from Denmark." The band features McPhee on cornet, pocket trumpet, and tenor, Reggie Marks on tenor, soprano, and flute, bassist Tyrone Crabb, and Ernest Bostic on drums, and is a scathing fire music release. There are wild, ecstatic interactions between McPhee and Marks, while the rhythm section harness the moaning, screaming, crying, and wailing done by the front men. On "Harriett" and "Message from Denmark," the music takes on a decidedly more spatial feel. This is McPhee at the height of his powers of improvisation and composition. As far as vintage ecstatic free jazz goes, it doesn't get much more nail-biting than this. Limited to 500 copies. Joe McPhee (trumpet, pocket cornet, tenor saxophone); Reggie Marks (tenor and soprano saxophone, flute); Tyrone Crabb (bass); Ernest Bostic (drums, percussion, vibes). Recorded on April 13, 1969, West Park, NY.


MCPHEE, JOE: Nation Time LP (WEAVIL 052LP) 23.50
First time vinyl reissue of Joe McPhee's classic CJR LP from 1970. Exact repress of the original artwork, limited to 500 copies. "What time is it?" Joe McPhee shouts at the opening of this classic LP. Time at last for a vinyl reissue of the highly sought-after, ultra-rare Nation Time. Why this wasn't done years ago is anyone's guess. Nation Time catches the exuberance of the master in his youth, playing a glorious to-the-wall mixture of R 'n' B and free jazz motifs, with a great deal more thrown into the mix. Two of these three long tracks were recorded at a concert at Vassar College on December 12, 1970: "Nation Time" and "Scorpio's Dance." Featuring the electric piano of Mike Kull and the relentless percussion of Bruce Thompson and Ernest Bostic, there is a definite hint of rock. On Nation Time McPhee also plays with a burred R 'n' B tenor tone elastic enough to blend with the searching, spaced-out solos from Kull and McPhee himself. "Shakey Jake," recorded in a studio the next day, adds an alto saxophonist, an organist, and an electric guitarist, and is far and away the full-on dancefloor cut of the LP. Free at the fringes, booty-moving at the core. Call it what you want; free jazz, free-funk, fire music, or simply great music.


First time vinyl reissue of Joe McPhee's classic CJR LP from 1972. Recorded on November 28, 1971 in the Parish Hall, West Park, New York. Exact repress of the original artwork. This excellent trio recording of blues-inflected out-jazz from '72 follows up on the hugely successful Nation Time, which was actually recorded a year Later. McPhee says it was not only a turning point in his music, but a turning point with his tenor sax as well: "With Trinity, I began to feel more comfortable with the instrument. Not having a bassist also removed me from a normal 'jazz' context, let the music just be what it was... The larger space provided by the trio gave me more time to explore the instrument, the colors became more clear, the area I wanted to work became more defined." Even for Joe McPhee, Trinity is a far-reaching record, as broad as you can possibly imagine. McPhee delivers animalistic howls, plaintive melodies, and bluesy ramble. The group sound spans from free-range "space" music with vocals to high-intensity energy laid down over kicking drums. Each duo combination is explored at length, winding in and out of trio improvisation. Group improvisations guide this record, a simple conversation between three strong musicians with strong ideas. Joe McPhee (tenor and soprano saxophones, trumpet, pocket cornet); Mike Kull (piano and electric piano); Harold E. Smith (percussion).


MCPHEE AND JOHN SNYDER, JOE: Pieces of Light LP (WEAVIL 054LP) 23.50
First time vinyl reissue of Joe McPhee's classic CJR LP from 1974. Repress of the original artwork. Another reissue of ultra-rare, '70s McPhee vinyl. In 1974, Pieces of Light was recorded and released by the CJR label. McPhee had picked up on the growing electronic music movement, and recorded a set of duos on saxophone, trumpet, E-flat alto horn, flute, modified Nagoya harp, chimes and voice with John Snyder, who played an ARP analog synthesizer. The result is a stunning six-part meditation on how best to combine acoustically and electrically-driven sounds. McPhee at times anticipates and complements the limited wave forms of his playing partner, but the two don't try to mimic or play on top of each other. They shift, meld, and counter each other. McPhee at times plays extremely jazz-tinted phrases, in alien vistas created by Snyder's synth, without ever coming off as quaint. Definitely something a little different from the fire music of the time. Joe McPhee (tenor saxophone, trumpet, cornet, flugelhorn, alto horn, flute, chimes, harp, voice); John Snyder (synthesizer).



MAHDY JR., EL: Rai Dubs 10" (BOOMARM 007EP) 12.00
"This is a collaborative release featuring El Mahdy Jr, Gulls, XJ, and Alter Echo. Beginning with a shared love of old school Algerian Raï music and audio deconstruction, we sampled several Raï classics from cassettes and Youtube rips, resulting in three songs and a dub. Heavy weight system pressure, poly-riddim and crunchy arid melodics dubbed up inna Boomarm style. Released in a limited run of 300 10" vinyls in hand stamped and printed sleeves."


BC 044EP

MATSELL, WESLEY: Total Order 12" (BC 044EP) 12.00
Welsh mystic Wesley Matsell returns to Border Community with an ebullient EP of '90s-tinged dance utopianism. Thoroughly road-tested in the DJ sets of James Holden, the staccato gasps of rave banger "Total Order of Being" exude a melodious, propulsive appeal. "Future Beacon" combines sacred, mystical arpeggios and rattling breakbeats; "Dowlais Wheelie Crew"'s layers of vibrant synths form a decidedly modern groove; and "Rite of Pant" is a rousing exercise in handmade primal proto-house. This is the final release in a collectable four-part series of limited vinyl (500 copies). All four covers fit together to reveal a larger picture by UK designer Jack Featherstone.



BAKONGO: Amhara 12" (MATH 009EP) 12.50
2014 repress. Roska brings his first Bakongo production in over a year to BRAiNMATH. As always, limited info, limited copies. One-sided release.



SMITH, KENNEDY: Super Score EP 12" (BSRX 002EP) 15.50
Second release from Berlin-based Kennedy Smith. This release follows hot on the heels of the Parisian's recent electrifying debut for The Double R, the white-hot new label from Matt Edwards (Radio Slave) and Jamie Fry (STABLO). This latest triumvirate of original material finds Smith taking his sound into a deeper techno direction, while still retaining the house grooves of his previous material. This 12" provides further evidence of why Kennedy Smith and Bright Sounds are names to watch in 2014.


BB 155LP

TIETCHENS, ASMUS: Nachtstucke LP (BB 155LP) 21.00
LP version. Pressed on 180 gram vinyl. Nachtstücke owed its publication to former Tangerine Dream member Peter Baumann, who was asked by the French label Barclay/EGG to produce three albums focusing specifically on German electronic music. He was working with Hans-Joachim Roedelius at the time, who had been given a few Tietchens tracks on cassette. When Baumann heard Roedelius play them in the studio during a break in proceedings, they sparked his interest and he met up with Tietchens some time later; they agreed that he would go over the material again and edit or abridge it in places. A release date was penciled in for the latter part of 1978. The commissioning label, however, doubting the commercial potential of the project (Tietchens: "How right they would turn out to be"), postponed the release and had to be reminded of contractual commitments on more than one occasion. When the Nachtstücke LP finally appeared, almost two years later, it bore the unauthorized subheading "Expressions et Perspectives Sonores Intemporelles," and featured a completely different cover. Originally, the album was to depict a leathery embryo with a laser beam shooting through its eye (Tietchens: "I liked the idea of starting with something so gruesome"), but now three blurred figures danced on the sleeve: "I was pretty disgusted when I opened the package containing my copies," Tietchens reports, taking the re-release as his cue to create completely new artwork. Nachtstücke has surprisingly little in common with the pseudo-pop of the ensuing Sky Phase, but shines a light further ahead to the gloomy, spectral aspects of Tietchens' later works. Created between 1975 and 1978, the Nachtstücke pieces reveal a deliberate approach, avoiding dissonance and discord wherever possible. Still, the release saw the album "fall right out of time" as Tietchens frankly admits: "Gentle rhythm and harmonic beatitude did not suit the concert of advanced pop music as it was then being played." Nevertheless, the Nachtstücke tracks remain important to the artist, as they document his early encounters with the Moog Sonic Six and Minimoog. With this in mind, the material is presented here in its original, unadulterated form.

BB 156LP

TIETCHENS, ASMUS: Der fünfte Himmel LP (BB 156LP) 21.00
LP version. Pressed on 180 gram vinyl. Between 1981 and 1983 Asmus Tietchens released four albums on the Sky Records label, fusing rhythmic set pieces and off-kilter sounds into gaudy escapades of saccharine artificiality. The "pseudo-pop" epithet reflected their frequently ironic air. All four records have been reissued by Bureau B in their original form. What remained may be found on this collection. Der fünfte Himmel ("The Fifth Sky") retrieves those pieces which were denied a place on the original LPs, although clearly cut from the same contextual cloth. Quality control was not behind their relegation to the archive, but rather their eccentric and, at times, outlandish character. "Futurum drei" is patently a bridge to Tietchens' debut album Nachtstücke, recorded back in 1978, while "Soirée" and "Zum Tee bei Frau Hilde" were originally -- in a completely different guise -- designed to form the basis of the Experimentelle Geselligkeit album, ultimately shelved. The titles themselves are interesting: "Würgstoffe" ("Wirkstoffe") and "Niedermacher" ("Liedermacher") are further evidence of Tietchens' penchant for wordplay, even though the composer today admits that these rather corny jokes no longer seem quite so witty. In addition to this promenade through the outskirts of the "Zeitzeichen phase" (or "Sky phase"), Der fünfte Himmel includes tracks which could have constituted a further album on Sky Records. Tietchens was working ahead of himself as his contract covered just four albums and sales were in sharp decline. Moreover, his musical direction had shifted to accommodate a far less rugged sound and a broader range of musical tools. If these pieces share a link to the strategies of previous works, it is a tenuous one. This would probably have been enough in itself to preclude a continuation of the series, as the material veered so far away from the Sky label line.

BB 160LP

PYROLATOR: Pyrolator's Traumland LP (BB 160LP) 21.00
LP version. Pressed on 180 gram vinyl. In 1986 Pyrolator moved into a sparsely furnished apartment in Berlin. This is where he wrote the tracks for the album. "I was fascinated by dream research at the time, even visiting seminars on the subject. I wanted to capture dreams in music -- not esoterically, but in a scientific, analytic manner." Pyrolator thus set his alarm to ring at the same time every night in his Berlin pad, the somnolent sonic-explorer-turned-dream-chaser noting down what he remembered. Once he had collected enough material, he headed back to the studio in Düsseldorf. Traumland is the Pyrolator work which comes closest to a band album. Saxophones, trumpets, drums, yes, even real guitars! Jörg Kemp and the New York singer Susan Brackeens took over vocal duties. How did that transpire? Pyrolator: "I had produced a few songs for Susan at the Ata Tak studio, we got on well and I liked her voice. The songs were classic pop tracks, more or less, so it made perfect sense to invite Susan back for Traumland. As a rule, my pop songs usually went to my band project, Der Plan. However, working with Susan motivated me to give them a try on a Pyrolator record. Jörg had worked with me on almost all of my solo albums. We were good friends, and we also released records by his band, Lost Gringos, on Ata Tak." If the front and back covers of the album (surrealism on one side, a band picture on the other) are diametrically opposed, then the music on Traumland is no less diverse: spheric instrumental tracks confront jazzy pop songs, reminiscent of English pop à la Scritti Politti or even ABC. "The critics liked Traumland and good reviews appeared almost everywhere, but the public reception was somewhat less euphoric. This was not the music they had expected to hear. People wanted something more experimental from me," Pyrolator recollects. Musikexpress magazine proclaimed it "springtime for consciousness," which sums it up nicely. Includes two bonus tracks.



KINDIMMER: Workz on Dope 12" (CLAAP 016EP) 12.50
Claap welcomes new kid on the Berlin block, Kindimmer. "Workz on Dope" is a house groove reminiscent of that MCDE aesthetic, but done in Kindimmer's own unique production attitude. There are added three locked grooves full of elements appealing to the DJs who like to work it while playing. "The Distraction of Fever" has that raw Detroit vibe -- dominant stabs and a serious groove full of beef. There are three locked grooves on this side, too, which are extracts from "The Distraction of Fever." Another Claap record set to turn heads and raise hands on the dancefloor.



DRUMCELL: Speak Silence 12" (CLR 074EP) 14.00
Good news for exigent techno lovers, here comes another deep and mesmerizing release by the Californian techno ambassador Drumcell, with remixes by three highly-inspired co-conspirators. The slow and haunting beat, the hypnotizing poetry of the vocals, the incredibly well-defined bass and the dark, enthralling atmosphere characterize the work of this restless sound designer and make it clearly irresistible. Remixes by Slumberman, Brian Sanhaji and Francesco Tristano.



CHRISTIAN S: Pitch Rider 12" (COMEME 024EP) 12.50
Christian S has been around since the mid-1990s, getting his education from the legendary Cologne house underground of that decade. Teaming up with Matias Aguayo, he soon himself became a key figure to the scene when launching an equally influential fin de siècle club night called Lost. His long-awaited first solo EP for Cómeme may still suggest a sane salute to the likes of DJ Pierre or even Womack & Womack, but the real pursuit of this utter beast of a debut must be summed up like this: Farewell solid ground. Hello sweet vertigo.


DEC 1103LP

JAMES, BOB: Rhodes Scholar: Jazz-Funk Classics 1974-1982 3LP (DEC 1103LP) 28.00
Repressed. "Legendary keyboardist and composer Bob James is one of the major architects of the '70s jazz-funk sound, and is also notorious among a younger generation raised on hip hop. His early albums have been plundered for samples countless times, and his tunes 'Nautilus' and '(Take Me To The) Mardi Gras' are two of the most revered B-boy classics, acknowledged as musical foundations of the hip hop movement. Amazingly, until now there has been no collection that focused on the funkiest side of the keyboardist's vast catalog, the years when his instrument of choice was the classic Fender Rhodes electric piano. Previous Bob James collections have attempted to please smooth jazz aficionados who know the man for his later, synthesized-based sound, throwing in a token representative or two of the rougher, groove-based tunes of his early career. Compiled by Wax Poetics magazine's contributing editor Andrew Mason, Rhodes Scholar makes no concessions to fans of the smooth jazz sound and goes straight for the funk jugular. The 22 songs here are the gold that beat-diggers sift through stacks of albums to find, with all of James' heaviest (and most heavily sampled) tracks included. Fans of rappers Wu-Tang Clan, Run-DMC, Arrested Development, De La Soul, and EDM/house music stars Royksopp, Moodymann and Dmitri From Paris will hear familiar themes as this compilation lays bare the sources of some of their biggest hits. An extremely scarce alternate mix of one of James' biggest and most controversial tracks, '(Take Me To The) Mardi Gras,' is included for the first time since its Italian-only 1975 release. Previously unseen vintage photos plus detailed liner notes by Mason with comments from Bob James himself further enhance this long awaited package."


DV 9033LP

JAY DEE: Jay Deelicious: The Delicious Vinyl Years 3LP (DV 9033LP) 19.00
2014 repress, originally released in 2007. "Jay Dee (aka J Dilla) emerged as a hip hop producer to be reckoned with in 1995 when his name was attached to the first single from The Pharcyde's eagerly anticipated sophomore album Labcabincalifornia. Drop the needle on his first Pharcyde production 'Runnin' and you have the launch point of a producer's career that mesmerized, titillated and expanded the domes of hip hop fans for the next decade. Jay Deelicious: Originals, Remixes & Rarities documents Jay Dilla's early production on Delicious Vinyl. Working closely with The Pharcyde and Michael 'Mike Floss' Ross, (Delicious Vinyl's founder), Jay Dee was instrumental in keeping The Pharcyde's second album as ear poppin' and bugged as their maiden classic Bizarre Ride To The Pharcyde, stepping up big time after the group parted ways with Bizarre producer J-Swift. In addition to original productions and remixes for Labcabin, Jay Dee skillfully worked with the label on incredible mixes for the Brand New Heavies, as well as unreleased remixes for former BNH singer, N'Dea Davenport."


DEL 75033LP

DELTRON 3030: Deltron 3030 2LP (DEL 75033LP) 20.00
2014 repress. "The super group Deltron 3030 is composed of producer Dan the Automator, rapper Del tha Funkee Homosapien and DJ Kid Koala and sometimes features guest artists who also take on varying futuristic pseudonyms. Originally released in 2000 on the now-defunct 75ARK record label, this hip hop concept album was released the same year as the Gorillaz' first 12" and is on a similar plane. Following the release of Deltron 3030, all three members participated in the Gorillaz' self-titled debut album. With Del aka Deltron Zero on vocals, Dan the Automator aka The Cantankerous Captain Aptos on production, and Kid Koala aka Skiznoid the Boy Wonder on turntables, this album takes the listener on a paranoid journey set in a dystopian year 3030 dealing with viruses, the apocalypse, an oppressive government, and a war waged against a huge company called the Corporate Bank of Time that rules the universe, all to the well-crafted and consistent musical backing of the Automator. Appearances by Damon Albarn (The Gorillaz, Blur), Prince Paul, Peanut Butter Wolf, DJ Money Mark, Paul Barman, Mark Bell (Bjork, production), Sean Lennon, and Mr. Lif compliment Del's vocal style and add the right amount of flavor to this classic period piece."



Shoxy and Alexandar Ivkovic are rightly regarded as two of Serbia's best-kept secrets. For years they have been amongst the finest DJs on the Serbian circuit. The Red Beans EP showcases the duo's considerable talents across four wickedly rhythmic house mutations. "Red Beans" is characterized by its clever arrangement and off-kilter beat. Seductive soaring synths, a chanting vocal and further deft sounds are added to the mix. "Tromotonik" develops around a more familiar 4/4 framework, with strong bass and hard-hitting percussion. "Seattle" is another tightly-produced energetic house track and "A Tale of Rhythm" feels like a ride on a rusty swing with a boombox on your shoulder.


DS 026CD

CILIO, LUCIANO: Dell'Universo Assente CD (DS 026CD) 20.00
Restocked. The critically-acclaimed Dell'universo Assente is finally made available again in a stunning CD edition. The complete works composed by legendary Neapolitan composer and musician Luciano Cilio are now digitally restored and include a striking set of piano-based unedited pieces transcribed and played by the composer Girolamo De Simone, curator of the edition and acclaimed interpreter, who is also the man responsible for the rediscovery of the work of Luciano Cilio. Dell' Universo Assente, originally released by Die Schachtel in 2007 and sold out in a few months, represents a truly unique approach to music-making where each instrument and each sound are given ample time and space to develop. For the recording sessions leading to this remarkable work, Cilio took up a role as multi-instrumentalist, performing on piano, guitar, flute, bass and mandola, also joined by musicians coming from different experiences and areas, who supply strings, extra woodwind and percussion. Almost impossible to define, the all-acoustic music of Cilio occupies a space between the devotional music of Popol Vuh's Florian Fricke and the deep spiritual places of what would later be called holy minimalism (without any of the religious intents of the aforementioned references), with a surprising anticipation of the crystalline sparseness of pieces like "Fur Alina" by Arvo Pärt, and a feeling of intense suspension of time that can be associated to some of the most intimate compositions of Ligeti or Feldman, yet maintaining a definite position outside the contemporary music of serial and academic inspiration. "These recordings sound as they feel -- self-contained, introspective, and determined. You can feel in the music a sort of necessity that can be rarely found, as in Bill Fay's Time of the Last Persecution, or in Nick Drake's Pink Moon: this enormous weight that is bearing on its creators, the absolute need to exorcize it from their lives, a moment in time where you are invited to hear artists truly in contact with their existence. Luciano Cilio holds that moment in time, an authentic emotional testament, something to be cherished," writes Jim O'Rourke in his inspiring liner-notes. Born in Naples in 1950, Luciano Cilio had joined his university studies in architecture and scenography to music, collaborating in the '60s and '70s with several non-conventional musicians (such as Alan Sorrenti and Shawn Phillips), developing surprising intuitions about the relationship between gesture, words and music. Sitar and guitar virtuoso, excellent pianist, Luciano Cilio was "essentially self-taught concerning music composition," and focused his research on long, sustained sounds, on the sound in its primary and internal meaning, at the outset on the melodic, rhythmic and harmonic entities, to "re-enter the sound, hold it, hold it... and finally let it go." His short yet intense career officially began in 1977 with the publication of a full-length album titled Dialoghi del presente (entirely included on this release along with extra tracks), composed between the end of the '60s and early '70s. The album, released in 1977, went almost unnoticed and was soon forgotten, and that influenced deeply the complex personality of the composer. Unexpectedly, in 1983, he committed suicide, leaving this unique gem as a testimony of a genius work."Most records create an imagined world, a place between author and audience, a neutral ground where you are expected to meet; but on these special occasions, you can feel as if you are listening in on a private conversation, overheard discreetly, but clearly. This record is not just a collection of musical pictures, but a large canvas painted with the air it was made in, like a private room never to be visited again, but remembered vividly when something like the way light hits a room or the smell of damp cinders brings it all back with overwhelming vividness. Cilio holds that moment in time, an authentic emotional testament, something to be cherished." --Jim O'Rourke



DON'T DJ: Ka-Dants 12" (DISK 008EP) 18.00
More "ringing, poly-rhythmic excursions by the Durian Brother."


DB 168EP

CONSOLE: Herself Remixes II 12" (DB 168EP) 14.50
Console is one of the main projects for Martin Gretschmann, the lead programmer for the German indie rockers known as The Notwist. He did several collaborations and remixes with/for artists such as Björk, Depeche Mode, Barbara Morgenstern and many more. For the second part of the "Herself" remixes, Daniel Bortz, Der Dritte Raum and Nu interpret the Console tracks in a new way and show fresh facets of the original material.


DC 575EP

BLUE JEAN COMMITTEE/THE FINGERLINGS, THE: Massachusetts Afternoon/Embrace Me 7" (DC 575EP) 5.50
"The Blue Jean Committee were the proud products of the late 70's Northampton, Massachusetts music scene. From Bath, England, The Fingerlings were a prolific synth/post-disco band who released twelve EPs between 1981 and 1983. Fred Armisen is known as a stand-up comedian, impressionist, filmmaker, character actor, musician and satirist of modern mores on Portlandia and SNL -- but one undiscussed aspect of his lifestyle is his awesome record collection. Dude's a connoisseur of all sorts of weirdo styles that support his view of people as obsessive-compulsive (but generally loveable) freaks. Having heard some of the gems in his juke-box, we suggested that he share some of them with the general public -- and so here we go, with the first single in a series of little-heard pop music classics, presented by Fred Armisen!"

DC 585CD

NEW BUMS: Voices in a Rented Room CD (DC 585CD) 13.50
"The voices are two, spinning harmonies both heavenly and salt-pickled. Picking their direction and floating along on a pair of acoustics, New Bums are the sound of old drunk America, dancing out of the shadows, coming forth again to stand in the light, in the hopes of repopulating those sad old single-occupancy hotels before they're all torn down. New Bums is the grudging match-up of Donovan Quinn (Skygreen Leopards) and Ben Chasny (Six Organs of Admittance, Comets on Fire, 200 Years, Rangda and who's hiring?)."

DC 585LP

NEW BUMS: Voices in a Rented Room LP (DC 585LP) 18.00
LP version.


DH 001

"64 pages constructed with a quality that far exceeds punk fanzine standards. The first thing you'll notice is that it just feels nice to hold in your hands. Content to boot as well. A definitive interview with Chris D. (Flesh Eaters), focused solely on 1977-80 LA punk; Slash magazine; Upsetter Records and his band. Retrospective and interview with Sally Skull, 1994-97 all female, criminally forgotten low-fidelity Scottish garage/art/punk band. Interviews with Sex Tide and Household, two of today's best bands working the raw minimalism circuit. Interview with the gentlemen from Bona Dish, an early 80s UK DIY band who've recently surfaced again thanks to a reissue of their cassette material. A comprehensive piece by the editor of Fuckin' Record Reviews blog on various obscure 80s/90s fanzines. 56 record reviews, penned by Expressway To Yr Skull's Erika Elizabeth and editor Jay Hinman."


BEC 5161732

MR. OIZO: Wrong Cops CD (BEC 5161732) 17.00
Since his first track "Flat Beat" in 1999 and the video that made a generational megastar of a yellow facecloth, selling three million records, Mr. Oizo has systematically walked off the beaten track, remained somewhat of a mystery and cultivated nonsensicalness as his ultimate trademark. As if to annihilate the fast and easy success that took over his early career, Quentin Dupieux, the man who hides behind that funny bird, has been applying his ubiquitous talents to directing and producing movies, DJing, being provocative and using Twitter as a medium for his sharp tongue, turning down easy advertising money and giving very few interviews, generally creating a legend around himself. Over 10 years after the insolent and freakish success of "Flat Eric," four odd films (Non Film, Steak, Rubber, Wrong), four albums, three soundtracks, tracks produced for electro pin-up Uffie and a string of carefully-released remixes and singles, Dupieux and his alter-ego Oizo have been established as the agitators of an age that dearly needs them. Dupieux is now releasing 21 tracks (totally remastered) from his prolific discography to go with the release of Wrong Cops, his fifth film that establishes intentionally heavy-handed humor as an art form. This record is as much the soundtrack for Wrong Cops as a carefully measured retrospective, a quirky best-of that is surprisingly constant. Twenty-one numbers over a 15-year period mixing classic and rare tracks with the same ease, which proves that despite his laissez-faire attitude, Quentin Dupieux has managed to stay true to the initial spirit of techno while redefining its contours and angles, mistreating keyboards and computers to get them to spit out their soul, while focusing on the rhythm, the techno artifacts and the dancefloor. Despite himself, Oizo has managed to become one of the last great electro artists to stand shoulder-to-shoulder next to the likes of Kraftwerk, Jeff Mills, Dopplerefekt and MMM! Film after film, Dupieux's absurd quality becomes more precise and refined. Wrong Cops, which could be summed-up in two lines: "All crooks, especially in the police force," is a commentary on humanity in its most mediocre and twisted form. It's a mix between American Z movie humor and Surrealist cinema and it contains all of Dupieux's obsessions: sexual perversion, drugs, the dregs of humanity, transsexuals, absurdity, dark humor, etc. Behind this collection of human deviances, Dupieux, always the agitator, opens a debate on the place of electronic music in the world today and what it says about us. In the end, Wrong Cops is a violent and comic attack against the iconic figure he has become, and yet another middle finger in the air. Features appearances from Sébastien Tellier, Gaspard Augé, and Marilyn Manson.

BEC 5161733

MR. OIZO: Wrong Cops 2LP+CD (BEC 5161733) 27.50
Gatefold double LP version. Includes a CD copy of the album.



LAST BONGO IN PARIS: Battened Ships/Let It Be Me 7" (EDR 020EP) 9.00
2014 repress. Parisian DJ duo Cléon & Jazzy Pidjay are back as Last Bongo In Paris, with a hot new 7" filled with Latin & Brazilian soul-funk vibes. With raw drums, heavy breaks and jazzy flavor, these two new tracks should please all groove lovers. DJ Cléon is one of the finest producers in France for breakdance battle breaks, also known as a fine wax digger, mixing all kinds of music together, such as disco, funk, soul, jazz, break-beat, hip-hop and more. Alongside his mate Jazzy Pidjay, they give new life to the dancefloor with their forgotten musical treasures.


PATCHWORKS: Dedications 12" (EDR 021EP) 12.50
Bruno "Patchworks" Hovart started producing in the mid-'90s and has kept on mixing today's technologies with the raw spirits of house, electronic, disco, funk, soul, and jazz music's golden years since then. For this new EP, he returns to his early love for house music, and many will remember that before Favorite Recordings was launched in 2005, Patchworks and Pascal Rioux were famous within the deep-house scene for their various titles on the Rotax Disques imprint. This four-track EP is obviously armed again for killing any dancefloor. And the entire EP package is clearly infected by some of the best early producers of the genre.



ONRA: Chinoiseries 2LP (FVR 011LP) 23.50
2014 repress; 2007 release. Favorite Recordings presents French producer Onra's Chinoiseries project. He started it in August 2006, freshly returned from a trip to Vietnam, the land of his grandparents. A vinyl junkie at heart, he really couldn't come back to France without bringing back some wax. After hours spent riding on a motorbike through the streets of Saigon, a taxi finally helped him find some Asian records. He almost felt like an explorer discovering a forgotten treasure. He bought 30 records, most of them in poor condition, went back to his crib, and started making beats with material that he wasn't quite used to. Here are the results of his discoveries and experimentation.


JOUBERT SINGERS, THE: Stand on the Word Remixes 12" (FVR 069EP) 12.50
2014 repress. Originally recorded live in the First Baptist Church in Crown Heights, NYC, in 1982 under Celestial Choir and pressed only for the congregation, it was then enlightened by Walter Gibbons (owner of Jus Born studios and a new-born Christian at the time of the recording). "Stand on the Word" was Walter's biggest record at the time, and The Joubert Singers' version is a re-recording done for Next Plateau, featuring the same singers but done outside of the church choir. This 12" also includes the famous Larry Levan mix as well as mixes by Patchworks, Panoptikum Arkestra, and Walter Mecca.



BAKER, LAVERN: Bumble Bee/Think Twice 7" (FRY 024EP) 8.00
Great two-sider from one of the leading queens of rhythm and blues, Lavern Baker. "Bumble Bee" is an unusual uptempo early soul dancer with sharp backing vocals, nicely droning guitar chops and chime-like vibes -- and of course, a sassed-up vocal turn from Ms. Baker herself. Meanwhile, on the flip, there's the notorious X-rated version of "Think Twice," a duet with Jackie Wilson. Reportedly recorded at the end of a long session in which copious alcohol had been imbibed, here Baker and Wilson let rip, audibly stifling hysterics as they try and out-filth each other.


FUNK45 040EP

MASTER PLAN INC.: Heartbreaker/Bright Lights, Big City 7" (FUNK45 040EP) 8.00
Taken from an album as good as it is, it's difficult to select two tracks deserved of the 45 treatment. But here they are, due to popular demand: two of the best tunes from Funk45's celebrated Master Plan LP released recently (JMAN 058CD/LP). Cut loud for devastating effect.


GET 54043LP

GENIUS/GZA: Liquid Swords 2LP (GET 54043LP) 24.00
2014 black vinyl repress. "According to legend, when the Wu-Tang Clan formed like Voltron on their debut album in 1993, GZA happened to be the head--an appropriate place for a man also called 'The Genius.' Yet at the time few could have predicted that his 1995 masterpiece Liquid Swords would be considered 'one of the most substantial lyrical journeys in hip-hop history' (Chicago Tribune). At the peak of his powers as a producer, Wu-Tang mastermind RZA crafted the album's distinctive soundtrack at his basement studio in Staten Island; a haunting landscape of dusty samples, sharp snares and menacing urban gloom, with frequent interludes of dialogue from the classic Samurai flick Shogun Assassin. Cerebral, strategic and precise with his words, GZA crystallizes a range of influences--from chess to kung-fu films to mob flicks and Eastern philosophy--into sharply delivered rhymes. The album features appearances by the entire Wu-Tang Clan, and includes the auspicious debut of Killah Priest on 'B.I.B.L.E.' Acknowledged as one of the '100 Best Rap Albums' (The Source) and 'Top 100 Records of the 1990s' (, Get On Down is proud to present Liquid Swords as it was intended to be experienced, on double vinyl with audio remastered from the original source tapes and the original iconic cover artwork from DC Comics artist Denys Cowan." Includes poster insert.



RAUM: Event of Your Leaving LP (GLASS 003LP) 21.00
Limited repress; white edition of 500. "Event Of Your Leaving was recorded by Raum (Jefre Cantu-Ledesma and Liz Harris) in 2011 and 2012. Their first collaborative LP, the record is a loose set of memories, dreams, and images interpreting the work of visual artist Vija Celmins for piano, guitar, keyboard, voice, and tapes. The three-panel, fold-out cover is an offset and letterpress print of a drawing by Harris. This release was commissioned by San Francisco, CA based Glass, house and is supported by a Alternative Exposure Award from Southern Exposure. Artwork printed at Stumptown Printers in Portland, Oregon and LP mastered at Dubplates in Berlin by Rashad Becker."


GB 009LP

BRAHIM, AZIZA: Soutak LP+CD (GB 009LP) 25.50
Gatefold LP version. Pressed on 180 gram vinyl, includes a CD copy of the album. Voiced with passion and grace, Aziza Brahim's music adeptly travels the expanse between her Western Saharan roots and Barcelona, the European cosmopolis where she now lives. Aziza is both a contemporary sonic poet and a prominent and eloquent spokesperson for the Saharawi people and their ongoing struggle for recognition and justice. Born and raised in the Saharawi refugee camps lining the frontier between Algeria and Western Sahara, Aziza's life has been marked by both daunting hardship and inspired will. Fleeing from these camps and the regime of political oppression that followed Morocco's 1975 invasion of Western Sahara, as a young teenager Aziza travelled to Cuba for her secondary school studies. There she experienced first-hand the deep Cuban economic crisis of the 1990s and the subsequent denial of her request to pursue a university degree in music. Music had been Aziza's passion since she was a small girl and despite this setback, she returned to the Saharawi camps in Algeria and began singing and playing in different musical ensembles, a process that continued when she moved to Spain in the year 2000. There she founded the eclectic Saharawi/Spanish band Gulili Mankoo with whom she released two acclaimed self-produced recordings: the EP Mi Canto (2008) and an album Mabruk (2012), both on Reaktion. In recent years Aziza has performed extensively, appearing at major festivals and venues including WOMAD Cáceres (2012) and Queen Elizabeth Hall in London (2009). Aziza's album Soutak (trans. "Your Voice"), her debut for the Glitterbeat label, is her first recording to predominantly focus on the cadence of her majestic voice and the soulful critique of her lyrics. The album was produced by Chris Eckman (Tamikrest, Ben Zabo, Dirtmusic) and was recorded live and direct in Barcelona in June of 2013. In the liner notes to the album, Aziza describes her vision for Soutak: "Feeling the need to make an acoustic record, I imagined a somewhat modest musical outline, which would not involve too many instruments and in which the voices would take the expressive emotional lead. I wanted to further explore the range of possibilities found in the Haul, the Saharawi's traditional rhythmic sources, played on the tabal and a source of inspiration for the desert blues." The hand-picked band she assembled for the album consists of Spaniards Nico Roca (percussion) and Guillem Aguilar (bass), Malian Kalilou Sangare (acoustic lead guitar), Aziza's sister Badra Abdallahe (backing voice) and in addition to singing, Aziza contributes acoustic rhythm guitar and the tabal, the traditional Saharawi hand-drum. The music on Soutak is a powerful and nuanced mixture of musical cultures and features Malian, Spanish, Cuban and contemporary Anglo-European motifs all held together by Aziza's deeply rooted knowledge of traditional Saharawi song and sound. Though the songs on Soutak can be unsparing in their details of oppression, Aziza Brahim has delivered an empowered flight to freedom; an alternative world where hope is imminent and dancing is justified.



LITTLE JINDER: Won't Look Back Remixes 12" (GOLDENG 001EP) 14.00
"Won't Look Back," the glossy yet deep electro power ballad from Little Jinder's 2013 Break Up album, gets the remix treatment from two of her Stockholm friends who also happen to be some of the hottest underground house producers around: Kornél Kovács and Baba Stiltz, both representing Stockholm's Studio Barnhus posse, both delivering two very different takes on the song. Baba goes all deep and murky while Kornél gives the track a dubby disco twist. With the original version sealing the deal, this is a fine example of the ongoing cross-fertilization between Sweden's pop and dance music scenes.


HYR7 132EP

LUMINODISCO/MARGOT: Keep on Wankin EP 12" (HYR7 132EP) 14.50
The Keep on Wankin EP features classic tracks from Luminodisco and Margot as remixed by Sex Tags Mania label boss DJ Fett Burger & DJ Grillo Wiener and Fango, respectively. First up is Luminodisco's modern classic "Diavolo Di Un Disco," which has been a feature in the sets of many disco dudes since its release. Given the sonic freakiness and unique sense of invention about everything DJ Fettburger does, he, along with frequent collaborator DJ Grillo Wiener, makes the perfect remix pairing.



DREAM WEAPONS: Pathways 12" (HOLGER 003EP) 14.50
A few words by Steffen Bennemann: "I was in loose contact with Aggelos (Dream Weapons) for a few years, watching him from a distant with great interest. In 2012, he sent me his debut LP on Inner Ear under his Fantastikoi Hxoi moniker and it quickly became my favorite album of the year. When I told him our plans for Holger, he sent me some of his more electronic-leaning music. I was instantly captured by the driving, trippy Kraut-techno songs which show homage to the psychedelic sounds of the '60s and '70s while holding their own in the here and now. Exactly our cup of tea."


HL 004LP

PLANNINGTOROCK: All Love's Legal LP (HL 004LP) 23.00
LP version. Includes a free download of the album, plus bonus tracks. Disruption and interference aren't words you ordinarily associate with pop or dance music, but Planningtorock is on a mission to unseat all norms. On her new album All Love's Legal, she leaves you in no doubt as to the seriousness of her vision of transnational gender equality. Surprisingly, given that Western dance music is born out of black, queer music, it rarely touches upon these themes, but All Love's Legal is a refreshingly direct statement of political intent.



SABOTA: Sabota 2LP (HYB 011LP) 22.00
Double LP version. The name Sabota comes from the infamous area in Nelson BC, where kids congregate late at night to smoke weed, hook up and watch the sun come up. Both Max Ulis and Robbie Slade (of Humans) both have (if somewhat indirect) roots in the area, making it a fitting concept for their collaboration. This is a brand-new collaboration between two very talented and separately quite successful artists. Robbie Slade, is one-half of Humans, and Max Ulis has been a lynch pin in the West Coast electronic music scene for over a decade. After establishing themselves as prolific artists on other projects, with Sabota, their individual sounds (which range from techno, bass, and house to vocal heavy pop music) are synthesized in a highly nuanced and beautiful way. Featuring a contribution from Charlie Damara and a remix by Grenier.



SALOMAN, GABRIEL: Riots Don't Just Happen 10" (IGR 001EP) 32.00
One-sided cherry red vinyl. Screen-printed B-side by master screen-printer, Ulrich Schmidt-Novak. Composed for a dance of the same name, choreographed by Daisy Karen Thompson. Gabriel Saloman (Yellow Swans, Mudsuckers) begins Riots Don't Just Happen with a shuddering drum roll before settling into a series of brooding, rumbling guitar drones. Military drums disrupt the standoff and with this call to arms, tension swiftly mounts as the atmosphere becomes denser and increasingly claustrophobic. Handmade artwork by Paul McDevitt & Cornelius Quabeck using a Risograph printer in combination with spray paint. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin. Numbered edition of 300 which will not be repressed. Includes a photograph, insert, and download code.


CANTU-LEDESMA, JEFRE: Requiem (For Violin & Magnetic Tape) 10" (IGR 002EP) 32.00
One-sided canary yellow vinyl. Screen-printed B-side by master screen-printer, Ulrich Schmidt-Novak. Recorded at The Headlands Center for the Arts, California. Violin by Tony Cross. Jefre Cantu-Ledesma (The Alps, Tarentel, Isidore Ducasse, Portraits) delivers here a darkly beautiful and plaintive piece built of violin and tape loops. "Requiem" has a crepuscular quality, but it's hard to tell in the half-light if the piece is shifting toward light or darkness. Handmade artwork by artists Paul McDevitt & Cornelius Quabeck using a Risograph printer in combination with spray paint. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin. Released in a numbered edition of 300 which will not be repressed. Includes a photograph, insert, and download code.


JBJ 1051EP

LIGGINS/ELLIS "SLOW" WALSH, JOE: Going Back to New Orleans/New Orleans is My Home 7" (JBJ 1051EP) 11.00
No city captured the hearts and minds of R&B musicians as the birthplace of jazz, New Orleans. Even those who weren't directly affiliated with the Crescent City by birthright, such as Oklahoma-born Los Angeleno Joe Liggins, still strove to pay tribute and invoke the near mythical N'awlins spirit in their music. "Going Back to New Orleans" is a fitting and authentic tribute indeed, running the rhythmic gamut through Dixieland jazz, rumba, and rock and roll. In actuality, the song is a reworked cover of Ellis "Slow" Walsh's original "New Orleans is My Home," itself a fine piece of work which is featured here on the flip-side.

JBJ 1052EP

KING, SAUNDERS: Swingin'/Lazy Woman Blues 7" (JBJ 1052EP) 11.00
Killer late '40s instrumental jazz workout from the San Francisco-based guitarist and bandleader Saunders King. One of the highlights of the current Jukebox Jam Vol. 2 LP, this is hot dancefloor action which starts off nice, light and indeed "swinging," and builds up as it goes along, with the horns joining in and the rhythm intensifying. Issued on 45rpm -- the rhythm & blues DJ's format of choice -- for the very first time!


NORMA & THE HEARTACHES: Nice and Slow 7" (SOUL7 036EP) 11.00
Luxurious funky crossover soul with an ever-so-easy feel from Philly-based all-girl vocal trio Norma & The Heartaches. Well-known in funk and soul circles for another record they cut, Hot Pants (Gonna Get You in Trouble), Nice & Slow is the much more obscure and, as is often the way, superior record. The flip side here houses the instrumental version of the same song, a neatly worked-out jam with sweetly-arranged horn parts which works pretty darned well -- even without the vocals. All in, a great snapshot from the lesser-known end of the energetic late '60s/early '70s Philly soul scene.



HAYWARD, CHARLES: Smell Of Metal 2LP (KEM 002LP) 23.00
"Deadly 1990 outings by the This Heat drummer -- grooving, stripped, moody DJ assassinators, fresh as anything -- with Versions by Maxmillion Dunbar and JD Twitch, evoking Photek, Premier, Giallo, Belgian acid..." Gatefold sleeve.


KI 011EP

LOFFLER, CHRISTIAN: All Comes/Notes 7" (KI 011EP) 12.00
Christian Löffler returns with this 7" record. Just like its unusual format, this release features two unique pieces of music and artwork created by Löffler himself. As on his debut album A Forest (KI 002CD/LP), he teamed up once more with Danish vocalist Gry Bagøien, and the result is an outstandingly beautiful house track born by her fairylike singing and gloomy chord stabs. The other song is a dark interpretation of an unreleased Löffler track, "Notes" by Monokle.



FIELD, THE: Cupid's Head Remixe II 12" (KOM 297EP) 14.50
With Cupid's Head Remixe II, Kompakt caps off a series of remixes of tracks off The Field's acclaimed album Cupid's Head (KOMP 110CD/KOM 290LP), on limited 12" vinyl with contributions from John Tejada, Tim Hecker and TM404. Tejada continues his victory lap on contemporary dancefloors with a deeply affecting take on album centerpiece "No. No...," surrounding the somewhat desolate vocal samples with heartwarming synth washes and melodic momentum. Hecker's mix seems to stick the closest to the track's original ambience, but with subtle tweaks and discreet sabotaging. Andreas Tilliander as TM404 presents a slightly uncanny take on The Field's monolithic looping.



HECKER, TIM: Virgins 2LP (KRANK 183LP) 19.00
2014 repress. Gatefold double LP version.


"Developed over a four year period, and entirely funded by a part time job working as a SAT university entrance exam mathematics tutor, No. 2 was composed using synthesizers and a variety of unidentified samples that were manipulated beyond recognition. Christina Vantzou then collaborated with Minna Choi of the San Francisco based Magik*Magik Orchestra. Vantzou and Choi worked on the notation and arrangements and recorded the compositions with a 15-piece ensemble at Tiny Telephone studios in San Francisco. The chamber layer on No. 2 follows a similar pattern as her first record with the addition of bassoon, oboe, and an enhanced string section. Vantzou spent four months premixing the album before Adam Bryanbaum Wiltzie (Stars of the Lid/A Winged Victory for the Sullen) engineered the final mixes, as well as added some of his signature sound texture, at his studio in Brussels, Belgium. Perhaps a better title for the album would be Symphony No. 2 as it was composed as a cohesive whole, much like her first album No. 1. Dense layers of strings are augmented by angelic voices, piano, woodwinds, and various synthesizers. Instrumental music, especially that which is scored with strings and horns, is invariably described as filmic. This is even more likely when the composer is a filmmaker such as Christina Vantzou. Welcome to the future, which luckily for us is filled by a woman's voice with a beautiful narrative. A recording that is a meeting of personalities is like the contact of chemical substances: if there is any reaction, all are transformed."



FRANK, BOB: Bob Frank CD (LITA 112CD) 15.00
"Originally released in 1972 on Vanguard Records, Bob Frank's self titled debut album took elements of Dylan, Johnny Cash, and Ian Tyson and filtered it through a pot-smoked haze infused with Frank's long-time friend, Memphis guru Jim Dickinson. Dickinson and Frank shared a mutual admiration that ran so deep that on Dickinson's own 1972 debut album Dixie Fried (released on Atlantic Records) he recorded one of Bob's songs, 'Wild Bill Jones.' Despite the Dickinson/Memphis connection, Bob Frank's only LP for Vanguard has remained a forgotten, hard to find vinyl relic. Until now. Carefully re-mastered from the original tapes, historical maverick (and noted expert on the Memphis scene) Alec Palao recently interviewed Frank in detail and assembled a lengthy essay for the CD and LP liner notes that detail Frank's personal and musical journey. As Dickinson once deadpanned, 'Bob went to Vietnam and Nashville. I don't know which was worse.' It was also an itinerant period, when Frank spent many a stoned evening staggering alone through the mid-south urban gothic landscape of church steps and sleaze bars, with his guitar glued to his arm, if not an actual extension of it. Songs would emerge from dreams or drunken visions. But this was not artless acid folk, but a series of picaresque, well-sketched vignettes delivered in a clearly-enunciated vernacular, and all very much in Frank's own style. On these 1972 recordings, session men Charlie McCoy and Eric Weissberg (both known for their work with Bob Dylan via Blonde on Blonde and Blood on the Tracks, respectively) came along for the ride. Remastered from the original stereo 1/4" tapes. Housed in a LP-style gatefold tip-on jacket with liner notes."



FUSION: Top Soul CD (LION 673CD) 15.00
"Impossible to find jazz/soul/funk monster by Fusión, issued in Chile in 1975 by ALBA (ALD-041) -- a fulsome combination of funk, electric jazz, and soul, with Latin roots. Bassist Enrique Luna had lived and studied art in New York, and knew first-hand the last, avant-garde years of John Coltrane, and Miles Davis' mutation from hard bop trendsetter into an electric jazz pioneer; Matias Pizarro had appeared on the scene in the mid-'60s as a young pianist of outstanding technical ability and advanced ideas. Together they formed a band around a core of Peruvian musicians, with soloists including David Estánovich (tenor sax) and Lautaro Rosas (guitar), plus a rhythm trio of Mario Lecaros (electric piano, former Village Trio), and Orlando Avendaño (drums), with guest appearances by trumpeter Daniel Lencina, and young percussionist Santiago Salas (Santa y su gente). Censorship during the Chilean military regime meant heavy restrictions on artists. Thus the Fusión album was pressed in a very limited quantity, and never legally re-issued -- until now. Comes with a bi-lingual booklet which explores the story of Fusión in the context of the rich Chilean rock music scene."


SANTA Y SU GENTE: Urgente CD (LION 674CD) 15.00
"In the 1970s in Chile, recording anything was complicated. The state-owned IRT label was administered by the military. Domestic releases gave way to an invasion of foreign music. At most, a Chilean group like Santa y su Gente ('Santa and his People') could hope for one appearance on television, or a very low-key event -- this was the reality of the music world after the coup. Few groups had the good fortune to overcome the prevailing censorship: this was the case with Santa y su Gente. Santiago Salas was a percussionist stepped in jazz. It was he who assembled a band with musicians of the caliber of Lautaro Rosas and Mario Lecaros. The latter was a powerful musician, who would appear in other jazz fusion projects in those difficult years, and then leave Chile together to do an impressive job abroad with his group Comet. The one and only album by Santa y su Gente, Urgente, was released by RCA/IRT/Alba in 1974. This album is very rare, and therefore not well known, apart from the collections of a few DJs. But it contains all you can ask for -- a burbling brew of Latin Afro-jazz fusion, half salsa and half Afro, with something powerful to say. Highly recommended. Comes with a bi-lingual booklet which explores the story of Santa y su Gente in the context of the rich Chilean rock music scene."



TRU WEST: The Dowc Part 2 12" (MARMO 002EP) 23.00
"Gripping jazz improvisation and noise, with reworks by Mass Prod and Harmonious Thelonious. Schwander really gets his teeth into it, conjuring up the tough D-funk of Waajeed and Jay Dee."



ANDRADE: Conscience Mind 12" (MIXMODE 012EP) 14.00
Andrade is a truly new talent coming straight from the Parisian underground. Having made a name for himself thanks to several well-received gigs in his hometown and releases on Steve Bug's Poker Flat and Dessous imprints as well as D'julz' Bass Culture, Andrade is poised for the future. Andrade is currently putting the finishing touches on his future productions and just started his own label, Street Knowledge Recordings.



AMBER: Waves of Grain 12" (MOBILEE 124EP) 14.00
Kevin McHugh aka Ambivalent officially launches his new Amber project with Wave of Grain, his debut EP for Mobilee Records. The title-track captures the lighter side of McHugh's sound, with fleet-footed house and darker techno undercurrents. "Space Album" features a rubbery synth melody and swinging beat, putting the funkier elements of his sound front & center. Hobo's remix takes the low-slung style of the original and pumps it up into an unashamedly big room house track.



JOUEM: Episodes 3/8 12" (MOJUBA JOUEM3) 14.00
Mojuba kicks off the New Year with the next part in the epic Episodes series by Jouem. The third part is a great example of the ever-evolving sounds and unique styles of Jouem. The A-side is a true dancefloor monster, passing along in a slick funk with heavy chords and a thick square bass that feels just right. The B-side is an organic, jazzy, emotional and more relaxed cut that starts to unfold its full potential when heard over the whole distance of the track.



GO FIND, THE: Brand New Love LP (MORR 126LP) 18.00
LP version with printed innersleeves. Includes mp3 download. What previous The Go Find records only hinted at becomes very apparent on their fourth album: the band stirs a big chunk of love for '80s pop music into 21st century pop songs. On Brand New Love, the decade of the New Romantics shimmers through in every song. But The Go Find treats those classic '80s sounds in a surprisingly fresh manner: a mix of indie, electronics and some smooooth synth-loving, combined with the already well-known The Go Find sound. Listen to the opening track "Jungle Heart," for instance: when the swirly synths pop in, the song turns into a dance track: your feet won't be able to resist the beat. "The Lobby" is "Sexual Healing" finding new ways to dance with I "Want to Know What Love Is": The Go Find surprises us with this beautiful track about someone who's tired of waiting for that special someone. If the lyrics weren't so plain heartbreaking, it just as well might become a song you'd like to hear at your wedding. The synth bass in "Your Heart" that surfaces halfway through the song makes you want to drive your car through a hot Italian summer night, while "We Run" is hazy as clouds of morning mist that are about to evaporate in the first beams of sunlight. "The Message" sounds catchy and harbors a wonderful guitar interlude. "Japan" is all about the girls winning, and "Summer Boys" is a beautiful song about a friendship between young boys. It's hard not to fall in love with this record. So don't be too surprised when Brand New Love grows into your brand new love. Just listen and "follow what you feel," as Lou Barlow urges us to do in his fantastic (Sebadoh) song of the same name.



GERRESSEN & IVANO TETELEPTA, ROGER: Build from Wax Part 1 2x12" (NILLA 006EP) 32.00
This is the first mini-album from the two Dutch masters, Roger Gerressen and Ivano Tetelepta. Build from Wax Vol. 1 is the first part of their sample-based series, which covers field recording and fragments from the past reconstructed for the future with drum machines, analog warmth, and the classic flavor of the techno and house era. Nilla rocks again.


NA 5103LP

WITCH: Introduction LP (NA 5103LP) 21.00
2014 repress. "Our comprehensive overview of Zambia's premier garage-, psych-, prog-, funk-,Afro-rock ensemble Witch, We Intend To Cause Havoc!, is now sold out in its 6LP box set form. So we are making the first four Witch albums available in archival reissue form. As with our box set, the audio is nigh-perfect -- restored and remastered from the original master tapes. The entirety of Witch's first album, restored and remastered from master tapes, and presented as an archival reissue. Witch's musical arc is contained to a five year span and, in retrospect, is a logical one. The band's first two, self-produced albums - released in unison with the birth of the commercial Zambian recording industry -- are exuberant experiments in garage rock, and are as influenced by the Rolling Stones as they are James Brown. Thus Introduction, their first, is the perfect starting point for anyone interested in delving into the Witch band, or Zamrock in general."


OM 021EP

WHILST: Everything There Was Was There 12" (OM 021EP) 14.50
This 5-track EP by Whilst is wildly inventive and incredibly free music made by several individuals who are unnervingly young. They describe themselves as follows: "Formed originally as a jam-based project in the ever-fertile analog studio Green Door, Whilst jump seamlessly between free jazz, primitive electronics, dubby post-punk, North African and motorik stylings, underpinning their sound with a strong punk ethos." Post-voodoo, intergalactic grooves. Layered and psychedelic. Hypnotic and infectious. Lose yourself. Find someone else. Limited initial stock comes in limited edition hand made silk screened sleeve; additional copies available in Optimo disco sleeve.



ANSWER CODE REQUEST: Breathe EP 12" (OSTGUT 075EP) 14.00
This is the first Answer Code Request EP on Ostgut Ton. Patrick Gräser has already caused a great stir with his releases for MDR and his own eponymous ACR label. His debut 12" for Ostgut Ton begins with "The 4th Verdict" -- the hammering beats in saw-tooth shape oscillate the sound of the track perfectly. "Ghostes" continues the clear-cut course with unparalleled sound. The combination of drums and dreamy synths creates a mystic mood fitting the title of the track. "Breathe" ironically doesn't leave room for air. Instead, a mighty synth expanse winds itself relentlessly through the song.



CHYMERA: Tidal/Moot Point 12" (OVM 239EP) 14.00
Ovum kicks off their 20th anniversary celebration with a new release from Irish producer Brendan Gregoriy aka Chymera. "Tidal" is a full on smash that sees Brendan take us on a throbbing journey, ebbing, flowing and bringing the floor to a boil. On the flip, "Moot Point" is an epic Chymera trip that is set to soundtrack the rising sun over many a dawn party. The emotion in his music reminds Ovum of why they fell in love with Chymera seven years ago and why they feel it was only right that he kick off their 20th anniversary celebrations.



RICOSHEI/DAVE DK: Perfect Like You/Woolloomooloo 12" (PAMPA 020EP) 14.00
Pampa's first release of 2014 is a split 12" featuring a newcomer act and a veteran name, both new to the Pampa circle. Ricoshëi is Nikko Gibler and Jake Patrick, and "Perfect Like You" is a pop-tinged number with breathy vocals sublimated by ambient tendencies. The flipside is a new cut from Berlin-based DJ/producer Dave DK, and "Woolloomooloo" speaks for itself: just have a listen and submerge yourself into this majestic cyborg aquarium of a track, and within moments you'll feel the hypnotic, euphoric, nostalgic and anti-aging qualities.



KALKBRENNER, PAUL: Kruppzeug EP 12" (PKM 008EP) 12.00
With "Kruppzeug" remixed by Fritz Kalkbrenner, we get a brand-new strictly-limited 12" single from the upcoming remix album by Paul Kalkbrenner. The original track, which was released in 2011 as part of the album Icke Wieder (PKM 002CD/LP), gets a deep house rework by Fritz Kalkbrenner and on top additional vocals which transform "Kruppzeug" into an excellent new song structure with a catchy chorus and verses. Similar to their legendary collaboration "Sky & Sand," the chemistry of the Kalkbrenner brothers is a unique musical highlight.



NEW JACKSON: Made It Mine EP 12" (PERMVAC 121EP) 16.50
Following his 2013 releases for Hivern and Major Problems and remixes for The xx and Mano Le Tough, Dublin producer New Jackson steps into 2014 with a full flex EP for Germany's Permanent Vacation. The four-tracker moves from his signature vocoder-led house bump through spectral boogie, Detroit-leaning melancholia and upbuilding wrong'un dancefloor moves. Cover and inner artwork by Practice And Theory. Initial copies available on red vinyl.



KEY OF SHAME: Key of Shame 2LP (PLANAM 017LP) 25.00
2011 release. Key Of Shame is the most extreme entity to come from two cult collectives of the New York underground, No Neck Blues Band and Sightings. PLANAM proudly presents their first recordings, four threnodies for Judas Iscariot as performed by Mark Morgan (Sightings) and Pat Murano (NNCK, Decimus). Jesus answered and said "You will become the thirteenth, and you will be cursed by the other generations -- and you will come to rule over them. In the last days they will curse your ascent..." Atmospheric radical electronics at their highest peak. Hand stenciled and silkscreened edition of 270 double LPs. "And Jesus replied 'Friend, Do what you came for' Matthew, 26:50."


DECIMUS: Decimus 4 LP (PLANAM 025LP) 25.00
"And lo, at the cusp of the portalInfinity eclipses the sensesSeret!Sartan!The golden calf was gilded here."2011 release. Planam presents another chapter in Pat Murano's solo project of abrasive atmospheric aggressions. Founding member of No Neck Blues Band, Murano also established the highly enigmatic K Salvatore duo in the mid-1990s together with Jason Meagher (also of NNCK fame and more recently head of the Black Dirt Studios) as well as the black Malkuth beast. Decimus has existed as an entity for some years, privately kept secret in the abyss of New York as its darkest creation. Available now in very limited quantities, Decimus 4 is the sixth chapter of the Decimus sodality, half-way through the complete endurance.



STEVE BUG: Simple, Thick & Raw 12" (PFR 144EP) 14.00
Poker Flat label boss Steve Bug presents us with the first transmission of 2014, and the title succinctly nails what to expect. "Simple, Thick & Raw" contains three tracks that are simultaneously gritty, tough and highly effective. "The Arpeggio" contains Bug's signature control of tension -- an arpeggiated synth line bubbles along on top of a firing drum pattern, resulting in a groove wound tight and packed with suspense. "Thickest Bass" features a pitched-down vocal and the filthiest bottom-end Bug has ever produced. "Smoking Parrot" is a tough yet spacey burner that builds into an indisputable floor-rocker, complete with punchy claps, descending bass-line and Bug's well-honed dynamics.


WATSON, VINCE: Planet Funk 12" (PFR 145EP) 14.00
Glasgow-born producer and DJ Vince Watson has been making genre-defining and genre-bending records for almost 20 years, with highly-celebrated releases on labels such as Planet E, Tresor, Delsin, Ibadan and his own Bio Music. Now living in Amsterdam, this is Vince's first outing on Poker Flat. The title-track is a confident slice of twisted machine-funk, highly charged yet otherworldly in atmosphere. Marco Resmann takes his remix into deeper territories, yet maintains the crisp, full production values of the original nicely. Watson's control over tension and dynamics is exceptional, and he exhibits this again on "Paradise" -- an elegant tech house bomb.



DAVE: Gerald EP 12" (POLEN 002EP) 14.00
Polen introduces you to the first EP from Dave and the first remix of Raresh and Praslea working together as Praslesh. Polen 002 is more than a vinyl, it's a piece of sound + visual art, a collaboration between the label, the names mentioned above, Claire Falkenberg and Wanderlust.



DAKOTA STATON: A Little You/My Babe 7" (POPC 127EP) 8.00
More brooding, dancefloor popcorn R&B, this time featuring the sweet and sassy tones of jazz siren Dakota Staton. "A Little You" is a real swinging, finger-snapping, romping humdinger, with a great sleazy sax riff and solo. On the flip-side, a jazzed-up, big band workout on Little Walter's Chicago blues classic "My Babe."



SUGARBOY: Watch Her, Whip Her/You Call Everybody Sweetheart 7" (CHECKER 541EP) 11.00
Two unissued sides from New Orleans bluesman Sugarboy Crawford here, originally recorded for Checker. And what can we say about "Watch Her, Whip Her," except that it may just be the least-PC R 'n' B side you've ever encountered. Lyrically, the song is clearly a relic from a whole other era. Its take on the domestic violence theme is difficult to really fathom in this more enlightened era. Regardless, the music and playing is first-rate on both sides, with a top notch N'awlins ensemble underpinning both tracks with a clattering, down-home rumba.



TERJE, TODD: Ragysh 12" (RBCR 078EP) 12.00
2014 repress, originally released 2011. You've been touched by the hand of Todd. Todd Terje, that is. The first edition of this comes in super-nice recycling sleeves -- the second edition in not-so nice sleeves. Trans-dance from the Norwegian chief inspector with greatysh hypnotism, properysh beats and a lovelysh Terjerine dream to round it all off. Vinyl contains some hidden tracks and extra elements. Cannot stop listening to it.


SHAN: Chord Memories 12" (RBSHAN 001EP) 14.00
You might remember Shan from his one-sided Sven Väth-approved hit "How You Want It" for Frankfurt's newly-founded label The Healing Company. Here he is with his monolithic "Chord Memories" -- an evocation of what dubbed-out house and techno tracks usually do, but to a rather unusual and -- if we dare say -- devastating effect. The flip holds three short and direct cuts with leanings to the A-side and one acid track. Necessary ruffness.



FLOYD, VINCENT: Your Eyes/I'm So Deep 12" (RH RSS10-EP) 12.50
Reissue of an essential Chicago vocal house classic from the '90s. Backed with the sinister, haunting, instrumental jackin' track "I'm So Deep." A huge favorite at RH.


PROPER, SAN: The Culture EP 12" (RHPC 001EP) 12.50
Known for his flamboyant brand of house music, San Proper kicks off his own label with the release of a brand-new EP. The four tracks on The Culture EP mark the inaugural release on Proper's Cult, and find the Amsterdam-based DJ/producer further exploring his idiosyncratic approach to house, combining live instrumentation, hardware, and free-flowing vocals.



2014 repress. The second Samla Mammas Manna album, originally issued by Silence in 1973. With two bonus tracks. Two more albums would follow on Silence under this spelling of the name, then they would change it to Zamla Mammaz Manna and finally, Von Zamla, going into the mid-'80s. This group falls well into the "progressive weirdness" category that Gong, Area, and Pell Mell were part of. While some of the many short tracks have a considerable amount of "noise" (screechy vocals, strange sounds), the band has, not unlike Gong, a killer musicianship that makes Måltid a listenable (and enjoyable) offering. Not unlike early Magma or Moving Gelatine Plates, but with more of a sense of humor.


2014 repress; first reissue of the second Kebnekajse album, originally issued on Silence in 1973. "It was something in the air," said Kenny Håkansson in the booklet to their first album Resa Mot Okänt Mål (Journey to Destination Unknown). He was then referring to the Swedish lyrics and the name of the group. In the early '70s Swedish folk music was also "in the air." The progressive rock history book Scented Gardens Of The Mind says of this time-period: "...a clear change of direction towards a new kind of Swedish folk-rock with fiddle and electric guitar to the fore, but it also added the hot African percussion of Hassan Bah and jazzy experimentation." This is exactly the type of recording Kebnekajse hoped for with their second release: country fiddles flirting with jazz rock and plenty of African beats.


ZAMLA MAMMAZ MANNA: Schlagerns Mystik 2CD (SRSCD 3610CD) 20.00
2014 repress; 2003 reissue of this 1978 double album. Members of Zamla Mammaz Manna included: Hans Bruniusson (drums, xylophone, chimes, vibraphone, song), Eino Haapala (electric guitar, acoustic guitar, vibraphone, song), Lars Hollmer (electric piano, Korg polyphonic, Hohner-symphonic grand piano, accordion, song), Lars Krantz (electric bass, double-bass, acoustic guitar, song). Samla Mammas Manna started in the early '70s and are still a vivid band. This is their second name in their three different progressive guises, reflecting the beginning of their more experimental aspects. This intense and energetic music is filled with happy pranks and fast turnings and has for more than 25 years amused its listeners all over the world. This double album consists of an album of live improvisations from 1977 and an album of more typical Samla/Zamla material, although with more of a folky influence that shows through more than ever before. Frontman Lars Hollmer has beside his solo career also been part of several international musical constellations (Ramlösa Kvällar, Fem Söker En Skatt, Accordion Tribe).


ALGARNAS TRADGARD: Framtiden är ett Svävande Skepp, Förankrat i Forntiden CD (SRSCD 3611CD) 14.50
2014 repress. 1995 reissue of this Silence album, originally issued in 1972. Älgarnas Trädgård's name translates as "Garden of the Elks" and this debut album has always stood as one of the pinnacles of underground psychedelic rock -- comparable to early Pink Floyd, Group 1850 and other world masters of space-out genius. The title translates as The Future is a Hovering Ship Anchored in the Past. The group employed an instrumental array made of: violins, rebec, cello, guitars, sitar, piano, zither, organ flutes, zinks, jew's harps, tablas, percussion, Moog-synthesizer & VC-3 Putney-synthesizer. Recorded at Studio Decibel in 1971, this CD reissue adds two bonus live tracks from 1972. From Dan Söderqvist's notes: "We have known each other since 1968, when we met in our home neighborhood Västra Frölunda, Gothenburg. We listened to everything; Perotinus heavenly choirs from the 13th century, Messien's heavy works for orchestra, Beefheart's Safe as Milk, with it's surreal lyrics, King Crimson's endless string of chords, the beautiful acoustic Third Ear Band, Terry Riley's minimalism and above all the psychedelic music of early Pink Floyd. Sometimes we played our 'dägga-däng-music', crazy rhythmical plays with acoustic guitars and hysterical giggles. Sometimes we just sat and listened to the sounds slowly disappearing into space ... We experimented with getting strange sounds out of our instruments, started to use amplifiers and played with echoes ... We constantly expanded our possibilities to get new sounds, with organs, mouth harps and pedals ... We got our hands on the first Moog module system that just about had reached Sweden. We mixed Middle Age instruments such as zinks and rebecs, sound effects, church bells, fragments of both Bach and The Beatles and improvised our way through the first album."



TOTLAND, OTTO A: Pino CD (SONIC 019CD) 18.00
Otto A. Totland's modern compositional elements are most widely-recognized as half of the Norwegian duo Deaf Center, where his melancholic, intricate piano work provides haunting relief to the beds of noise and deep strings from Erik K. Skodvin. Pinô is the first full-length release by Totland, though his solo work has been released once, as the five-minute A-side of Sonic Pieces' 7", Harmony from the Past. Otto's previously brief vignettes are now expanded into a fully personal realization of his own style. Initial track "Open" fills itself with heavy, knowing pauses that quickly become overwhelmed with the desire to understand what's to come. Each silence leads into quick flutters of keys, preparing the listener for a vast terrain of giddy beauty, bleak depths, and true contentedness. Pinô quickly recalls deep winter; in front of a fireplace for days on end, you lose how far along you've ventured into the 18 tracks without any idea how far is left to go. The experience feels inevitable, with no other option but to curl up somewhere cozy and appreciate the sense of timelessness that Totland has created. His album is a haunting modern compositional treasure, expressed through instrumentals completely unique to Totland and captured masterfully by Nils Frahm at Durton Studios. With Pinô, Otto A. Totland appears out of the Norwegian landscape, sharing an achievement that will provide a relief during the brooding winter darkness. Though a highly personal endeavor, the recognizable continuation of Totland's compositions will attract fans of Deaf Center, and the cinematic and classical components of his solo work will hold sway for those familiar with Harold Budd or Dustin O'Halloran.



RZA PRESENTS, THE: Shaolin Soul Selection Vol. 1 3LP (STE 108LP) 25.00
2014 repress. "Dug out from the archives of Stax Records, this collection of deep soul has been personally curated by The RZA himself. Containing heavy cuts from such legends as Isaac Hayes, Booker T & The MGs, Albert King, The Emotions, and many more, it's not hard to see the genius and ideas these songs and artists inspire, and their influence on the very history of The Wu-Tang Clan. A pinnacle as both a compilation of classic soul music, and a must-have for any Wu-Tang completist, this is an LP set not to be missed."



RUIJG, TOM: DirtyWrinkleJerker 12" (SWS 017EP) 12.00
Soweso starts 2014 of with Tom Ruijg's DirtyWrinkleJerker EP. Tom's debut on Soweso is a timeless EP that rides the fine line between techno and house in a unique way and showcases his talent for making tracks that stand out in every set. The title-track also comes with an amazing techno-infused remix by label friend Daniel Stefanik, who takes the hook from the original and brings it to new heights.


SP 033LP

DOZZY & NUEL, DONATO: The Aquaplano Sessions 2LP (SP 033LP) 29.00
Gatefold double LP version. When the Aquaplano records were first released in 2008 and 2009, emerging out of Hardwax with little fanfare, they were distinctly out of step with the way techno appeared to be heading. The minimal detour was reaching its logical endpoint, and producers were returning to the 1990s for inspiration, with Berghain and Sandwell District at the vanguard of a new techno movement. What the Aquaplano sessions shared in common were slower BPMs and finding inspiration in the 1990s, but there they parted ways. The influences these Italians were drawing on were rather different, returning to tribal rhythms and ambient textures to sketch out a much more heady, psychedelic form of techno. The results were a perfect balance of hypnotic beats and swirling atmosphere geared for a broken-in dancefloor or the hazy afterhours. Across these two records Donato Dozzy and Nuel would go a long way towards creating the template for a brand of deep, atmospheric techno that has become much more prominent in the years since. And while many have sought to imitate this sound, few -- if any -- have matched what first emerged from the Aquaplano sessions. After only being available in a very limited run, it is fitting that the sonic blueprints provided by Dozzy and Nuel are now available again -- and much more widely -- at a time when their influence is as strong as it has ever been. All music produced and mixed by Donato Scaramuzzi and Manuel Fogliata at Nautical One Studio in San Felice Cireco, Italy, between 2007 and 2008. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin, December 2013.



VA: Jim Jam Gems Vol. 3 10" (STAGO 041LP) 18.00
Like Vol. 1 and 2, volume 3 of Jim Jam Gems is compiled by Stuttgart-based DJ (Club Miaow), record collector and illustrator Duke Jens-O-Matic. All tracks from vintage vinyl selected from his own archive. If you up fo' shooting craps or bustin' at Black Jack, that's all in the back, but in this living room you gotta get social man, drink, smoke, bounce to the snappy sounds or smooch to them blues. Artists include: Cootie Williams, Bonita, Willie Mabon, Jesse Allen, Sonny Boy Williamson, Tony Middleton, Pete Johnson, Babs Gonzales, Big John Greer, and Bea Foote.


VA: Jim Jam Gems Vol. 4 10" (STAGO 042LP) 18.00
Stag-O-Lee presents volume 4 in their Jim Jam Gems series, again compiled by Stuttgart-based DJ (Club Miaow), record collector and illustrator Duke Jens-O-Matic. All tracks from vintage vinyl selected from his own archive. This one leads us deep into the field of '50s exotica -- visions of the far and fantastic put a spell on us and feed our longing for that unfulfilled exotic dream. Be it the half-naked flower of the islands, winding her body in sultry gyrations, or the tribal call of the drums, reminding us of our most primitive needs -- each of these songs is an exciting invitation to dance under the stars to haunting rhythms. Artists include: Lecuona Cuban Boys, Cab Calloway, Sugar Boy Crawford, Jimmy Van Eaton, Kishore Kurma, Dinah Washington, Wilmoth Houdini, Sondi Sodsai, Latin Allstars, and Julie London.


JOHNSTON, RICHARD: Foot Hill Stomp LP (STAGO 046LP) 22.00
LP version. Richard Johnston was born in Houston Texas. He studied Sociology and Philosophy at San Diego State University. Left for Japan, studied at Gifu University for a year and stayed an additional four years as a burgeoning musician. When he was invited to perform at the first Blues Stock in Memphis in 1997, he returned home. He was scheduled to perform with someone he had not heard of at the time: Junior Kimbrough. Junior no-showed due to health reasons. Out of curiosity, Richard found his way to a little out-of-the-way joint in Chulahoma where he heard Junior's band The Soul Blues Boys, minus Junior, playing the music that would forever change his life: north Mississippi hill country blues -- a rockin' and very hypnotic style of the blues. The world took notice of the music of Northern Mississippi when music archeologist Robert Palmer released his Deep Blues documentary in the early '90s to great critical acclaim. This led to recording contracts for R.L. Burnside, Junior Kimbrough, and Frank Frost, who soon released records on the newly-founded Fat Possum Records. A few years later Junior Kimbrough opened a juke joint called Junior's Place in Chulahoma, MS. Junior, for the most part, was not physically able to tour. To hear Junior play you had to go to Mississippi. Rock bands such as The Rolling Stones, Sonic Youth, and U2 all made pilgrimages. When Junior Kimbrough died in 1998, Richard Johnston (who by then was an adopted son of the Hemphill/Kimbrough clan) approached Junior's band The Soul Blues Boys (basically consisting of Kimbrough's kids and nephews) about continuing the Sunday dances. And so it happened that a white guitarist and a black rhythm section rocked the joint until it burned to the ground in 2000. Johnston went back to Beale Street with nothing but an acoustic guitar and a heart full of hill country blues. A year later, Richard Johnston won the 2001 International Blues Talent competition award, the last solo act to beat all bands (now the competition is separated into solo/band). He also won the 2001 Albert King award as most promising blues guitarist. Ever since then, you can hear him play in front of the New Daisy Theatre on Beale Street in Memphis working as a street musician and one-man band -- as Richard is playing guitar, bass and drums simultaneously. His debut album, Foot Hill Stomp, originally released in 2002, was recorded with the help of Jesse Mae Hemphill, Cedric Burnside, Mark Simpson, and Robert "Nighthawk" Tooms. Loaded with standards from the north Mississippi hill country, the locomotive power of Foot Hill Stomp has the raw rhythmic drive of a primal entity that will infuse itself into the dark, primitive recesses of your primordial senses. Or: That guy sure can play!


STCD 3029-30CD

BEMBEYA JAZZ NATIONAL: The Syliphone Years: Hits And Rare Recordings 2CD BOX (STCD 3029-30CD) 19.50
Restocked; 2009 release. Formed in 1961 in the small town of Beyla, Bembeya Jazz relocated to Conakry, the capital of Guinea, in 1970 and earned its 'National' designation by the sheer strength of its talent and the extent of its musical innovations. Still going strong today, Bembeya's peak period was the late '60s and early '70s, when the phenomenal guitarist Sekou "Diamond Fingers" Diabate led the band and the great Aboubacar Demba Camara was the lead singer. For this album Guinean music experts Paul Hayward and Graeme Counsel have collected 27 tracks recorded during the remarkably fecund ten years from 1967 and 1977, when Bembeya Jazz National was the top band in Guinea. In addition to the two CDs, the boxed set includes a 44-page full-color booklet replete with period photos and record cover reproductions along with Counsel's authoritative notes in English and French.

STCD 3033-34CD

RAIL BAND: Belle Epoque Volume 1: Soundiata 2CD (STCD 3033-34CD) 18.00
Restocked. Mali's legendary Rail Band, so named because they were initially sponsored by one of Mali's largest railroad lines, were one of the finest West African pop combos of the 1970s. Unlike their peers in countries like Nigeria and Ghana, the Rail Band eschewed the frenetic rhythms of American soul and funk to concentrate on pioneering an electrified version of traditional Malian manding music. Their sound is dominated by the relaxed, tremolo-laden guitar work of Djelimady Tounkara, who embarks on masterful guitar excursions over the flawless grooves of the Rail Band's gently propulsive rhythm section. This two-disc retrospective contains the entirety of The Rail Band's 1975 masterpiece, Soundiata, and includes a host of other stellar Rail Band tracks from that era. Full-color, 20-page booklet with notes detailing the history of the band and full-page reproductions of original album covers.The early years, in the Rail Band's case, were not a fledgling period of false starts and awkward first steps. In 1970 a hotel adjacent to the central railway terminal in Bamako, Mali, hired the best musicians in the country to entertain guests, and with the charismatic young Salif Keita as lead singer the band caused an immediate sensation in Bamako and was soon famous throughout Mali and neighboring countries. Its dynamic fusion of jeliya and other traditional Malian forms with rock, blues and Latin music was audacious and brilliant. Its impact is still felt today. Keita went on to start his own group in 1972, but by then Mory Kanté, another talented singer (and balafon player) had joined the Rail Band. Around the same time, a new guitarist, Djelimady Tounkara, also came on board. Tounkara now leads the Super Rail Band, which still plays at the train-station hotel on special occasions when it's not touring the world, and he is widely recognized as one of the greatest guitarists of our time. Salif Keita and Mory Kanté endure among the most highly acclaimed African artists in the world. This three-volume retrospective, Belle Epoque, is organized thematically, not chronologically. Each 2CD volume includes recordings from the historic 14-year span of 1970 to 1983.

STCD 3043-44CD

RAIL BAND: Belle Epoque Volume 3: Dioba 2CD (STCD 3043-44CD) 18.00
Restocked. With Belle Epoque Vol. 3: Dioba, the estimable Sterns Africa label has completed another definitive archive project documenting West Africa's post-colonial "belle époque" of the 1960s and 1970s. The three two-disc volumes in the series present the hits, highlights and lesser known treasures made by the Rail Band, the era's pre-eminent Malian modern-roots band -- which featured world music stars-to-be Salif Keita and Mory Kante, both winningly represented -- in a collection that is both as scholarly and as vibrant as the label's The Syliphone Years series, showcasing the contemporaneous bands of neighboring Guinea. Dioba showcases the Rail Band in all its splendid moods and colours: from Keita's spiritualized and virtuosic "Maki" and "Soyomba," through Ganessy's fierce going on feral "Kadia Kandian" and "Djamban," the re-Africanised Stax-Volt soul of Kante's "Mariba Yassa" and his mesmeric take on Afrobeat, "Sinsimba," spacier and nimbler than originator Fela Kuti's style, on to the rumba-infused "Foliba" and "Talassa." Two 1982 tracks, "Diby" and "Diabate," feature the psychedelicized keyboards of Alfred Coulibaly, a late but valuable addition to the line-up. Third and final volume in the critically-acclaimed Belle Epoque series that tells a 13-year story -- from 1970 to 1983 -- of Mali's legendary group. Full-color, 20-page booklet with notes detailing the history of the band and full-page reproductions of original album covers.



ANIMAL TRAINER: The Walk/Shane EP 12" (SVT 123EP) 12.50
Adrian Flavor and Samy Jackson -- better known as Animal Trainer -- present two tracks from their album Wide (SVT 124CD) alongside high-caliber remixes by Oliver Koletzki, Oliver Schories and Zombie Disco Squad. On "The Walk," dub chords pulsate through a broken beat structure and creaking synths. While Oliver Koletzki decides to significantly up the tempo on his epic, trance-inspired rework, Oliver Schories opts for a contemporary deep house interpretation. "Shane" is a classicist house homage, alluring the listener with its springy step and feel-good vocal sample -- key features that Zombie Disco Squad emphasize on their sprightly rude-boy remix.



SUN ARAW: Belomancie CD (SUNARK 033CD) 13.50
"B E L O M A N C I E is the 7th full length album from Sun Araw. B E L O M A N C I E is a series of corridors that lead to specific chambers. B E L O M A N C I E is designed to be an active listening experience. B E L O M A N C I E is not designed to accompany existing environments, B E L O M A N C I E is designed as a transportation system. It is recommended to give B E L O M A N C I E your full attention, and to listen at the highest volume that is comfortable on high quality speakers with a pronounced stereo field or on an excellent pair of headphones. Interference is physicality. When faced squarely, each chamber produces a particular physical effect capable of causing a simple thing: an experience of discontinuity. Hot Jobs!"


SUN ARAW: Belomancie 2LP (SUNARK 033LP) 21.00
Gatefold double LP version.


TR 281LP

BRACE/CHOIR: Turning on Your Double LP+CD (TR 281LP) 22.00
LP version with CD. With their follow-up to 2010's self-titled EP, Brace/Choir have made an LP of idiosyncratic trance-rock geared towards the listener of whole albums. At its core, Turning on Your Double is a series of dark and ecstatic tales of mental illness, written and recorded in Berlin, Germany amidst tectonic shifts both personal and political. The eight songs are a meditation on social and individual struggles with compulsive disorders, power and inverted schizophrenia: four people united by an idealistic vision of collaboration who come to think they're one -- and the cracks that show in their lives and personalities when the music stops. Multi-instrumentalists Alex Samuels, Max Gassman, Cristoph Adrian and Dave Youssef have committed to switching instruments and writing each other's lyrics in order to allow each instrument to speak with multiple voices and each voice to speak from the depths of multiple psyches. Or is it one? The sound is a shifting and shadowy amalgam of treated hollow body guitars, Farfisa organ, various synthesizers (Roland Alpha Juno 1, MFB Synth 2), percussion, and drums. Themes such as cuckoldry ("Be Let Down"), satanic fiction ("Biond"), technology-related neuroses ("Coil"), and the killing of Osama bin Laden ("Fallmen") are unveiled through a combination of rapturous improvisation and sublime songwriting, while "Five Fingered Leaf" showcases a powerful reworking of the Arseny Tarkovsky poem "But There Has to Be More," as featured in Andrei Tarkovsky's classic film Stalker. Childhood friends and Massachusetts natives Samuels and Gassmann met Californian Youssef and Berliner Adrian in Berlin in 2005 and formed the Joy Division-inspired speed-surf band Dus Vor Kount. While Samuels went to Berlin to pursue a degree in philosophy and work as a journalist in 2000, Gassmann was working as a street musician and bicycle mechanic. When Youssef and Adrian went on hiatus from the band (writing a PhD dissertation and training as a speech therapist, respectively) Gassmann and Samuels continued on as a duo and, out of necessity, learned to play other instruments. When the four were reunited in 2008, Brace/Choir was born, now committed to switching instruments, making slower, more repetitive music, and writing each other's lyrics. The band has played Berlin's most important under- and overground venues, including the Berghain, Kater Holzig and Wilde Renate. They've also opened for such diverse acts as Kurt Vile in Leipzig and doom supergroup Shrinebuilder. Festival appearances include 2011's Friction Fest and multiple Fusion Festivals. Songs from their debut EP have been featured on the BBC (Tom Robinson's "Introducing") and American college radio (97.3 WRIR Richmond, Virginia and 88.1 KDHX St. Louis). In 2011, the band contributed a song to the Le Diable Amoureaux compilation put together by Swedish occult publishing house Malört Vörlag, which commemorated the re-printing of the earliest work of Satanic fiction by French author Jacques Cazotte and also features Jarboe, John Zorn, Gavin Friday, and Art Zoyd (amongst others).

TR 282LP

SOFT HILLS, THE: Departure LP+CD (TR 282LP) 22.00
LP version. Includes a CD copy of the album. The Northwest of the United States: home to The Soft Hills. For the music fan, the area has always been a wellspring of pure joy. Punk was invented there in the 1960s (The Wailers, The Sonics), Jimi Hendrix was born there, K Records, one of the most influential indie labels of all time, was baptized there, then came Sub Pop, Mudhoney, Nirvana. But where there is light, there is shadow. So excellent is the music that has emerged to conquer the world from Seattle, Olympia, et cetera -- and so dreary the weather. Rain and more rain. It can dampen your spirit and damage your health. This painful experience is all too well known to Garrett Hobba, songwriter, singer, guitarist, and mastermind of The Soft Hills. Soaked through from continuous precipitation, his room began to molder, with the result that Hobba fell seriously ill. After several hospital stays brought no relief, Hobba gathered his belongings and headed down to Southern California for a few months of recuperation, a change that can be heard on the new record. Departure convinces through contrasts that can be clearly linked to the different geographical conditions: the harmonies and colors of Southern California on one side, and the dark, monochromatic light of a rainy day in Seattle on the other. Golden light here, then shadows. A kind of sad euphoria. On Departure Hobba disposes entirely of the Americana leanings which have characterized the previous albums, allowing European influences to become more apparent. These include Syd Barrett-era Pink Floyd, Brian Eno, and the Factory Sound of the early '80s, which might be due to the fact that Hobba started to write the songs during a several-month stay in Europe. The instrumentarium was supplemented by Mellotron, Moog, Hammond B3 and a Rhodes piano. Departure is a monolith of an album, an album of contrasts -- unlike its predecessors, yet unmistakably The Soft Hills. Hobba is simply an excellent songwriter and his voice unmistakable. The album was mixed in London by no less than Abbey Road veteran Guy Massey (Spiritualized, The Beatles, Manic Street Preachers). So what is the best way to listen to Departure? Hobba: "The best situation is probably to listen to the album on vinyl with headphones alone in the dark or lying on your back next to your best friend with a good stereo and a bottle of opium."



BURNS, WILLIE: Tab Of Acid 12" (TRILOGY 016EP) 19.00
Willie Burns' second release on The Trilogy Tapes, following previous releases on L.I.E.S. and Crème Organization. Tracks: "Tab Of Acid," "Acidapella," "Washed Hands," and "She Left In Spring."


TV 011LP

CORTEX: I Heard a Sigh LP (TV 011LP) 23.50
Few artists in Europe have generated as much excitement with the new generation. For his fourth unreleased album, recorded in 1979, Alain Mion, his piano, and his Fender Rhodes send you on a journey with I Heard a Sigh. The grooves are, as usual, unstoppable -- take "A Winning Team" or "High on the Funk," for example. Nine songs with the best instruments of the time in the best hands (Fender Rhodes, Moog, Prophet, Korg, Orange Drum). Trad Vibe, accompanied by Alain Mion, is pleased to present the vinyl with artwork that takes us back to the '70s.



ATWOOD/KEN NORDINE, EDDIE: Hot Saki/Hot Sake 7" (TTSHAKE 118EP) 8.00
If Chuck Rio circa 1957 took his Champs to visit the land of the rising sun, they'd probably find their usual tipple in short supply. No tequila in sight, so what's the next best thing? "Hot Saki," of course, and Eddie Atwood's knockabout, Far Eastern exotica romp would be their soundtrack. Paired with Ken Nordine's "Hot Sake" on the flip.


VF 005EP

DAMAZIO, BAYO: Listen to the Music/Dizzy With Love 12" (VF 005EP) 14.50
Deliciously sophisticated Cameroonian funk, originally issued in 1981 by Phonodisk, the most ambitious Nigerian label at that time. Producer Tony Essien was on the lookout for a successor to Kris Okotie, who had abruptly defected to EMI, and the music is devil-may-care brilliant, with the Mighty Flames band bringing nuff buff Roy Ayers, Kool And The Gang and Chic to the party.

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