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Forced Exposure New Releases for 4/20/2015

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New music is due from Jonny Nash, Christian Wallumrød, and Django Django, while old music is due from Bruce Gilbert & Graham Lewis, Beatriz Ferreyra, and Daphne Oram.


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LST: Th Duo LP (ADA 003LP) 23.00
LST is the solo project of Australian artist Tarquin Manek. Recorded in 2013, Th Duo is a lo-sci-fi composition that is both uninhibited and hypnotizing. The origin of each sound never betrays itself and Manek's arrangement hints at nothing familiar. Th Duo sits on the mantle as a dusty relic from the future. Pieces like "Lego Swept Terrains" and "Lemon Suck Teeth" conjure images of vast junkyards one moment and extraterrestrial frequencies the next. The mind roams free but is inevitably led by the music. Th Duo was recorded using mobile phones and micro cassettes, which is partly the reason for its peculiar aesthetic. The question of process, however, might be more prominent if the record weren't so immediately enchanting. Such brave artistic methods will not surprise those familiar with Manek's long list of solo and collaborative projects. He is a member of the eccentric Canberran non-pop-music trio Bum Creek, who are notorious provocateurs in Melbourne's music and arts scene. Manek has also composed solo work under the alias Static Cleaner Lost Reward for Melbourne's Altered States Tapes.


AUS 1577EP

BWANA: Tengo 12" (AUS 1577EP) 14.00
Aus Music follows 2015 EPs from Tom Demac (AUS 1575EP), Escape (AUS 1573EP), and Youandewan (AUS 1576EP) with the second offering on the label from Toronto-born Bwana, who broke a two-year silence with his Flute Dreams EP (AUS 1472EP) in December of 2014; with his Tengo EP, he reaffirms the benefits of patience and proves that he's an artist capable of touching many bases effectively. The A-side opens up with a trance-minded thud colored with thick, swooning melodies before "Drop Mechanism" sets impassioned strings and sweeps over a thick, booming low-end and "Due West" sets out a snapping, forthright groove.


BEC 5156020

DJANGO DJANGO: First Light 12" (BEC 5156020) 14.00
In advance of their 2015 sophomore album, Born Under Saturn, Django Django present an EP with remixes by Wrongtom, Mickey Pearce, and critically acclaimed producer Ghost Culture. Django Django's self-titled debut album was released in 2012 to wide acclaim: "updated psychedelia that beguiles and delights" (The Guardian); "consistently mind-melting and often brilliant" (Q); "bursting with ideas" (Pitchfork); "gloriously, unpredictably new" (MOJO); named one of the albums of the year by Rolling Stone and NME. They became known for their energetic live performances, and have played memorable shows at festivals across the globe including Glastonbury and Fuji Rock. Includes download code.



RAIME: Quarter Turns Over a Living Line 2LP (BLACKEST 001LP) 26.50
2015 repress; gatefold double LP version. Moving away from the sample-based strategies that characterized their early work, Joe Andrews and Tom Halstead have looked increasingly to live instrumentation for their first full-length work, mounting intensive recording sessions for percussion, guitar, and strings before painstakingly piecing the album together at their home studio. The gothic and industrial signifiers in their music remain, but more submerged and oblique than ever -- no less pronounced as influences than jungle's rhythmic dynamism and doom metal's oppressive weight or aspects of techno, modern composition, and dub.


BR 017EP

ROYAL-T: Shottas EP 12" (BR 017EP) 14.50
"'Shotta' uses gunshots and guncocks as percussion... While the charts and radio are currently flooded with soft organs and silky vocals, I want to remind everyone of the other side of the spectrum with gunshots and harsh violins... Hearing Wiley's 'Eskimo' for the first time in my early teens confused me. How could something with this groove... make me feel so cold and dark at the same time? That is the same feeling I wanted to carry with 'Glacier'... 'Limbo' has a familiar skeleton in its 4x4 drum pattern but on top carries a melancholic feel." Features P Money.



AGUAYO, MATIAS: El Rudo del House: Round Two 12" (ROUND 002EP) 14.00
"El Rudo del House" speaks in a pitched-down voice and produces heavy house rhythms engineered to trigger movement. This is the second EP in the series (following ROUND 001EP), each installment of which includes a mask to "allow anonymity and freedom... to evoke spirits at your celebrations," and images of dance poses in Rudo costume, all designed by Sarah Szczesny. Video lessons for each EP's dance moves are available on Between the futuro-tropicalism of The Visitor (COMEME 003CD/LP, 2013) and the post-internet undead psychedelia of Legende (KOM 309EP, 2014). Also includes locked grooves of field recordings. Colored vinyl.



AGNELLI, LUCA: Optical 12" (DESOLAT 042EP) 14.00
Luca Agnelli returns to Desolat for the first time since his 2013 joint effort with Marco Faraone, Jambo (DESOLAT 022X-EP), with his first solo outing on the label. "Optical" is a clear-cut peak-time affair with warbling synths and climbing drum kicks that pull the listener with it on its winding journey. The title of "Bubbles" perfectly describes its feel, effortlessly combining a driving bassline and hypnotic synth to create a spine-tingling experience. The punchy bass, frantic pace, and melodic overtones of "Swiss Train" precede "Raw," an intricate, pulsating affair that pulses, bends, and creeps through the listener's mind.



FUGAZI: Margin Walker LP (DIS 035LP) 13.00
2015 repress. Originally released in 1989, Fugazi's second release; 6 song EP. Remastered; printed inner sleeve with lyrics.


ACV 2053LP

COOKE, SAM: Hit Kit LP (ACV 2053LP) 22.00
Doxy presents a reissue of Sam Cooke's 1959 singles compilation Hit Kit. For a collection of singles and odds and ends, this album does such a superb job of presenting some of Cooke's non-album material from his early years that its coherence gives it the impression of being a genuine, full-length album of songs recorded to go together. The sequencing of songs is ideal -- from shuffling mid-tempo doo-wop soul to up-tempo calypso soul and slow balladry (Cooke's musical trademark at this point). An excellent example of the man's music in its earliest years as a pop/soul vocal powerhouse!


DC 375LP

O'ROURKE, JIM: The Visitor LP (DC 375LP) 17.00
2015 repress. Deluxe gatefold LP version.

DC 404LP

OM: God Is Good LP (DC 404LP) 17.00
2015 repress; LP version.

DC 479LP

SEGALL, TY: Goodbye Bread LP (DC 479LP) 17.00
2015 repress; LP version.



ONRA: Chinoiseries 2LP (FVR 011LP) 23.50
2015 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.


"A" TRAIN: ''A'' Train LP (FVR 081LP) 23.00
2015 repress. "A" Train formed in Shreveport, Louisiana, December 1977 and lasted until May 1987. This vinyl LP was first released in July 1979 on the Southern Star label, which was the name of the studio where it was recorded. In 1986, these six young musicians had almost no studio experience when they set up and recorded six self-penned originals and three songs written by close friends. The six members of the band were: John Howe (lead vocals, saxophones, flute), Chris McCaa (aka Professor Porkchop) (keyboards, vocals), Buddy Flett (guitar, lead vocal on "Bend Over Baby"), Bruce Flett (bass, vocals), Alan Tooraen (drums), and Michael Johnson (congas, percussion). Released in July 1979, the album was originally available only in their hometown of Shreveport. It became the #1 bestseller at SOOTO record store and reached #1 on the local FM radio station. From there it kind of "grew legs" and showed up in different markets, resulting in offers for the band in New Orleans, Baton Rouge, Tulsa, OK, Dallas and beyond. "A" Train was hard to classify from the start, they really weren't trying to be a particular "style," and they just got together and started jamming on songs they had written individually. The name of the band came from Duke Ellington's theme song "Take the 'A' Train": jazz, blues, R&B, and rock were what the individual members liked the most, so the music was a melting pot of musical gumbo. Disco and "Urban Cowboy" were the dominant music trends in local clubs, which helped "A" Train become a popular alternative from the first time they performed in December 1977 at Humpfrees in the Square in Shreveport. Now hardly (almost impossibly) found in its original version, Favorite Recordings gives this beautiful collectable piece the proper reissue it deserves, with an official license from Bruce Flett Production.


MAURICE, CHARLES: French Disco Boogie Sounds 1975-1984: Selected by Charles Maurice CD (FVR 101CD) 15.50
After the 2014 release of Brazilian Disco Boogie Sounds (FVR 098CD/LP), French label Favorite Recordings follows up with focus a on its native language. With assistance from a close connoisseur friend, DJ and collector Charles Maurice presents a fine selection of tracks that, in his estimation, best represent the amazing energy of a specific French movement from 1975 to 1984. With ten rare titles, he paints a perfect picture of what one could find in French record stores at that time. On one hand, tracks by Over Drive, Marché Noir, Didier Makaga, and France Lise were produced by underground artists and labels from the French Caribbean and African community and filled with a raw, tropical spirit. On the other hand, tracks by Beckie Bell, Kelly, Le Club, and Bernard Guyvan were released by major labels such as Trema, Carrere, Disques Vogue, and Pathé Marconi, thanks to confirmed independent producers working not only in France, but also in Canada and the US. Today, Favorite Recordings and Charles Maurice are very proud to shed some light on these gems, and offer them a new life on your turntable. Also includes tracks by Contessa and Toulouse.


MAURICE, CHARLES: French Disco Boogie Sounds 1975-1984: Selected by Charles Maurice 2LP (FVR 101LP) 25.50
Gatefold double LP version.


FW 38457LP

ADAMSKI: Revolt 10x10" BOX (FW 38457LP) 158.00
Chart-topping electronic music godfather Adamski presents a unique box set of ten 10" records featuring celebrated acts such as Lee "Scratch" Perry, Congo Natty, and David McAlmont. Taking inspiration from the waltz music with which he became enamored during a spell in Venezuela, Adamski serves up an album that works as a not-so-gentle reminder for a generation of producers who regularly cite him as an influence -- a reminder that he is still at the cutting edge of electronic music. From its very beginnings, the waltz was revolutionary. It still is. Its roots are somewhat obscure, but what is known is that the first music labelled "waltzen" was a spinning dance popular among peasants in rural parts of Austria, Bavaria, and Bohemia in the mid-18th century. It was danced in 3/4 time with an accent on the first beat of every measure. Revolt is steeped in this sound -- 3/4 beats at odds with a 4/4-saturated world. Parts of the album were recorded at Adrian Sherwood's legendary On-U Sound studio, including a track with the critically acclaimed David McAlmont -- known primarily for his work with Bernard Butler, David lends vocals to "The Last Waltz," an Engelbert Humperdinck cover. The cover is dedicated to the late, great Frankie Knuckles and directly references his seminal house classic "Your Love." There are also two tracks in collaboration with the legendary Lee "Scratch" Perry as well as a bombastic track with Bishi. Guests are varied but all share a similar passion for their craft -- check out the huge collaboration with Rowdy SS for evidence of that. Adamski reflects upon his signature futurewaltz sound: "After 25 years in the nightspots of the world providing sci-fi beats for hedonists, and even longer as a consumer of all the best scenes from glam rock to grime, I am now spurting all my creative juice into what I call futurewaltz... I realized just how sexy and groovy the waltz rhythm can be after hearing its influence in the folk music of Venezuela, which is a country I visit a lot... I became fascinated and inspired by the history of the waltz and its social and cultural significance." Also includes collaborations with Shanki, Buck Dexter, The Children of Bohemia, Digitalcocaine, Sirena, Triple xxx Mystix, Betty Adewole, Asia Argento, Eloise X, The Vortex of Chaos, Leigh Bowerys Minty, Irregular Joe, and Balearik Blitz.


GET 54072LP

PARKER, MACEO: Us LP (GET 54072LP) 31.00
150-gram vinyl LP in a Stoughton Jacket, housed in a custom People Records poly bag, includes 24" x 24" poster. "Maceo Parker was one of the most revered and loved members of James Brown's famed J.B.'s band from the late '60s to the mid-1970s. Alongside his instantly-recognizable alto saxophone solos, he occasionally performed as comedian before James Brown shows, in addition to playing MC. He was a true renaissance man. And while other members of The Godfather of Soul's inner circle -- most notably trombonist Fred Wesley -- had solo albums at the advent of Brown's People Records, Maceo had to wait his turn for a couple years. By the time 1974 rolled around, this talented musician and personality could not be denied, and he burst onto the scene as a group leader with one of the most impressive albums in the People catalog: the simply titled, but deeply felt, Us. Maceo's group (occasionally called The Macks) and Fred Wesley's J.B.'s were essentially the same unit -- including guitarists Jimmy Nolen and Hearlon 'Cheese' Martin, drummer John 'Jabo' Starks, saxophonist St. Clair Pinckney and of course Fred Wesley on trombone. Unsurprisingly, the material here is never-endingly funky. But as shown in the song selection (presumably by Parker, with heavy-handy assistance from the Godfather himself), there are as many ballads and soul groovers as there are straight-up funk workouts. Cases in point include the mellow, Gamble & Huff-penned 'Drowning in the Sea of Love' (with organ, most likely played by James Brown, slithering in the background) and the syrupy 'Show and Tell.' The album's closer is also on the slower side, going very deep and striking a chord, as Maceo and Brown talk about conditions in the Black American landscape of the day over the course of ten-plus minutes. And there is, of course, plenty of diesel funk here as well: singles like 'Soul Power 74' and 'Parrty' are downright nasty grooves, known well by James Brown fans old and new. 'Soul Power 74' additionally features very early proto-sampling, with a baby's cry as well as Martin Luther King Jr.'s famous 'I Have Been to the Mountain Top' speech. And Maceo's take on the J.B.'s classic 'Doing It to Death' is a unique version, more muted and of course featuring Maceo's gorgeous horn front and center. Appearing at the apex of both James Brown's and People Records' power, Us is a treasured jewel in the J.B. catalog, and rightfully so."



GREY HAIRS: Colossal Downer LP (WAAT 058LP) 23.50
Pressed on heavy orange vinyl; includes download code; limited to 495 copies. Colossal Downer is the first long-player from Nottingham quartet/self-help group Grey Hairs. The album was originally conceived as two EPs -- side A, Man Gulps, and side B, Little Fingers -- in an attempt to provide some "listening convenience," much like a serial narrative; we're all busy people these days after all. Together they are the Colossal Downer LP, recalling nothing less than the pre-gold-rush, anything-goes era of Nirvana before everyone got so hung up on genre definition. Rapid-fire punk rock blasters nestle up to a lumbering caveman grind. Echoey surf-clang shares vinyl space with riff-heavy garage fuzz. It's how records are meant to be: idiosyncratic and representative of the people who made them. Featuring members of UK underground bands as diverse and respected as Lords, Fists, Cult of Dom Keller, Fonda 500, and Kogumaza, Grey Hairs is a conscious attempt to return to the gut instinct impulses that got its four band members out of their bedrooms and on stage in the first place. With a reputation for carefree and chaotic live performances, the men and women of Grey Hairs have turned what started as an excuse to go to the pub on a weeknight into something truly special in a relatively short space of time.



WALLUMROD, CHRISTIAN: Pianokammer CD (HUBRO 2542CD) 17.00
Christian Wallumrød has for many years been regarded as one of the most prominent and original creators of music in Norway. He is instantly identifiable both as a composer and as a pianist, while at the same time any attempt to categorize his music is doomed to fail. It is not surprising that on his first solo album, Pianokammer, Wallumrød has come up with his own special twists and turns. Here he presents an inspired solo album that is as challenging as it is enjoyable. The album, produced by Wallumrød himself, was recorded in a number of venues and on a variety of grand pianos. He experiments with different recording techniques, overdubs, natural resonance, and editing. In terms of the music, the album alternates successfully between inquisitive, challenging excursions and catchy, carefree, melodic pieces. The music fluctuates between very intimate and far out. Pianokammer was constructed in the studio to a greater degree than his earlier collaborative albums, but without losing the kind of chamber music dynamism we are accustomed to hearing from him. Wallumrød comes from a jazz and church music background, and in his four records with his ever-changing Christian Wallumrød Ensemble on ECM he has erased the borders between jazz, hymns, gospel, folk music, baroque music, and contemporary music, while carving out his own niche in the hearts and minds of listeners and critics. At the same time he has been involved in equally remarkable collaborative projects in the group Dans les Arbres as well as with artists such as Susanne Sundfør, Nils Petter Molvær, Arve Henriksen, Ricardo Villalobos & Max Loderbauer, Karl Seglem, Jan Bang, Garth Knox, DJ Strangefruit, Oslo Sinfonietta, and Kim Myhr. Wallumrød won a Spellemannspris (often dubbed a "Norwegian Grammy") for his ensemble's 2013 album Outstairs (ECM), and was nominated for the Nordic Council Music Prize for the ensemble's 2009 ECM album Fabula Suite Lugano.


HUNTSVILLE: Pond CD (HUBRO 2549CD) 17.00
Since Huntsville was established in 2006, the trio has cut its own distinctive musical diamond with impressive integrity. Each new release from the trio is an event. Now, after over a hundred concerts and with a substantial number of releases behind them, they are more distinctive than ever. Huntsville's music is the result of collective improvisation, and lies at the musical interface between rock, electronic music, free improvisation, and a long list of other genres. Reviewers have described the music as "Morricone-esque dreamscapes" and "Americosmische," and as an "amalgam of Miles Davis, Steve Reich, and early Tortoise." Huntsville has previously collaborated on concerts and projects with Hanne Hukkelberg, Sidsel Endresen, Nels Cline, Glenn Kotche, and Thurston Moore. The trio's previous release, Past Increasing, Future Receding (HUBRO 2521CD/3521LP, 2013), was recorded in Tomba Emanuelle, a room with exceptional acoustics and a long-lasting echo. The dramatic setting led the band into a darker and more heart-stopping musical landscape than on previous albums. There are still traces of this darker landscape on their fifth album, Pond, although this album also showcases new sides of the band. Pond is the result of a successful session in the Oslo studio AmperTone with sound engineer Johnny Skalleberg. The album was recorded and mixed in the course of a week, and the band describes the process as very inspiring. Ivar Grydeland plays electric guitar, pedal steel, and electronics this time. Ingar Zach has expanded his percussion set-up with timpani, and Tonny Kluften's distinctive bass playing is given more freedom to stretch out than on the band's previous albums. Perhaps most striking this time is how clearly the musical personalities of the three different musicians are able to emerge. Through four long tracks we encounter a band that is true to its own sound and idiom, but never stands still.


LABFIELD: Bucket of Songs CD (HUBRO 2552CD) 17.00
LabField's masterly third album, Bucket of Songs, shows a band that has expanded its palette considerably since their previous release. Whereas the focus of Collab (HUBRO 2502CD, 2010) was on a soundscape characterized by long, richly detailed, slowly flowing drones, Bucket of Songs is more a collection of improvised songs and tunes. Until now, LabField has been a duo consisting of the Swedish guitarist David Stackenäs (Territory Band, Seval, Fire! Orchestra) and the Norwegian percussionist Ingar Zach (Huntsville, Dans les Arbres, Arve Henriksen, Erik Honoré). Both are well-known names in the European improv scene. Stackenäs and Zach previously played in the trio Tri-Dim together with saxophonist Håkon Kornstad. When the trio was put on the shelf, they decided to form a duo and try out a radically different approach to music. Both their 2008 debut, Fish Forms, and their follow-up, Collab, showed an improvising duo using an overwhelmingly rich sound, on a steady course through a hypnotic drone landscape. For Bucket of Songs, LabField have invited the amazing Mariam Wallentin (Wildbirds & Peacedrums, Mariam the Believer, Fire! Orchestra) to contribute vocals on several cuts. Giuseppe Ielasi (guitar and electronics), from Italy, who guested on the duo's previous album, is included here as a full member, making the duo into a trio. Ielasi has released several solo albums on the label 12k, and has previously collaborated with Taku Sugimoto, Jérôme Noetinger, Phill Niblock, Oren Ambarchi, and many others. Ielasi also co-founded the label Schoolmap. Bucket of Songs is a powerful album that offers free and creative improvisation-based music and sends feelers out toward pop, minimalism, electronic music, and ethnic music.


WALLUMROD, CHRISTIAN: Pianokammer LP+CD (HUBRO 3542LP) 22.00
LP version. Pressed on 180-gram vinyl. Includes CD.


HUNTSVILLE: Pond 2LP+CD (HUBRO 3549LP) 26.50
Gatefold double LP version. Pressed on 140-gram vinyl. Includes CD.


LABFIELD: Bucket of Songs LP+CD (HUBRO 3552LP) 22.00
LP version. Pressed on 180-gram vinyl. Includes CD.



PALESTINE & GRUMBLING FUR TIME MACHINE ORCHESTRA, CHARLEMAGNE: ggrrreeebbbaaammmnnnuuuccckkkaaallloooww!!! LP (IMPREC 409LP) 22.00
In 2013, when Daniel O'Sullivan was invited to curate the sixth installment of Ravenna, Italy's Transmissions festival, his first request was for Charlemagne Palestine, the shamanic world-maker, sacred toy emissary, and one-time student of Pandit Pran Nath associated with the New York '60s minimalist scene and known primarily for extended performances with Bösendorfer piano, cathedral organs, and falsetto voice. After Transmissions O'Sullivan invited Palestine to play a two-night residency at London's Cafe OTO, the second night of which was a collaboration with Grumbling Fur, the duo of O'Sullivan and Alexander Tucker. The performance at OTO was a ritualistic union of crystalware, processed strings, live tape manipulations, Indian harmonium, shimmering piano clusters, bleating cattle, a Japanese orgy, disembodied vocal harmony, and rousing choruses often led by sing-a-ma-jigs (singing Fisher-Price toys affectionately referred to as "the singing assholes"). A continuous flow of overtones and plainchant sieved through mutant simulations of processed pulses, orbiting strings, and heliotropic vocal mantras. Following 2013's Glynnaestra and 2014's Preternaturals, both of which The Wire listed in its top avant rock albums of their respective years, this is the first incarnation of the Grumbling Fur alter-ego Time Machine Orchestra, an alias put together to explore extended drone works, improvisation, and automatic composition. Recorded at Cafe OTO and Fur Island and assembled by Grumbling Fur. LP pressed in an edition of 500 copies.


JAM 13001LP

CASH, JOHNNY: Louisiana Hayride Recordings LP (JAM 13001LP) 20.00
The late, great man in black made appearances on the legendary radio and TV show broadcast Louisiana Hayride out of Shreveport, LA, in 1955, 1959, 1962, and 1963. This LP collects recordings from all of those performances. Though we all know and love his studio hits, Cash was often at his best in front of a live audience and his performances here leave no doubt about that. With stunning performances from his Tennessee Two, the loose, humorous vibe of these recordings highlights Cash's best side.

JAM 13002LP

DYLAN, BOB: Gaslight, NYC, Sept. 6th, 1961 LP (JAM 13002LP) 20.00
This document of a performance at The Gaslight Cafe, NYC, on September 6, 1961, is historic in many ways; it is one of the first known live recordings of the great Robert Zimmerman and, more importantly, the first known live recording to feature original songs ("Man On the Street," "Talkin' Bear Mountain Picnic Massacre Blues," and "Song to Woody"). Known among collectors as the First Gaslight Tape, the sound quality on these recordings is fantastic, and the set holds up as one of the best early Dylan live recordings in both sound quality and performance. Essential!

JAM 13003LP

JOHNSON, ROBERT: Drunken Hearted Man LP (JAM 13003LP) 20.00
A collection of the finest moments of the only two known recording sessions, from 1936 and '37, by the king of the delta blues, Robert Johnson. A man whose poorly documented life and death at 27 have given rise to much legend, Johnson had little or no public recognition for his work in his lifetime. Rumored to have sold his soul at a crossroads to achieve success, Robert Johnson lived his life playing at streetcorners and Saturday-night dances, writing the soundtrack for half a century of rock culture to come. Featuring all-time classics such as "I Believe I'll Dust My Broom" and "Kind Hearted Woman Blues" this is mandatory for all early folk and blues aficionados!


JC 001EP

KLODIO: Toktroit EP 12" (JC 001EP) 14.00
Up-and-coming producer Klodio pays tribute to some of his biggest musical influences, Detroit and Tokyo; combining a clear love and appreciation for the early UR House sound, with a fresh Tokyoite vibe that will take you on a full-speed night drive through the neon highways. A versatile soul head, equally at home with house, techno, hip-hop, and even drum 'n' bass, Klodio knows no boundaries when it comes to expressing his deep jazz-infused roots.



LES FRERES SMITH: Free to Go CD (CCCC 002CD) 17.50
Paris-based collective ©© Les Frères Smith follow up their acclaimed (by La Sélection FIP, Radio Nova, Vibrations, Songlines, Gilles Peterson, Laurent Garnier, and more) 2011 full-length debut, Contreband Mentality, with an even more ambitious LP. Free to Go was recorded the old-school way and mixed by genius producer Masta Conga in line with the tradition of the great albums of the analog era, which results in a warm and heavy sound, worthy of comparison to the productions of Daptone Records or Truth & Soul. Generously sprinkled with multiple influences inherited from the warm '70s sound, their dynamic and sharp recorded music reveals itself as totally explosive on stage where the Parisian combo is now recognized as one of the best live Afrobeat acts, mainly thanks to years of stage experimentations and multiple tours in France, the UK, and Europe (Roskilde Festival, Lounge On the Farm, Les Nuits Zébrées). While their first album featured Tony Allen, Oghene Kologbo, and musicians from Fela Kuti's band, Free to Go features the divine Malian singer Mamani Keïta, Guinean griot Djeli Moussa Condé, and the Barbadian flow of Milo. Other vocals are performed by the charming and enchanting Swala Emati Smith, with a soul resonant of Lauryn Hill's style, and the charismatic Prosper Smith in a Camerounaise libertarian protest-style spoken word.


LES FRERES SMITH: Free to Go 2LP (CCCC 002LP) 26.50
Gatefold double LP version.



BARBIR/NICOLA KAZIMIR: Repetitive Juxtaposition 2LP (LESPOINTS 005LP) 26.50
A quest for form which is never static and accompanied by two constants: repetition and reduction. Reduction requires repetition in order to make the intangible tangible for humans. This repetition also stimulates our perception and helps us find an inner self while illuminating the primal thought. Another synonym for "intangible" is "not human," for the most reductive of primal thoughts, sprung from fractal chance, does not deal with human beings but with a formal language that is universal, drawing from the innermost, and only becomes tangible in accidental, fortuitous moments. Our efforts to free this formal language, by means of fragmentation, from the human conventions that bind us to overabundance, turn out to be in our limited human perception a never-ending search for artistic discovery. Repetitive Juxtaposition takes up two individual, but in their essence mutual, interpretations of seeking and breaking form, and places them not opposite but next to each other. A split double LP of minimal, reductive electronic music by Barbir and Nicola Kazimir -- two sides per artist. Features a collaboration between Kazimir and Isherwood. Includes four locked groove remixes by STL.



BARNT: Magazine 131 12" (MAGAZINE 131EP) 14.50
Pressed on 180-gram vinyl. Two remixes of "Cherry Red" from Barnt's 2014 debut album, Magazine 13. (MAGAZINE 013CD/LP). Tale of Us asked Magazine for the stems of the track, intending to craft a version for their sets, and Recondite happened to pass by the studio while they were working on it; together they deliver a driving and vital interpretation of Barnt's melodic masterpiece. Jens-Uwe Beyer prolongs the already massive breakdown toward the end of the track; his remix has been a highlight of Barnt's DJ sets. Crato's cover art is a bold remix in itself, reworking the original cover.



CHOSEF, JACK: Yeehai 12" (MAMI 002EP) 15.50
"Track Your Mind" opens with a manipulated vocal sample that could work in a towering Kanyeeseque hip-hop construction. Instead, in drops the half-tempo bass kicks and portentous synths favored by '80s revivalists, the sorts that dream of a neon video-game Miami (Chosef says Yeehai is "inspired by girls and cars"). But the track could also be the sound of, for example, Pye Corner Audio's alternate history technological fantasies. Next come the insistent, melancholy "oohoos" of -- you guessed it -- "Oohoo," the immaculate chimes of "Golden Princess," the echoing keys of "Cubing," and the daintily twinkling synths of the title-track.



NASH, JONNY: Exit Strategies LP (MAT 002LP) 17.50
Jonny Nash (Gaussian Curve) returns to Melody As truth following his 2014 Phantom Actors EP. Exit Strategies puts Nash's layered guitar textures at center stage, further demonstrating his ability to draw emotion from the simplest of elements. A glimmering mini-LP of lush and spacious compositions, surrounded by Nash's own unique air and atmospheric touch. Beautiful.



SENYAWA: Menjadi LP (DOSER 025LP) 20.00
Experimental Indonesian duo Senyawa, fresh from burning down Berlin's CTM Festival (again), summon the Javan spirits with Rabih Beaini at the controls on Menjadi. Steeped in improvisational practice and known for their visceral live performances, the pair's sound combines Javanese folk and ritual music with metal and psychedelic influences. Rully Shabara's extended vocal techniques arc from guttural droning to frenetic chants and upper-register ululations, while Wukir Suryadi supplies dynamic instrumentation using the bambuwukir, an amplified bamboo zither of his own invention. Menjadi (meaning "to become") follows REDOSE 003EP (2015), containing "Di Kala Sudah" reworked by Buchla synth master Charles Cohen, and is the first in a series of Morphine releases produced by Rabih Beaini and scheduled for 2015, with artwork by Nathalie du Pasquier, curated and designed by Tankboys.



BONNIE 'PRINCE' BILLY: Ease Down The Road LP (PAL 026LP) 15.00
2015 repress, LP version; originally released 2011. "Twelve songs, dealing lovingly with adultery and vivisection, with the bold ignorance of weakness, and with keeping verse-chorus-funnypart respected in the grand order of things. Plus kids, unborn and unconceived even, and perversity of humanity and harmony. For the record, it was David Pajo and Will Oldham that roped everybody in, and they added all their parts to the mix too."


PD 021CD

ORAM, DAPHNE: Oramics 2CD (PD 021CD) 23.00
Restocked; 2007 release. Daphne Oram is best-known for the design of her Oramics system, and also for co-founding the BBC Radiophonic Workshop in 1957, but until the release of this material, the only easily-available piece of music by her on CD was the 8-minute long "Four Aspects." There was also a 7" EP from 1962 on HMV, released as part of the Listen, Move and Dance series that was specifically designed to help children dance. Although the short pieces on this record are very basic, it could be argued that this is the first-ever electronic dance record! This is a survey of nearly all the major pieces that she produced since her departure from the BBC in January 1959 until her final tape piece in 1977. During this time, she worked independently in her home studio, and thanks to a grant from the Gulbenkian Foundation in 1962, she was able to pursue her interests. In Britain there were no state-funded studios other than the Radiophonic Workshop, which mainly existed at the behest of the drama studio and was not generally seen as a place to develop personal artistic ideas. There were also no university studios at this time, so it was necessary for British electronic composers to be self-funded. Throughout this period, she devoted her attention to developing her Oramics "drawn sound" system, which consisted of a large machine that enabled drawn patterns to be converted into sound. This system was eventually fully realized in the late '60s and several pieces here incorporate its use. The two and-a-half hours of music on this 2CD set covers the whole range of Oram's post-BBC output. All of the music is electronic with some occasional use of real instruments, especially small percussion and piano frame. There is also some use of musique concrète techniques. The works fall roughly into the following categories: works for TV and cinema advertising, film soundtracks, music for theater productions, installations and exhibitions as well as concert pieces and several studio experiments. There are also a few short pieces that resulted from an experimental music course given by Oram at a high school in Yorkshire in 1967.



JODOROWSKY, ALEXANDRO: El Topo: Soundtrack Album LP (RGM 077LP) 29.00
Repressed. "Championed by everybody from John Lennon to Peter Gabriel to Marilyn Manson - and decried by 'establishment' critics ranging from Vincent Canby to Gene Siskel - El Topo remains one of the most controversial movies ever made. Director Alejandro Jodorowsky's bizarre, blood-soaked blend of spaghetti Western, druggy surrealism, Christian allegory, Zen Buddhist themes and avant-garde sensibilities gave rise to the entire 'midnight movie' counterculture phenomenon of the early '70s and forever changed the way adventurous audiences viewed film. Or, for that matter, heard film; for no soundtrack, before or since, has embraced so many styles in its pursuit of spiritual and artistic goals. Atonal, Tibetan Buddhist thighbone trumpets clash with beautiful, even sentimental, chamber orchestra pieces alongside pan flute rhapsodies, brass bands and parlor jazz; that Jodorowsky himself composed the score - after, no doubt, intently studying the work of Morricone - is almost as impressive an artistic achievement as the film itself. Now, Real Gone Music, in partnership with ABKCO Music & Records, is issuing this one-of-a-kind soundtrack album on LP for the first time since the original release produced by Allan Steckler for Apple Records back in 1971. What's more, the four-page booklet boasting some of the film's hallucinogenic imagery that came with the original release will be included in the gatefold LP reissue. Mastered by Joe Yannece at Classic Sound in New York, and produced for reissue by ABKCO's in-house Engineer Teri Landi and Mick Gochanour, with tape transfers by Landi, lacquer cutting by Carl Rowatti at TruTone Mastering and a 180-gram vinyl pressing, Real Gone/ABKCO's release of El Topo on LP fully captures Jodorowsky's singular sonic vision."



REDOLFI, MICHEL: Pacific Tubular Waves/Immersion LP (REGRM 014LP) 23.50
Packaged with 3D cover art; includes Anaglyphic 3D glasses. "Pacific Tubular Waves" (1979): Electronic music for Synclavier digital synthesizer. "The first four movements frame different visions of the energy delivered by the rolling waves as a kind of auditory surfing on the crest and into the trough of the wave (movements 1-3), followed by a high speed crossing within the tubular cyclone (4). The piece ends with easing waves at dusk... In terms of the making, 'Pacific Tubular Waves' is a purely electronic music, a solo performance on the first digital Synclavier synthesizer. The flexibility of its touch keys enabled me to intuitively program a sonic organic life quality with a concrete quality. Here the computer was used to magnify the texture and behavior of the oceanic material though never mimicking it." "Immersion" (1980): Electroacoustic music for Synclavier synthesizer and underwater recordings. "Composing 'Immersion' started with underwater recordings using a hydrophone. After recording the shifting sands and the rolling pebbles under the breakers, I came up with the idea of dipping a sonar loudspeaker underwater to diffuse my 'Pacific Tubular Waves' piece (made the previous year) below the surface. The music was thus shuffled by the waves and unexpected filtering effects resulted from its passing through clouds of foam. Its dispersion at sea by currents would send back incredibly smooth harmonic echoes... The recording of this natural remixing process is the guiding thread of the piece. It is interspersed with sequences composed in the studio with the Synclavier. Alternating dry/wet, for a gradual immersion through increasingly calm and dense increments... Three-dimensional Visible Images through the glasses attached hereto. Analogous to stereo, the anaglyph graphic process consists of two left and right points view of the same object... The feeling of space is expanding proportionally to the distance of observation, from 80 cm to several meters" --Michel Redolfi. A singular figure of the electroacoustic landscape, Redolfi debuted in 1980 with Pacific Tubular Waves/Immersion on INA-GRM. Recollection GRM presents the first reissue of this record. Digital transfer by Diego Losa. Cut by Rashad Becker at Dubplates & Mastering, Berlin, July 2014. Original 3D artwork and inner sleeve wave photo by Michel Redolfi. All other photos and portrait by Donna Cline. Sleeve and new Anaglyph 3D design by Stephen O'Malley. Anaglyphic 3D supervision by Guy Ventouillac. Coordination GRM: Christian Zanési and François Bonnet. Executive Production: Peter Rehberg.


Argentine electroacoustic composer Beatriz Ferreyra describes each of the pieces included on GRM Works: Demeures aquatiques (1967): "This electroacoustic piece, articulated into two clearly distinct parts, draws its sound source from the classical and unorthodox instruments -- metal sheets, glass rods, etc. -- invented by the Baschet brothers. I wanted to show the contrast between the rhythmic repetition of a sounding object, which gives out a feeling of fixity, an electroacoustic flavour and the continuous re-creation of the same sensation through similar yet not identical sounds." Un fil invisible (2009) For Christine Groult: "This piece was inspired by the various stages of Medieval Alchemy. The alchemical process is one of transformation, whose actual subject is the alchemist himself. Here, the process is inextricably tangled with the transformation of sounds and the very structure of the piece." Médisances (1968/69): "This electroacoustic piece for 4 channels was produced by manipulating such items as orchestral instruments, a mouth bow, breath and some unexpected technical defects." Les Larmes de l'inconnu (2011): "This is the first part of a work inspired by the Qabalists Carlos Suares (consciousness-energy), Rivka Cremici (charm of the mystic energy) and Shinta Zenke (dazzling Hebrew calligraphy) to whom I dedicate this music. Through its letters-numbers, the Qabalah expresses three different levels of 'primordial equation of the universe': the level of the archetype, that of the event and the incarnation, and the universal and cosmic level... I would like to thank the wonderful flutist Hernan Gomez for his kindness and his musicality during the recording." "The music of Beatriz Ferreyra bears a magnetic force, which generates a truly recognisable style that could be defined as a unique sense and intuition for sound. Whether in her early works ('Médisances,' 'Demeures aquatiques') or in the more recent ones featured here, one can easily perceive a freedom-loving musical personality. A pioneer alongside Pierre Schaeffer, in the '50s and '60s, she worked on the development of the famous Solfège de l'Objet Sonore (Music Theory of the Sounding Object) before freeing herself from the institution to focus on creating a challenging and independent music." --Christian Zanési and François Bonnet, Paris, 2015. Digital transfer by Jonathan Fitoussi; layout by Stephen O'Malley; photos by Laszlo Ruszka (1983/87) © Ina, Bernard Perrine (1969); translations by Valérie Vivancos. Coordination GRM: Christian Zanési & François Bonnet. Executive production: Peter Rehberg. Cut by Rashad Becker at Dubplates & Mastering, Berlin, November 2014.



AYE AYE: Aye Aye LP (RRTT 039LP) 20.00
"The CV on Aye Aye, the long-rumored self-titled debut by Philadelphia's premier desert blues marsupials, runs deep through the beerstrewn underbelly of Philly rock. The Gibbons Bros' unmistakable slow-motion, big-chord fuzz will be familiar to anyone who's taken a plunge into the Bardo Pond soundpool over the last few decades, though a cultivated ear will note more grits and butts and less pedalboard worship here. Ben Leapheart retains his very official title of greatest drummer in Philadelphia -- have you shmoes not heard Purling Hiss or Watery Love? -- with his innate understanding that the drums lead, not merely keep time. Yeah, yeah, cool, but what does it sound like? OK bub, how about terrestrial crunching rock drifting over a great expanse? Aye Aye is limited to 300 copies on vinyl and includes a complimentary digital download with purchase."



GNOD: Infinity Machines 3LP (LAUNCH 072LP) 33.00
Triple LP version. Salford, England-based Gnod's Infinity Machines explores a unique vision informed by experimental élan and metaphysical intensity. In an era in which the word "psychedelic" too often tends to signify a reductive and retrograde rag-bag of second-hand shapes, it was in Gnod's nature to venture forth in search of new and expanded sonic terrain. At first, this led them to pursue a purely electronic sound in the live arena, yet as they knuckled down to chronicle this expansion and experimentation for posterity, it became clear that a mixture of live instrumentation and binary audial research would be the path that would prove most fruitful. Thus began the process that would ultimately produce these recordings, and a far-reaching mission that would result in uncanny crepuscular atmosphere locking horns with sinister electronic intensity. Infinity Machines traverses between and beyond a variety of different headspaces, from the bleak to the beatific; yet, while touching on nocturnal jazz, soothing yet unsettling ambience, menacing aggro-industrial battery, and opiated bliss-out alike, it's shot through with an undercurrent of fiery countercultural zeal and small-hours revelation, as if the hive-mind of their home collective had manifested itself on disc. Tracks were put together from an initial blank canvas, and as the band themselves emphasize, "We got pretty tactical in the approach. We have certainly noticed that the emphasis has shifted from full on 'throw everything at it' Gnod vibes to a more stripped spacious sound which was not fully intentional but more of a natural progression."


RSI 2168EP

LAST HURRAH!!, THE: The Weight of the Moon/Is It Me? 7" (RSI 2168EP) 10.00
The Last Hurrah!! is the project of HP Gundersen: guitarist, composer, arranger, producer and mentor for a vast number of musicians and singers from the vibrant music scene of Bergen, Norway. Here he teams up with the sublime LA roots singer Maesa Pullman. "The Weight of the Moon" is a subtle blend of Americana and classic English pop music. "Is It Me?" is an equally irresistible ballad and both are pop music as it was meant to be: addictive. The core band is made up of some of Bergen's finest, including drummer Larry Mullins (Iggy Pop, Swans).


RH 104-12D

LARKIN, KENNY: Dark Comedy Pt 1 12" (RH 104-12D) 12.50
2015 repress. Kenny Larkin productions under the Dark Comedy moniker. All tracks were released on Larkin's Art of Dance label in Detroit, in editions of only a handful of copies. "Clavia's North" and "Plankton" were released in 1997 on a sampler for his 7:Nites album, which never actually materialized. "Without Sound" (also known as "Without") was released in different versions. The original mix featured here is probably the best mix; it was only released on the highly limited Art of Dance Sampler 12". Fourth in a series of six back-catalog remastered reissue 12"s highlighting the best of Larkin's prolific career.

RH 104-12E

LARKIN, KENNY: Dark Comedy Pt 2 12" (RH 104-12E) 12.50
2015 repress. Highlights from Dark Comedy's Seven Days album, originally released in 1997. Starts off with the haunting, aptly titled "Paranoid." On the flipside, "The Bar" will still cause dancefloor mayhem, as it has done for years. The EP easily slides into "Ecletic," taking you on a trip to wherever you want to go. Another slice of essential techno history on 12". Fifth in a series of six back-catalog remastered reissue 12"s highlighting the best of Kenny Larkin's prolific career.

RH 104-12F

LARKIN, KENNY: Art of Dance Sampler 12" (RH 104-12F) 12.50
2015 repress. Three more classic Kenny Larkin tracks reissued on 12". Sixth in a series of six back-catalog remastered reissue 12"s highlighting the best of Larkin's prolific career.



Ingar Zach and Miguel Angel Tolosa's debut album Loner is a result a mutual admiration developed over many years of working together. The duo has been collecting material since 2005, and with a common fascination with electronics, field recordings, and acoustic percussion, they decided to start working toward an album with the material they had at hand. The result is an original electroacoustic album in which the symbiosis of many sound sources is heard as one complex organism. Ingar Zach (b. 1971) is one of the leading percussionists and improvisers in Norway. He is known for dynamic and energetic playing and the wide range of his sounds. Now living in Madrid, he concentrates on his solo work and his regular ensembles. He has been dedicated to experimental music and folk music since 2010 and is now touring and recording with his regular ensembles in Europe, Canada, the US, South America, and Asia. He founded Sofa with guitarist Ivar Grydeland in May 2000 and Sofa sub-label Sillón in 2005. Miguel Angel Tolosa (b. 1969) is a composer based in Madrid and Bonn. He studied musical composition with Antoine Beuger in Haan, Germany, and electroacoustic music with Jean-Claude Risset and Eduardo Polonio in Madrid. He has also studied sound engineering and worked as an engineer and producer for many artists and labels. His electroacoustic works have been released on labels around the world, including Winds Measure Recordings (US), Non Visual Objects (Austria), Twenty Hertz (UK), Drone Records (Germany), and Mystery Sea (Belgium). His scores have been premiered by internationally acclaimed performers like Alessandra Rombolá (flute), John McAlpine (piano), Markus Kaiser (cello), Burkhard Schlothauer (violin), Leo Svirsky (piano), and Trio Arbós. He has also shared events with the Germany-based international collective of composers Wandelweiser. Ingar Zach: percussion, electronics, field recordings; Miguel Angel Tolosa: electronics, field recordings, electric guitar.



LOVE OVER ENTROPY: Tonii EP 12" (SOHASO 006EP) 14.00
After his impressive 2013 debut, the Off the Grid EP (SOHASO 001EP), Love Over Entropy, still shrouded in a veil of secrecy, takes up the role of a modern-day bard. He tells the tale of Tonii with a hauntingly beautiful melody and an emotional, ever-climbing rollercoaster of longing and joy; words become superfluous. Dixon condenses and intensifies "Tonii," making it useful for all kinds of dancefloor situations. With its strung-out, vocoded voices and heavenly synth-sweeps, "Tucaroya Pt. 1," according to Love Over Entropy, is ''dedicated to the little things that make up a human life.''



SURGEON: Communications (2014 Remaster) 2x12" (SRX 003EP) 22.00
This is the third release on the six-volume Surgeon reissue label SRX. Originally released on Downwards Records in 1996, Communications marked the first mini-album and a more fully-fleshed out concept release for Surgeon. So raw it will skin your knees. It still has the power to corrupt the youth of today.



LP version. Aksak is the exciting encounter of two exceptional musicians from different generations: legendary drummer Jaki Liebezeit and percussion wizard Holger Mertin (Drums and More). Liebezeit, born May 26, 1938, in Dresden, Germany, and best known as a founding member of Can, has been called "one of the few drummers to convincingly meld the funky and the cerebral." In the mid-1960s, he was part of Manfred Schoof's quintet, who were early exponents of European free jazz. He subsequently moved towards the new possibilities being opened by psychedelic music as a member of Can. His drumming was prominent in the band's sound, particularly in his much-admired contribution to the side-long "Halleluhwah" on Tago Mago. Liebezeit is renowned for his exceptional "metronome" style of playing; other members of Can have suggested that he sounds as though he is "half man, half machine." Mertin, born in 1977, is a multipercussionist and specialist in rhythmic traditions. He is involved in diverse transdisciplinary projects. Mertin's playing is characterized by his spontaneous, melodious, and rhythmic style that is equally reflected in his individual instrumentarium. Mertin has collaborated with internationally renowned musicians and artists including Milan Sladek, Eberhard Kranemann (Kraftwerk), Martin Sasse (Sting, Martin Sasse Trio), Hayden Chisholm, Paul Shigihara (WDR Big Band Köln), Roland Peil (Die Fantastischen Vier), and Ali Haurand (European Jazz Ensemble). Like a zen master of the minimal, repetitive beat, Liebezeit -- famous for his hypnotic precision -- creates with only few sound colors the perfect matrix for Mertin's unleashed playing on any imaginable percussion instrument. The result is a mighty, complex pulse -- the groove of a better world. On the basis of that musical matrix, sound magician Joseph Suchy has produced a jaw-dropping album that defies any categorization. Even if other instruments like violin, guitar, brass, and electronics sometimes seem to take the lead, the compelling pulse is always in the center of this swinging music. Liebezeit, Mertin, and Suchy have created a timeless masterpiece that, despite its complexity, always stays melodic and danceable. That's how modernity sounds (and swings)! Jaki Liebezeit plays: world drum kit, hand cymbals, dholak, tambourine, bongos, and one-string percussion instrument. Holger Mertin plays: hang, hand cymbals, gongs, Modulationsscheiben, cymbals, tube sticks, frame drum, snare drums, melodic and metal percussion, helix bowl, tambourine, spoons, singing bowls, kalimba, marimbula, waterphone, K.G. sound sculpture, and overtone drum.


SBR 5060LP

PERHACS, LINDA: Parallelograms 2LP (SBR 5060LP) 31.00
2014 repress on vinyl; deluxe 2LP format, 180 gram pressing. Combining fragile and beautifully melodic acid folk with perfectly-rendered electronic effects, this remarkable album consists of what its creator describes as "visual music." First released in 1970, Parallelograms by California's Linda Perhacs has gone on to become one of the most legendary and well-loved recordings of its time, assuredly sitting alongside Vashti Bunyan's Just Another Diamond Day as a lost folk gem that should never have been cast aside. Summoning the shimmering sunlight of Topanga Canyon, and resonating with the same strength-in-fragility as Joni Mitchell, it's presented here for the first time as a double LP, with the full collaboration of its enigmatic creator. The deluxe gatefold sleeve contains her own detailed liner notes, as well as rare illustrations and eight bonus tracks (including one previously-unheard out-take), making it the most definitive vinyl edition of this timeless classic ever released.


SV 028LP

HELDON: Allez-Teia LP (SV 028LP) 24.00
2014 release. "Allez-Téia, the second album by French guitarist Richard Pinhas under the Heldon moniker, was originally released in 1975 on the artist's own Disjuncta imprint. Far from the band's prog-tinged trio lineup, Allez-Téia features a menagerie of guitars, Mellotron and analog synthesizers.While opening track 'In the Wake of King Fripp' pays homage to King Crimson in its title, the album's heady textures and rhythmic meditations are more reminiscent of the German Kosmiche movement (Cluster, Harmonia, et al.) and post-rock experimentalists, such as Jim O'Rourke and Gastr del Sol. Acoustic guitar even makes a rare appearance?on the beautiful and melancholy 'Aphanisis. With front cover artwork depicting the events of May '68 in Paris (by renowned photojournalist Gilles Caron), these dark ambient sounds make Allez-Téia perhaps the most revolutionary release in Heldon's influential catalogue, foreshadowing Pinhas's incredible solo work for decades to come."

SV 035EP

INFLATABLE BOY CLAMS: Inflatable Boy Clams 2X7" (SV 035EP) 19.00
"San Francisco provocateurs Inflatable Boy Clams recorded one of the greatest all-female art punk records ever made, a wrongfully obscure five-song double 7-inch EP which has garnered a cult following ever since its initial release on Subterranean Records in 1981. While the music blends simple instrumentation and captivating, quirky lyrics, the artwork looks like an early Rough Trade single, complete with a posh Winogrand-esque photo of the group. More of a performance art troupe than a traditional rock band, the Boy Clams often rotated between instruments and shared vocal duties: JoJo Planteen, Judy Gittelsohn, and Carol Detweiler (the latter two both members of Pink Section), along with saxophone player Genvieve Boutet de Monvel. It is easy to imagine Planteen dancing to 'Skeletons' with its infectious bassline and kitschy organ (or even to the flip-side track 'Snoteleks,' which is the A-side played backward). 'I'm Sorry' is the ultimate one-upmanship song that reveals that women can be sinister, too. This first-time reissue comes from the original master tapes. Recommended for fans of Kleenex/LiLiPUT, The Raincoats, and Bush Tetras."

SV 060EP

ELECTRIC EELS: Spin Age Blasters/Bunnies 7" (SV 060EP) 11.00
"Following their legendary punk-as-ever Agitated single, electric eels released their second posthumous single, Spin Age Blasters/Bunnies, on Mustard Records in 1981. Recorded in 1975 and taking the band's free-form jazz and art rock alliances to dizzying extreme, the twin-guitar swirl of 'Spin Age Blasters' sounds like Trout Mask Replica on paint fumes, while 'Bunnies' features Dave E.'s relaxing Bob-Ross-like vocals and frantic clarinet bursts à la Roscoe Mitchell. This first-time vinyl reissue includes original cover artwork by eels' guitarist John Morton and is pressed in a limited edition of 1,000 copies."

SV 063LP

GILBERT/G. LEWIS, B.C.: 3R4 LP (SV 063LP) 20.00
"In 1980, after three relentlessly creative albums, the members of Wire were at an impasse, unsure of how to push themselves any further as a four-piece rock band. While frontman Colin Newman spent the band's hiatus mining Wire's knack for intelligent and contorted pop songs, guitarist Bruce Gilbert and bassist/vocalist Graham Lewis joined forces for a series of experimental projects (Dome, Cupol, etc.) where the primary motivating concept was 'studio as instrument.' 3R4, the duo's only LP under the B.C. Gilbert/G. Lewis moniker and the very second album to be released on 4AD, eschews melody and structure in favor of ambient-noise soundscapes, metallic textures, and tense moods. If the brief 'Barge Calm' tracks appear like sonic exercises, the longer pieces ('3. 4?' and 'R') are true exorcisms, conjuring supernatural found-sounds with the patience and deliberation of (un)holy men. Play this record loud and try not to think that it is the soundtrack to a lost David Lynch film. This first-time vinyl reissue is recommended for fans of Faust, David Cunningham, and Thomas Leer & Robert Rental's The Bridge."

SV 064LP

GILBERT/G. LEWIS, B.C.: Ends With the Sea 7" (SV 064LP) 11.00
"Bruce Gilbert and Graham Lewis have always juggled darkness and light in their various collaborations (Dome, Cupol, etc.); Gilbert's pointillist melodicism counterbalanced by Lewis's menacing bass and sardonic lyrics. While the duo explores cinematic soundscapes on their album 3R4, here they return to more song-based territory with icy vocals, detached guitar lines and even a faint industrial vibe. Ends With the Sea provides a vital glimpse into the creative forces that even a band as daring and inventive as Wire could not contain. This first-time vinyl reissue is recommended for fans of SPK, Chris Carter, and Einstürzende Neubauten."

SV 065LP

MINGUS, CHARLES: The Black Saint and The Sinner Lady LP (SV 065LP) 24.00
"Bassist/composer Charles Mingus is one of the most radical figures in American music. Throughout the '50s, he worked as a sideman with legendary players Charlie Parker, Dizzy Gillespie, and more. In the '60s, he gained recognition as a bandleader, often followed by controversy for making strong-minded statements in the press about race, politics and stodgy music critics. While Mingus received many honors posthumously as well as during his career, perhaps his greatest achievement was transcending the restrictive label of jazz. The Black Saint and The Sinner Lady is without question Mingus's magnum opus. Originally released on Impulse! in 1963, the album broke new ground in both genre-defying composition and innovative recording techniques. A six-part suite with dramatic shifts in mood and tempo, The Black Saint and The Sinner Lady features the three-way brass dialog of trumpets, trombone, and tuba; swooping reeds; and awe-inspiring rhythm section. Balancing delicate Spanish modes and Ellingtonian themes, the ensemble breaks into a divine cacophony of group improvisation on par with free jazz giants like Ornette Coleman or Cecil Taylor. In his best-known essay, 'Psychotic Reactions and Carburetor Dung,' Lester Bangs praises, 'the experience of the first few listenings to a record so total, so mind-twisting, that you authentically can say you'll never be quite the same again. Black Saint and The Sinner Lady did that, and a very few others. They're events you remember all your life, like your first real orgasm.' This long out-of-print vinyl release has been carefully remastered from the original master tapes."

SV 066LP

MINGUS, CHARLES: Mingus Plays Piano LP (SV 066LP) 24.00
"Bassist/composer Charles Mingus is one of the most radical figures in American music. Throughout the '50s, he worked as a sideman with legendary players Charlie Parker, Dizzy Gillespie, and more. In the '60s, he gained recognition as a bandleader, often followed by controversy for making strong-minded statements in the press about race, politics, and stodgy music critics. While Mingus received many honors posthumously as well as during his career, perhaps his greatest achievement was transcending the restrictive label of jazz. Mingus Plays Piano, released just a few months after his masterpiece The Black Saint and The Sinner Lady, is the only record to feature Mingus performing on his instrument of choice for composing. From the opening track, appropriately titled 'Myself When I Am Real,' Mingus shrugs off any virtuosic pretensions of solo albums and stakes out more introspective territory. These trance-like, poetic musings reveal a tenderness rarely associated with Mingus, reminiscent of Erik Satie's piano works and Art Tatum's free rhythmic style. This long out-of-print vinyl release has been carefully remastered from the original master tapes."


TR 306LP

LATE CALL, THE: Golden LP+CD (TR 306LP) 25.50
LP version with CD. In his three albums preceding Golden, Stockholm-based, English-singing German musician Johannes Mayer aka The Late Call has churned out sparsely arranged gems, with, at most, only hints of piano chords and the slightest accents of percussion. But in 2012, after the release of his album Pale Morning Light (TR 237CD/LP) and corresponding tour, Mayer turned away from this singer-songwriter style. He spent a year writing new material, then packed his bags full of songs and went looking for a band. In October 2014, Mayer (guitar), Patric Thorman (bass, Hammond organ), Henrik Roger (piano, Mellotron), and Lars Plogschties (drums, percussion) spent ten days in the grand recording room of Studio Nord in Bremen. The result was Golden, an album that brings to mind the music of the early '70s, the heyday of folk-rock, with songs that are at once warm and clear, laid-back and dynamic. Instead of the digital editing associated with most records in 2015, this album features the musicians playing together, standing in a half-circle. It captures a golden era when Hunter S. Thompson was writing Fear and Loathing in Las Vegas and Bob Dylan was riding on horseback with Kris Kristofferson through New Mexico. It was the time of the first indie songwriters, who flourished on both sides of the big pond -- here Townes van Zandt and Tim Hardin, there Nick Drake and John Martyn. But while the songs undoubtedly evoke folk and Americana, early '90s independent Britpop also shimmers between the lines. And yet this eclecticism has never been Mayer's ultimate goal -- in the end, he and his band sound only like themselves. It's no coincidence that the last track, "Telling Stories," makes use of tape delay, which seems to draw sound out into eternity. Musically and lyrically, Golden sheds light on the ordinary and everyday, finding subjects that might otherwise remain hidden. "The Pact" revolves around two people reminiscing about their youthful pledge to never become like the old. When Mayer's voice joins with his long-term musical acquaintance Ylva Ceder in the line, "never to become like them, never to give in," one can't help but think of two other voices, also "blending in perfection": Gram Parsons and Emmylou Harris. All through the album, this special songwriter, with a voice full of longing, carries you away to drop you off three minutes later at the place you once dreamed of being.



NOMINE: Blind Man 12" (TEMPA 099EP) 12.50
Blind Man, Nomine's fifth 12" for Tempa, offers his most atmospheric and immersive music to date. The gently plucked strings and trickling water of "Blind Man" summon up a meditative warmth mingled with inescapable creeping anxiety, all underpinned by seething sub-bass. "To the Sky" is a beautiful, vast abyss of a track; Iustina's vocals drift amid reedy drones and environmental sound, in an unlikely nexus between Coil and the rugged sound-system intensity of Digital Mystikz. "Nomine's Robot" is a sleek, broken techno slow-burner with an entire echo chamber's worth of reverberating drums; hypnotic dancefloor manna for the very early hours.


WIRE 375

WIRE, THE: #375 May 2015 MAG (WIRE 375) 9.50
"On the cover: Roscoe Mitchell (50 years after the foundation of the Association for the Advancement of Creative Musicians, the Art Ensemble of Chicago founder is still forging ahead); Harry Bertoia (The late US sculptor, designer and sound artist returns in spirit via an exhaustive box set of his recorded works); Legowelt (Prolific Dutch electronic musician and gear head Danny Wolfers is pining for the cyberpunk future); Invisible Jukebox: RP Boo (The footwork pioneer battles The Wire's mystery record selection); Global Ear: United Arab Emirates; Inner Sleeve: Mutamassik; Unofficial Channels: Psykick Dancehall zine, Bites, Brood Ma, Family Elan, and more...."



VA: Tiptop Audio Records Various Artists 001 2LP (TTAR 001LP) 23.00
LA-based modular instrument manufacturer Tiptop Audio launches its label, Tiptop Audio Records, with this double LP compilation. The remarkable return to the use of hardware through analog synthesizers and digital control interfaces has proven so strong that it prompted a rebirth of modular synths in a new format (Eurorack). Tiptop Audio made its name producing sophisticated but easy-to-use modules, designed to form a complete system especially effective for dance-oriented productions and live sets. Tiptop Audio Records selected for its first issue some of the most groundbreaking artists using such systems, to present a range of artists who, through their tracks, explore the landscape of dance music with a fresh perspective. These are the artists who inspire the Tiptop team to make more innovative devices, which are then used to make new music (a nice feedback loop). ANGLE, Blawan, Christian Burkhardt, Joao Ceser, John Tejada, Joseph Fraioli, Moe Espinosa (Drumcell), KiNK, Richard Devine, and Surgeon each contribute a track stamped with their own style and vision. Tracks range from Surgeon's trademark hard minimal beat to KiNK's gauzy dreamscape, while Richard Devine and Joseph Fraioli explore the outer reaches of beat-based music. The Phase VI team (John Tejada and Moe Espinosa) produces an endlessly shifting set of percolating rhythms, Christian Burkhardt and Joao Ceser put some 21st century twists on classic dancefloor patterns, ANGLE lays down effortless sophisticated continental style, and Blawan adds some industrial-toned menace. Released following original introductory video teaser and preceding video clips for individual tracks created by various visual artists. Cover art by Matteo Giampaglia.


TV 013LP

VA: The French Evolution LP (TV 013LP) 22.00
Trad Vibe records started in Paris in 2005 when two friends and open-minded musicians decided to set up a label that would mainly focus on vinyl releases. In times when Serato and other midi controllers dominated the DJ booths and when vinyl record sales were experiencing a major downturn, this endeavor did not look like an easy bet. Moar's Remixes, the label's first release, allowed Trad Vibe to set foot in the business and to meet people like Grandmaster Dee Nasty, Cortex (Alain Mion), Raashan Ahmad, The Audible Doctor, and many others, resulting in fruitful collaborations. Over 30 vinyl releases later, Trad Vibe is now proud to present a compilation including previously unreleased tracks and remixes by DJ Cam, 20Syl (C2C, Hocus Pocus), Venice Beach, Lord Funk, and Blanka (La Fine Equipe, Jukebox Champions), as well as new tracks by LS Brigandes feat. Insight, Moar & Elodie Rama, DJ Suspect & Doc TMK, King Most, and Madjir. Evolution is the label's goal. Also includes tracks, remixes, and appearances by Sarsha Simone, Real Fake MC, The Groovologists, Raashan Ahmad, and Aima the Dreamer.


UR 112LP

DAFUNIKS: Past Present Future... LP (UR 112LP) 23.50
Danish hip-hop crew Dafuniks bring back their brand of cool hip-hop soul groove with Past Present Future..., the follow-up to their 2011 debut album Enter the Sideshow Groove. Featured on the album are such internationally respected and artistically proven names as Afrika Baby Bam (Jungle Brothers), A State of Mind, Elias, Mattic, Barbara Moleko, Blacc El, Racecar, Billow, Kuku Agami, Particle Man, and Str8jakket. Dafuniks have had tremendous success with their previous releases, including airplay on radio stations in Europe, particularly in France and Denmark, and their music was featured in the 2014 American film Addicted, based on the bestselling novel Zane and distributed by Lionsgate. As a live band, Dafuniks have earned a great deal of respect for their ability to create a unique interplay, by combining samples, breakbeats, and live instruments into a fantastic live experience. Besides headlining a number of shows, they have had the chance to support several big names including American soul singer Bilal and hip-hop heavyweights De La Soul, MF Doom, El-P, and Pete Rock. The album's first single is "The Dance," which is sure to make you groove with its undeniable hook and great summer vibe.

UR 161LP

NILOVIC, JANKO: Soul Impressions LP (UR 161LP) 26.50
LP pressed on 180-gram vinyl. Following Underdog Records' 2014 reissues of brilliant and underrated Montenegrin-French multi-instrumentalist and composer Janko Nilovic's '70s albums Pop Impressions (UR 651LP) and Super America (UR 641LP), the label now presents a remastered reissue of Nilovic's 1975 album Soul Impressions. Nilovic was certainly one of the great studio talents of 1970s Europe, but his prolific output was mostly released on library music labels and largely not available for sale. His compositional wizardry encompassed the styles of jazz, funk, Latin, psychedelic, easy listening, classical, and pop; these genre-blending arrangements have since become a rich source of samples for contemporary hip-hop artists, including Jay-Z, Dafuniks, and Guts.



SUMME: Summe 12" (UTON 007EP) 12.50
Berlin-based collective ? (pronounced "summe") offers some hyper-textural and -percussive music. "These tracks should be regarded as an invitation. We would like to approach change, the new, and unknown with an open mind in order to challenge our perception of union and normality. We understand this music as a consolidation of communicative events which intends to interlink and encourage appreciation of complex differences through friction, interference, and beat instead of renouncing them by establishing perfect harmony... we focus on a joint musical and physical experience which also intends to make the impossible feasible." --?, Berlin, January 2015



The music on Will It Float? can best be described as classic British improvisation with an electro-acoustic twist. These are the major elements that run through the recording, creating a soundscape that is both challenging and engaging. The improvisations are freely made, without preparation, and are characterized by an extreme joy in playing and a desire to take chances while maintaining a firm focus on the group's identity. After playing in a successful duo with John Russell for a couple of years, Ståle Liavik Solberg decided to put together a quartet consisting of more musicians from the British improvisation scene. For him it was an easy choice to combine Russell with Steve Beresford and John Edwards, and Liavik Solberg arranged for the quartet to play at St. Mary's Old Church in Stoke Newington, London. Once the idea had taken root for the concert it became obvious they were embarking on something special and the decision was taken to call in renowned recording engineer Dave Hunt to record the music. John Russell, Steve Beresford, and John Edwards have been a part of the free improvisation scene in England and Europe for several decades, and have played together in many different circumstances during this time. Ståle Liavik Solberg is an active free improviser in Norway and is, among other things, a director of the extensive concert series Blow Out! in Oslo. Fred Lonberg-Holm got the task of mixing and mastering the album and Kjetil Tangen made the great cover art. John Russell: guitar; Steve Beresford: objects and electronics; John Edwards: double bass; Ståle Liavik Solberg: drums and percussion.



SAGAT: Melting the Earth Onto the Body Without Organs 12" (VLEK 018EP) 14.50
Truly emotional; tight, groovy rhythms travelling within layers of the deepest dark dub. Familiar but new. Precise funk made of techno frequencies. Reverb and delays that bring butter to your ears, melting the earth onto your body. "Melt" has a rhythmic pattern and synths that pop up like a living, breathing organism. "Earth" is the landscape: you can visualize it. "Organs" is your brain thinking about a better dance-world and "Body" is what remains to dance, like the old Gescom records used to. As usual, sleeve is hand-printed at the workshop with a mix of offset and letterpress.



SIBBLES & NOEL DELAHAYE, LEROY: This World & Pretty Looks 12" (WACK 1050EP) 10.00
2015 repress. "An exemplary performance even in the illustrious career of Leroy Sibbles, 'This World' dramatically matches techniques of big-city US soul music with classic dub. Curtis-style lyrics (delivered with gospel urgency) and jazzy, stylized horns counterpoint a sparse and reverbed rhythm, Wackies to the bone. This is sufferers' music at its most atmospheric, radical and expressive. The B-Side 'Pretty Looks' features an early Noel (Junior) Delahaye steppers tune and a DJ cut by Jah Scully, with sly-style double-drumming and sweet background vocals."


MS 2027CLP

CAPTAIN BEEFHEART & HIS MAGIC BAND: Trout Mask Replica 2LP (MS 2027CLP) 33.00
2015 repress. Red colored vinyl version, manufactured by Rhino.


XI 105CD

BEHRMAN, DAVID: Unforseen Events CD (XI 105CD) 11.50
1991 release. Unforeseen Events is one of many pieces David Behrman has made with computer software designed to interact in real time with a solo performer. The four sections recorded here were made specifically with Ben Neill's performance style in mind. The electronic timbres are intended to complement the sounds of his instrument, the admirable and humorous mutantrumpet, with its three separately-mutable and playable bells. Refractive Light consists of three small pieces based on an interweaving and overlapping of simple phrases. A musician strikes pitches that trigger responses in the form of sustained tones. The tones die out after a few seconds. While a tone is on it deflects the pitches of other "on" tones, so that harmonic changes occur at the on-and-off edges of overlappping layers. The idea can give rise to a kind of fanning or breathing rhythm that adapts itself to different styles of playing, and to a harmonic vocabulary with dozens or scores of family members.

XI 106CD

JOHNSON, TOM: Music for 88 CD (XI 106CD) 11.50
1992 release. Simplicity and clarity have always been among Tom Johnson's chief concerns as a composer. They led him to research number theory, particularly by Pascal, Fermat, and Euclid. These sources suggested musical structures somewhat more complicated than those he had used before. Music for 88 contains nine sections (six of which are on this recording), each of which is a musical demonstration of a mathematical phenomenon.

XI 107CD

LEACH, MARY JANE: Celestial Fires CD (XI 107CD) 11.50
1993 release. The works of Mary Jane Leach explore the physicality of sound, working very carefully with the timbres of instruments, creating combination, difference, and interference tones. Space is also an important concern: how sound changes when it is moved around a room. "Either enmasse or in antiphonal clusters, Ms. Leach's slow-paced and soothing music seemed intent on filling this high-ceilinged space with different densities of sound" --Bernard Holland, The New York Times. Celestial Fires features the New York Treble Singers (Virginia Davidson, conductor) performing four eight-part pieces for a capella women's voices; Shannon Peet performing "Feu de Joie" for seven bassoons; and Barbara Held and Ms. Leach performing "Trio for Duo" for alto flute and voice.

XI 108CD

FORWARD, FAST: Same Same CD (XI 108CD) 11.50
1995 release. Fast Forward is a composer and performer best known for his compositions for percussion, and music theater works for diverse instrumentation. His compositions push the juxtapositions of structured rhythms and total chaos to their limit, delivering a sonically dense and theatrically gripping performance. Same Same is a collection of live recordings from three concerts that took place in New York City during the period 1990-1994, with Takehisa Kosugi, David Moss, Ben Neill, Ikue Mori, David Shea, James Lo, Yuval Gabay, Guy Klucevsek, Michelle Kinney, Alex Tobias.

XI 109CD

FULLMAN, ELLEN: Body Music CD (XI 109CD) 11.50
1993 release. Body Music is music for Ellen Fullman's unique Long String Instrument, an 80-foot long instrument with approximately 80 strings. Fullman has long been developing this instrument for longitudinally vibrating long strings. Having received a BFA in sculpture, her interest in music began with the resonance of materials used in making sculpture. When she started making the Long String Instrument, she saw it as "sculpture as music"; now she has come full circle in conceiving "music as sculpture." For the most part, the music in Body Music relies harmonically on the diatonic scale. Because of the prominence of overtone content, more complex harmony is suggested. Through her studies of extended harmony, Fullman has come to realize that harmony is "dimensional."

XI 110CD

MACLOW, JACKSON: Open Secrets CD (XI 110CD) 11.50
1993 release. Open Secrets features Mac Low and Anne Tardos performing works for multi-track voices; and Robert Bethea, Andrew Bolotowsky, Daniel Goode, and Gabriela Klassen performing instrumental pieces. "Winds/Instruments" for flute, clarinet, trombone, violin, and narrator could well become a classic of new music, not only being beautiful, but also displaying Mac Low's witty use and love of words. Jackson Mac Low was first published in 1942. His multi-faceted career covers music, poetry, painting, performance, radio, and multimedia. Widely recognized for his work in the 1960's Fluxus movement, Mac Low has continued to produce musical works that meld aspects of several disciplines. In 1954 he adopted nonintentional procedures, including chance operations, indeterminancy, and related methods, but has also written and composed extensively by intentional methods. His many "simultaneities" include musical, verbal, and visual elements, usually involving guided improvisation and indeterminancy.

XI 116CD

ZUMMO, PETER: Experimenting With Household Chemicals CD (XI 116CD) 11.50
1995 release. Experimenting With Household Chemicals explores a trombone-specific method for generating melodic movement, as well as a collection of related, "spinoff" melodic material for ensemble. This method is a new way of seeing and combining slide and lip movements, so that performance can precisely follow well-defined mental diagrams while generating unexpected melodic material not conditioned by other, more common musical habits.

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