• Increase font size
  • Default font size
  • Decrease font size

Forced Exposure New Releases for 5/3/2015

E-mail Print PDF

New music is due from Alan Courtis & Aaron Moore, Shampoo Boy (Peter Rehberg, Christina Nemec, and Christian Schachinger), and Sóley Stefánsdóttir, while old music is due from Martin Rev, John Cage, and Wilburn Burchette.


we also accept orders via FAX at 781 321 0321.

and via mail:
FORCED EXPOSURE / 219 Medford Street / Malden, MA 02148 / USA

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

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



BRIAN JONESTOWN MASSACRE, THE: Musique de film imaginé LP (AUK 032LP) 20.00
LP version. Pressed on 180-gram vinyl. Musique de film imaginé (music for film imagined) is a soundtrack that pays homage to the great European film directors of the late '50s and '60s, such as François Truffaut and Jean-Luc Godard (to name but two), created by Anton Newcombe on behalf of The Brian Jonestown Massacre for an imaginary French film. Named in tribute to the legendary Rolling Stones guitarist and his influence in introducing Eastern culture and music into the world of western rock and roll, The Brian Jonestown Massacre formed in San Francisco, California in 1990. Two dozen band members and numerous ups and downs later (some of which have been famously sensationalized in the media), the one thing that has always remained consistent for this psychedelic collective is frontman Mr. Anton Alfred Newcombe. The Brian Jonestown Massacre returned to wide acclaim in May of 2014 with their 14th full-length album, Revelation (AUK 030CD/LP), the first of the band's albums to be fully recorded and produced at Newcombe's recording studio in Berlin. Also recorded in Berlin, Musique de film imaginé features vocals from French chanteuse and multi-instrumentalist SoKo and Italian actress, singer, and director Asia Argento. SoKo is signed to Because Music and her track "We Might Be Dead by Tomorrow" was featured in the viral video "First Kiss," which has garnered over 63 million views; the track debuted at number 9 in the Billboard Hot 100 in 2014. Argento, who has starred in music videos for Marilyn Manson, Placebo, and Tim Burgess, wrote the storyline for A$AP Rocky's 2013 cinematic music video "Phoenix," which has had over 5.5 million hits. Both vocal performances are in French. Newcombe recorded this daring symphonic experience in August 2014 after a successful European tour with The Brian Jonestown Massacre. Newcombe describes the work as "a soundtrack, my own creation, a tribute to great directors and filmmakers [and] to an era that now seems to be behind us. Leaving the smart person to care to imagine that this art could now be in the shadow of its former glory. The interesting thing about this project is that the film does not exist either. Even so, I imagined and I realized its soundtrack... Now it's your turn, you are the listener to imagine the film."



EMMANUEL, JD: Trance-Formations I: Ancient Minimal Meditations LP (ZORN 014LP) 25.50
2015 repress of the 2011 reissue of the original 1986 cassette. Pressing of 400 copies on 180-gram vinyl in full-color thick cardboard sleeve. Created between 1981 and 1985 by JD Emmanuel, a new age composer who has received a lot of praise from people like Lieven Martens and John Olsen. These recordings signify Emmanuel's praise to the course of the day. Starting off slowly with morning synth meanderings, walking through midday, running in the evening, and closing the day with midnight meditation. "Somewhere hidden in the deepest part of the Self is that special place, where One can go within to the most ancient part of one's Self and connect with the origin of Self. Ancient Minimal Meditations reaches into that special place of creation of the Self and its Oneness with the Creator of All." Recorded using three Sequential Circuits Pro-One synthesizers and a Yamaha SK-20 Poly-Synthesizer. 100% analog sound. Mastered by JD Emmanuel.


ROBERTSON, TIM: Outer Planetary Church Music LP (ZORN 037LP) 23.00
A friend of Aguirre recalls meeting Tim Robertson by chance in a thrift store in Barcelona, while eyeing a dusty Hammond organ: "He was born in Honduras, but moved out of there at a young age to several other countries such as Perú, France, and Norway. His parents were devoted to some religious organization and they were spreading the word all around. The last place they were sent to was Barcelona, hence the reason he was there. He learned to play the keyboards as a kid and performed in church. He told me his life changed after spending some years in Niger and Ethiopia. He returned from that experience totally renewed and decided to somehow capture all the ideas he had during his stay in Africa. He bought an old four-track recorder and started jamming around the simple but complex idea of how church music in space would sound. During the next two years he got obsessed with creating the compositions of the future temples on Saturn and Neptune. He recorded hours and hours of music. In the end, feeling totally frustrated, he decided to throw to the bin all those tapes. Well, not all of them. Happily he kept two as a gift to his parents. Sadly, his parents passed away some years later. While cleaning their apartment he found the tapes and with the passing of time he decided to keep them as a memory of that crazy time. I was really curious about those tapes so I asked him if it would be possible to listen to them. After a couple of minutes I was totally captivated by them. It was so strange. The kind of repetitive music with cheap keyboard presets. So rough, basic, and fragile. It was then I told him that I felt more people had to listen to those recordings. After quite a bit of arguing, he finally accepted. 'At least I'm sharing the word of God with more people,' he said. So 20 years after they were originally recorded I'm proud to share with everyone out there these seven tracks by a man who had a strange vision: compose the perfect soundtrack for the buildings where future space travelers would praise the lord. You can now judge with your own ears if he achieved his goal or failed. Peace!" Recorded in 1993. Remastered from the original tapes by Anders Peterson. Pressed on milky white vinyl. Artwork by Tim Robertson. Layout by Jeroen Wille. Limited to 300 copies.



DAMIEN DUBROVNIK: Vegas Fountain LP (ALT 020LP) 23.50
Copenhagen-based industrial duo Damien Dubrovnik (aka Posh Isolation founders Loke Rahbek and Christian Stadsgaard) follow up 2013's First Burning Attraction (ALT 008LP) with Vegas Fountain. Rahbek and Stadsgaard have continued to be consistently busy as label bosses but even more so as artists, performing more frequently worldwide and building a reputation for their fierce and powerful live show. They have also continued to hone their craft in the studio and found a working rhythm in which their live performance feeds into the studio work and vice versa. 2014's Patterns of Penetration 7" (ALT 701EP) was a teaser for this developing practice, but it arrives here full-force with Vegas Fountain, Damien Dubrovnik's strongest work yet. In the first couple of minutes of opening track "On It's Double," you get a sense that things have moved forward artistically in Rahbek and Stadsgaard's world. The clear production breathes a subtlety into some of the sonics here that perhaps wasn't revealed through the murk on previous records, heightening a tension that at some points breaks and dissolves into something almost melancholic -- evoked by the reflective landscapes of "Interior 2: See Water Glass" and "Interior 3: Matching Window Blinds." The attack remains however, with the punctuating saw-toothed bass notes and screaming tones of "Interior 1: Upper Lip" (considered "problematic" to cut by the mastering engineer), and the finale of the title-track, which has all the drama and explosive euphoria of their live show. Vegas Fountain is co-released by Alter and Posh Isolation.



"The images were shot in New York between 2001 and 2002. It was during the time when we were still in shock from 9.11. The stars and stripes suddenly became visible everywhere in the city. Soon after, the invasion of Afghanistan started. Everybody was living under an indefinable fear -- not knowing what would happen in the future" --Aki Onda. Lost City started as a series of photographs shot by visual artist and composer Aki Onda in New York right after September 11, 2001. A decisively introspective response to a major world event, his pictures were devoid of direct references, but documented his immediate surroundings, focusing on how what happened resonated on a personal micro-level. Since 2005, Onda has been presenting this series as slide projections, which function as a visual score for improvisation, and performing with NYC avant-garde musicians Loren Connors and Alan Licht. The two improvisations on this LP were recorded at Anthology Film Archives in NYC in 2007. Lost City contains the vinyl, a folded 20 x 30 inch poster with the complete photograph series, and an A4 risoprinted booklet containing the accompanying text written by NYC-based curator/writer Niels van Tomme. The record's A-side is a duo piece between Connors and Licht that consists of wandering, buzzing guitar drones with occasional noisy eruptions. It highlights the almost twin-like connection between the longtime collaborators, with telepathic intersecting guitar lines and a sense of unease seeping through. The B-side is Connors's lyrical, atmospheric solo performance, equally sparse and spacious. Limited to 350 copies.



Legendary trumpeter Jac Berrocal joins two fellow travelers in the French avant-garde, David Fenech and Vincent Epplay. A lugubrious mise-en-scène in which ice-cold outlaw jazz meets musique concrète, DIY whimsy, and dubwise studio science, all watched over by the lost souls and hungry ghosts of rock 'n' roll. The trio's first album together, Antigravity is a richly imagined universe combining original compositions and détourned standards. Berrocal revisits his own signature piece "Rock 'n Roll Station," which first appeared on his '77 LP Parallèles (TES 037CD) with chain-wielding, leather-clad wildman of British rock 'n roll Vince Taylor singing the lead, and Berrocal on mic'd up bicycle; here, the Frenchman takes the vocal reins. A barely recognizable interpretation of Talking Heads' "The Overload" pushes beyond the bush of ghosts into a fourth world dread-zone of stalking drum-machine rhythms, humid electronics, and jagged guitar phrasing, while "Where Flamingos Fly" reroutes the Gil Evans Orchestra's classic rendition through the seamiest back-streets of the 13th arrondissement; there, as on the trio's reading of "Kinder Lieder," the mood is romantic, but stark, isolationist: imagine Chet Baker falling through the glacial sound-world of early PiL or Scott Walker's Climate of Hunter. Originals include the agitated Iberian psychedelia of "Spain," and "Panic in Bali," which begins in seemingly trad-jazz fashion only to swell into a cacophony of a gurgling electronics and fevered "Lonely Woman" quotations. "Solaris" is a swirling, suspenseful arabesque of whiplash guitars and Black Ark FX, Berrocal's trumpet hitting deep blue notes while his vocals are sliced and diced and tossed into a yawning void of tape-delay -- like Antigravity at large, the result is oblique, dissolving, forever out of reach. Despite the chilly, sometimes austere mood of the album, it is, ultimately, a deeply human and welcoming work, with a playfulness and sly humor pervading; see the anarchic cross-hatch of "Ife Layo," or the CD-only track "L'essai des Suintes ou le bal des Futaies," Berrocal's poetic disquisition on the infinite variety of female genitalia. Mischief and misdirection are rife here, and fans of Officer!, Henry Cow, and the ReR axis will find much to chew on. Play, as we know, is serious business. Put another way, and to quote Berrocal entirely out of context, Antigravity is completely crazy, completely timeless, completely out. As its title suggests, the objective is nothing less than lift-off, weightlessness, a total unshackling from earth. Sunglasses on, collar up, let's go.


The Vienna-based trio's second LP following 2013's crushing debut Licht (BLACKEST 016LP), Crack finds Peter Rehberg (Editions Mego), Christina Nemec (comfortzone), and Christian Schachinger crafting a powerful alloy of extreme electroacoustic music, luminous ambience, and the mineral fundaments of rock and black metal. Opener "Spalt" immediately signals a departure from the monolithic doom of Licht, conveying instead a sense of adrenalized movement, of acceleration toward an ever-receding horizon. There is no percussion, yet Nemec's chasmic bass and Rehberg's protean electronics give rise to an unstoppable momentum. Schachinger's highly lyrical, spiraling guitar improvisations nod to Fripp and Göttsching, but Shampoo Boy's vision of the cosmos is more hard-boiled and unforgiving than that of their forefathers. On "Riss," slow, ceremonial down-strokes suggest a return to Licht, with the addition of Rehberg's unintelligible conversation-snippets, machine noise, and nameless natural currents mingling in pernicious hybrid forms that curl and ricochet about the stereo field. Subterranean bass tones, meanwhile, seem to reverberate from an ancient and appalling source. It's typical of Crack's unorthodox Weltanschauung, however, that just when we think the game is up, we are faced not with oblivion but with potential absolution: "Riss"'s closing section is a gravely serene tone-painting. Side B is given in its entirety to the three-part "Bruch," the most potent and pugilistic manifestation of Shampoo Boy's brute psychedelia to date. Part I is a near-gothic assemblage of tortured computer processing, abyssal drones, and stray industrial noise. This gives way to the calm but agonized concrète of part II, sparse, minimalist, dub-damaged. The broiling digital synthesis of part III complements annihilating slow-motion riffage; a thuggish monochord attack that feels almost Stooge-ian -- grungy, swaggering, sewer-savvy -- but doubles back into abstraction. It becomes impossible to distinguish individual instruments, processes, or contributions; the group mind takes over, the third eye is on fire, and the album climaxes in a black flash of negative ecstasy. Epic in scale, complex in mood, and dazzling in technique, Crack is a momentous achievement from three improvising musicians at the height of their powers. A lived-in and emotionally charged work, harrowing but energizing, it is also a sustained achievement of arrangement and post-production remarkable even in light of its makers' pedigree: the harshest and heaviest passages are rendered with a sense of space and richness of detail that is truly otherworldly. Russell Haswell's astute mastering amplifies this, resulting in one a supremely exhilarating and rewarding work.


CH 4805LP

AHBEZ, EDEN: Eden's Island LP (CH 4805LP) 23.00
It is 1960. Rock 'n' roll has just lost a couple of its protagonists during this and the previous year. The time of the great balladeers has just begun but soon will run out, due to the new and exciting beat invasion. In the US mainstream, the tiki culture has reached a certain peak and is about to collapse, but still goes strong, and with it comes the so-called "exotica" music, a crossover between smooth jazz and swing, Latin grooves, and haunting melodies rooted in global folk traditions, plus weird sound effects that often create a spooky jungle or dreamy island beach atmosphere. See palm trees growing out of your speakers; witness monkeys and parrots having fun in your room. eden ahbez (1908-1995) lived a consistent dropout and hippie lifestyle way before the movement was born in the mid '60s. As a poet and composer, he wrote the hit tune "Nature Boy" that gave Nat King Cole his first big success in 1948. On Eden's Island, originally released in 1960, he approaches the field of exotica music from a different point of view, creating an epic concept album about a utopian society living in peace and harmony on an island far away from the modern western world as we know it. Relaxed grooves; easy-listening swing; Latin patterns; peaceful, dreamy, even transcendent vocal melodies; tinges of folk music from around the world; and a whole color palette of mind-expanding sounds, with narrated lyrics and eden ahbez's wood flute. A truly unique effort; highly recommended to exotica aficionados who, for example, love Frank Hunter's 1959 White Goddess album. Psychedelic music before the term was even invented.



NOZE: Come With Us 2LP (CCS 095LP) 25.00
Double LP version. Includes download code for the album, plus bonus remix tracks. Four years after their 2011 album Dring (GPM 035CD), French house duo Nôze present their fifth album, Come With Us. Once again the pairing of Nicolas Sfintescu and Ezechiel Pailhes has yielded a collection of captivating and curious songs that could only come from the unique sound-world they inhabit. From their early experimental house days through their song-based material for Get Physical, the Parisian duo have always pushed their sound to deliver a new experience for themselves and their listeners with each release. On this occasion, Come With Us finds Sfintescu and Pailhes in a particularly introspective mood, reveling more than ever in personal reflection, both musically and lyrically. "Saint," for example, conjures up the romanticism of dustbowl blues with its vagabond guitar tones (played by longtime collaborator Thibault Frisoni), while Sfintescu's voice reaches new distinctive heights in spellbinding tales like "Apache." Emiliano Turi also lends a new sense of natural groove to the Nôze sound with his live drumming, and as ever, Sfintescu and Pailhes are keen to bring their friends into the fold for guest vocal spots. Dani Siciliano spars beautifully with Sfintescu on the disco-inflected album opener "I Need to Know." dOP vocalist JAW, fresh from his 2014 Midtown project (CC 016CD), joins in for the bittersweet balladry of "Come With Me." Although they may be committed to exploring more intimate forms of musicianship, Nôze are not a duo who have forgotten their dancefloor roots, and in recognition of this they offer up electrified alternative versions of every track on the album, available (along with the original album) via download code included with the double LP version. As a body of work in its own right, these are less remixes and more original productions rich with the warmth of synthesized tones and powered by mechanized drums. The '70s feel of the album transfers to the remixes, the comforting hum of arpeggios and Moog growls finished off with a snappy modernity. On every level, Nôze have delivered an album that will satisfy their ardent fans of many years while demonstrating their expanding repertoire as they grow as artists. From the beginning it was clear they would never rest in one place, and now Come With Us is the perfect invitation to carry on down the path with two of Circus Company's original ambassadors.



GUMMIHZ: Club Cuts 12" (CLAAP 019EP) 12.50
Two heavy dancefloor tracks spanning from acid to dub house/techno. "Acid jazz" is a serious dancefloor weapon with a characteristic killer TB 303 bassline and airy jazz piano licks, produced in 2010. "8AM groove" is a dub cut that, with typical GummiHz finesse, rolls effortlessly between Detroit house and techno.



WILD FIRE/TRU TONES: Try Making Love (Al Kent Version)/Dancing (Roger Thornhill Edit) 12" (COS 504EP) 13.00
"Released in conjunction with the next volume of the Tropical Disco Hustle compilation series are two re-edits of hot Caribbean disco madness. First up is an edit of Wild Fire's 'Try Making Love' by UK disco remixer Al Kent. This sleazy disco tune gets the full remix treatment complete with filters and orgasmic sound effects. The B-side is a nice rework by Roger Thornhill of the instantly funky 'Dancing' by the Tru Tones. This is an exclusive edit that won't be on the Tropical Disco Hustle 2 compilation. Both tracks are a great preview of what's to come on the second installment of Tropical Disco Hustle!"



COURTIS/AARON MOORE, ALAN: Bring Us Some Honest Food LP (DWR 010LP) 22.00
Pressed on 180-gram vinyl; housed in Dancing Wayang's customary hand-screenprinted wrap-around sleeve featuring a bold potato-print design by the label's own Anna Tjan. Exclusive liner notes courtesy of Tom Recchion (Smegma, Los Angeles Free Music Society). Dancing Wayang is thrilled to release Bring Us Some Honest Food, a collaboration between Argentine guitarist and multi-instrumentalist Alan Courtis and Brooklyn-based British drummer Aaron Moore. Recorded at London's Fish Factory Studio in 2014, it sees both musicians explore sounds and instruments far beyond their regular guitar and drums setups, utilizing anything from grand piano and balafon to metal lampshades and wooden staircases. Courtis (formerly Anla Courtis) co-founded Argentine power trio Reynols, and has collaborated and performed with Kawabata Makoto, Oren Ambarchi, Lasse Marhaug, and many more; Moore has détourned music most regularly as part of Volcano the Bear, who came to attention in the late 1990s through their imaginative live performances and recorded output. Bring Us Some Honest Food merges and develops the postal collaboration techniques of their previous releases; this is music created in real time, face-to-face in London, then layered and collaged afterward by (digital) post across continents to produce the intricate découpage effect heard here. It is a disorienting experience to listen deeply to this music. These lengthy pieces sound densely structured and composed with the precision of a Glenn Gould tape edit, but with a seat-of-yr-pants improv feel that brings the threat of collapse and chaos. In that sense it echoes krautrock pioneers going crazy with tape and razor blades decades ago, with a similarly kosmische expansiveness, but filtered through a wealth of avant knowledge and praxis. In short, neither salon nor sweat-pit, though informed by both. Bring Us Some Honest Food is all noir and shadow. The slammed piano chords of "Portions of Honesty" are repeated maddeningly, feeling like the shadow of Nosferatu creeping up the stairs. The muted trumpet of "Dishonest Dessert" accrues portentousness over 20 minutes, echoing the ever-more-insistent piano. Throughout the album sounds drift in and out, from foreground to background, cut off, backwards. Vocals are muffled, distorted; recognizable sounds redacted. The listener's ears skitter across the stereo envelope like an extra-wired sentry on guard duty. This is an involving, demanding, rewarding, and immersive album. Chance encounters are mercifully all around us but while all are welcome few are as serendipitous as this bizarre and blessed encounter of Brooklyn and Buenos Aires, and now London.



GREEN GUMS: Black Tongue EP 12" (DIAG 020EP) 16.50
Dom Butler (Factory Floor) and Richard Smith (L/F/D/M), the gnashing duo behind Bronze Teeth, bare their Green Gums alias, delivering a more acrid tang, still produced on vintage analog hardware, but with a more infected, slavering effect favored by everyone from Ben UFO to Powell. "ZoZoMoNo" bites down hard with a zig-zagging, serrated 303 sequence and locked-on EBM groove; "Dag" shoots from the hip with revving bass and stripped-down, strobing synths. "Cestoda's Labyrinth" sparks psychotic jack patterns on chewy offset bass rubs with reel Chicagoan grit; and "Tap Dancing Goat Man" bangs slow like some brute edit of "Burundi Black."


DH 002EP

SIECH, PATRICK: Generator 12" (DH 002EP) 14.00
Swedish label Dirty Hands delivers a motor-driven techno 12" from Patrick Siech. Label boss Per Hammar says, "When Patrick gave me this track, I played it in every set for the three months. When he later told me that he hasn't found a home for it, we said in unison, 'Let's do a Dirty Hands release of it!' And after that moment, all my previous plans for the label were deleted." With Siech's ruthless original paired with Hammar's jungle-sounding edit on the flip, this release is nothing less than a key into these producers' minds.



TOBA: Contem 12" (DISCOBAR 002-1) 14.00
Toba presents an EP of minimal techno with a touch of deepness. Baptiste Veilhan aka Toba offers a glimpse of his universe, formed over more than ten of experience in production with the trio Antislash. This is his first solo appearance.


TOBARK: San Diego 10" (DISCOBAR 002-2) 14.00
Toba is back in a collaboration with Ark for this special release. Two tracks with an incredible atmosphere; a testament to the experience of each of these guys.



FRANKEY & SANDRINO: Lost/Starchild Remixes 12" (DPC 055EP) 12.00
Frankey & Sandrino, hailing from Germany, delivered one of the most outstanding 12"s of 2014 with Starchild (DPC 052EP). Their track "Lost" featuring London-based singer Jinadu was one of the most played tracks during the closing of Amsterdam's legendary Trouw. It was championed by many established DJs such as Âme. Since then they've released a 12" on Innervisions, and their reputation is still on the rise. They continue to make a name for themselves with this 12", which features remixes by Washerman, MUSK, and Hyenah.



WALLS: Urals LP (ELP 010LP) 18.00
LP version. Pressed on white vinyl. Walls (Alessio Natalizia and Sam Willis) return with their third and final studio album, Urals. Urals is the conclusion of a three-album cycle that began with their self-titled debut in 2010 (KOMP 082CD/KOM 212LP), and continued in 2011 with Coracle (KOMP 091CD/KOM 245LP). This album is an accumulation of four years of studio exploration, inverting their signature sound into a new, more intense dimension, the duo once again exploring futuristic vistas with their coruscating synth lines, spiraling guitar figures, and howling distortion and noise. Informed by the creation/curation of their burgeoning Ecstatic Recordings imprint that has seen them release music by kindred spirits such as Pye Corner Audio, Axel Willner (The Field), and L/F/D/M, among others, as well as their own individual explorations (Natalizia's caustic, minimal synth workouts as Not Waving, and Willis's lurid, ritualistic techno as Primitive World) Urals pushes the envelope a long way from the template they set out with on tracks such as "Burnt Sienna" or "Hang Four." From the stumbling, off-kilter groove of the title-track to the probing kosmische pulses of "Altai" to the intense, ear-shredding acid of "I Can't Give You Anything But Love" to the sublime synth-scape paean "Radiance," it's clear that Willis and Natalizia are taking leave of the Walls project at the top of their game. Mastered by Sonic Boom (Spacemen 3, Spectrum) at New Atlantis Studios. Limited edition LP pressed on white vinyl.



FAR: Inevitable Collapse 12" (EDLX 042EP) 12.50
With Inevitable Collapse, FAR rejects templates and dancefloor patterns, turning in four works of spontaneous techno contemplations. "Hypocrite" opens with billowy synths weaved into a desolate sci-fi landscape. "Ignite" then wields hand drums and sparse electronic meditations akin to early Shackleton-meets-Aphex Twin through a Polygon Window. "Carrier" is as chugging techno as it gets, albeit haunted by a deconstructive FAR presence. Finally, "Smash the Walls" concludes in rolling waves of unpredictable surf. Recorded in long single takes and produced with solicitous mix-downs, Inevitable Collapse is an intriguing debut for those more peripherally inclined.



HOOD/FLOORPLAN, ROBERT: Shaker/Ritual 12" (EPM 010EP) 12.50
A double-header from the M-Plant master himself, uniting Robert Hood's two dancefloor personalities (his given name and Floorplan). Following his 2014 celebratory comprehensive compilation M-Print: 20 Years of M-Plant Music (MPM 025CD), "Shaker" immerses you in those late-night moments when Hood graces the decks. It's pulsating and hypnotic; stripped back to the essentials. The beats, the groove, the perfectly placed vocal snippet -- nothing is superfluous here. Hood's Floorplan touch is all over "Ritual." A shuffling Chi-town flavor, trademark hi-hats, and a beast of a bassline underlie the track, with elegant synths that build to dizzying heights.



YAMASUKI: Le Monde Fabuleux Des Yamasuki LP (FES 002LP) 23.00
LP version. The weirdest exploito-pop attempting to fuse western popular music with folkloristic elements of different origins came from the '60s and early-to-mid-'70s. Among tons of more or less entertaining releases a few diamonds could be found and Le Monde Fabuleux Des Yamasuki (1971), the brainchild of French composers Jean Kluger and Daniel Vangarde, is definitely a stand-out production in this field. "Yamasuki" is a fictional Japanese person about whom Kluger and Vangarde created a musical concept story with a black-belt judo-master doing all the battle-shouts and a female choir, the so-called Yamasuki Singers, taking the lead vocal duties. All-Japanese-language lyrics, of course, with strange grammar. At least, it sounds Japanese -- that's all that matters. The music itself is a simmering mixture of typical bloomy late '60s pop music with a psychedelic edge, elements of funk in the rhythmic department, and some fuzzed-out acid rock tunes thrown in for good measure. The Eastern flavor might just be an illusion due to the language but all in all Yamasuki is a beautiful western pop art vision of Japanese music. In fact it sounds and feels like many contemporary bands and projects that combined colorful power pop with a heavier guitar sound and regional peculiarities, resulting in a simmering sound cocktail with fresh and exciting melodies. Yamasuki comes close to Omega (Hungary), AKA (Indonesia), and San Ul Lim (South Korea), even as an exploito-pop project. Fans of rich melody patterns will have their minds blown by this album. With Latin-based funk and samba rhythms flowing beneath a lush vocal arrangement, as in "Okawa," Yamasuki is made to abduct you from reality and lead you into some exotic dreams. Well produced and well executed. Close your eyes, drink some sake, and find yourself transported to an ancient Japan as it exists only in your dreams.


SHANKAR, ANANDA: Ananda Shankar and his Music LP (FES 003LP) 23.00
LP version. The name "Shankar" is most famously associated with Ravi Shankar, the grand master of contemporary Indian folk music who was very popular in the '60s due to his connection with the American music industry, despite staying away from pure pop music by maintaining his classic sitar-and-tabla-style drone ragas to express himself musically. Bengali musician Ananda Shankar was Ravi Shankar's nephew, and he also traveled to the USA, to gather inspiration from rock artists like Jimi Hendrix, among others. His 1970 self-titled debut album, a conglomeration of classic Indian folk tunes and instrumental versions of the hottest rock songs of the day clothed in a veil of sitar melodies and backed up with tabla drum grooves, was an attempt to combine the spiritual approach of his cultural origins with the light-minded blissful attitude of western psychedelic pop music -- a groovy little album. After its release, Shankar took a five-year break from recording to create his second album, reissued here. The cover tunes were replaced by all-original compositions with a lush instrumentation that features the typical sitar, tabla, and bowed string instruments such as the sarong and the sera, mixed with sounds that have a definite western origin such as rock guitars, Hammond organ, and Moog synthesizers, plus full drum kits to enhance the actual groove. Psychedelic rock, raga, fusion-jazz, and funk flow into each other quite naturally, giving birth to something fresh and exciting one might call "Bengali pop." The borders between eastern and western music dissolve. For the most part, Ananda Shankar and his Music is quite accessible, and comes with a certain slickness. Still, there is the other side of the coin, the spiritual depth that pop music often lacks. This might have been too far out for the average western mainstream fanatic back in 1975, when disco began its rule, but it is an awesome sound trip for fans of psychedelic dance music like the Incredible Bongo Band and all eastern-influenced popular rock.


FD 5001LP

BURCHETTE, MASTER WILBURN: Opens the Seven Gates of Transcendental Consciousness LP (FD 5001LP) 23.00
LP version. First reissue of this stunning, dark, mysterious instrumental 1972 work by Wilburn Burchette, mystery of 1970s experimental guitar music. In place of regular songs there are several layers of chord and melody patterns shifted upon each other, performed on a semi-distorted electric guitar with a strong echo effect. A few other instruments may have been used as well, but it's also possible that there are only electric guitars on this album. Even the oscillating buzz of "Transformation" could easily be created with a guitar and a few effect machines. Halfway through the tune the music knocks over into some very bright and jubilant guitar melody structures. The album as a whole has a krautish vibe, due to the repetitive layer-upon-layer structure of the compositions. It has an ethnic folk edge due to the use of Spanish and eastern folk harmonies. Burchette intended to create spiritual music to expands the listener's mind in a positive way, and bring the soul and body into a state of enlightenment. Global folk music surely had an influence on this guitar masterpiece, and even though there are many mood changes, from the obscure lairs of the ancient druids to the light-filled Celtic springtime ceremonies, this record really lifts the spirit and cleanses all stress, anger, and pain from it. Although it was not created in Germany, this album could be a typical experimental and even cosmic release of the krautrock scene from its era. The years from 1970 to 1974 saw quite a few similar releases. The closing track, "Realization," in particular, is a beautiful example of cosmic guitar music as it was produced only in that short period of time. It begins with some whistling fizzling buzz and then changes to a calm and mystical chord structure with strange echoes and spooky howls in the background. "Realization" slowly develops into a maelstrom that drags the listener into a musical black hole. Not as wild and heavy as the early Ash Ra Tempel albums, this piece could easily be a composition of guitar legend Manuel Göttsching. For fans of blues- and folk-based yet utterly freaked-out and dirty echo guitar music and cosmic sounds such as A.R. & Machines, early Tangerine Dream, early Kraftwerk, the aforementioned Ash Ra Tempel, Walter Wegmüller, or Gulââb.

FD 5002LP

WARNER, EDDIE: Progressive Percussions LP (FD 5002LP) 23.00
LP version. Eddie Warner, born in Magdeburg, Germany, in 1917, was one of the leading figures in European exotica in the 1950s, operating from France, where he ended up at after the war. His repertoire of styles included several kinds of jazz- and Latin-based dance music such as mambo, baião, and chachachá, but, as a tireless explorer, he also found refuge in the library music and electronic sounds department. A cornerstone of his work in that field, Progressive Percussions, was originally released in 1968 and has not been reissued since, until now. Library music was always meant to be used for the soundtracks of movie and TV productions or commercials, so not many people outside of that world have taken notice of this colorful masterpiece. It was not uncommon for such late '60s productions to consist of powerful, funky, and jazzy rhythms; fuzzed-out guitars; and steaming keyboard work. Eddie Warner and his compatriots spice up these standardized elements with freaky electronic chimes, Morse code sounds, and even outbursts of free-format psychedelic eruptions that will blow your mind. The title suggests that Eddie Warner and his musicians often emphasized the groove; a tight netting of polyrhythmic patterns is conjured by the regular drummer along with some skillfully executed xylophone work and some handy percussions that rattle and ping somewhere within this jungle of grooves. Rock and heavy funk are the predominant styles from which this studio band starts its musical expedition. Despite being European, Eddie Warner and his mates hit the frequency of pure hot-blooded power-funk and heavier west coast rock played mostly by American bands from California to Detroit and NYC in the late '60s. When this group calms down a bit and gets in the mood for a Latin- and jazz-influenced jam, you as the listener find yourself in a smokey psychedelic club somewhere in San Francisco until the song and your trippy dream end. While most of the time you could imagine a rampant jam session of Sly & the Family Stone, Quicksilver Messenger Service, and Jefferson Airplane, the pure electronic moments here are years ahead of their time and should have been a massive influence on later German pioneers such as Kraftwerk, NEU!, or Cluster. An adventurous piece of music for fans of groovy, sexy, and mind-expanding music based on what the pop scene in 1968 had to offer. Close your eyes and join the space dance.

FD 5003LP

GARSON, MORT: Mother Earth's Plantasia LP (FD 5003LP) 23.00
LP version. Mort Garson is well known as one of the pioneers of electronic music in the late '60s; some may have heard of his contributions to quite a few pop hits back in the day, when he wrote and conducted orchestral arrangements for one or another popular artist. During the second half of the 1960s Mort Garson and his sidekicks Paul Beaver and Jacques Wilson, among others, discovered Robert Moog's synthesizer and made it an integral part of their future-pop music even before Wendy Carlos released her famous and fabulous Switched-On Bach album in 1968. Garson recorded and released Mother Earth's Plantasia a few years after his albums The Zodiac: Cosmic Sounds (1967), The Wozard of Iz: An Electronic Odyssey (1968), and Lucifer: Black Mass (1971). Every fan of unique psychedelic (The Zodiac) and mind-bending electronic music (the two others) should certainly lend an ear to these three masterpieces, but there was more to come. Plantasia, originally released in 1976 and not reissued since until now, is subtitled "warm earth music for plants... and the people who love them." As you can imagine, it's a rather bright affair, far from the dark and seething atmosphere of the earlier electronic pieces. A shining diversity of stylistic devices creates dreamy and colorful compositions, warm yet haunting, with a rather sinister vibe in their most playful and surreal moments. It's a feeling that, despite the apparent peace and relaxation, something utterly dire is about to rise up. Still, these are only a few passages, and when Mort Garson and his mates move on from lush orchestral soul arrangements to more tribal sounds, you will drift with them from one scene of your inner mind-movie to the next. The technical options had improved since the late '60s, and the album features electronic percussion that conjures up memories of records by German electronic pioneers from the same era such as Cluster, Kraftwerk, and Tangerine Dream. And despite the twinkle-toed harmonies and big arrangements that point at the big band music and orchestral pop from which Mort Garson originated, the whole work is futuristic and intriguing. Rather like an old science fiction movie than a horror film, though its identity is open to interpretation. The best way to enjoy this masterpiece of synthesizer music is to lay back and close your eyes while drifting away into a territory still unknown to man.

FD 5004LP

STRINGTRONICS: Mindbender LP (FD 5004LP) 23.00
LP version. This album, originally released in 1972, can be put in the field of so-called "library music," records made for use in movies and TV productions, commercials, and for similar purposes to enhance the tension of the atmosphere in very dramatic scenes or accompany the more mellow and relaxed moments with lush harmony carpets. And of all these library albums, this is one of the most sought-after by collectors around the world due to the musical quality of its content. And so we sit back, relax, close our eyes and get ready for the movie that only exists in our imagination. Stringtronics take us on a journey from the dark city gorges of any North American metropolis, where steaming hot, funky, and jazzy rhythms amalgamate and are clothed in a veil of lush string arrangements, to the banks of the river Seine, where painters draw portraits of tourists and people sit in the sun, relaxing to the typical chanson melodies full of melancholy and joy. In there is a tinge of the 1950s exotica music here and there, alongside Latin grooves and some rock elements shining through in the soundscape. It is fantastic but not easy to categorize -- it could appeal to fans of US movie soundtracks from the early '70s and late '60s created by folks like George Clinton, but also to those who enjoy the early works of such electronic pop pioneers as Wendy Carlos, and to space-age pop aficionados. It is all here, and the participating musicians paint their melody-and-rhythm patterns with an enormous feeling for depth and emotion.



COSMIN TRG: Uzura/Vitriol 12" (FIZIC 002EP) 14.00
Cosmin TRG returns with another pair of killer modular techno tracks on his own label, Fizic. A timely reminder of the former Rush Hour and 50 Weapons producer's singular sound. "Uzura" starts with a brutal and blistering wall of rhythmical white noise. When drums do drop in, the fuzzy, scuzzy intensity remains and listeners are propelled along a frosty horizon with slithering synths, frazzled sirens, and hiccupping percussive sounds. "Vitriol" features spiraling pads, high-stomping drums, and a mangled acid line. An arresting EP of hugely textural techno that will surely dissociate and dislocate minds and bodies whenever it is dropped.


FJ 003EP

GLANCE, PHONK D & SASCHA CIMINIERA: Threesome EP 12" (FJ 003EP) 14.00
Thorsten Scheu aka Glance, co-founder of the famous Running Back, is back on the track. Footjob's third release is a ''threesome-job'' with Phonk D and Sascha Ciminiera working the floor, ready to make you dance!



SLEAFORD MODS: Mr. Jolly Fucker/Tweet Tweet Tweet 7" (FDS 088EP) 12.00
2015 repress. Sleaford Mods started around 2006 in Nottingham by Jason Williamson. Born out of frustration and by accident, it quickly found its feet as an aggressive attack on all that is contrived and connected to the day-to-day hammer of low paid employment. "Mr. Jolly Fucker" and "Tweet Tweet Tweet" sees the duo continuing their sometimes raucous yet always edgy melding of mean hip-hop beats, often savage poetic observations (think whizzed-out Mark E. Smith) and snarling punk attitude. A full-on kick to the senses inspired by the Sex Pistols, The Last Poets, and '60s garage and soul music.


FR 001-2CD

FELDMAN, MORTON: Crippled Symmetry: at June in Buffalo 2CD (FR 001-2CD) 21.00
Restocked. In 2000, Eberhard Blum (flute, alto flute, bass flute), Nils Vigeland (glockenspiel, vibraphone) and Jan Williams (piano, celesta), American composer Morton Feldman's close friends and collaborators, came together once more as The Feldman Soloists to perform Crippled Symmetry, the trio Feldman composed for them, on the 25th anniversary celebration of June in Buffalo, the festival he founded. The recording of this concert is now finally available on CD, and is destined to become the reference recording of this work. Required listening for all fans of Feldman's rich, hypnotic world of enigmatic harmony and mnemonic echo. Mastered by Denis Blackham, and presented in a card package which unfolds to reveal the musicians' "butterfly-like" arrangement on stage. "This turned out to be one of the best performances that we had ever given together. The rare and indescribable 'magic moment' of occasion and ambience seems to have inspired us. The recording of the concert belongs to my most valued sound documents. When I listened to it for the first time, my immediate reaction was: this performance ought to be available on CD. Now, ten years later, it is." --Eberhard Blum



RROSE PLAYS JAMES TENNEY: Having Never Written a Note for Percussion LP (FUR 099LP) 23.00
Rrose (Sandwell District, Eaux, Stroboscopic Artefacts) has found her own niche in the American techno underground. Her hypnotic tracks incorporate ideas from ambient and minimalist music as prominently as they do the history of dance music, operating in the same fruitful cross-section between techno and the abstract as many other Further Records releases. Rrose's debt to experimental music has never been more obvious than on September 20, 2012, when he performed legendary composer and electronic/computer music pioneer James Tenney's Having Never Written a Note for Percussion live in Washington, DC. The simple yet colossal piece requires the performer to play one percussive instrument constantly, taking it from the quietest point to the loudest and back again. Done well, it's a fascinating exploration of tone, volume, and decay, and a showcase for drone music's unusually transportive powers. Never Having Written a Note for Percussion has always been a personal favorite of Rrose's. He was inspired to try it out after touring Dupont Undergound, a performance space in a disused trolley tunnel beneath downtown DC, where the possibilities of "seemingly endless and unpredictable reverberations" seemed perfect for Tenney's composition. He made a 32-inch gong played with two mallets the central device of his performance, creating a towering leviathan of sound capable of the softest highs and the deepest lows. It's a vastness that comes across especially well on the live recording of that 2012 performance, a breathtaking 30 minutes that seems daunting at first but moves with a grace as easy as breathing. Rrose's take is almost definitive: not only does he stretch out the piece to 30 minutes beyond its usual eight-to-12-minute duration, but, even more importantly, she offers two versions made in two very different settings. The A-side features a performance recorded in a studio during his practice sessions. Dry and mic'd up close, its almost stuffy quality is the direct opposite of the live version, like it's coming from inside your head, where the live recording on the B-side surrounds you with the booming sound of the gong. Never Having Written a Note for Percussion is a powerful study not only in minimalist composition but the importance of the room and environment that a performance, or just pure sound, takes place in, and a potent example of the kind of experimental tendencies that make Rrose one of techno's more fascinating figures. Mastered by Rashad Becker at Dubplates & Mastering.


GET 58013EP

WU-TANG CLAN: Protect Ya Neck 12" (GET 58013EP) 21.00
Repressed; originally an RSD 2015 release. "In 1993, an unsuspecting -- and some might say dozing -- hip-hop world was bumrushed by a force that would dominate its consciousness for the rest of the decade: the nine-member Wu-Tang Clan. This is the song that started it all. Originally self-released on cassette and vinyl (with producer and group patriarch The RZA's Staten Island home address on the label), the song blew up in a way that has rarely been equaled in the hip-hop world. The grass roots groundswell it created is part of what built the Wu-Tang legend and kept it strong. The song, beat-wise, is a driving, dusty musical assault. That description holds true lyrically as well, thanks to eight out of nine group members attacking the mic (Masta Killa was absent), one by one -- each showing their unique flow and methodic madness, from GZA's even keel to Ol' Dirty Bastard's manic train of thought. Within months of first exploding on college radio, the song was dominating mainstream hip-hop shows around the world. Eventually picked up by Loud Records, it remains one of the most explosive hip-hop posse cuts of all time, full of intelligence, righteous indignation (at record labels who had dropped and dissed various members of the crew) and raw power. This limited edition (3,000) Record Store Day 12-Inch is pressed on split yellow and black vinyl for the first time ever, with a reproduction of the original cover art and a plastic Get On Down-branded outer sleeve."



TRISTANO, FRANCESCO: Body Language 16 2LP (GPM 108LP) 23.00
Get Physical Music invited Francesco Tristano to mix the 16th volume of their Body Langauge series and join the ranks of M.A.N.D.Y., Dixon, DJ Hell, Catz 'n Dogz, andhim, and DJ T. Melodic and harmonic elements constitute the core of Tristano's first DJ mix release, which is itself a hybrid production/mix/live session -- Tristano performed live synths on top of the tracks. The basis of the session is in fact his own work, along with tracks by his entourage and a few special appearances, including the "Reboot Remix" of KhalifeSchumacherTristano's "Afrodiziak," edits, and mash-ups. The mix includes several tracks produced specially for the occasion, and exclusive and previously unreleased tracks by Julio Victoria, P41, and Studiovacanze (aka Francesco Tristano and P41). Also includes tracks by Danton Eeprom and NYMA & Carreno Is LB.


TRISTANO, FRANCESCO: Piano, Hats & Stabs EP 12" (GPM 289EP) 14.00
Virtuoso pianist and composer Francesco Tristano blows away dance-music heads with his live sets, solo and alongside the likes of Moritz von Oswald and Carl Craig. Inspired by an "ongoing quest to unite the sounds of the acoustic grand piano with electronic synthesizers, sequences, and drum loops," Piano, Hats & Stabs opens with the split personality of "Dminorloop," with its build-ups and deconstructions, and continues with the decaying bassline of "Stekker Sound Driver" and the driving "Sarasani (feat. P41)." It all ends on a lighter note with "Place On Lafayette," featuring almost psychedelic keys recorded on Lafayette Place, Detroit.


GM 203LP

AKA: Reflection LP (GM 203LP) 25.00
LP version. AKA's 1970 debut album Do What You Like (GM 201CD) combines earthy, heavily buzzing, and fuzzed-out rock monuments in the vein of classic UK and US bands with a few tunes in the Continental European heavy rock style, with big chorus lines and a bit of a pop thrown in for good measure, plus great melodic ballads and pop tunes in their native Indonesian language. The Indonesian band carried their trademark sound through whole recording career, including Reflection, their fifth album, originally released in 1974 and reissued here for the first time. Different melodies and titles but the same wild crossover of styles, with a change between each and every song. Lush epic ballads, powerful heavy rock, a great beat tune with a flowery feel that drags you straight to the dancehall, and another epic and utterly heavy blues rock and psych freak-out. At the time of its original release, most of the tunes would have seemed retro in the west -- except for the heavy rockers -- but everything here comes well-performed and executed with passion, and the stuff that diverges from the more accessible pop sound will definitely swallow your brain into a gorge of swirling colors. Fans of '60s US west coast dream pop who can stand heavier tunes and devoted music-lovers who go for the classic '60s and early '70s sound will go nuts.

GM 204LP

QUINTAL DE CLOROFILA: O Mistério dos Quintais LP (GM 204LP) 25.00
LP version. Quintal de Clorofila's O Mistério dos Quintais, originally released in 1983, contains a wild and captivating crossover between Celtic and South American folk from the Andes plus many elements of traditional music from Southern Europe and some more contemporary singer/songwriter aspects with a mystical atmosphere. All the participating musicians are enormously skilled, and the distinctive multi-voice vocals capture your attention in just a second when you take a closer listen to the 12 songs on this album. A few steps into pop music with a slight psychedelic edge, manifest in a saxophone here or synthesizer there, make for vivid, mind-blowing music. From harmonium to pan flutes, you will find all kinds of instruments backing the beautiful acoustic guitars and haunting voices. Almost a South American version of The Incredible String Band, reminiscent of several gypsy and folk acts from southern and southeastern Europe. The whole album has a rather epic feel and drags you deeply into a colorful world of sound. Truly majestic, unearthly, and enchanting.

GM 205LP

GWYDION: The Faerie Shaman LP (GM 205LP) 25.00
LP version. Gwydion Pendderwen was one of the more chatoyant figures of the folk music underground. Both of his albums -- Sings Songs for the Old Religion (1975) and The Fäerie Shaman (1982) -- were far above the average standard folk of his time, especially on his second album from 1982, reissued here for the first time. The Neo-Pagan and environmentalist tried a different path seven years after his haunting debut album, mixing bluegrass, country, gospel, and dixie into classic folky singer/songwriter tunes of enchanting beauty. Most of the time the atmosphere on this album is rather friendly and lightweight, with bright melodies and a cheerful mood. Just take a walk in spirit through the garden of sound created by the delicate arrangements and rich, mostly acoustic instrumentation. Will you ever wish to return to what people call reality? Doubtful. There are also moments of melancholy and musing, but this is just a little shade of evening, the moment when the sky turns dark blue and the two worlds come as close as they could. This album breathes a flaming joy of life, and one would not expect that it was released shortly before Gwydion Pendderwen lost his life in a car accident. The music presented on The Fäerie Shaman swallows you like a river; you may ride like a valkyrie upon the raging waters or dive deep inside and be enchanted by the magic world beyond the surface. This should have been a classic and it is a real gem for fans of Planxty, Hamish Imlach, Dulcimer, The Pentangle, and Steeleye Span.

GM 206LP

SAN UL LIM: The First LP (GM 206LP) 25.00
LP version. Gentle garage-psych with a dreamy west coast flair and tons of awesome fuzzed-out guitars... with Korean-language lyrics. Originally released in 1977, South Korean trio San Ul Lim's debut album sounds like the best psychedelic power pop and garage stuff you could get in the UK and USA ten years before its release. One of the most popular acts on the Korean scene, San Ul Lim had exactly this typical 1966 garage sound, with fuzzy axes and some thin but sympathetic Farfisa organs. These compositions were conceived between 1971 and 1975, and, with their heartwarming vocal melodies and gifted musicianship, are heavily reminiscent of The Zombies, though San Ul Lim play in a much more direct fashion. Their music represents a movement from early beat to heavier and darker garage rock, which finally shifted into psychedelic rock. Fans of proto-garage beat with psychedelic tinges from 1965 to 1967 will go wild for this album. Other reference points include The Flies (UK, pre-T2) and The Petards (Germany). A lovely flashback to the golden age of music.

GM 207LP

PROGRESIV TM: Dreptul De A Visa LP (GM 207LP) 25.00
LP version. Quintal de Clorofila's O Mistério dos Quintais, originally released in 1983, contains a wild and captivating crossover between Celtic and South American folk from the Andes plus many elements of traditional music from Southern Europe and some more contemporary singer/songwriter aspects with a mystical atmosphere. All the participating musicians are enormously skilled, and the distinctive multi-voice vocals capture your attention in just a second when you take a closer listen to the 12 songs on this album. A few steps into pop music with a slight psychedelic edge, manifest in a saxophone here or synthesizer there, make for vivid, mind-blowing music. From harmonium to pan flutes, you will find all kinds of instruments backing the beautiful acoustic guitars and haunting voices. Almost a South American version of The Incredible String Band, reminiscent of several gypsy and folk acts from southern and southeastern Europe. The whole album has a rather epic feel and drags you deeply into a colorful world of sound. Truly majestic, unearthly, and enchanting.

GM 208LP

AKA: Crazy Joe LP (GM 208LP) 25.00
LP version. On the third album by AKA, the leading Indonesian rock band of the '70s, there was a slight change concerning the overall direction. With three exceptions -- the powerful funk-rock of the opening title-track, the dirty garage beat of the B-side opener "Skip Away," and the energetic up-tempo soul-pop of "Raja Jalan" -- the band turns to soft rock and Indo-pop ballads on this LP. And guess what -- these folks really knew how to pull it off, even with lush pop harmonies that often touch the borders of the tear-jerker field. Crazy Joe, originally released in 1972 and reissued here for the first time, is a rather courageous album, with those three rawer and more energetic tunes alongside the gentle plush of the pop tunes. All those who dare to listen between the notes will find a massive load of delicate arrangements and rather striking melodies. This is rather solemn Indo-pop but it is well composed and well executed by musicians who know how to bring the passion even in such dreamy clouds of sound. The depth of the arrangements has to be explored to show its entirety and the playing is just excellent. These melodies project pictures of greatest emotions into the listener's mind, on a journey into a beautiful romantic love story. Well, if you're in for some feel-good pop rock music that still goes beyond the typical trash, grab a copy of this but beware; most titles are sung in the band's native tongue and have this exotic touch despite all catchiness. For fans of exotic pop like Baris Manco, late '60s to mid '70s soft rock like The Hollies, and East German emotional pop rock like Karat and the Puhdys. Not exciting, just utterly beautiful.

GM 209LP

SAN UL LIM: The Second LP (GM 209LP) 25.00
LP version. South Korean garage/psych rockers San Ul Lim's second album, originally released in 1978, is more related to American music from the second half of the '60s than anything else. In a year in which disco, punk, and early heavy metal ruled, this flowery and trippy pop sound with fuzzed-out guitars on flashing rhythms might have been outdated already despite the fact that the original US garage sound had a renaissance among collectors not long before the album's release, and compilations like Pebbles were in high demand among new fans of this genre. One may doubt that these hunters for vinyl treasures even made the slightest effort to take a look toward Eastern Asia, where San Ul Lim came up with exactly that type of music. They had a sense for pop melodies and, beyond that, for soulful ballads with heartwarming melodies. Nice and sleazy organ sounds (Farfisa, not Hammond) add more color to the simply structured, yet effectively striking tracks, and when the fuzz sets in even slower tunes start to turn into simmering maelstroms of utterly checkered harmonies. This is for sure not the only direction San Ul Lim take on their second album. Some folky singer-songwriter elements slip into their song selection and definitely remind the listener of a warm summer weekend in August 1969 when 500,000 gathered for the most important music event ever at Yasgur's farm. San Ul Lim consisted of skilled musicians who executed their compositions with an obsessive feel and an iron discipline. The band had matured ever since the release of their debut album the previous year and this is apparent in the more excessive and obsessive playing, the increased rawness of the guitar fuzz, and the slightly deeper, more thought-provoking and sometimes even more aggressive melodies that diverge from pure feel good-pop music. What you get here is a delightful mixture of what was awesome in the west in 1966 and '67, and despite being a bit late, San Ul Lim still had the fire of passion in a way The Seeds, The Doors, Strawberry Alarm Clock, The Animals, The Shadows of Knight, and even Nick Drake, Roy Harper, and Bert Jansch, did. Retro garage sound with style and soul -- who could resist that?



VISION FORTUNE: Mas Fiestas Con el Grupo Vision Fortune LP (WAAT 053LP) 22.00
Pressed on 180-gram vinyl; includes download code. Limited to 300 copies. Brothers Alexander and Austin Peru first met Andres Cuatroquesos in a small boys' boarding school in Menen, Belgium. Although their battering strobe light that features in their crushing live show isn't literally in your front room as you listen to the record, it's certainly there in spirit as the band expertly guide you through eight tracks of hulking riffs, drawn-out drones, ethereal vocals, and cyclical drum patterns. Like great experimentalists such as This Heat, Swans, and Liars before them, Vision Fortune are constantly moving forward. Mas Fiestas con el Grupo Vision Fortune is an album borne out of desperate economic uncertainty, loosely based on John Kay's infamous "Parable of the Ox" -- itself a thinly veiled allegory for unbridled capitalism. The album represents the tragic life and death of the aforementioned ox, whose weight is solely determined by the aggregated "wisdom of the crowd." The music contained within embodies both the self-interested nature of hysterical spectators, and the agonizing sense of culpability following the animal's eventual demise. "XXII" perfectly encapsulates the emotional strain found in Kay's observation -- the constant push and pull of electronic interference and rhythmic tension in direct juxtaposition with the misplaced market opportunism of "XX." Similar frictions are found in the creaking repetition of "XVII" -- two mismatched guitars compete for attention over its seven-and-a-half minutes, like a couple of bitter attendees quarrelling at a country fair. Meanwhile, the glacial, consumerist meditation of "XVI" is the first of several pieces seeking to replicate the sullen ambience of small-town apathy and greed. "XIV," perhaps one of the most immediate of tracks on the album, brings to mind the inevitable pitfalls of animal husbandry -- the creature itself growing gaunt and sick before the owner's eyes, slowly morphing into an altogether different beast. The album concludes with the elegiac paean to solitude, "XIII" -- an empty market, scraps of uneaten vegetables blowing through a muddy town center, its main attraction nowhere to be found.



HERSH, KRISTIN: Sundrops/The Cuckoo 7" (ORBIT 001EP) 12.50
Pressed on blue vinyl. In 2004 Heliospheric founder Jaz Long found a tape labelled "Kristin Hersh recorded on 29/03/1994, for future TX" in a bin at BBC Leeds -- an incredible find for a devoted fan of Hersh and Throwing Muses. Hersh had recorded these songs, which were never broadcast, with her acoustic guitar when she played Leeds on the Hips and Makers tour. The BBC and Hersh eventually approved the release of these stunning examples of Hersh's auditory hallucinations, with a particularly dramatic and luscious version of "Sundrops." Mastered directly from the quarter-inch tape.



SEMARA, LUNA: The Pink Room EP 12" (HERZ 049EP) 12.50
Herzblut Recordings boss Stephan Bodzin has unearthed a real gem in French DJ and producer Luna Samara, who debuts here. As its name suggests, "Arp Choir" is a wonderful arrangement of ascending synth and warm enveloping bass, with an electronic thunderclap that increases the pace and intensity without losing any of the track's initial elegance. Beautiful. On "The Pink Room," burbling synth and a solid kick drum lead us in as warm, heaving pulses heat the space. "The Pink Room" never peaks, instead holding us in suspense -- a perfect track to open any night.


BODZIN, STEPHAN: Birth EP (Super Flu Remix) 12" (HERZ 050EP) 12.50
Stephan Bodzin presents the Birth EP, released in advance of his 2015 album Powers of Ten. The hypnotic and beautifully melodic "Birth" rolls along at an inviting mid-tempo pace. Smeared pads and bendy synths lead up to the skies and vocal coos add an angelic feel to the clean, crisp groove before a soothing breakdown builds tension. A subtly euphoric affair that cannot fail to sweep you off your feet. German duo Super Flu aka Herzblut Recordings regulars Felix Thielemann and Mathias Schwarz deliver a remix full of big chords, squelchy synths, watery droplets, and plenty of deep dancefloor drama.



GONNO: Obscurant (incl. Call Super Remix) 12" (IFEEL 040EP) 14.50
180-gram vinyl. In 2011 Gatto Fritto sent International Feel a track called "Acdise #2" by a Japanese artist called Gonno, which International Feel then released as an EP (IFFM 001EP). It became a big tune, played by everyone from James Holden to Todd Terje, Tim Sweeney to Ewan Pearson. As hypnotic and compelling as "Acdise #2," "Obscurant" is slo-mo electronic Steve Reich packed with drama and moments of joy and "A Life With Clarinet" oozes enough emotion to overload your system. Includes a remix of "Obscurant" by Call Super, who turned Gatto Fritto on to "Acdise #2" in 2011.


BARROTT, MARK: Bush Society 12" (IFEEL 041EP) 14.50
180-gram vinyl. Mark Barrott has been making waves under numerous aliases and with several releases on International Feel since inception, but has now, as of 2014's beautiful Sketches from an Island album (IFEEL 029CD/LP), starting working under his own name. Bush Society is a Sketches lean on a different path. A field recording from his time living in South America breathes "Bush Society" into life, before the Goji drums and Brazilian percussion are joined by a four/four groove and those Carl Craig-esque strings. "Saviours Or Savages?" shows Barrott in deep Ibiza mode again, leaning toward the acclaimed Balearic Sketches sound.



FEAR RATIO, THE: Kasm01 10" (KASM 001EP) 14.50
Inaugural release in the Kasm 10" series, written and produced by The Fear Ratio (Mark Broom and James Ruskin), with artwork for the whole series by Bhatoptics. Enjoy...



MENZIES, ALEX: Order & Disorder LP (KTX 003LP) 23.00
Alex Menzies, more commonly known as Alex Smoke, began his techno career in the early 2000s, with years of international performances and DJ sets culminating in a string of heady 12"s for the inimitable R&S label in 2013 and '14. Menzies's techno prowess has always carried with it a keen sense of compositional rigor, with harmonic outlining pads and strings adding emotional depth and weight. A classically trained cellist, Menzies has shifted his attention back to composition, cello, and the piano, collaborating on abstract installation work with visual master Florence To. The second release on Ricardo Donoso's label Kathexis and the first in a two-part series of BBC documentary soundtrack work, Order & Disorder sees Menzies using a sound palette of mostly orchestral instrumentation, including, voice, cello, and prepared piano, as well as electronic sources like the ondes Martenot. Each different cue of electronic and acoustic hybrid miniatures develops throughout the album, each piece carrying with it a profound depth and gravity that is unique and unrivaled in its beauty. For a high-level physics documentary focusing on entropy and information, presented in a strikingly engaging manner, Menzies's score provides a serene take on the slippery concept of energy. Angelic harmony runs in parallel with more unpredictable elements like prepared piano, tape hiss, percussive clicks, and smothered field recordings, truly encapsulating the documentary's themes and our relationship to the world around us -- chaotic, beautiful, but most of all full of wonder and awe. Limited to 300 copies; initial copies on mint-colored vinyl.


KH 9037LP

RAMONES, THE: WBUF FM Broadcast, Buffalo, NY, February 8th 1979 LP (KH 9037LP) 23.00
Repressed. This outstanding performance by The Ramones was taped for radio broadcast in Buffalo, New York, on February 8, 1979, shortly after Marky Ramone joined the band. It captures New York's punk pioneers at the peak of their powers, tearing through many of their most renowned songs in typically energetic style. It's presented here in superb fidelity, with background notes and rare photos. Digitally remastered.



DAVE DK: Val Maira 2LP+CD (KOM 326LP) 25.50
Double LP version; pressed on 180-gram vinyl; includes CD. An epic sonic journey crossing classic Kompakt territory, from pop ambient to tuneful techno and house, Val Maira is not just the extended follow-up to Berlin's Dave DK's much-adored 2013 Palmaille 12" (KOM 277EP), but a sonic achievement in its own right; a work as delicate as it is candid, ultimately -- magically -- amounting to so much more than the mere sum of its parts. Named after a valley in the Italian mountains, Val Maira goes beyond admittedly impressive production skills, aiming for deeply personal expressiveness and emotional impact. From the tender dawning of opener "Fade In" to the solid dance chops of enticingly grooving cuts like "Smukke Lyde," "Nueva Cancion," and "Coolette," the album's preoccupation with the mutual dependencies of harmony and discord is quickly revealed; as Dave says, "I've tried to create an interlocking atmosphere of merriment and melancholy for the full duration of an album... I hope that one can hear a little bit of hope in the tracks, like everything's going to be fine... Although you can be incredibly creative thanks to limitless digital means, I think that the biggest challenge lies in creating a link to something human, generating feelings of warmth that reach and move the listener." Dave's meticulous planning and development ("before anything else, I need an idea and a general notion of the development of a track -- just jamming doesn't work well for me") translate into a deeply organic sound, apparent on such tracks as "Halma," "Veira," and "Whitehill," the latter featuring the distinctive vocals of Piper Davis (Stimming). One could describe these tracks as both intimate and sociable at the same time, a rare combination that might also account for the vivid sonic storytelling present in cuts like "Kronsee" or "We Mix At Six," the synesthetic retelling of a delayed party at the beaches of Barcelona, where someone spray-painted the title's vital information on a T-shirt swaying in the summer breeze. Heavily influenced by film soundtracks, drone sounds, and organic noise, Dave DK obviously feels very close to the perpetual atmospheric hum in between sounds, finding hooks in the tiniest nooks and crannies -- and to hear these 11 tracks lovingly intertwining their inspirations while seemingly creating nutrient-rich textures and meaningful melodies out of thin ether remains a riveting experience even after the nth playback.



VA: The Sound of Belgium Vol. 2 Vinyl Box 10LP Box (LMFLF 296LP) 138.00
10 x 12" box set. Yellow vinyl. Don't call it a sequel -- it's just the next step! The Sound of Belgium digs deeper into Belgium's rich soil for fierce beats, endless grooves, and sonic ecstasy. The movie, the music, the book: history in the making. This set includes tracks from each disc of the four-CD The Sound of Belgium Vol. 2 (LMFLF 287CD, 2015). Includes tracks by Lio, Ramses Ballet, Starflight, Dance Reaction, Wet, Kuruki, Aksak Maboul, Zazou Bikaye & CY1 (remixed by Simon Boswell), Wim Mertens, Snowy Red, Takis, La Rolls, Para Noise, A Split Second, BX-8017, Real Man, Ghostdance, Amnesia, Fax Yourself, Stabbed, Farley Jackmaster Funk, Quadrophonia, DJPC, Two Pieces, Dilemma, Eclips 21, Edwards & Armani, Liaisons D, Jessie Deep!, At the Villa People, Trance Team, Ragged Life (remixed by DJ Freud), Critical Fluids, Sebastian S, DJ Dave Davis, and The Mackenzie feat. Jessy (remixed by Kevin Jee).



IRON BLU: Cold Harbour EP 12" (LBL 003EP) 12.50
LBL presents its third release and its first ever artist EP. Iron Blu, a genuine electronic music veteran, made his first forays into synthesized music as part of seminal '80s group Naked Lunch (as championed by Trevor Jackson on his 2012 Metal Dance compilation). His career has spanned many guises, sounds, and labels, and with his contribution to LBL he provides a suitably genre-straddling release that displays shades of Chicago house, machine funk, krautrock, and Detroit techno in equal measure over the course of three original tracks. Mark E turns in an ambient, Quaalude-tinged "Forrest Version." Limited to 300 copies.



BAILEY, MARCO: Lost Soul EP (incl. Joey Beltram & Mark Reeve Reworks) 12" (MBE 140EP) 12.50
Marco Bailey returns to his legendary imprint MB Elektronics. "Lost Soul" is a powerful peak-time techno weapon guaranteed to fill the dancefloors with dancing souls. Indeed, only in techno can someone can find his lost soul and Bailey proves that again. This extraordinary package also includes Joey Beltram's monumental remix of Bailey's ''Sniper'' and Mark Reeve's remix of Bailey's hit ''Something I Remember'.' Techno is the way, and these three gems are three equally great paths toward the light and your lost souls.



WELBURN, JAMES: Hold LP (MIA 031LP) 20.00
LP version. Includes download code. Limited to 500 copies. Like watching a massive twisting fire slowly fading into the open skies, accompanied by a drum section so repetitive yet mind-bending that you're unsure if it's ever going to stop. This is how Hold starts off, leaving you catching for your breath before the album has even reached the second track. James Welburn steps into the ashes covered in drones and noise together with drumming partner Tony Buck (The Necks), producing a crushingly epic debut album. Hailing from the UK, but located in both Berlin, Germany, and Lillehammer, Norway, Welburn has followed the path to catch the perfect drone, playing an abundance of underground drone and noise sets in Berlin and Norway. This can be heard on Hold, though set in an impressively produced setting closer to a 2010's-era Swans record than the raw noise of those early live shows. It's hard to label the album too much in one style, as it shifts and turns into parts inspired by everything from shoegaze to black metal, all set in a state of endless repetition.



TANAKA, FUMIYA: UFO Training E.P. 12" (MINI 036EP) 14.00
No need to present Fumiya Tanaka. By far Japan's most talented and knowledgeable electronic musician and DJ, he founded Torema Records, Japan's the first independent dance label, in 1993. Since then he's been constantly rocking the floors around the world. A true pioneer. Don't miss this record.



DAPAYK & PADBERG: Come Out 12" (MFP 076EP) 12.50
Following the success of their fourth studio album Smoke (MFP 067CD/LP, 2013) and a year-plus tour, Dapayk & Padberg present "Come Out," a fresh and present track and the perfect tool to dance into spring and out of thick winter clothing. On the B-side the Berlin-based electronic duo presents two more album remixes. Mooryc wraps "Smoke" in his fragile, soulful, and bass-driven slow-mo-electronica. Dublin's Eomac extends the list of "Silent Fireworks" remixes. A deep wobbling sub-bass combined with broken beats and spheric pad sounds give the original an eccentric touch of dubstep.



TAP THROW: Dip Switches EP 12" (YMMM 001EP) 14.50
Expect to encounter enduring sample-spotting relapses, back-seat-panel-busting beats, and a sonic dexterity well known from his regular pseudonyms. Inside the ride. In a momentary break from his lauded Quinoline Yellow and Tatamax aliases, Luke Williams returns with his debut Tap Throw release. Williams trades in his open-toed Wellies and hill-jogging inclines for a backward-nodding, forward-facing four-hit combo of vintage jungle. Inaugural release on Yellow Machines' Modified Magic series.


ML 026CD

MONOLAKE: Ghosts CD (ML 026CD) 15.50
Restocked. Robert Henke is back with a new Monolake album entitled Ghosts. Dark and colorful, with haunting and deep excursions into magic worlds of sound and grooves, held together by a fragmentary story as part of the artwork that indicates a continuation of themes present on Silence (ML 025CD): precisely-crafted, earth-shaking beats, rough, dirty noises, wide, lush soundscapes and little sonic creatures inhabiting a fascinating planet in which a lot of things go badly wrong and nothing is taken for granted. Music that augments reality when listening to while commuting, music to get lost in when experienced loud in a club. There is nothing minimal in this music, it is bass-heavy and full of detail. Ghosts is released on Robert Henke's own label Imbalance Computer Music on CD in a luxury digipack.

ML 027EP

MONOLAKE: XIE 12" (ML 027EP) 12.50
Produced by Robert Henke. Mastering by Rashad Becker.

ML 028EP

MONOLAKE: IA 12" (ML 028EP) 12.50
Produced by Robert Henke. Mastered by Rashad Becker.



SOLEY: Ask the Deep LP (MORR 138LP) 20.00
Gatefold LP version with printed inner sleeve. Includes download code. Referring to the silence that returns when 2014's Krómantík EP (MORR 130CD/EP) fades out, Icelandic musician Sóley Stefánsdóttir says, "Your closed eyes slowly start seeing something much deeper and darker," and now that something is here, right in front of us: Ask the Deep is a stunningly dark and deeply personal departure after the minimalist and bleak piano compositions of said EP. Her soft voice leads us deeper and deeper into the shadowy fairytale worlds only hinted at on previous releases such as her 2010 Theater Island EP and 2011's much-praised We Sink (MORR 107CD/LP) debut album. Ask the Deep sees the bespectacled songwriter open Pandora's box -- and close it eventually. At least for now. "Have I danced with the devil?" Sóley asks on album opener "Devil," then crescendos, "Does he still love me?" Once the melodic surges of "Devil" lead to other fairytale soundscapes -- the piano no longer the main character of Sóley's music -- more and more ghosts, both real and imaginary, enter the scene. Inspired by a news story about a man who was buried alive in Brazil, "Ævintyr" marches in circles with tribal beats underneath ethereal swirls, and "One Eyed Lady" is perhaps Sóley's most minimalist lullaby yet, the beatless account of a one-eyed witch who would actually "kill for love," as the song's mantra reverberates into the void. With looped forces of gravity and swerving nods to Philip Glass, "Follow Me Down" is a brooding call to enter the distorted depths, to go beyond the point of no return, to leave the comfort zone. And it's a reminder: we still sink. Amid the flotsam and jetsam, things appear that weren't previously there -- hard-hitting drums set to Beach House vibes ("Dreamers"), a haunted church showdown with the jilted devil ("I Will Never"), even a hint of unlikely, hopeful pop ("Breath"). Taking her listeners on a journey to phantasmal grounds, her sophomore full-length is both more intricate and diverse in how it's written, arranged, and narrated. And it's even more obvious that her voice is crucial in guiding the way to that place where one can live, that safe shore on the other side of the ocean. "You must face your fairytale," Sóley sings. She does, as the music maker, but we are the dreamers of the dreams.



DORISBURG: Dimension Sculpture 12" (MYTH 003EP) 14.00
Dorisburg (real name Alexander Berg), better known as half of the Swedish duo Genius of Time, is the first external producer to appear on Baron Castle (Boiler Room Berlin) and Lando's Myth Music. Dorisburg's releases on Swedish labels Bossmusik and Northern Electronics and his own Aniara Recordings have confirmed him as one of the most hyped producers in the European game. With one original track, this bold dagger-like workout might be some of his strongest work to date. On the B-side, Lando turns this animated groove into a cold-blooded stomper, dripping in his vintage freaky style.


NM 014EP

ALKA REX: Orleans Bardel EP 2x12" (NM 014EP) 26.50
New York based duo Alka Rex, known from releases on Supralinear, Thema, and Resopal Schallware, is back with a double EP on Nervmusic Records. Three originals tracks and remixes from Melchior Production and Kamran Sadeghi.



SEMTEK: Bad Teeth 12" (NNB 004EP) 14.00
Semtek returns with his first 12" since 2012, when he released work on World Unknown among other labels. The UK producer (Cambridge-born, Bristol-based) has been hard at work on his own label Don't Be Afraid, developing talent including Mr Beatnick and MGUN. Bad Teeth features two complementary tracks for the dancefloor, inspired by bleep 'n' bass, jungle, and two-step. Early DJ support comes from Jon K and Ben UFO.



VA: Decon/Recon/1 12" (NOISEMAN 004EP) 14.00
Born out of Paula Temple's Noise Manifesto label, Decon/Recon features artists' samples converging in an open archive reassembled in four different tracks by the artists themselves. A collective authoriality collapses hierarchies into a collective resonance, putting identity into a crisis while delivering quality dance music. Decon/Recon/1 de/composes four future pioneers who respond to the names of Aquarian Jugsa (Jam Rostron aka PlanningToRock), rRoxymore, Oni Ayhun, and Paula Temple herself as Jaguar Woman, all credited on the cover without authorial connections to the titles of their own tracks. Where Deconstructing is Reconstructing, dancing is enacting future live models into present floors.


OS 026LP

SSLEEPING DESIRESS: Ssleeping Desiress LP (OS 026LP) 23.00
While the band has gone through a few lineup changes, Ssleeping Desiress has essentially remained the brainchild of San Francisco-based Gabriel Ramos, who is the sole member on this, the band's debut album. Following the great 2012 A Voice/Sister 7", this album runs along the boundaries between minimal synth, coldwave, and electro with lyrical themes of gentrification, coping with death, artistic drive and confusion, and the ephemeral nature of relationships. Ssleeping Desiress have appeared on numerous new new wave compilations since 2011, but this album takes the project to the next level, kicking off with an echoing voice over repetitive drums and outbursts of synths and guitars before slowly moving toward a more darkwave sound on the second half of the album. Ramos started making solo recordings while living in Portland, Oregon, around 2005. The DIY drive of the city and the live shows that he hosted at his house, often of friends' bands from San Francisco, led to a growing fascination and voracious consumption of music. Ramos recalls, "I can really trace it to the first time Spector Protector played at my house and getting a tape afterwards from one of the two members, Eric Davis. That and being freshly exposed to groups like Suicide and Arthur Russell was very inspirational to begin recording music on my own, though it is something I had done fairly aimlessly since high school. I make an effort and try and change my process as much as I can (usually through collaboration) and vary the instrumentation. I try and incorporate a late '70s punk vibe, a marriage of dub and krautrock repetition and cavernous space. Definitely not always successful but that is what is usually running through my head when I create music for this band." Mastered by Michael Romanowski. Graphic design by Luis Mendoza. Limited to 300 copies.

OS 027LP

TWILIGHT RITUAL: The Ritual LP (OS 027LP) 23.00
First vinyl release of the first ever recordings by Belgian minimal synth masters Twilight Ritual. Originally released in 1982 in a tiny cassette edition, this album has not been heard by many people. The Ritual includes some of their best work, from mysterious dark synthpop songs ("Elegy") to club music ("Webb Men") and the epic 14-minute track "Up to Now." Twilight Ritual is the main project of Geert Coppens and Peter Bonne. During the early '80s they were both involved in many other bands, including Autumn and Linear Movement (both later reissued by Minimal Wave), but Twilight Ritual is by far the most inspired project. The spirit of the band lingers on beneath the work of Autumn through A Split-Second and stands beside the best tracks of bands such as Oppenheimer Analysis and League of Nations. Instruments and production by Peter Bonne. Lyrics and artwork by Geert Coppens. Remastered at Equus. Includes double-sided insert with lyrics and photos.


OD 003EP

VA: Turkish Delights 12" (OD 003EP) 19.50
Compilation of remixes of Turkish music by Turkish and Israeli artists kozmonot, FOC Edits, Dogu Civicik, and Omri Smadar. Amazing reworks of original '70s Turkish music by Ersen ve Dadaslar, Hulya Suer, and Mogollar. Turkish Delights is as sweet as its name suggests.



ONE TRACK BRAIN: Gefühl Operator/Stimulus 12" (OTB 003EP) 14.50
Techno music is a certain type of stimulus used by gefühl ("feeling") operators called DJs. "Gefühl Operator": How much can a song change your mood? How much can a DJ change the vibe of a crowd? By cutting up the word "feeling" itself, this track creates a mood that goes beyond itself, reaching out without touch, speaking with one word to reach a new emotional state. "Stimulus": An ode to change, an ode to impulse, an ode to experimentation. An explosion in the lab of One Track Brain. This track is made to stimulate and provoke a response.


OTR 12001LP

BOATS, THE: Abstraction LP (OTR 12001LP) 20.00
Abstraction continues The Boats' industrial cycle with a remorseless installment. Quite possibly the most potent of all three slabs, it finds the usually gentle souls of Andrew Hargreaves and Craig Tattersall revealing what they get up to when no-one is listening -- you'd think they're out bothering fields and folding paper until the candles run out but no, they're actually cranking out thunderous industrial beat-offs and dry stone walls of noise. This one is a meaty beast, piling the kicks and distortion higher than a VIP plate at Toby Carvery but not without glimpses of their vulnerable selves, chore jackets on and faces fixed on the machinery. From the glancing bass drum blows and grunting noise of opener "P Versus NP" they sustain a stoic resolution thru the blitzed pounding of "Section Conjecture" and acidic bog monster roil of "Parabolic Type" on the A-side, before allowing the machines to cool off on the B-side; "Inverse Galois Problem" flushes the system with a swill of industrial fluids precipitating a proper piece of death-techno necrophilia, and "Lonely Runner Problem" arches up from clammy fuzz to an excoriating expanse of noise techno that would scare the shit out of Huren on a good day. Mastered and cut by Matt Colton. Pressed on transparent red vinyl and housed in wrap-around artwork and PVC jacket. Edition of 300.


OP 025EP

MRS JONES: EP 12" (OP 025EP) 14.00
Look at you. We have become the people that we hate, scuffing and cursing at the world. You run away but you can never walk. You speak the word but you can never talk. Rip the shreds into pieces too, why don't you. Eat them sweet and raw. If love first brought us together why shouldn't it still? We are human in the end and what makes us dance nothing less than love. As long as we live, we will love. Mrs Jones stands as a dedication to man's ability to love, to dance.



PARKER/DEREK BAILEY/HAN BENNINK, EVAN: The Topography of the Lungs LP (ROKURE 001LP) 23.50
Restocked. OTOROKU caps off the 2014 celebrations of saxophonist Evan Parker's 70th birthday with a vinyl reissue of The Topography of the Lungs, by Parker, guitarist Derek Bailey, and percussionist Han Bennink -- Parker's first recording as a leader. Originally released in 1970, this was the first LP issued by Incus, the label that Parker founded with Bailey and drummer Tony Oxley. This reissue has been produced from an original vinyl pressing from Parker's archives, carefully transcribed and restored by Andreas (Lupo) Lubich at Calyx Mastering, Berlin.


PP 012BK

LAMBKIN, GRAHAM: Came to Call Mine Book w/CD (PP 012BK) 29.00
Came to Call Mine is an extensive full-color art book by visionary musician, artist, and writer Graham Lambkin. Playing out like a children's book for adults, Came to Call Mine features 50 hand-drawn illustrations coupled with simplistic corresponding texts. Lambkin's mischievous combination of figurative and abstract elements lends Came to Call Mine a jarring, dreamlike quality, confusing the eye by placing innocent childlike totems against a darker adult undercurrent. The accompanying CD presents an 18-minute composition, "C05," which draws from the texts and themes of Came to Call Mine, presenting a strange lattice of fragmented narration and juvenile musical vision. Came to Call Mine is released as a deluxe softcover book designed by Maja Larsson, with lithograph printing on Munken pure rough, lynx, and polar paper stock in an edition of 400 copies.


PSI 001-2LP

LEOPOLD, PERRY: Christian Lucifer LP (PSI 001-2LP) 23.50
This enchanting album is some kind of mystery and miracle -- a mystery because its master tapes, except for some mixdown copies, were erased for reuse soon after the recordings had been finished, because the studio went bankrupt and the material was sold. Perry Leopold was an ambitious musician from the Philadelphia area who played in rock bands in the '60s and released his solo debut, the acid folk masterpiece Experiment In Metaphysics (GUESS 096LP), in 1970. From 1971 to 1973 Perry worked on his magnum opus, Christian Lucifer, an even more sophisticated and melodic album than his debut, still drenched colors that humans should not see and executed with a sense of progressiveness that was mainly associated with the European rock scene of the time. Perry Leopold created the album almost entirely alone, with melodies of an unearthly, mythical beauty that he connected with cantilevered instrumental passages of acoustic guitars, cellos, bells, strings, flutes, and a few analog keyboards and organs layered upon each other in harmonic structures of utter complexity. The whole piece of sound art, despite the overall accessible approach, bears a deeply spiritual atmosphere and sets your soul in a quiet and peaceful mood. Highly recommended for fans of progressive and symphonic folk and singer-songwriter artists of the ancient days like The Incredible String Band, Dulcimer, and Nick Drake, but also of later psychedelic folksters like In Gowan Ring or Birch Book.



KAVINSKY: Outrun LP (REC 086LP) 28.50
2015 repress. Nicolas Winding Refn's film, Drive (2011) operates on a level of cool that's hard to articulate with just words; it takes a snippet from the movie -- take the opening credits backed by Kavinsky's "Nightcall" -- to really grasp its effortless debonair. Since the film's release, this single's Youtube video has climbed to over 30 million views, and has been on repeat across an expanse of playlists, always fueling the after-after party with the slow burn of glossed synth echoes. Kavinsky is not all about "Nightcall." He died in a car crash in 1986, while driving his beloved Testarossa. He re-appeared as a zombie in 2005, with his 12", Teddy Boy. Since then, he has shown up all around the globe, playing his music to fellow humans. Crowds gathered to witness the miracle: despite being dead, Kavinsky was still alive. In 2007, he released his second 12", "1986." This is when his French robot-mates in Daft Punk invited him to join their "Alive Tour," and A-Trak put together an American tour. After discovering the world with his red eyes, Kavinsky retreated to his base camp to release "Nightcall' in 2011. Kavinsky now presents his long-awaited debut album OutRun produced by SebastiAn, including appearances by Havoc (Mobb Deep), Tyson & SebastiAn. 1x LP 12" -- gatefold glossy coated + 12" printed inner sleeve.



ALLIN, G.G.: Hated In The Nation LP (RUSLP 8242LP) 14.00
2015 repress. "The starting point for any GG Allin fan! Features guest appearances from Dinosaur Jr.'s J. Mascis and MC5?s Wayne Kramer and Dennis Thompson. Hated & loathed, GG was made even more famous by Todd Phillips' documentary, Hated. You need this album to know GG."


SUICIDE: Half Alive LP (RUSLP 8264LP) 14.00
2015 repress; 2007 release. "Earliest, most innovative Suicide material. NYC's pioneer electronic punk rockers with never before available '75 to '79 tracks. Original liner notes by Lester Bangs. 3 bonus tracks!" "What we got here is vintage studio Suicide from the archives and live tapes on a par in atmosphere if not violence with '23 Minutes In Brussels,' their own notorious Metallic K.O. There is none of the onstage carnage which frightened early audiences, but maybe that wouldn't have transferred to tape anyway. 'Space Blue,' 'Long Talk' and 'Speed Queen' were recorded at Suicide Home Studios in 1974/5, 'Dreams' at Sun Dragon Studio in '75, and are not all that different from their later work except perhaps in murkiness which is all to the good. 'Dreams' is very close to their later Island single 'Dream Baby Dream,' and also sounds a lot like certain things Eno would be doing in the mid-to-late seventies. Similarly, 'Love You,' recorded at Suicide Home Studios in '79, displays Suicide's little recognized sense of (no joke) pure pop. Play the Velvet's original 'Waiting For The Man' back to back with the Ohio Express' 'Yummy Yummy Yummy,' then this back to back with Archives' 'Sugar Sugar' and the connections are clear. 'Cool As Ice' from the same sessions is the coolest (only?) take on Stooges' 'Penetration' ever, and proves once again that Alan can scream like nobody since Iggy at his pinnacles." -- Lester Bangs, 1981


RM 469LP

ENGLISH, LAWRENCE: The Peregrine LP (RM 469LP) 23.00
LP version. Room40 presents a reissue of Australian sound artist Lawrence English's acclaimed 2011 album The Peregrine, inspired by John Alec Baker's 1967 nature writing classic of the same name. "I first discovered The Peregrine when I was visiting my friend David Toop in London. He had the book on his desk and I picked it up and randomly turned to a page. It was an exquisite description of an Owl silently hunting. I was struck by the detail and evocative sense of listening in the writing. It was as though I was there experiencing that moment through the author's ears. I turned to another page and before I finished that paragraph I was sold. I ordered The Peregrine and was reading it avidly days later. Since that time I have spent a good deal of time with that book and J.A. Baker's only other text The Hill of Summer. I've purchased in excess of 100 copies of The Peregrine, gifting them to fellow musicians and artists who visit and occasionally sending them to people who I felt might relish the book. Most infamously I suppose is my sending the book to Werner Herzog, who I was introduced to by my friend Douglas Quin. Herzog loved the book and now includes it as essential reading in his film school. For me, The Peregrine captures a very special turning point in the 20th century. It marks a recognition of the role humans play in shaping their environment. Without ever addressing the topic directly, Baker's misanthropic, almost nihilistic reading of modern life pinpoints many issues that have come to a head in contemporary society. For a character we never learn very much about, Baker's voyeur of the falcons is a surprisingly engaging figure. As the reader we become him, we live through his textual renderings of time and place. Ultimately, through this ghost of a character, we become the bird in what Herzog so perfectly called a 'quasi-religious transubstantiation' -- reader into author into bird. This book changed my life. So much so that I felt it necessary to make a record about it and find some small way to respond to what is, in my opinion, one of the finest literary outings of the 20th century. I hope you can find some space in which to experience both the book and this record." --Lawrence English, January 2015



MUNGO'S HI-FI FEAT. CHARLIE P: You See Me Star LP (SCOB 005LP) 23.00
LP version. Charlie P is a raggamuffin rudeboy youth with a natural talent for music. He first appeared on stage at the age of five and there are some grainy YouTube videos of him performing as a child. He started out singing motown and blues but reggae was in his blood, as he grew up surrounded by UK Jamaican culture. He started singing with the Goldmaster Allstars at the age of 11, but was soon drawn to sound systems, which is where he feels most at home. His uncle had been running a sound in Southend-on-Sea and it was his mother who encouraged him in his career. Charlie first came to Glasgow in 2010 for one of Mungo's Hi Fi's legendary nights at The Art School. This was the beginning of their working relationship, which has seen countless recording sessions and continuous touring around every corner of the globe. This album is the culmination of this ongoing relationship and brings together the best tracks across the styles that he loves, from roots reggae and dancehall to modern bass music. Some are surprised to see a young white guy with a Jamaican accent, but it is his musical language and Charlie is not pretending to be anything but himself -- a man with a passion for good ganja and reggae dancehall.


MUNGO'S HI-FI: Give Thanks to Jah 7" (SCOB 051EP) 11.00
A-side features Mr Williamz.


MUNGO'S HI-FI: Freedom Come 7" (SCOB 052EP) 11.00
A-side features Blackout JA.



FENIN: Lighthouse 2x12" (STRIKE 153LP) 20.00
Berlin-based label Shitkatapult presents its 153rd release, following its October 2014 150th release, and continues to deliver the finest electronic music for and by people from another star (special music for special people) with an album that looks just as much back on tradition as it does toward the future. Lighthouse is Berlin-based Hamburg exile Lars Fenin's fifth album, a very sensual contemplation of the dancefloor as a stop along his journey through the wonderful depths of the dub world. After his previous releases, which lived somewhere between songs, dub, and electronica, he presents another true dub techno album. The "lighthouse" theme of the title and the amazing cover by Italian artist Petulia Mattioli shines a clear, simple light through bass waves and dub riffs. Lighthouse is available as a DJ-friendly double vinyl with a download code for the digital tracks.


SR 361LP

CAGE, JOHN: Early Electronic and Tape Music LP (SR 361LP) 15.50
2015 repress. LP version. Black vinyl repress. "I believe the use of noise to make music will continue and increase until we reach a music produced through the aid of electrical instruments which will make available for musical purposes any and all sounds that can be heard." --John Cage, 1937."Although John Cage occasionally worked in large, sophisticated studios -- for example, when he composed 'Fontana Mix' in 1958 -- his approach to electronic and tape music was often uncomplicated, makeshift, and pragmatic, employing simple tabletop devices: tape machines, phonograph cartridges, contact microphones, record players, portable radios, etc. He developed a soundworld that was utterly new, radical and demanding. It heralded the age of the loudspeaker, mass communication and Marshall McLuhan's 'global village.' The hiss, crackle and hum of electronic circuits, and the disembodied sounds, snatched by radio from the ether, spoke of the 20th century. Langham Research Centre works within the tradition firmly established by Cage, using resources that would have been available to him. For the realization of Cartridge Music, moving iron phonograph pickups were sourced and restored. These have a knurled screw designed to hold a steel phonograph needle and, in the piece, other objects are inserted and amplified: pieces of wire, toothpicks, paperclips, etc. The realization of 'Fontana Mix' includes the individual mono tracks from Cage's original tapes created in 1958. These are played using open-reel tape machines. These practices ensure we work within the limitations that Cage experienced and enable us to get close to the soundworld he inhabited." --Robert Worby, Langham Research Centre

SR 392LP

UNIVERS ZERO: Relaps/Archives 1984-1986 2LP (SR 392LP) 23.50
2015 repress; marbled vinyl. Gatefold sleeve. Founding members of the original "Rock In Opposition" (R.I.O.) movement and the inventors of "chamber rock," mythic Belgian band Univers Zero have continued to change and grow and develop over their entire career, while still keeping an ensemble sound and spirit that is easily recognizable. These recordings were previously unavailable in an LP format. Longstanding dark-hued Belgian chamber rockers and avant-prog pioneers led by drummer/composer Daniel Denis, Univers Zero was formed in 1974 with co-composer and guitarist Roger Trigaux (who left the band in 1980). This 2LP documents the final 1980s line-ups before the band's long sabbatical from recording and touring. Despite many line-up changes over the years, their overall sound remained fairly consistent.


SV 011LP

100 FLOWERS: 100 Flowers LP (SV 011LP) 19.00
2013 release. "100 Flowers (previously known as The Urinals) were a power trio whose sole 1983 album is an enduring document of the Southern California underground. Based in crime-ridden '80s Los Angeles against the backdrop of juvenile hardcore and vapid hard rock, 100 Flowers crafted a sound that rests between the inspired bursts of The Minutemen and the pastoral jangle of the Dream Syndicate with similarities to the equally oblique Monitor and The Gun Club (who even included a Urinals cover in their set). The trio wielded a gripping visual aesthetic and hyper-literate lyrical content that reflected their art-school backgrounds, while a ferocity and frustration borne out of their bleak urban environment permeates their songs. Strains of UK post-punk can be heard on 'All Sexed Up' and skittish tension on 'Presence of Mind.' A far cry from the beach punk and surf rock of their contemporaries, album closer 'California's Falling into the Ocean' contains all of their signature qualities: off-kilter delivery, subversive sentiments and an irrefutable pop sensibility that reflects their immersion in LA's burgeoning Paisley Underground scene. The band splintered shortly after the release of this album, but time has only intensified the urgency of 100 Flowers' music."

SV 012LP

REV, MARTIN: Martin Rev LP (SV 012LP) 19.00
2013 release. "In 1980, shortly after Suicide's second full-length, Martin Rev released his first solo album on preeminent No Wave label Infidelity (Lust/Unlust). Uninhibited by the trappings of a collaborator, Rev was freed to explore his most experimental and pop leanings with dirty synths, dark melodies and dreamlike textures, and produced a masterpiece of modern alienation that captures a uniquely New York landscape. Echoing other electronic forerunners such as Silver Apples and Kraftwerk, and foreshadowing the work of Aphex Twin and Air, Rev's solo outing rests firmly in the lineage of unnerving sounds from the furthest fringe of maladjustment."


TR 309LP

A PROJECTION: Exit LP+CD (TR 309LP) 25.00
LP version with CD. A Projection are an indie post-punk band from Stockholm, Sweden. With dark textures of effects-driven guitars, lush synthesizers, and heartfelt, introspective lyrics, their music has frequently been compared to that of Interpol, New Order, The Cure, and The Chameleons. Formed in 2013, the band quickly became an underground sensation, owing much of their success to their powerful and atmospheric live performances. By combining a dense, sinister sound with suggestive video projections, the band quickly established themselves as a highly sought-after live act. Following the release of their eponymous demo EP, the band was contacted by several record companies, eventually signing with the Hamburg-based label Tapete Records. "Tapete Records offered us full creative freedom," the band says. "Every track on the album is exactly the way we want it to be." The album was recorded in Stockholm, a city famous for its cold and dark winters. Naturally, that setting had some influence over the overall mood of the album. Most of the recording sessions were held at the band's regular studio, Melodibyrån, but they also had the opportunity to record some tracks at the renowned Elektronmusikstudion (EMS), which has played a significant role in the development of Swedish electronic music. "2013 was a big year for electronic artists: More and more artists are moving over to synth-driven music. It's very exciting. That development has definitely had an effect on our production process -- we started out making an overtly guitar-driven album, but as things progressed we found it very natural to add a lot of electronic elements as well," the band agrees. "It was an intense recording process. We wanted to make a record that was heartfelt and honest, and yet true to form. We are very satisfied with the end result." With their raw yet subdued aesthetics, the band bridges the gap between modern indie rock and classic post-punk, and manages to create exciting and accessible music without conforming to the mainstream.


BEC 5156097

JOAKIM: Each Other 12" (BEC 5156097) 14.00
"'Each Other' is one of my favourite tracks on Tropics of Love (BEC 5161854/5161855, 2014)... slower, more soulful, more sensual... DJ Slow spontaneously submitted a remix to me... I knew his work with Pelican Fly and as a DJ, so I was very flattered... A/JUS/TED... also spontaneously asked me to remix the track, and having heard their versions for Holy Ghost! or Blood Orange, I was totally sold... Vicram is a new French artist that I approached, he's quite mysterious and the few tracks and demos I have heard from him tell me he has great potential." --Joakim



PAZES: Induced LP (TNP 017LP) 19.50
Haunting in its ardor for subdued atmospheric murk and dissipating electronic dream-pop transmissions, Pazes's debut full-length album, Induced, is an exercise in musical intent vs. the unknown forces that forge the end result. Commenting on the process, the Berlin-based (by way of Brazil) Pazes remarks, "I like to think feelings and ideas are separate things and if I'm expressing anything with music, I want it to be the latter. However within the process it becomes very hard to control what you're doing and where you're going. Naturally, this is analogous to many other realms of experience, this difficulty in exerting some sort of control over actions even when things are very clear and defined." Focused and fluid, Induced curiously exudes an uncommon sense of mystery and melancholy presenting itself in vaguely menacing starkness, wistful ambience, creeping bass groan, and the exploration of textures ranging from almost weightless to gritty. Cascading arpeggios meet off-kilter rhythm structures containing elemental traces of hip-hop/trip-hop and leftfield techno/dubstep, yet the mood of Induced has as much in common with bleary-eyed post-punk or shoegaze as it does with any contemporary electronic music scenes. Largely an instrumental journey, with Istanbul's Biblo contributing vocals to otherworldly songs ("Sion" and "Every One") and Paris-based pop chanteuse Andrea Balency appearing on the heart-wrenchingly gorgeous album closer "Remnants."



PHASE: Tunnel Vision/Internal Conflict 12" (TOKEN 052EP) 12.50
London-based Ashley Burchett aka Ø [Phase] follows an impressive slew of EPs and his meticulously crafted debut LP Frames of Reference (TOKEN 033CD/LP, 2013), all released via Token, with Tunnel Vision/Internal Conflict. "Tunnel Vision" surges forward with pummeling low-end and jagged percussion, operates at whirlwind speeds -- the combination of Burchett's twirling, ethereal chords and steadily intensifying percussive work is almost overwhelming. On "Internal Conflict (Acts 1-3)," reverberating drum machines cut sharply alongside the incessant stomp of 4/4 kicks, a tortured acid-riff chugging forward relentlessly. This is techno for the small hours -- frantically paced, disorientating, and charged with adrenaline.



TORBEN: 003 12" (TORBEN 003EP) 14.00
Box aus Holz sublabel is back with TORBEN 003EP. The usual suspects worked together for some edgy house cuts. Vinyl only! Supported by Moomin, Max Graef, Session Victim, Delfonic, Marcel Vogel, Eddie C, and God.



SUNRISE HWY: Sunrise Highway Remixes 12" (TREP 006EP) 14.00
Tim Wagner and Amy Douglas aka Sunrise HWY (formerly Sunrise Highway) make atmospheric, sophisticated, and broad music that signals a return to the song as king. After the successful debut EP on True Romance in 2014 (TREP 005EP), this remix EP features two of the best remixers around: Italy's finest Tiger & Woods and Tuff City Kids from Germany. Larry Tiger & David Woods deliver a very hypnotic version of Sunrise HWY's "Some Kinda Fool" while Gerd Janson & Lauer aka Tuff City Kids offer their reinterpretations of "Never Enough" and "Compass Point," plus a dub of "Never Enough."



NOCHEXXX: Plot Defender 2LP (TYPE 123LP) 25.50
Dave Henson has been producing electronic music on the fringes of any discernible scene since the late '90s, operating outside of the boundaries of good taste and slowly formulating his own very particular sound. Since 2010 he's been recording as Nochexxx, and firing the influence of vintage electro and early bleep techno through an arsenal of barely-working gear to create a sound that's as grubby as Wolf Eyes but with the unmistakable slap of late '80s Detroit. Plot Defender is Henson's third proper album under the Nochexxx moniker, and is his most developed to date, anchored by clattering tape-distorted rhythms and synth squelches that make the TB-303 sound well-mannered. Whether giving the nod to Incunabula on "Between Two Stations" or to the masters Drexciya on "Stinson Fish," Henson's vision is never anything but unique, offering a cracked-glass vision of the last few decades of electronic music and doing so with a very British nod to the camera. Anyone who fell in love with 2014's transmissions from Ekoplekz would do well to investigate. Mastered and cut by Matt Colton at Alchemy. Edition of 500 copies.



JETS: The Chants 12" (LVX 017EP) 12.50
Second EP by JETS (Jimmy Edgar and Travis Stewart) following the Jets EP (LSR 004EP, 2012). Features Jamie Lidell and Jesse Boykins III. Analog drums meet colorful chords against a nightscape of glossy darkness. "Our first record was more of us finding our space... This release was much more about exploring the building of our creation... We spent a lot of time on the sounds, which were mostly from digital hardware sources. We also focused on the recording process more than ever, as we mixed the record on mastering equipment and experimented with bouncing parts onto tape." --JETS


UY 006LP

MAGIT CACOON: Other Dimension 2LP (UY 006LP) 26.50
Formerly Tel Aviv-based DJ, producer, and Girl-Scout-leader Magit Cacoon joined with Upon.You in 2012 after relocating to Berlin and making some serious waves in the city's -- and Europe's -- club circuit. Since then, her vibrant sense of melodic thrills and her enchanting personality have produced a flawless amalgamation of stunning performances behind the decks, while her production and studio persona has created a unique signature sound directly derived from her experience as an air-miles-collecting DJ. She's come a long way from her 2011 debut Voyage 34 on her own Girl Scout label, via releases on Be As One Imprint and Whatpeopleplay, remixes for the UK outfit Porcupine Tree, and a string of groundbreaking releases on Upon.You Records. Her specific musical vision now fully unfolds on her full-length debut, Other Dimension, a seductive yet playful and surely spine-thrilling statement of a matured and fully-grown artistic mind. Written and produced in collaboration with Oliver Deutschmann, Other Dimension covers the whole spectrum of vibrant contemporary club music that, although closely bonded to the framework of house, tech-house, chromatic (neo) trance, and related 4/4-based derivatives, moves way beyond pure dancefloor functionality. Magit Cacoon's universal approach and vision is perhaps most apparent in her use of her most natural and intimate instrument: her own voice. From the carefully crafted ambient soundscapes of the epic intro tune "Plant M" to the overwhelming bass pleasure and cinematic melancholia of "Crime (Who's Afraid of Berlin)," the journey continues into the anthemic, late '80s Detroit chord progression of "Freedom Is Timeless," before "Love Express" works dancefloors uncompromisingly. Things speed up with the frolicking basslines and condensed atmosphere of "No Compromise," while the title-track once again proves Magit Cacoon's touch for long, epic build-ups, and sweet, melancholia-struck melodies, this time served on a slightly techier foundation. "Ghetto Xberg" fuses huge string arrangements and bleepy acid lines to a great effect while the subaquatic bass excursion "Oddity Sound" brings in Drexciyan qualities and vibes. More heavily trippin' bass pressure is found in "Light," which -- despite its title -- flirts with darker, more threatening powers while working sweat-soaked crowds to the max. The powerful, buzzing "Summertime Space" is as primetime-bound as its predecessor. Finally, with "Orion," the album's closing tune, things come full cycle again when slowly pounding low-frequency sounds and calm ambient soundscapes complement each other nicely, perfectly rounding off the full-length debut of an extraordinary artist.

UY 091EP

MAGIT CACOON: Love Express 12" (UY 091EP) 12.50
Magit Cacoon follows her 2015 debut album Other Dimension (UY 006LP) with Love Express. "Love Express" serves up a hard, feverish, ever-evolving style to all creatures of the night. Marius Maier aka Re.You introduces tribalistic drum structures, dramatic breakdowns, and a large bassline to "Love Express" with his remix. "No Compromise" speeds things up with frolicking basslines and a condensed atmosphere that provides relief through a few sparse, 'troity chords. Kevin McHugh aka Ambivalent weighs in with a straight and uncompromising techno remix of "No Compromise," based on a pounding drum set, spiraling midrange synths, and trippy, melodic rearrangements.


VA10Y 002EP

VA: VA10Y2 12" (VA10Y 002EP) 14.00
Second installment of the VA10Y mini-series following VA10Y1 (VA10Y 001EP), featuring new and previously unreleased tracks. VA10Y2 features Avatism, Alex Smoke, and DeWalta.


VA 061EP

CESARE VS DISORDER: Vortex to Unreason 12" (VA 061EP) 14.00
"It's not a simple thing to write about your own tunes... I wanted to make a few tunes that reminded me about those lost feelings of the '90s, when electronic music was made not only for the clubs but also for the soul and the mind... 'Vortex' and 'Unreason,' one I would say more spaced-out and heavy-orientated, the other almost resembling those electronica times when I really enjoyed flying with my brain and my emotions... Romanian rising star Cristi Cons and Italian talent Fango... both delivered unique, stellar interpretations and I am happy to present the project to the world."



QINDEK: Modu EP 12" (WOLF 031EP) 12.50
The mighty Qindek returns to Wolfskuil for his sophomore hypnotic workout. On this three-track EP he showcases his unique talent for melodic-sounding atonal sequencing (if that makes any sense) and stripped-down grooves. In title-track "Modu" he stretches his signature sound to almost epic proportions. Over the span of 12 minutes he stretches and bends a seemingly simple idea like rubber without losing a second's tension. Both "Due" and "Krux" are sophisticated dancefloor DJ tools dripping with atmosphere and depth. Two perfect secret peak-time weapons for those who know.

new releases are also viewable at

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



Donate towards our web hosting bill!
		at the iTunes store