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Forced Exposure New Releases for 5/18/2015

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New music is due from Mark Fell and Gábor Lázár, Jim O'Rourke, Prurient, and WhoMadeWho, while old music is due from Esther Williams, Bazar, and Shirley Collins.


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WEIRD OWL: Interstellar Skeletal LP (AUK 116LP) 20.00
Gatefold LP version. Pressed on milky clear 180-gram vinyl. Following their 2013 mini-album Healing (AUK 108CD/LP), Weird Owl are back in 2015 with a full-length titled Interstellar Skeletal. For the first time since their formation in 2004, Weird Owl have kept the same lineup for consecutive releases, and Interstellar Skeletal reveals further explorations into the psychic canyons mined on Healing. Their psychedelic postcards are written in the cosmic breathiness of the synthesizer and the alien ululations of a guitar tuned to secret frequencies, rumbling through the ages on illuminated rhythmic grids. Each track on Interstellar Skeletal serves as an interdimensional portal to free zones beyond the usual terrestrial veil, whether it is via odd jungle shamanism ("Silver Ziggurats"), the WWII bomber as spiritual metaphor ("Flying Fortress"), death personified as an albino lycanthrope ("White Werewolf"), or the unsettling might of an extraterrestrial deity crashing a beach picnic ("God"). Interstellar Skeletal was recorded and mixed by Jeffrey Berner (Psychic TV, NAAM, Dead Stars) at Galuminum Foil Studio in Brooklyn in the fall of 2014, following Weird Owl's first-ever European tour. Although neither meticulously aped nor mindlessly conjured, the familiar influences of Spacemen 3, The 13th Floor Elevators, and The Brian Jonestown Massacre continue to find a home in Weird Owl's music, perhaps mostly in spirit form. Weird Owl was formed in Brooklyn, NY, in 2004 and has released two full-length LPs on Tee Pee Records, a mini-album on 'a' Recordings, Ltd. and several self-released EPs, including 2007's Nuclear Psychology. Their presence and longevity in the New York psych scene has garnered international attention and they have shared stages with bands such as The Brian Jonestown Massacre, White Hills, NAAM, Graveyard, King Tuff, Hopewell, Earthless, The Lovetones, Sleepy Sun, Assemble Head in Sunburst Sound, Quest for Fire, Spindrift, The Black Angels, Spectrum, Wooden Shjips, and others, including at the 2011 Austin Psych Fest and the 2014 Eindhoven Psych Lab in the Netherlands. As of this release, Weird Owl is John Cassidy (bass synth/bass guitar, synth), J. David Nugent (synth, vocals), Sean Reynolds (drums), and Trevor Tyrrell (vocals, guitar, synth). Anton Newcombe states: "The message is one of cosmic harmony and simplicity. The perfection of geometry and above all, beauty. Sometimes the messenger is a man and sometimes the messenger is an owl."


AA 001EP

TOMIIE, SATOSHI: New Day Album Sampler #1 12" (AA 001EP) 14.00
Limited edition vinyl-only sampler of New Day (AACD 001CD/AALP 001LP, 2015), the second album from house music legend Satoshi Tomiie. Features two album cuts and remixes from Ron Trent and DJ Sneak. "Thursday 2 AM" highlights Larry Heard's influence on Satoshi's early days as late '80s house producer, with a classic bassline and synth pads. It gives the legendary Ron Trent the perfect tools to deliver a timeless remix. "0814" is an energetic DJ tool made after a particularly inspiring club show. House heavyweight DJ Sneak immerses it in his signature sound, adding a dubby feel to the original.


AUS 1578EP

BREACH: Dim Sum EP 12" (AUS 1578EP) 14.00
Breach's multi-faceted catalog includes releases on Ramp/PTN, Pets Recordings, and Dirtybird as well his own label Naked Naked, through which he has pushed music from the likes of Midland, Dusky, Dark Sky, and Lorca. His Dim Sum EP, following his 2015 12" collaboration with Cinnaman, opens with a gravelly percussive loop that circles ahead of a passage of jarring synth stabs. "Anna Love" then lays a glassy sheet over tough, concrete percussion before a bold and husky synth tone. "Purple" then rolls out clipped percussion and a swelling synth tone rotate ahead of a plunge into a dense, aquatic effect.



O'FLYNN: Tyrion/Desmond's Empire 12" (BLIP 001EP) 16.50
O'Flynn first achieved circulation around blogs and channels with his 2013 track "Mantle" on the Aliasizm label. His notable work since then includes official remixes of Ella Eyre's "Deeper" and Miguel's "Adorn," the latter featured and uploaded by the popular Eton Messy channel. It is in his own original material that O'Flynn is more experimental, creating bold left-of-center dance music that shows a distinct difference from his other releases. O'Flynn's core component for this release is the African influence. The tracks are spearheaded by his ability to re-contextualize and stylistically deliver his own sound for these dancefloor-friendly cuts.



FOOT HAIR: Foot Hair LP (BOXREC 011LP) 21.00
Pressed on 180-gram vinyl; includes download code. An absolute must for fans of Brainbombs, Upsidedown Cross, Kilslug, Drunks With Guns, etc. Box Records is proud to present the debut album by Newcastle-based noise-mongers Foot Hair, featuring members of HaiKai No Ku and Obey. Their self-titled debut album reduces sonics from the likes of Brainbombs and Upsidedown Cross into an unforgiving mash of dirge. It's simple, raw, and extremely powerful stuff. Rarely do bands manage to create such a cacophony of hedonistic terror while simultaneously projecting a sense of abject absolute apathy and nihilism. Foul, frightening, and completely cathartic, this is one of the most nailed-on noise rock records out there -- Box Records practically begged the band to let them release it. Not to be missed! T.H. (bass), P.M. (guitar), S.B. (vocals), T.H. (drums), M.A. (guitar). Recorded, mixed, and mastered by Sam Grant, Blank Studios, Newcastle.



JOY WELLBOY: Wedding LP+CD (BPC 311LP) 21.00
LP version. Includes CD. Belgian duo Joy Adegoke and Wim Janssens aka Joy Wellboy have been inseparable for years as a couple in life and art. Their second album, Wedding, sounds as complete and varied as anyone could wish for a pop album to be in 2015. Songwriting meets crooning and electro beats snuggle up with chanson; there's a love song on the dancefloor, a heartbreaking duet and slow-dance ballad for eternity. In short: Joy Wellboy make Love On the Beat. Janssens assumes the role of a born-again Serge Gainsbourg and Adegoke plays a Jane Birkin, in scuffed black leather jacket with a Slits patch. One is reminded of new wave hits, the German new wave, the soundtracks of French new wave cinema, and Leonard Cohen in his "First We Take Manhattan" phase. LP includes bonus track "Stony Grey."


BB 203LP

DIE WILDE JAGD: Die Wilde Jagd LP+CD (BB 203LP) 25.50
LP version; includes CD. Electronic music from Düsseldorf. Die Wilde Jagd go hunting in the thicket of neo-krautrock, electronica, and synthpop. Every new year, during the Rauhnächte (those harsh nights between Christmas and Twelfth Day), The Wild Hunt (Die Wilde Jagd) rides across the country: raucous, jeering hunters from the netherworld, whose path it is better not to cross. This is an ancient Germanic myth, which, in slightly varied form, is known in many parts of Europe, the name of which Ralf Beck and Sebastian Lee Philipp have aptly chosen for their duo project. Ralf Beck has released several albums as part of the duos Nalin & Kane and Unit 4. He collects old synthesizers and effects pedals and has collaborated with Karl Bartos. In his studio, Uhrwald Orange, he has recorded music by Propaganda, Kreidler, Black Devil Disco, and many more. Sebastian Lee Philipp is part of the Berlin-based electro-wave duo Noblesse Oblige and composes music for theatre and radio dramas. Between 2001 and 2006 he lived in London, where he ran the club night Caligula and performed as a DJ. The two first met in 2006 in Düsseldorf's Salon des Amateurs, a meeting place for new and established experimental musicians and artists, also known as Germany's "post-punk Hacienda." It seems no coincidence that Düsseldorf is the duo's founding city: their music is full of subtle references to local acts, such as Kraftwerk, NEU!, DAF, Liaisons Dangereuses, Pyrolator, Die Krupps, and Propaganda. Since their first meeting, Beck and Philipp regularly come together during the time of the Rauhnächte to record in Beck's well-equipped studio. Using the numerous analog keyboards and recording devices assembled there, and combining them with a diverse range of percussion instruments, they create their own "hunting music," which at times sounds unsettling, like swampland or a dark forest, but also urgent and pressing, like incandescent lasers or a hypnotic dance. Their soundscape is marked by repetitive guitar loops, electronic percussion, drums, and synthesizers. Booming tom-toms and medieval-sounding flutes herald the start of the hunt. Whispering, reciting voices conjure up the spirits of the woods, while synthetic sounds, melodies, and noises flit about before they are re-captured, structured, and grounded by crystalline beats and pulsating basslines.


CJM 8002LP

ROACH, MAX: We Insist! Freedom Now Suite LP (CJM 8002LP) 12.00
Exact repro of 1960 LP. Three of the five tracks feature lyrics by Oscar Brown Jr., sung by Abbey Lincoln. Back cover: "What this album is saying is that FREEDOM DAY is coming in many places, and those working for it mean to make it stick. In 1937, a Negro who still remembered slavery spoke of what it was like in 1865. 'Hallelujah broke out... Everyboby went wild. We all felt like heroes, and nobody had make us that way but ourselves.' It's happening again."



BURRASTON, DAVID: T.H. Cycle Cassette (SAUNA 026CS) 9.50
Ultra-minimal digital modular chaotics setup recorded direct to two-track. David Burraston (aka Dave Noyze aka Bryen Telko) is an artist/scientist involved in technology and electronic music/art since the late 1970s. Self-taught in the areas of music composition/technology, generative art, chaos, and complex systems, he is recognized as a leading practitioner/theorist in the field of generative music, producing both peer-reviewed publications and musical compositions. Burraston is a peer-reviewer for Leonardo Journal, Leonardo Music Journal, Computer Music Journal, and is on the editorial board of Leonardo Transactions. His PhD thesis developed and applied fundamental new concepts, arising out of generative music practice, to a key problem in complex systems. Burraston has been running his own independent analog/digital research music studio, Noyzelab, since 1981. He has performed music/video sets and created sound art installations around the world at a wide variety of events (e.g. Liquid Architecture, Electrofringe, Big Day Out, Floating Land Festival, Wired Open Day). He designs and builds his own synthesizer modules based on his theories of chaos and complex systems science. He has been featured in many music/art publications (from The Wire to RealTime Arts). He continues to release his own particular brand of field recordings, generative music, and noise experiments on a number of labels such as MIT Press, Alku, Cataclyst, Meds, Engraved Glass, Lo Editions, Taiga, Tochnit Aleph, Sevcom Edition, Beta Bodega Coalition, Creativity & Cognition Studios, and his own Noyzelab imprint. He has worked with many diverse collaborators and artists such as Aphex Twin, MIT Media Lab, William Barton, Alan Lamb, Chris Watson, Russell Haswell, Robin Fox, Chris Mann, Dave Phillips, and the Australian Broadcasting Corporation. He is also part of the team that designs and builds Long Wire installations at The WIRED Lab.



Label head Tobias Lindén makes his long-awaited return with this three-tracker of deep, hypnotic techno. Here, his analog signature sound laced with organic percussive elements marries with strong influences from his frequent visits to Brazil.


SD 9034HLP

180-gram virgin vinyl. Exact repro of The Velvet Underground's final LP with Lou Reed, originally released in 1970. Contains "Sweet Jane," "Rock & Roll," and Doug Yule's finest moment, "Oh! Sweet Nuthin'." Manufactured by Rhino.



VA: Tropical Disco Hustle Volume Two CD (COS 013CD) 16.00
"Cultures of Soul is proud to release the highly anticipated follow-up to the widely successful Tropical Disco Hustle, an album full of rare disco tunes that exude a Caribbean flavor. This album takes us back to Trinidad and Jamaica and sends us on a few new adventures in St. Lucia and Guadeloupe. Three tracks by Wild Fire including 'The Dealer,' as well as two other classic disco tracks, 'Dance With Me' and 'Try Making Love,' can be heard on this new compilation. The album also features two killer disco workouts by the Tru Tones, 'Dancing' and 'Let's Party,' with the latter having been heavily influenced by the Jacksons. Both tracks are rare and in demand by DJs and record collectors alike. Also featured here is an excellent cover of Chanson's 'Don't Hold Back' by reggae legend Derrick Harriott, and the under-the-radar, African-influenced disco tune 'Caribean People' by Camille Hildevert. This album was compiled and researched by Deano Sounds, with edits by french DJ-extraordinary Waxist Selecta and legendary UK disco DJ Al Kent."


VA: Tropical Disco Hustle Volume Two 2LP (COS 013LP) 30.00
Gatefold double LP version.



DOLAT-SHAHI, DARIUSH: Electronic Music, Tar and Sehtar LP (VCR 003LP) 25.00
Limited 2015 repress, regular printed sleeve this time. This release will undoubtedly be met by the same deep breaths that have been shared by the small group of collectors who, over the past few years, have held original copies of this rare Folkways release in such high regard. In simple terms this LP is the kind of record you wished existed while nothing really came close to the mark. Respectfully and subtly combining traditional Persian instrumentation, modular synth exercises, field recordings and tape manipulation -- this debut release from 1985 by Dariush Dolat-Shahi bridges multiple cultural and stylistic voids and vindicates the vinyl-buying market's disparate interests in bygone Eastern experimental rock music, radio-phonic experiments, musique-concrete, sound design, neo-tantric meditational records and other early accidental acidic electro murmurs. For those who enjoyed the re-contextualized music of Ilaiyaraaja and Charanjit Singh while holding tight to the legacy of Pierre Schaeffer, Daphne Oram, Ilhan Mimaroglu, and harbor penchants for all things drone, Teutonic, electronic, demonic, and euphoric, this record has just changed all your plans for the weekend. A perfect primer for the aforementioned labels and a proud indication of what to expect from this eternally studious camp in 2013. Cut at Dubplates & Mastering.



MICACHU: Feeling Romantic Feeling Tropical Feeling Ill 2LP (DDS 011LP) 25.50
Mica Levi more or less owned 2014 with the release of that astonishing soundtrack to Jonathan Glazer's Under the Skin, followed by this hour-long album-cum-mixtape for Demdike Stare's DDS imprint, which was released at the end of the year and sold out in a flash. It has now been reworked for this vinyl edition, and given a full remaster by Matt Colton. Levi is an artist who basically seems to channel attention deficit into exploring and re-shaping a myriad of musical ideas and directions without bound -- sometimes all at once. She's an artist who has by her mid-20s merged the disciplines of codeine-laced, cough syrup-drankin' early '90s Houston hip hop legend DJ Screw with the rarified sound of London Sinfonietta on her incredible Chopped & Screwed album (2011), got Matthew Herbert to produce her brilliant 2009 debut Jewellery, and acquired Björk as a fan in the process. She's produced a bunch of killer, off-beat pop tracks for up-and-comer Tirzah and supplied an impromptu 30-minute Boiler Room set that's still one of the best they've ever put up. And yeah, that's before that Under the Skin soundtrack that showcased another side to her production altogether -- all discordant, intense, Ligeti-influenced strings, muffled percussion, and frozen drones that came off like a feverishly-dreamt collaboration between David Lynch and Nate Young. When asked about the score and working with someone as high-profile as Jonathan Glazer she told Pitchfork "He's a nice bloke -- I certainly didn't think he was a wanker." Which basically tells you that you ain't dealing with the ordinary or conventional when it comes to anything Micachu is involved with. And this hour-long session is perhaps her best work yet. More or less split into three seamless segments referenced in the title, it journeys out from tense, concrete-fuelled strings to brilliantly ramshackle tape beats and odd pop edits, spooled through her singular, totally inimitable box of tricks. One is hard-pressed to think of any contemporary artists who have as broad and limitless an ability to continuously re-contextualize the familiar into something that feels never-before-heard -- even going back as far back as Prince or Arthur Russell to reference anyone who has really managed to tap into as many diverse musical disciplines with this much originality. And if you think that's a bit far-fetched -- give this a listen and knock yourself out.


DOL 1003LP

140-gram virgin vinyl. Originally released on Prestige Bluesville in 1960. "In Willie Dixon and Memphis Slim Prestige presents two of the most forceful personalities anywhere on the country blues scene. The imagination they display here is lively and rich, and they will go a long way toward building a wider audience for their brand of blues. They have long been prominent in Chicago, the "up North" center of country blues, but too little is heard of them elsewhere. It is hoped that this album is a beginning in making their music more generally known." --original liner notes by Dale Wright

DOL 1430LP

BROONZY, BIG BILL: Big Bill Broonzy LP (DOL 1430LP) 20.00
140-gram virgin vinyl. Side A recorded live in concert in Anvers, March 29, 1952. Side B from recording sessions in Brussels, December 11, 1955. Originally released on the French Black and Blue label.

DOL 1452LP

WILLIAMSON, SONNY BOY: One Way Out LP (DOL 1452LP) 20.00
140-gram virgin vinyl. Originally released on Chess in 1975; contains recordings from 1955, '56, '57, '59, '60, and '61. "This album constitutes... an occasion to celebrate and honor anew the genius that was Sonny Body Williamson. Here are to be found 15 of his vintage performances all new to LP. including five performances that until now have been available only as singles -- 'Born Blind,' 'Too Close Together,' 'Let Your Conscience Be Your Guide,' 'Keep It to Yourself' and 'One Way Out.' (The latter two, it should be emphasized, are the original single versions -- Checker 847 and 1003 respectively -- of these songs and not the ones found on albums 50027 and 1503). Of even greater interest to the fan of Sonny Boy and blues harmonica are the 10 previously unreleased performances from the Chess vaults, on which may be heard some absolutely marvelous singing and playing from the master." --original liner notes by Pete Welding

DOL 1465LP

WILLIAMSON, SONNY BOY: Bummer Road LP (DOL 1465LP) 20.00
140-gram virgin vinyl. Originally released on Chess in 1969; contains recordings from 1957. '58, and '60. "One of the most interesting, creative and original artists in modern blues... his recordings for Chess are significant: ironic, devastatingly witty songs... laconic wry singing... dry, spare harmonica solos... all played with a simplicity of means and an understated approach, attained to the highest levels of artistry." --original liner notes by Pete Welding

DOL 1466LP

JAMES/JOHN BRIM, ELMORE: Whose Muddy Shoes LP (DOL 1466LP) 20.00
140-gram virgin vinyl. Originally released on Chess in 1969; contains recordings from 1953. '54, '56, and '60. "Elmore James was no imitator... rather he adapted the style to electric guitar and ensemble demands of post-war blues... he was a powerful, deeply emotional singer... John Brim... an unfortunately lesser-known blues singer-guitarist of the mature Chicago blues idiom... noted for a relaxed yet forceful rhythm and beautifully tough character..." --Pete Welding

DOL 1503LP

WILLIAMSON, SONNY BOY: The Real Folk Blues LP (DOL 1503LP) 20.00
140-gram virgin vinyl. Originally released on Chess in 1966. "The tunes he left behind that you can think over and listen to make you know he was one of the most amazing deliverers of the Soul Blues." --Willie Dixon


COLTRANE, JOHN: Blue Train LP (DOL 709LP) 20.00
140-gram virgin vinyl. Exact repro of 1957 LP. Coltrane's third session as a leader, recorded on 15 September 1957 for Blue Note, although he was still under contract of Prestige. The sextet includes Lee Morgan (trumpet), Curtis Fuller (trombone), Kenny Drew (piano), Paul Chambers (bass), and "Philly" Joe Jones (drums).


COLTRANE, JOHN: Bahia LP (DOL 766LP) 20.00
140-gram virgin vinyl. Exact repro of 1964 Prestige release. "During his final months with Miles Davis' group, John Coltrane participated in a number of recording sessions for Prestige and New Jazz independently of Davis (though usually with one or more members of the Davis rhythm section) in both leader and sideman roles. This album continues the already extensive series of recordings from that especially meaningful period... More albums from this period (the late 1950's) are still to be issued, but this one is, I think, among the best of those already in release... the music is, on its own terms, very beautiful." --original liner notes


DAVIS, MILES: Sketches of Spain LP (DOL 789LP) 20.00
140-gram virgin vinyl. Originally released in 1960. Arranged and conducted by Gil Evans. "It is as if Miles had been born of Andalusian gypsies but, instead of picking up the guitar, had decided to make a trumpet the expression of his cante hondo (deep song)."


DC 620CD

O'ROURKE, JIM: Simple Songs CD (DC 620CD) 13.50
"Yes, Simple Songs is an album of songs sung by Jim O'Rourke all the way through! It has been ten years since Jim's voice rang out from a new album. Ah, when James Michael was just a wee lad, he sang all the time, with a lovely little lilt to his voice, like all the children do. But the songs he sang gave his parents no end of consternation: 'Great Decei-verrr! Cigarettes, ice cream, figurines... of the Vir-gin Mar-eeee!' Aye, if only we'd-a been there -- little Jimmy's career would have started much sooner. Child labor laws be damned! It's hard to believe it has been nearly fourteen years since Insignificance. When that album hit in late 2001, we heard once or twice how it was too bad that it wasn't Eureka Part 2. Sissies! Then in 2009, when The Visitor returned Jim to the orchestrated instrumental feel of Bad Timing, people wondered when we'd have another album like Insignificance! Grrrr.... now, has the world caught up with Jim? Maybe -- but only because he let us. What Simple Songs sounds like.... At this point, the range of sounds and songs that have turned Jim's head are numerous enough to have crushed together into something that is unmistakably his -- the vast, glossy and glittering O'Rourkian (yes, like Kervorkian) wall of sound. The music's got OCD quality, played so immaculately by so many instruments, and most of them by the creator's hand. This time's really the widest screen yet for Jim's popular song-style, truly breathtaking! As for the songs themselves, one may have to resist the urge to skim the lyrics to try and guess who the target of each ditty might be -- but this ain't 'You're So Vain,' okay kids? And you're definitely NOT Warren Beatty. Simple Songs was worked over, from source material to finished mix, for five years or more now. Jim's writing is kinda rooted in the approach of Insignificance -- frosted pop tarts that leave a darkly bitter aftertaste. So bilious not even Jim can listen to it all the way through! Fine, it's not for him to listen to anymore -- WE can't stop from listening. It's like a beautiful car wreck we can't look away from or stop feeling AMAZING about. Super fun stuff."

DC 620LP

O'ROURKE, JIM: Simple Songs LP (DC 620LP) 20.00
LP version.

DC 622EP

HOWLING HEX, THE: Butterfly/Party Shoes LP (DC 622EP) 5.50
"'Butterfly' and 'Party Shoes' are compact pop songs with lyric hooks, vocal harmonies, guitar leads, crazy rhythms and themes of love and peace, mixed together into a beguilingly physical sound. As per the standards of the format, both songs compress all their virtue into classic two-and-a-half minutes flat -- the perfect length for popular music in the days when rock and roll radio was the supreme voice of America's youth."

DC 629LP

DREYBLATT, ARNOLD: Nodal Excitation LP (DC 629LP) 20.00
"By the late '80s most of the burgeoning minimal underground had been forgotten, especially one amazing character, Arnold Dreyblatt. Dreyblatt only had one record, Nodal Excitation (on the mostly post-AACM jazz label India Navigation), before he packed and moved to Berlin, where he concentrated on his other activities, making only two more records over the next 10 years. But for those who caught the action, Arnold was the man. He was more rock that any of the others combined, and he was also the only one to really tap into that massive proto-minimal sound that Conrad had squelched out of his tin-contact mic violin in the early '60s. Indeed, in the early '70s after being in school in Buffalo, where Conrad taught, Dreyblatt moved into Manhattan to work for Young, where he witnessed first-hand, and listened first-ear to those legendary recordings of the Theatre of Eternal Music. He got interested in long string sounds, and bought a bass that he wired with piano wire. By hitting the strings instead of bowing them, Dreyblatt was able to get those ringing overtones, but he also had added something new: pure rhythm. Dreyblatt couldn't get the rock singles he'd grown up with out of him, and couldn't become the full-on new-music man that seemed to be a requirement in the '70s, and it wasn't until the '80s that the fence could be straddled, if not knocked over. It was time to start a band. In 1998, dexter's cigar were on the scene, excavating the valuable stuff from that semi-recent past for Nodal Excitation's first-ever appearance on CD. It brought it into a lot of new ears -- but times have changed and so have the ears. So what you have here is the first ever LP reissue of Arnold Dreyblatt's freshman record, a slice of minimal history that is STILL as potent now, if not more, as it was in '98 and '81 before it. It was a lighthouse that was aiming the wrong way when the tugboat came by, but now it's shining right in your face."



AYLER, ALBERT: Spirits Rejoice LP (ESPDISK 1020LP) 24.00
2015 repress. ESP-Disk's vinyl edition of this classic 1965 blowout by free jazz icon Albert Ayler restores the original front-cover art. 50th Anniversary Remaster from the original tape. On this Judson Hall session (ESP used the empty concert hall as their "studio," its reverberation adding to the bigness of the sound) both Ayler's playing and his new band's sound even more intense than before, the parts of the players sometimes only loosely related. Some defended it as an energetic ensemble style harkening back to the early days of New Orleans jazz in its intertwining of independent lines; it came to be called "energy music" and started a movement that was quickly joined by Frank Wright and that continues in the playing of Charles Gayle, Sabir Mateen, and Peter Brötzmann. Albert Ayler, tenor saxophone; Donald Ayler, trumpet; Charles Tyler, alto saxophone; Sunny Murray, drums; Call Cobbs, harpsichord; Henry Grimes, Gary Peacock, basses. Recorded Sept. 23, 1965, at Judson Hall, New York City.



ALI BABA: Ali Baba LP (SLP 357LP) 12.00
"When Louie Ramirez signed his first contract with Fania Records in 1971, Fania President Jerry Masucci, who was also a lawyer, decided to release Louie's first album using the pseudonym Ali Baba to avoid any possible legal repercussions from his previous recording commitment... This album features a wonderful blend of the New York Boogaloo sound of the early 1970's (which reached its peak during this decade) as well as some early Salsa rhythms." Originally released in 1971.



ALVARO: Drinkin My Own Sperm LP (FTR 174LP) 16.50
"Beautiful reissue of the 1977 debut solo LP by Alvaro -- the Chilean with the Singing Nose. Alvaro Peña-Rojas was an advertising exec who ended up living in a squat in London when he chucked his professional career to fulfill his dream of being a musician. Rooming with he-who-would-become Joe Strummer, Alvaro was a founding member of the squat's pub-rock band, The 101ers. After the Pistols opened for The 101ers at the Nashville Rooms, Strummer felt like he was destined to become a punk, and founded The Clash. Alvaro took his own trio into the studio (along with singer Cathy Williams, then in Red Balune with her boyfriend, Geoff Leigh) and used his savings to record Drinkin My Own Sperm, which he then had pressed up on his own Squeaky Shoes label. The music is a mad mélange -- like Andean lounge music in parts, like berserk early Eno in others, and filled with the strange joy of Alvaro's keyboard inventions throughout. The album's title-track -- which Alvaro has long claimed was an ode to his lonely existence in London -- strikes us more like the move of a canny marketer. Because of its title, the record was banned on the BBC and often noted in contemporary mainstream journals as yet another sign of the disgrace that was punk. Of course, we leave the ultimate decision to you, but one has to wonder. This new release has both the lyric insert that accompanied the second pressing back in '78, as well as an historical booklet penned by Brian Turner (of WFMU) and Byron Coley. 800 copies were pressed." --Byron Coley, 2015


GRAPE ROOM: Cartoon Land LP (FTR 205LP) 16.50
"Alright...Grape Room is a trio made up of Peter Nichols, Jo Miller-Gamble and Danny Bissette. This means it's related to Great Valley and Peter's Window, as well as a web of other screwball Brat-pop generators that only a goddamn tree farmer can actually unravel. Like some of these other projects, Grape Room uses pop gesturing to create curiously operatic narratives. This one involving a cabal of sad cartoon bears. What makes them so sad? Long winters, lack of honey and the inability to tell time. How this is crafted into a compelling story is difficult to explain, but much of it has to do with the massive pop shivers that occur throughout the album. Especially when played at very high volume, Grape Room's music grooves along like an ursine version of Game Theory -- using '80s-sounding tongue-moves to create a larger picture of something that could only exist outside the '80s. This is how bears play guitar, they seem to be saying. And this is how they sing. And this is what they do when they want to sound like a parade of early '70s popsters trying their darnedest to make blind men dance. And often succeeding! One never quite knows what to make of the music that flowed out of Brattleboro so copiously over the past decade. As its proponents drift off to other parts of the globe, we may discover if it was actually something in the water that caused such magical confections as this to sprout willy nilly from so many ripe foreheads. But for the nonce, we are best off just sitting back in our rocking chairs and chuckling at each other while getting-but-not-quite-getting the dither-worthy fluff these lads are emitting. It's like spending a winter sleeping in the coziest cave you ever saw. And then some." -- Byron Coley, 2015; limited edition of 350.



COPPER, BOB AND RON: Traditional Songs from Rottingdean LP (FLED 3097LP) 26.50
In 1963 The English Folk Dance and Song Society released an LP of unaccompanied singing that has since had a tremendous influence on the folk song revivals of Britain, Ireland, and The United States. The album collected together a number of recordings of Bob and Ron Copper of Rottingdean in Sussex, recordings made by the renowned folksong collector Peter Kennedy during the late 1950s. The Copper family can trace their roots in traditional song back at least 200 years. Their rare southern English harmony is presented at its most outstanding in these classic performances from the 1950s and early '60s. To celebrate the 2015 centenary of Bob Copper's birth, Fledg'ling Records present the first reissue of this seminal album. The package recreates all the original artwork and Bob Copper's complete sleevenotes (as well as the original shortened version of the essay).


COLLINS, SHIRLEY: The Foggy Dew 7" (WING 1001EP) 12.00
At the beginning of Shirley Collins's recording career, in 1959, she recorded a series of limited 7" EPs for Collector Records, which have since become quite rare. This remastered edition of The Foggy Dew (the first of her Collector EPs), its first reissue as a vinyl EP, is presented in a front-laminated, flipback sleeve, just like the original, and an illustrated inner bag with period reviews from the archives. This release, along with a reissue of the English Songs EP (WING 1002EP), precedes a concert to celebrate Shirley Collins's 80th birthday, on Sunday, July 5th, 2015, at the Queen Elizabeth Hall, Southbank Centre, London. "What comes through is sincerity, purity of instinct, and a tremendous depth of feeling." --Alan Lomax


COLLINS, SHIRLEY: English Songs 7" (WING 1002EP) 12.00
At the beginning of Shirley Collins's recording career, in 1959, she recorded a series of limited 7" EPs for Collector Records, which have since become quite rare. This remastered edition of English Songs (the second of her Collector EPs), its first reissue as a vinyl EP, is presented in a front-laminated, flipback sleeve, just like the original, and an illustrated inner bag with period reviews from the archives. This release, along with a reissue of The Foggy Dew EP (WING 1001EP), precedes a concert to celebrate Shirley Collins's 80th birthday, on Sunday, July 5th, 2015, at the Queen Elizabeth Hall, Southbank Centre, London. "What comes through is sincerity, purity of instinct, and a tremendous depth of feeling." --Alan Lomax


FS 109LP

WILLIAMS, ESTHER: Let Me Show You LP (FS 109LP) 12.00
Exact repro of 1976 LP. "A typical Eddie Drennon track, 'You Gotta Let Me Show You,' has all the ingredients of a magical disco track, and it's got a beautiful bassline."



WHOMADEWHO: Ember LP (GPM 300LP) 15.50
Genre-bending Copenhagen trio WhoMadeWho continue their string of acclaimed releases, including their 2005 self-titled debut (GOMMA 060CD), 2012's chart-topping Brighter (KOMP 097CD/KOM 254LP), and 2014's Dreams (DACD 001CD/DALP 001LP), which was touted by many as one of the best things to come from the indie-dance sector of music in some time. No surprise coming from a band that's played and toured alongside the likes of Justice, LCD Soundsystem, Daft Punk, and Hot Chip, who, in 2011, also asked to remix the trio's song "TV Friend" while WhoMadeWho covered "Don't Dance" in return. Other remixers include underground heavy-hitters The Mole, DJ Koze, and Michael Mayer, proving WhoMadeWho's ability to go from mega-stage to basement seamlessly. Ember is another foray into the world of machine music and dreamy soundscapes, in which the band stays true to its pop tendencies while spinning things around and taking a trip right back to its roots. Band member Tomas Barfod, who also produced the release, says, "After many years of emphasizing 'the song' more and more, we felt like just playing around with our instruments, like when we recorded our first album... it was like renewing our band-wedding vows; we found our way back to our fun and free approach of making music together." "Fun" and "free" might very well be two of the best ways to describe this seven-track creation of skewed pop, surf-rock, and slow, meaningful dance music. Beachy guitar licks, ethereal crooning, and enough distinct flavor to set each track apart from the rest, in the dreamy puzzle that is Ember.


HH 002CD

HANCOCK & THE HEADHUNTERS, HERBIE: Omaha Civic Auditorium 17th November 1975 CD (HH 002CD) 17.00
This superlative set at The Omaha Civic Auditorium, November 17th, 1975, was taped for FM broadcast soon after the release of Herbie Hancock's groundbreaking 1975 Man-Child album, and finds the great keyboardist backed by the awesomely tight combo of DeWayne "Blackbyrd" McKnight (guitar), Bennie Maupin (reeds), Paul Jackson (bass), Bill Summers (percussion), and Michael Clarke (drums). This selection of Hancock's finest tracks includes his early classic "Watermelon Man," and is offered here in its complete form as originally broadcast, with digitally remastered sound, background notes, and rare images.



LES BIG BYRD: Liquid Sky PIC. DISC (HNR 001PIC-EP) 25.00
Psych heroes Les Big Byrd are back with pure liquid for all the freaks on the inside longing for the outside. Höga Nord are more than happy to deliver their EP Liquid Sky on a picture disc 12". The album was recorded during the winter 2014 according to band member Joakim Åhlund. That might explain the subtle dark nerve in the music and lyrics. Mellow, mature music for fresh motherlovers as usual: Opening track "The Summer Ends Tonight" takes off like a melancholic third eye opener. The Title track sounds like a loving hug when you really need it. When "Roundhouse Blues" kicks in, it´s time to play hide and seek with our minds.



MOONDOG: The Viking of Sixth Avenue 2LP (HJR 018LP) 23.00
2015 repress, originally released in 2005. Tremendous gatefold presentation and one of HJR's most impressive documents to date. "The first overview of Moondog's amazing artistic life -- including recordings spanning from 1949 till 1995, with numerous 78s and various other vanished records revived for the first time (not to mention a couple of Weegee photographs!)."


HS 1010CD

NELSON & FRIENDS, WILLIE: Live Dallas Texas KAFM-FM Radio Show 2CD (HS 1010CD) 23.00
Such is the depth of his repertoire that Willie Nelson had no trouble filling up two hours and 15 minutes on this July 1, 1976, broadcast from Dallas radio station KAFM-FM. With a little help from occasional guest vocalists Jody Payne and Bee Spears (both part of his band), as well as fellow outlaw David Allan Coe, he ran through material spanning the beginning of his career as a songwriter through his 1975 hit album Red Headed Stranger. In addition to the hits "Blue Eyes Crying in the Rain" and "Good Hearted Woman," this includes his own interpretations of songs he wrote that were hits for others, such as "Crazy" and "Funny How Time Slips Away," as well as covers of classics like "Jambalaya," "Truck Drivin' Man," and "Goodnight, Irene." The broadcast is presented here in its entirety, with digitally remastered sound and background notes.

HS 1011CD

CASH, JOHNNY: Wheeling West Virginia October 2 1976 CD (HS 1011CD) 17.00
By the mid-1970s, Johnny Cash had an enormous catalog of classics upon which to draw for his live performances. Backed by the Tennessee Three, he offers a wealth of them on this October 2, 1976, appearance on the Jamboree USA show, broadcast on WWVA in Wheeling, West Virginia. Sprinkled among the hits from the '50s, '60s, and '70s are folk tunes and B-side gems, as well as a few contributions from Anita Carter, the Carter Family, and Johnny's wife, June Carter Cash. The broadcast is presented here in its entirety, with digitally remastered sound and background notes.


KH 9038LP

MITCHELL, JONI: Newport Folk Festival 19th July 1969 LP (KH 9038LP) 23.00
This superb Joni Mitchell performance was recorded at the legendary Newport Folk Festival in Rhode Island on the evening of July 19th, 1969, within a week of the first moon landing and a month prior to Woodstock. Broadcast by PBS as "The Sounds of Summer" that August, it captures Mitchell on the cusp of becoming one of the biggest stars in the emerging singer-songwriter movement. Spanning such early classics as "Chelsea Morning" and "Both Sides, Now," as well as lesser-known album tracks and the rare "Cactus Tree," it culminates with Dino Valenti's anthemic "Get Together," and is essential listening for Mitchell's legion of fans. 180-gram vinyl; includes insert with background notes and rare images.


BEC 5156056

WARLOCK: Seventeen Camels EP 12" (BEC 5156056) 14.00
DJ/producer Warlock's mixtapes and radio show, on the now-legendary London pirate station Pulse FM, established his cult status as a stalwart of the early '90s UK dance scene. In the late '90s, Warlock released experimental techno on seminal labels Praxis and Spiral Tribe's Network23, before a stint as A&R at Kickin Records, where he nurtured releases from DJ Hell and Surgeon. In 2002, he launched his own label, Rag & Bone, providing an outlet for the emergent sounds of Aaron Spectre, King Cannibal, Kanji Kinetic, and Stagga. In November 2014, Warlock was voted one of FACT's most underrated DJs.



PFEIFFER, THORE: Im Blickfeld LP+CD (KOMPPA 002LP) 21.00
LP version; pressed on 180-gram vinyl; includes CD. Limited to 500 copies worldwide. Meticulously curated by Wolfgang Voigt, the Pop Ambient compilation series (and its latest offspring, the Pop Ambient artist album series) has long catered to a unique aesthetic sitting somewhere between experimental field recordings, no-age music, and synth pop -- a proud tradition carried on by Thore Pfeiffer's full-length debut Im Blickfeld. After inaugurating its Pop Ambient artist album series with Leandro Fresco's stellar 2015 full-length El Reino Invisible (KOMPPA 001CD/LP), Kompakt presents the next installment by up-and-coming soundsmith Thore Pfeiffer. The young German producer turned heads with two excellent contributions to Kompakt's Pop Ambient 2015 compilation (KOMP 120CD/KOM 315LP), and he showcases the full breadth of his remarkable talent on Im Blickfeld. Successfully carving out his very own niche on crowded terrain, he doesn't seem too interested in merely repeating the established achievements of the genre, but finds a personal approach to electronic enchantment. From the hot-wired micro-loops of enigmatic opener "Allzu Nah" to the cut-up folk of the title-track, the neon-tinged romance of "Was Ihr Wollt," or the mock balearisms of "Kolibri," Pfeiffer seems to be less interested in watering down the rough edges of his source material, focusing on the relationships and juxtapositions of his samples instead. Rather than indulging in multiple layers of textures, this is a decidedly concrete interpretation of pop ambient, dealing with distinct musical objects and their different states of aggregation in time. Nevertheless, there's a lot of purely emotional adventure to be found in Im Blickfeld -- take the sophisticated soaring of "Falke," for example, or the somewhat cozy dissonances of "Nicht Genug": these are tracks that don't remain stationary, but take you travelling into fascinating mental territory, thanks to their unique arrangements and hand-picked sonics. "During production, I always had these images in mind, of a hunter sitting in his deerstand, contemplating his extended field of vision," Pfeiffer recalls. "He's got a lot of time at his hands to muse about things and take in the silence before the storm."



PEV & HODGE: 21 Versions/What Your Heart Knows 12" (LIVITY 016EP) 12.50
Frenetic, intense, and fully Livity Sound in style, these definition-defying tracks are the results of several jamming sessions between label mainstay Peverelist and rising star Hodge, their first collaborative release since the 2013 Bells 12" on Punch Drunk. This 12" marks the second release of 2015 for Livity Sound, which continues to define the cutting edge of UK dance music.


MG 109EP

DE LA CALLE, EDUARDO: Analog Grooves #4 12" (MG 109EP) 14.00
Fourth and final volume in the Analog Grooves vinyl (and analog) only series, a joint venture between Spanish producer Eduardo de la Calle and Swiss label Mental Groove Records focusing on futuristic/cosmic compositions for both clubbing and listening enjoyment. Simply classic and timeless music.



TOH, TIM: Tourist 12" (ORN 035EP) 14.00
Adventurous sound travelling through related techno, electronica, and ambient excursions; never disappointing. Includes a collaboration with Toni Te. Clear marbled vinyl.


OP 022EP

JAAR, NICOLAS: Nymphs II 12" (OP 022EP) 14.00
"The Three Sides of Audrey and Why She's All Alone Now"/"No One Is Looking At U." Recorded in New York City between 2011 and 2015.



BLIND RAVAGE: Blind Ravage LP (OSR 009LP) 25.50
Blind Ravage were formed in Montreal in the late '60s by well-seasoned musicians, including keyboard virtuoso Serge Fleury and ace guitar player Jean Charbonneau. In 1971 they released their only album, on the Crescent Street label. Hard rock with bluesy overtones, heavy guitar playing, punkish vocals, and swirling Hammond organ. Nine original songs plus a killer hard rock version of "Susie Q." This is the first vinyl reissue, featuring remastered sound and an insert with liner notes.


DOUGLAS FIR: Hard Heartsingin' LP (OSR 034LP) 25.50
The one and only album by this great Pacific Northwest band, recorded and originally released in 1970, is a mix of hard-driving psychedelic rock, heavy blues, and atmospheric ballads with big studio production. Flowing organs, powerful Doorsy vocals, and hard-edged guitars. Nice orchestrations on some tracks, which bring to mind Love's Forever Changes (1967) or Johnny Rivers's Realization (1973). Original master sound; includes insert with liner notes.


FANKHAUSER, MERRELL: Merrell Fankhauser LP (OSR 035LP) 25.50
After his stint with Fapardokly, HMS Bounty and Mu, Merrell Fankhauser released his first solo album in 1976. Containing songs written a year earlier while Merrell and violin player Mary Lee were living in the jungle of Maui, this is a brilliant set of spiritual folk-rock and light orchestrated pop. The album was recorded at various Hollywood studios, initially sponsored by a producer from George Harrison's Dark Horse label. In fact, Harrison was so impressed with Merrell's songs that he expressed interest in playing slide guitar on "On Our Way to Hana." Sadly, due to internal problems, Dark Horse backed off and Merrell found himself without a label to release the album. Finally, a couple of friends from Maui released it on the small Maui Music label. On the recordings, Merrell and Mary Lee were joined by several studio musicians, among them drummer Bill Berg, who had played on Bob Dylan's Blood On the Tracks (1975). This reissue of Fankauser's self-titled debut, which has also been reissued as The Maui Album and Maui, features master tape sound, tracks restored to their original running order, original artwork, and an insert with in-depth liner notes by Jeremy Cargill (Ugly Things, Got Kinda Lost), presenting the most complete written story about Merrell's musical career.



LAUER: Borndom 2LP+CD (PERMVAC 139LP) 23.00
Double LP version; includes CD. Three years after Lauer's 2012 debut, Phillips (RB 004CD/LP), on Running Back, the melody man from the outback of Frankfurt am Main presents Borndom: a 13-track trip through a universe that is specifically his. Lauer is far from a stranger to Permanent Vacation, with singles like Delta Kid (PERMVAC 057EP, 2010) or Donner Lake (PERMVAC 123EP, 2014) heralding things to come; the label and Lauer share a spiritual kinship and ethos. Lauer's music is rooted in pop music and mixed with the reactance and sound aesthetics of punk, while wearing dancing shoes; you'll be hard-pressed to find lots of contemporaries that till a similar field. With a sound signature, a melodic repertoire, and an emotional quality that is immediately recognizable, Lauer's work is highly individualized. Unlike his other adventures in club music (he hardly lets a week go by without a release or a remix for the most critically-acclaimed outfits on this planet, either on his own, under the Hotel Lauer umbrella, or as part of Tuff City Kids), his second album makes the most use of these moments and that specific stylistic palette. Of course, you can find typical high-flying Lauer moments like "Mausback" or "Hump Acid" or the nu-groove-esque desire-dubbed "Pal Oh," but the image of a singer-songwriter with a midi-kit prevails. There are miniatures like "Carpet," the blissful melancholia of the opener "Crewners," the album's title-track that sounds like the lost soundtrack to an '80s sitcom about college nerds, and, maybe most startling, Borndom's vocal features. "ESC With Jasnau" is the proverbial cold-wave mating dance in the neon light, while the two songs with Ela take care of romantic highs and lows. With a sound like something that a band of the past made to be heard in a very distant future, Phillip Lauer's second album sees him at his most matured and endured: Borndom!



ROLET, JOE: Glacier Way/Pace Trader 12" (PNOTIONS 002EP) 14.50
Picking up where his 2014 Green Aid/Sun Stone 12" left off, Joe Rolet continues to encapsulate the label's ethos of delivering bass-laced, custom-built club music that transports listeners the way only quality club music can. "Glacier Way" is a pacey, low-slung affair that combines shimmering synths, rasping kicks, and otherworldly bass breaks. The deep, dubby "Pace Trader" teases the listener with well-executed drum riffs before building into intricate sections complemented with extraterrestrial vocal snippets. Green Aid/Sun Stone picked up support from such industry tastemakers as Resident Advisor, Mixmag, Ibiza Voice, Craig Richards, Alex Arnout, Ryan Crosson, and Adam Shelton.



PRURIENT: Frozen Niagara Falls 2CD (PFL 152CD) 16.00
"America's most prominent noise figure, Dominick Fernow has for the better part of two decades helped shape and reinvent the genre with a stream of works under the Prurient moniker. A project unlike any other in the realms of experimental, ambient, and noise, Prurient continually mutates from one incarnation to the next. Fernow often treads a fine line between harsh noise extremity and atmospheric beauty -- his massive, layered walls of sound may be comprised of piercing feedback, tortured vocals, and machinelike industrial pounding, or incorporate meticulous sampling, entrancing beats, and waves of electronica -- yet his prolific output is never less than compelling. Prurient's first full-length since the 2011 game-changer Bermuda Drain sees Fernow deliver the project's most ambitious release to date. A sprawling album clocking in at just under 90 minutes, Frozen Niagara Falls is the result of over a year of work. It is without a doubt Prurient's magnum opus, and will solidify the artist's standing as a visionary master able to break down barriers between genres while creating something entirely new and different."


RM 007CD

SOOM T & MONKEY MARC: Bullets Over Babylon CD (RM 007CD) 18.00
Bullets Over Babylon drops from the womb of the renegade ma, ready to destroy neuro currents, reestablishing a new etheric body for the duration of its ten holy onslaughts. Diggin' deep into the underbelly of the bass-loving classes, it wanders into dark hip-hop territory with unmistakable homage to Cypress Hill of the early '90s while propping up the atmospheric slant of '50s jazz, occasionally coursing into uncharted rage-infused confusery. Many years in the making, this beast groomed itself into an idea worth sharing, drawn from two divergent camps: India-born, Glasgow-raised MC Soom T's activist words, poignant delivery, and spiritual vocal underpinnings; and the politically charged electronic wizardry of Monkey Marc (producer from Australian label Omelette and politico-activist stalwarts Combat Wombat). Each instrumental provides the backdrop, embellishing the gush of ideas that lean into epicurean drama when the mood brings it. The bullets from this Babylon-induced homage to truth carry the listener on a deep emotional journey that demands that they question reality and turn up the bass. Bullets Over Babylon -- get it... to know that you know nothing. May the source be with you. Features appearances from Mantra, Joelistics, Solo Banton, and Marina P.



MUNGO'S HI-FI FEAT. CHARLIE P: You See Me Star CD (SCOB 005CD) 14.50
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.



BAZAR: Drabantbyrock LP (SOMM 025LP) 25.50
LP version. Bazar was one of the hardest-working progressive bands from Scandinavia. This is the first reissue of their killer second album from 1974. Wah-wah-fuelled guitar action, organ, flute, melodic vocals, and radical lyrics. Drabantbyrock combines heavy numbers, West Coast guitar jams, and dreamy moments, featuring the superb guitar playing of Bent Patey. Kick-ass psychedelic/progressive hard rock from Norway, highly recommended for those into Swedish hard rock bands such as November. 24-bit remastering. Includes insert with liner notes by Klemen Breznikar (It's Psychedelic Baby!) and photos. Features original artwork in gatefold sleeve.



MALONE, WIL: Death Line OST CD (SPINN 002CD) 12.00
2015 repress. The film Death Line, an eerie horror story set in the London Underground, directed by Gary Sherman and starring Donald Pleasence and Christopher Lee, was released in 1972 in the UK (and as Raw Meat in the US). In 2001, Spinney Records released Wil Malone's original soundtrack, an amalgamation of groovy rhythm and blues with fantastic squelching synths intended to be truly horrible. Wil Malone has been composing and arranging music since the 1960s. Initially, he was a member of the UK psych combo Orange Bicycle, which had a number of singles on Columbia and Parlophone between 1967 and 1971 and an eponymous album in 1970. Since that time he has been responsible for some of the most sublime string and brass arrangements to come out of the UK. The strings on Massive Attack's "Unfinished Sympathy" were his work (of which he is particularly proud) as was The Verve's "Bitter Sweet Symphony" (with a little help from Andrew Oldham!). He has also worked with artists as diverse as Depeche Mode, U.N.K.L.E., Black Sabbath, Paul Weller, Kylie Minogue, and London Grammar.


MALONE, WIL: Death Line OST LP (SPINN 002LP) 22.00
2015 repress. LP version.



BONTEMPI, MARCEL: Witches, Spiders, Frogs & Holes: Demos & Recordings 2009-2014 LP + 7" (STAGO 068LP) 25.00
Gatefold LP + 7" version. Witches, Spiders, Frogs & Holes contains the solo output from 2009 to 2014 of the artist known as Marcel Bontempi. Unearthed from record bins all over Europe and the dusty archives of little-known specialty labels from as far afield as Frankfurt and Beverungen to Málaga and painstakingly gathered, this is the most comprehensive collection of this twisted genius's recordings. Born Marcel Sala Kelkel sometime in the early 1970s to a German mother and a Catalan father, Marcel was encouraged by his father, an accomplished sculptor in his own right, to doodle, draw, and paint for most of his waking hours, though it wasn't long before this simply wasn't enough and the young Marcel discovered music. Soon his affair with the devil's music began. Around 1994 Marcel formed the band that would eventually become The Montesas, who have since released quite a few records and are still active at the time of this release. In 2013 and 2014 Marcel explored his own personal take on "hillbilly" and "rootsy" styles and formed another combo under the moniker Dr. Bontempi's Snake Oil Company, with releases on Squoodge Records. Throughout the years of playing or singing in bands, Marcel has recorded solo material, from rockabilly and harmonious doo-wop to R&B, taking well known classics and warping them to his own vision or borrowing an obscure hillbilly song and adding a mambo, salsa, or beat influence to the mix, making it something unique. This album showcases just a small fraction of his recordings made over the years. They cross genres and styles, some originals, some cover versions. Some from as far back as the '40s and into the '50s and '60s, all bearing the unmistakable sound and imprint of Mr. Bontempi. Includes seven previously unreleased tracks.


VNL 12224LP

ROLLINS, SONNY: Saxophone Colossus LP (VNL 12224LP) 12.00
"Recorded in June 1956 and released in April 1957, Saxophone Colossus is widely considered the masterpiece of his mid-1950s series of recordings for Prestige Records and one of the greatest albums ever issued on that label."


SBM 5605LP

As virtuoso musicians and members of Sam Gopal's Dream, Andy Clark and Mick Hutchinson were well known to regulars at legendary London clubs such as UFO and Middle Earth when they decided to branch out as a duo. Recorded in two intense overnight sessions in May 1969, A=MH2 is a scorching blend of jazz, raga, blues, and psychedelia that has long been regarded one of the key recordings to have emerged from the UK psychedelic underground. It's presented here as a single LP with two CDs: one of A=MH2, the other containing their March 1969 recording debut, a previously unreleased collection of acid blues that features some equally stunning musicianship. The sleeve comes complete with a large-format eight-page booklet containing detailed notes and previously unpublished photos, making it the most comprehensive edition of this groundbreaking music ever assembled. Digitally remastered.



VON SEIN, TILL: Booty Angel feat. Kid Enigma 12" (SUOL 059EP) 12.00
First single from Till von Sein's second album, Precious. Sir Mix-a-Lot, Destiny's Child, Eminem, LL Cool J, Big Sean, J-Lo -- the list of artists who have sung the praises of the big booty is very long indeed. Tilly joins the party with "Booty Angel (feat. Kid Enigma)." Johnjon approaches the track from the deep-chilled tech-house genre, inviting latex-clad listeners to dish out a few saucy spanks. The lead organ in the Tender Games arrangement conjures up a quickie in a stadium bathroom. Jimpster's re-working goes all satin sheets on us with its sustained notes, rustling percussion, and tweaked vocals.


SV 016CD

MONITOR: Monitor CD (SV 016CD) 16.00
2013 release. "An errant project of suburban Los Angeles art collective World Imitation Productions, Monitor was the sonic outlet of four young artists grappling with their terror and amazement in the convergence of the late 1970s punk scene and Southern California's consumerist decadence. As with the collective's visual artwork and events, Monitor blends archaic influences with modern technology into one of the era's most curious albums. Eerie synthesizer, menacing guitar leads and morose vocal chants make 'In Terrae Interium' an evocative ballad of paranoia. 'I Saw Dead Jim's Shade' showcases Monitor's idiosyncratic vocal interplay in a sinister tale of a stolen hand. When 'Hair' required a tempo beyond Monitor's instrumental chops, the band appropriated The Meat Puppets to record the track for them. Acquainted at first through mail art, World Imitation found a kindred spirit in DEVO associate Ed Barger, who meticulously recorded this LP in 1980, burying the presence of shrieking cats, closing doors and tape loops deep in the mix. Monitor associated with the original Hollywood punk scene but often met with ambivalence for their incongruity in the face of the movement's increasingly codified appearance and sound. Loosely aligned with like-minded pioneers such as Nervous Gender, Human Hands, BPeople and NON, who together constituted the sub-scene known as the Associated Skull Bands, Monitor operated in its own space within a progressive, diverse musical milieu. Few groups so deftly encapsulate the existential dread and delight particular to Southern California's antiquated culture of artifice."

SV 016LP

MONITOR: Monitor LP (SV 016LP) 19.00
2013 release. LP version, with download card.

SV 017CD

LEON, CRAIG: Nommos CD (SV 017CD) 19.00
2014 release. "First appearing incongruously on John Fahey's Takoma label in 1981, Nommos remains enshrouded in impenetrable mystery--from its understated artwork to the rich assemblage of analog synths contained inside. Best known as a producer, Craig Leon worked on landmark debuts from Suicide, Richard Hell, The Ramones and Blondie. Rather than ape the early NYC punk that he helped foster, Leon's own music is filled with lush textures and pulsating rhythm boxes. Comparisons can be made to German innovators such as Cluster and La Dusseldorf, yet Nommos is an unbalanced cosmos marked by anxious melodies, aggressive shifts and spiritual overtones. The name 'Nommos' itself refers to mythical deities worshipped by tribes in West Africa. Some scholars have argued that the myth has extraterrestrial roots. While these are significant details for understanding the album's peculiar meditative qualities, there was little context for these sounds upon their initial release. Even today, in the cold light of the early 21st century, Leon sounds fiercely contemporary. This first-time CD release is mastered from the original analog tapes."

SV 019LP

ARTEMIEV, EDWARD: The Mirror / Stalker OST LP (SV 019LP) 24.00
2014 release. Housed in a gatefold sleeve. "It comes as no surprise that Andrei Tarkovsky, master of Soviet cinema, turned to composer Eduard Artemiev to score his two lyrical and haunting films, The Mirror (1975) and Stalker (1979), as he had done for Solaris. Artemiev's magnificent soundtrack to The Mirror is the natural follow-up to Solaris. Dense, slow-moving, and often disorienting mood pieces with Baroque sensibilities resonate beyond the film's dream-like images. For Stalker -- Tarkovsky's other science fiction masterpiece -- Artemiev was inspired by Indian classical music and employed layers of synth tones, flute and tar (a traditional Iranian stringed instrument) to create a central theme as spellbinding as The Zone, a setting in the film where laws of physics no longer apply. Superior Viaduct presents the first-time official release of these two astonishingly unique soundtracks. Recommended for fans of Lech Jankowski's music for Brothers Quay films, BC Gilbert & G Lewis and Oneohtrix Point Never."

SV 034LP

PINK SECTION: Pink Section LP (SV 034LP) 19.00
"Named after San Francisco Chronicle's pink-hued arts and entertainment guide, Pink Section coalesced at SF Art Institute and performed their first show at the legendary Deaf Club on Valentine's Day, 1979. These self-taught musicians existed on the fringe (even in the local underground scene), producing an unusual brand of off-kilter post-punk against a backdrop of Dadaist aesthetics. The group itself was strangely symmetrical: singer Judy Gittelsohn and drummer Carol Detweiler (both members of Inflatable Boy Clams), singer/guitarist Matt Heckert (Survival Research Laboratories) and bassist Stephen Wymore. While the hallucinatory layers of male/female vocals on 'Shopping' conjure images of deranged domesticity and '50s Americana gone haywire, the fractured riffs of 'Midsummer New York' deconstruct Yoko Ono's original even further, stripping bare Pink Section's fondness for angular rhythms and out-of-control oscillations. This first-time retrospective LP collects the band's rare 1979 single, the self-titled EP, unreleased demos, and live material. Recommended for fans of Suburban Lawns, Units, and DEVO."

SV 044LP

ARESKI/BRIGITTE FONTAINE: Je Ne Connais Pas Cet Homme LP (SV 044LP) 20.00
"Following their groundbreaking collaboration with the Art Ensemble of Chicago, Comme à la Radio, Areski and Brigitte Fontaine began recording almost exclusively together as a duo. Originally released in 1973, Je Ne Connais Pas Cet Homme is their first record billed under both names. Deeply rooted in North African and European folk traditions, the album features evocative vignettes with breezy vocals and minimal accompaniment of classical guitar, strings, and woodwinds. As always, there is a mercurial quality to their lyrics. The title track (translated as 'I Do Not Know This Man') suggests at once Apostle Peter's denial and a poetic acknowledgement. On 'C'est Normal' Fontaine playfully questions the status quo while Areski offers satirical answers. What makes Je Ne Connais Pas Cet Homme one of their best-loved albums, though, is its remarkable sense of intimacy -- as if Areski and Fontaine beckon listeners into their strange and beautiful world. This first-time domestic release continues Superior Viaduct's reissue campaign of Fontaine's classic '70s catalog."

SV 057LP

JOHNSON, PHILIP: Youth in Mourning LP (SV 057LP) 19.00
"Philip Johnson, a lost figure in the dark waters of early industrial music, self-released over 25 tapes starting in the late '70s. As a part of the 'cassette culture' in the UK, he produced ethereal soundscapes, damaged electronics, and undanceable drum patterns, along with homemade j-cards. For his first and only LP, 1982's Youth in Mourning, Johnson further refined his approach with mesmerizing audio collages and Mark-E-Smith-ian vocals to make one of the most unique documents of the era. The song 'C81,' commenting on NME's compilation of the same name, expresses contempt with know-it-all indie culture that was similarly reflected 20 years later in LCD Soundsystem's 'Losing My Edge.' Fans of the degenerate tale in The Velvet Underground's 'The Gift' will appreciate Johnson's 'The Karate Kicking Girl of New Invention.' Youth in Mourning is a personal record, yet fearless. It pulls back the bedroom curtain, revealing (as Johnson writes in the liner notes) 'the sound of a warm-air heater on a cold afternoon and a cassette being pushed into the deck and switched on.' This first-time reissue comes from the original master tapes. Recommended for fans of Cabaret Voltaire, John Bender, and The Shadow Ring."



An ace double-header. Bad-minded, noisy, runaway jack from Mazzarino, Italy; percussive, gritty, stripped stompers from Mike 'Brenda' Davis.


BK 011EP

LOT.TE: History of Discipline EP 12" (BK 011EP) 11.50
Mehmet Irdel aka Løt.te (pronounced "loat-tey") follows his 2014 debut on The Bunker New York (Pressure Chant EP (BK 004EP)). "I'm interested in techno that feels both masculine and feminine at the same time... These days, most techno feels either very intricate and clean, or very noisy and macho" --Irdel. "History of Discipline," built on heavy, swinging kick drums and shuffling hi-hats, builds to an enormous climax before winding down into a rattle of metallic percussion. "A Mutable Constant" features a rubbery bassline and steadily building background percussion -- until a moody, longing synthesizer pad takes center stage.



FELL & GABOR LAZAR, MARK: The Neurobiology of Moral Decision Making 2LP (RAVE 010LP) 25.50
Mark Fell (SND/Sensate Focus) and Gábor Lázár's scintillating and innovative debut collaboration marks The Death of Rave's tenth release, following 2015 editions by The Automatics Group (RAVE 008LP) and N.M.O. (RAVE 009EP). The Neurobiology of Moral Decision Making explores a radical re-calibration of conventional meter and tone in modern electronic music, probing specific aspects of Max/MSP software with the potential to acutely challenge our perception of time and space. It's a maximalist, future-shocking play of tension-and-resolution created from minimalist elements, featuring Lázár's calligraphic, torso-morphing chromo-notes punctuated by Fell's signature Linn drum cracks at ostensibly obtuse, yet deeply funked-up junctures across ten tracks in 50 minutes. They range from precision-tooled two-minute scrambles to swaggering showpieces, culminating in what has become a meme for Mark Fell albums with the uncannily emotive closing statement -- a 12-minute masterstroke consolidating all the album's ideas in one breathless, beguiling arrangement. If music can be considered a catalyst for social change, what are the implications of this mutant record? Considered in terms of the dancefloor, it mirrors the muscle-memory re-programming impact of OG hardcore and jungle or Chicago footwork -- think of scattered bodies attempting to synch with new, accelerated and "irregular" rhythms -- offering a freedom of expression and interpretation that's typically scarce in most gridlocked musics. Likewise, the inversion of melodic convention in favor of warped, dynamic contours and visceral, psychoacoustic timbre offers a sharpened grammar of emotional expression and sensation that doesn't wilt to ordinary sentiment. Yorkshire-based Mark Fell is among the world's leading sound artists and sonic thinkers. Owner of an illustrious and influential catalog of releases spanning early works in the SND duo thru to solo work under his own name and Sensate Focus, and collaboration with DJ Sprinkles, Errorsmith, and Sandro Mussida. Gábor Lázár hails from Budapest, Hungary. In 2014 he presented his debut album, I.L.S., via Lorenzo Senni's Presto!?, followed by EP16 for The Death Of Rave. He has previously shared a split tape release with Russell Haswell, presented work at Karlsruhe's ZKM, and undertaken a residency at Stockholm's EMS. Recorded in Budapest, May 2014. Mastered and cut by Matt Colton.



SEXTETO ELECTRONICO MODERNO: Sounds From The Elegant World LP (VAMPI 036LP) 16.50
Warehouse find of this 2005 LP release. An anthology of this band from Uruguay, collecting the best of their discography comprised of four albums recorded between 1968-1972. Their sound, unique and special, is rooted on key elements of their times such as jazz, muzak, soul, bossa nova and "nightclub music" with a definite Uruguay flavor. The Sexteto Electronico Moderno was quite famous and they intermixed with the first beat bands in the Montevideo of the '60s. Their line-up was: keyboardist Armando Tirelli (whose album El Profeta also has some fame); drummer Juan Carlos Shepard (who also played on El Profeta); Danial Peña on sax, Juan M. Oliveira on guitar, Julio Seoane as bassist and Daniel Podesta playing electronic piano. This will be a revelation for fans of easy-listening and jazzy soul. With extensive liner notes and pictures.


NEW SWING SEXTET, THE: Monkey See, Monkey Do LP (VAMPI 049LP) 16.50
Warehouse find, last copies; LP version. Incredibly The New Swing Sextet remains as a connoiseurs' delicacy, as they are unfairly unknown among the general public. Vampisoul's aim is to change this. They combined Latin soul and swingin' jazz in a very groovy way and were always appreciated and respected by the Latin community of New York. They played both for the "barrio's" beneficial events and for the hippest clubs in Manhattan or private parties for the rich uptown. This is the first anthology of the great Latin swing combo The New Swing Sextet. To be filed next to (and enjoyed as) similar artists like Tito Puente, Dave Pike and Cal Tjader.



CRAMPS, THE: Songs The Lord Taught Us LP (MRSSS 501LP) 25.00
2015 repress! First reissue on vinyl of The Cramps' full-album debut on Illegal Records, originally released in 1980. The jacket reads "File under: sacred music" but only if one's definition includes the holy love of rockabilly sex-stomp, something which the Cramps fulfill in spades. Years later, this album still drips with threat and desire, both testament to the band's worth and Alex Chilton's just-right production. On 180 gram vinyl.


CRAMPS, THE: Psychedelic Jungle LP (MRSSS 502LP) 25.00
2015 repress! First ever reissue on vinyl of The Cramps' second album, and the same atmosphere of swampy, trashy, rockabilly-into-voodoo ramalama reigns supreme. Originally released on IRS Records in 1981, The Cramps' style comes through big time, with Lux Interior throwing in yells, yipes, and other sounds, where appropriate. 180 gram vinyl.



UMILIANI AS MOGGI, PIERO: Tra Scienza e Fantascienza LP (WRWTFWW 003LP) 25.00
Repressed! First vinyl reissue of a highly-sought after electronic abstract future jazz release by Italian soundtrack and library music composer Piero Umiliani, originally released on Umiliani's label Omicron in 1980 under the pseudonym Moggi. Umiliani's releases are generally expensive and hard to find, and Tra Scienza e Fantascienza is no exception. Umiliani was a master, gifted with a never-ending passion for music, and an experimental innovator who manipulated synthesizers with ease, forging a sound that could be reductively termed avant-garde. Timeless atmospheres and alien hypnotic sonorities that are modern and charmingly retro; minimal and complex; arranged with precision. Umiliani was way ahead of his time; hear, for instance, "Happy Accompaniment": it sounds like a 2015 minimal house track.


GGY 217401LP

VA: All Them Chicks At the Hop! Vol. 1 LP (GGY 217401LP) 22.00
Wiggy Records is pleased to present the first two volumes (this LP and GGY 217402LP) in a series collecting rare and obscure "girly" rock and roll, rockabilly, and rhythm and blues. All tracks come from the late '50s and very early '60s, including hidden gems from the likes of The Sherrys, Amelia, Terry & Peggy, Bobbi Martin, and more! Harkening back to a more innocent era of hoop skirts, letterman jackets, sock hops, and going steady, All Them Chicks At the Hop is a party on wax -- drop the needle and dance the night away. Also includes tracks by Susan Summers, Sherrel Townsend, Penny Candy, Jackie Forest, Pat Molittieri, Anita Lang, Jery Lynn Frazer, Jackie Dee, Jodie Sands, Laurie Davis, Jamie Horton, and Joyce Davis.

GGY 217402LP

VA: All Them Chicks At the Hop! Vol. 2 LP (GGY 217402LP) 22.00
Wiggy Records is pleased to present the first two volumes (this LP and GGY 217401LP) in a series collecting rare and obscure "girly" rock and roll, rockabilly, and rhythm and blues. All tracks come from the late '50s and very early '60s, including hidden gems from the likes of Carole King, Barbara Evans, Sheila Southern, Kari Lynn, and more! Harkening back to a more innocent era of hoop skirts, letterman jackets, sock hops, and going steady, All Them Chicks At the Hop is a party on wax -- drop the needle and dance the night away. Also includes tracks by Marie le Donna, Micki Marlo, Robin Clark, Gerri Granger, Sue Thompson, Dodie Stevens, The Girlfriends, Teri Allen, and Tom Edwards.


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