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Forced Exposure New Releases for 5/25/2015

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New music is due from Valet, Thomas Brinkmann, Retribution Body, Oiseaux-Tempête, and Vision Heat, while old music is due from ZNR (Hector Zazou and Joseph Racaille), The Cocoon, and Robbie Basho.


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IF 018LP

SOUND, THE: All Fall Down LP (IF 018LP) 19.00
2013 release. "At the time their third album was released, The Sound was one of the UK's most acclaimed bands and were on the precipice of a commercial breakthrough. Having been upgraded from the Korova label (also home to Echo & the Bunnymen) to Warner Bros., the group was met with label demands to deliver a more commercial release. In what many consider to be a willfully defiant move, The Sound delivered the challenging and more experimental All Fall Down, a record many of their most ardent fans still consider their most accomplished. It remains one of the great post-punk albums of the early '80s. The logical progression from the band's previous work, the seminal From the Lions Mouth, All Fall Down unfolds slowly and rewards patience. Each song's power is augmented by the ones around it. Highlights include the upbeat 'Calling the New Tune' and 'Party of the Mind,' the melancholy 'We Could Go Far' and the dissonance and bleakness of 'Glass and Smoke.' The aura of Adrian Borland's well-documented mental illness gives many of the songs a sinister edge."

IF 051CD

2013 release. "After debut album The Return of the Durutti Column was released, Vini Reilly decided to record its follow-up himself on a four-track cassette deck at home. Teaming up with drummer and fellow Manchester native Bruce Mitchell, the second Durutti Column album LC (named after Lotta Continua, a far-left radical Italian group) was another inspired musical collaboration. Though self-produced, the album retained traces of Reilly's earlier work with Martin Hannett. This second set of evocative electric guitar compositions features a melding of Reilly's urbane, contemplative style with Mitchell's crisp, deliberate drumming. LC opens with 'Sketch for Dawn (1)', incorporating Reilly's unadorned spoken / sung vocals. The duo syncs up perfectly on album highlights such as the up-tempo 'Jacqueline,' the intimate 'Messidor,' and 'The Missing Boy,' a tribute to Reilly's friend Ian Curtis of Joy Division."

IF 055CD

RADIO BIRDMAN: Radios Appear CD (IF 055CD) 16.00
2013 release. "Deniz Tek moved from Ann Arbor, MI, to Australia and founded Radio Birdman in 1974 with Rob Younger and the rest of The Rats' rhythm section. By the time Radios Appear was recorded in 1977, the group was already legendary with a cult-like following and an ascetic devotion to the fierce 1960s rock 'n' roll Tek assimilated as a Michigan resident. Homage to these influences is one aspect of Radios Appear. It boasts a fiery cover of 13th Floor Elevators' 'You're Gonna Miss Me,' the lyrics to 'Do the Pop' wax nostalgic for The Stooges and MC5, and 'Radio Birdman' was, of course, taken from a misheard lyric in The Stooges' '1970.' However, Radio Birdman's maverick performances and songwriting on this debut elevate them far beyond pure pastiche. Opener 'What Gives?' kicks the record off at an alarmingly fast pace inspired by punk's new up-tempo glee, but the trotting bass lines and savage guitar solos that follow reveal a staunch rejection of punk's then-hip ineptitude. Hyperactive riffs underpin vocalist Younger's assertive, clear delivery, and Pip Hoyle takes a brilliant keyboard solo. Each instrument is separate in the mix--the production highlights Birdman's technical proficiency honed for years in Sydney's few rock clubs with open doors to the uniformed sect of elitist rockers."


7S 016CD

VA: The Sound of Buddha 2CD (7S 016CD) 20.00
Here comes Buddha lounge again! This double set of soothing ambient and chill-out tracks helps you to find your inner balance again. Getting rid of the daily stress is the target of this compilation. In an all-exclusive selection, you'll find the best tracks from friends of chilled-out electronic music. It's Buddha lounge time again! Includes tracks by Sinatic, Sunslorer, Crystal Noise, Perry Frank, Flow Rivers, Lemonchill (including a track remixed by Zero Cult), Sixty4, Arshia Alipour, Digital Project, D-Chill feat. Katy Blue, Ropero & Gruenwald w/ Monica Moss, Magma, Dennis Landman, e-Love, Deep Melange, Subtunes, Music Hazard Inc., Castlebed, Krusty, Cedrik Zimmermann, and Jacques le Noir.



WEIRD OWL: Interstellar Skeletal CD (AUK 116CD) 14.50
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." CD includes one exclusive track.



KNXWLEDGE: Klouds LP (ACLPKX1) 15.50
Originally released in 2010. Philadelphia beatmaker Knxwledge has been bubbling beneath the surface in the virtual world, making his name via Myspace, with global mixes spinning around the world. With a Mary Anne Hobbs mix and plays from Benji B already under his belt, he steps up to the plate with his first solo release. In the years after the original release of his debut, Knxwledge has gone on to produce for Joey Bada$$ and Kendrick Lamar. Fifteen tracks of varying rhythmic structures, lengths, and speeds, which go way further than mere beats and snippets. Sloppy, on beat and off -- it's all thrown in the beat blender.



VERCKYS & ORCHESTRE VEVE: Congolese Funk, Afrobeat and Psychedelic Rumba 1969-1978 2LP (AALP 077LP) 26.50
2015 restock. Gatefold 180 gram double LP version. Congo's turbulent and exhilarating '70s: Nightclubs and dancefloors were packed to the brim in the capital, Kinshasa. Exuberant crowds, still giddy from independence achieved a decade prior, grooved to the sounds of the country's classics. In fact, the whole continent was submerged in the Congolese rumba craze. Encouraged by the fantastic productions of the Ngoma label, vibrant radio waves had been spreading the Congo's sounds from Léopoldville across the continent, making these tunes the country's top export. This unexpected success nurtured a wealth of talented musicians. One of them was Verckys, born Georges Mateta Kiamuangana. At age 18, he became a member of the country's most dominant and influential band: Franco Luambo's OK Jazz. This relationship was short-lived, however, as Verckys, now a versatile and potent multi-instrumentalist, had plans of his own: the formation of Orcheste Vévé in 1968, with the aim of reinventing and modernizing the Congolese sound. Blending the ever-influential prowess of James Brown with Congolese merengue, rumba, and soukous, Verckys stripped away the conventional approach that OK Jazz had pioneered, allowing his saxophone-laced melodies to dominate. Verckys also began recording young urban artists with guitar-driven cavacha sounds and releasing their work on his label, Les Editions Vévé; Les Freres Soki, Bella Bella, Orchestre Kiam, and others shot to stardom overnight, making Verckys quite wealthy. But that wasn't enough for a man with a vision. He built a sprawling entertainment complex called Vévé Centre and oversaw the construction of the Congo's most modern recording studio in Kinshasa, in which he recorded the legendary Tabu Lay Rochereau. Orchestre Vévé's popularity poured across borders and in 1974 the band traveled to Kenya for a two-month tour. James Brown, upon seeing Verckys perform that year, was moved to dub him "Mister Dynamite." "Bassala Hot," "Cheka Sana," and "Talali Talala" were some of the tracks recorded in Nairobi for the Kenyan market, songs which are now available to the ears of the world for the very first time. Analog Africa now has the privilege to present 11 tracks by Verckys et L'Orchestre Vévé at the height of their most funky capabilities, compiled over the course of many years in a land of hardship.



IUEKE: Tape 5 12" (ATN 017EP) 14.50
This is the fourth episode of the Iueke saga, and as with his previous releases on Antinote these new/old cuts are sourced directly from the personal Iueke tape archive. Recorded one lost night between 1991 and 1992. Richard D. James: "ACE!!"


GEENA: Pure Ground Research 12" (ATN 019EP) 15.50
The mighty Geena presents an EP filled with the deepest psychedelic goodness and spaced surprises, housed in a glorious printed sleeve. "Tone Loc" is a heavy Geenafied future classic, with signature celestial pan pipes and a deeper-than-deep bassline. "Minus Jam" is on a similar path of ecstatic disorientation, with spinning, delayed glass toms supervised by the darkest dictatorial bassline. "Box of Exotica" evokes a dreamy post-Blade Runner musical world of traditional and futuristic collision augmented with beautiful and equally dark Japanese stick music vocals. "Green Resident" also walks the cosmic path, softer at first, before the silky darkness seeps in.



MAGDA: Balance 027 EP 12" (BAL 001EP) 12.50
Since leaving Richie Hawtin's M_nus family, Magda has set about forging her own distinctive path in electronic music. Unshackled from minimal techno expectations (not that she could ever be defined so narrowly), her work for Balance indulges both her cerebral, boundary-pushing side and her more dancefloor-focused one -- which is, of course, not without its quirks and moments of oddity. These tracks from Magda and Cornerbred (Magda and Baby Vulture) were produced exclusively for the Balance 027 compilation (BAL 014CD, 2015) and this limited edition EP; the instrumental and a capella versions of "Riding High" are exclusive to this EP.



LINZATTI, STAFFAN: Dividing in Two 12" (BALANS 017EP) 12.50
Swedish-born Staffan Linzatti presents his second release on the Dutch imprint Balans, following 2013's View from the Collapsing Centre (BALANS 011EP). Dividing in Two is an energetic two-track EP consistent with the label's vision of delivering classic techno rhythms. "Dizziness" opens the EP with a hypnotizing yet airy signal, immediately captivating. Combined with a rolling bass and quintessential claps, it is sure to enchant any listener. On side B, "Clarity" takes a things in a new direction, opening straight into a full-blown kick with hi-hats that persist throughout the track.



VAIKAS, DARIUS: Guilt 12" (BKS 008EP) 12.50
Darius Vaikas explores house with his own custom-made compass. Some may know him from "You Will Never Be Alone," a little leftfield gem featured on a very limited 2013 Project: Mooncircle EP split among four artists. His amazing 2013 remix of "The Sailors" by fellow Lithuanians mmpsuf and his original track "White Eights" were highlights of the 2013 Get Physical compilation Silence Please! (GPM 058CD/SILENCE 017EP). But everyone should know that this is just the beginning; this EP is yet more proof of an emerging talent and his idiosyncratic sound.



VA: WIZZZ! French Psychedelic 1966-1969 Volume 1 CD (BORNBAD 037CD) 15.50
Best-ever French '60s compilation, originally released in 2001 and now presented in a Digipak with a 32-page booklet. All the tracks here have become classic. This compilation deals with the groovy side of French pop from the mid-'60s to the early '70s. Crazy lyrics about sex, drugs, and other typical topics. Sung and performed by obscure artists such as Charlotte Leslie, Christie Laume, Les fleurs de Pavot, Daniel Gérard, Richard de Bordeaux, Christine Pilzer, William Sheller, Les Papyvores, Stéphane Varègues, Daniel Beretta, Monique Thubert, L'oeil, and Philippe Nicaud.


VA: WIZZZ! French Psychorama 1967-1970 Volume 3 LP (BORNBAD 069LP) 19.50
LP version. Includes six-page booklet. One, two, three... hold your breath for 40 minutes for a peregrination through a special kind of pop music "made in France" between 1967 and 1970, a mix of ribaldry, flashes of brilliance, and adventurous twists on familiar sounds. We will plunge into French-style pop, unapologetic and defiant; blue-white-and-red pop that does not take itself seriously, not out of line with its "yé-yé" contemporaries, who were themselves uninspired by the boring, commercial teenage music that dominated in France at that time. It is pop music fueled by creativity -- though not always well-focused -- with peculiar arrangements, inspired compositions, and precarious production... but oh so tasty! WIZZZ 3 spotlights French artists who dared to try, to experiment... Includes tracks by Dansez avec Moa, Bernard Chabert, Joanna, Pierre Paul Jacques, Evariste, Jean-Bernard de Libreville, Crischa, Long Chris, Nato, Papy, Fatty Nautty, Balthazar, Jane et Julie, Bruno Leys, and Marcel Artero.


GUERRE FROIDE: Guerre Froide 12" (BORNBAD 072EP) 14.50
True French coldwave classic originally released in 1981, reissued on vinyl for the first time. If you are into minimal synth music, you of course know the track, and unless you have $200 to spend on an original copy, you're still looking for this killer record.


VA: Des Jeunes Gens Mödernes: Post Punk, Cold Wave et Culture Növö en France, 1978-1983 Volume 2 CD (BORNBAD 073CD) 14.50
The long-awaited follow-up to Des Jeunes Gens Mödernes (BORNBAD 012LP, 2008), with five killer previously unreleased tracks. Volume 2 continues to explore the vaults of French post-punk, electropop, and no wave. Between the late '70s and mid '80s, in the wake of punk wave and in parallel to other types of music like disco, funk, ska, and reggae, a prolific and chaotic music scene began to develop in France, combining the energy of rock and the nihilism of punk with electronic experimentation. The period was not, on the whole, one of optimism and joy, played out as it was against a background of economic crisis and the cold war. A whole section of France's youth found itself confronted by the contradictions of the times it was living in: young people were torn between the sensation of living on the edge of an abyss and hope for the dawning of a new world; they were deprived of tangible ideological landmarks but resistant to the post-hippy utopias of the previous generation. In search of an identity, they recognized themselves in the dark lyrics, the cold synthetic music, and the laid-back attitude of the new groups bursting up all over the country, as much in the provinces as in Paris. Des Jeunes Gens Mödernes (Modern Young Men) reactivates this French post-punk/novo diskö/new- and cold-wave scene, highlighting a cross-section of the specific creative diversity of this scene. The new wave drew upon artistic avant-garde movements from the past (Constructivism, Futurism, symbolism, Dadaism, socialist realism, and so on), as well as literature (Romanticism, science fiction, etc.), cinema (new wave, German expressionist cinema), and the latest technological advances (electronic, robotic, nuclear). Drawing on traditional culture as well as the underground subcultures to which various magazines and fanzines gave voice (American countercultures; endless references to William S. Burroughs, for example; pop art, etc.), the new wave embraced all areas of creativity together, and built bridges between the different artistic disciplines (music, visual art, design, literature, cinema...) to an extent never before seen. Digipak CD includes 32-page booklet. Includes tracks by ADN Ckrystall, X Ray Pop, Eli & Jacno, Les Fils De Joie, Les Stagiaires, Medikao, La Bande Au Col Roule, Radio Romance, A.R.T, KaS Product, Frantz Kultur & Les Krames, Meca Rythm, and Perspective Nevski.


VA: Des Jeunes Gens Mödernes: Post Punk, Cold Wave et Culture Növö en France, 1978-1983 Volume 2 LP (BORNBAD 073LP) 18.00
LP version. Includes 12-page booklet.


MARIETTA: Basement Dreams Are the Bedroom Cream CD (BORNBAD 074CD) 14.00
"Back to bedroom, to happy accidents and magic errors. I turn the tape. I record over Bob Dylan, Syd Barrett, and in Beck's grave. I take out the drum machine, the flanger, and the acoustic guitar. Caffeine, nicotine. Garbage bags under the eyes, where kids sing swinging. Anxiety of passing time. Pitched boy, reverse woman. Take it as a trip. A colony of ants through the bloodstream. A yogurt pot burst on your hair. Baby whale cum against an obstructed sky. Effervescent, multicolored nails parings. Sun in your mouth. I play according to my own rules. I walk in the footsteps of my home. That's how records catch fire." Guillaume Marietta follows his band The Feeling of Love with his Marietta project. This intimate debut album was recorded solo and hacked in a bedroom on a four-track recorder in 2014. Ten raw, lysergic, melancholic songs, with folk, pop, and psychedelic tones. Mixed with Olivier Demeaux of the band Cheveu. Influences: Syd Barrett, Jonathan Halper, early Beck, Robert Wyatt, Kurt Vile, Cate Le Bon, Bill Callahan, John Lennon, Grover Lewis, Lou Reed, Bob Dylan, White Fence, Spectrum, etc.


MARIETTA: Basement Dreams Are the Bedroom Cream LP (BORNBAD 074LP) 16.50
LP version.



NILMMNS, CARLOS: True Chemistry 12" (CCS 094EP) 12.50
Scottish-born, Paris-based Carlos Nilmmns, both as one half of Solab and on his own, has delivered his music through such esteemed imprints as 4 Lux, Skylax, Seventh Sign, and Ornaments. On True Chemistry, he deals in both tough peak-time energy and serene bliss without missing a beat. The unhinged synth tones on "Pride" seem to be beamed from somewhere far from Earth, while the head-spinning "When in Glasgow" provides comfort in its looped-up dancefloor focus. Featuring Keter Darker on vocal duties, "Universal Beauty" finishes the EP off in beautiful style with a sumptuous, emotional take on deep house.



F, DANY: Wouhau 12" (COMEME 029EP) 14.00
Dany F presents his first 12", following his contribution to the The Power of Now (COMEME 013EP, 2012) and numerous works self-released online. "Magia" is the perfect peak-time soundsystem jam, full of jaguars and toucans that subwoofer into legendary rainforest giants. "Monitos de la Selva" keeps you on the dancefloor with acidic softness and silky snare drums. "Wouhau" starts with dark, rough, edgy Cómeme-ist beats and synth drones, swinging up via a wild tom drum to altered states of spaced out spiritual interplanetarism. "Quiero Love" is a heavy, stripped-down cumbia house banger with an earthquake bassline and annihilating rhythm.



MAN POWER: Man Power LP (CORR 001LP) 21.00
Man Power presents his self-titled debut album, the first album on Correspondent. Since first appearing as an anonymous online presence in 2013, Man Power has released original music and remixes on a wide range of labels including Hivern Discs, Throne of Blood, Voyeurhythm, Ene Tokyo, and, of course, Correspondant, the home of the majority of his original musical output. While his work to date has displayed a notable range of tempos and textures, his eponymous debut album sees him take a step further away from the dancefloor and offers a deeper exploration of his left-field influences, with an almost-pop sensibility that manages to swing back and forth between doleful and playful over the course of the album's compact 50 minutes. Citing touchstones as diverse as Laurie Anderson, Steve Reich, and Tangerine Dream, as well as dealing in shades of jazz, techno, and balearica, the album manages to speak in a number of voices, but still ultimately communicates as one singular whole. This is not merely a collection of club tracks, hastily compiled and capable of living in abstraction, but instead a true album wherein each element services the finished document, and in which each track provides further context for that which precedes it. "Bielsteiner" features M.Rolfe.



ANDERSON, JOEY: 1974 12" (DKMNTL 023EP) 12.50
The art of omission is a craft New Jersey native Joey Anderson masters like few others. After releasing an acclaimed debut album in 2014 (DKMNTL 017CD/LP), Anderson returns to the Dekmantel label serving up his beloved signature sound. With 1974, he continues his modern-day techno odyssey, investigating the outskirts of the genre while focusing on details and unexpected twists. Serving up dense melodic structures, intense chord progressions, and unique but relentless drum programming and sounds, Anderson shows that the future of techno is bright, original, and full of energy.


ENTRO SENESTRE: Surface 12" (DKMNTL 025EP) 12.50
Connecticut's Jon Beall, recording as Entro Senestre, has gained critical acclaim thanks to brilliant releases on labels like W.T. Records, Echovolt, and L.I.E.S. On his debut for Dekmantel, Beall has taken his signature vintage flavors of techno and electro and pushed them into new spheres of the frightening, combining chalky, continuous drum tracks with an ear for emotionally challenging melodies. Championing timeless electro-techno that breathes real soul, this four-tracker does Beall proud, a dynamic EP that is ear-piercing and contemplative, nifty and evocative.



VA: All CD (DIAL 032CD) 17.00
With this magnificent compilation, Dial Records celebrates its 2015 15th anniversary. All offers a collection of exclusive works by long-time label-related artists and friends. Alongside the founders Carsten Jost, Lawrence, and Pawel, and Dial regulars Pantha du Prince, Efdemin, Roman Flügel, RNDM, John Roberts, Christian Naujoks, and Queens, the fully packed 80-minute CD includes contributions by beloved artists Stefan Tcherepnin, James K, Physical Therapy, and Dawn Mok, plus the first label appearance of DJ Richard (White Material), in advance of his debut album, planned for release in autumn 2015 on Dial Records.


DG 11002LP

ANDRAS & OSCAR: Café Romantica LP (DG 11002LP) 16.50
A collaborative project from Melbourne's Andras Fox and Oscar Key Sung. Like its predecessor, 2013's Embassy Café, Café Romantica started out as raw cassette tape demos. It blends Andras Fox's deep house productions with the sensual vocals of Oscar Key Sung, mixing phrases or straight cuts from experimental jams with lush rhythm tracks in a surprising mix of dancefloor material alongside slow '80s funk grooves. A smoothly urgent house plea, with Oscar's yearning vocals soothed by Andras's warm, light-footed production. For fans of that early '90s house vibe of Larry Heard, Frankie Knuckles, and Kenny Dixon Jr.



VAN ZANDT, TOWNES: Whole Coffeehouse, Minneapolis MN 9 November 1973 CD (ECHO 2023CD) 17.00
"Townes van Zandt is the best songwriter in the whole world, and I'll stand on Bob Dylan's coffee table in my cowboy boots and say that" --Steve Earle, 1995. Townes van Zandt was at the peak of his career in 1973. Fresh off releasing two of his finest albums a year earlier (High, Low and In Between and The Late, Great Townes Van Zandt), his celebrated appearances also grew in stature. Likewise, as a number of his other live performances demonstrate, the Whole Coffeehouse set features nothing but the man and his guitar, something that could stand at odds with a number of his cherished studio recordings. For a man whose own battles with the bottle were notorious (and made for an unpredictable on-stage career), his focus here is acute and laser-sharp, every syllable perfectly placed with each ephemeral note carefully conveying their purpose. This performance at the Whole Coffeehouse in 1973 is an essential addition to the late, great van Zandt discography. Whether singing a quiet, introspective country-folk song or a driving, hungry blues riff, van Zandt's lyrics and melodies were filled with the kind of haunting truth and succulent beauty that were instinctive. This was soul music; it came straight from his soul by way of a kind heart and an honest mind. Melancholic, reflective, and always pure and devout, his story is our story. This is the complete original FM broadcast of Townes van Zandt's landmark appearance at the Whole Coffeehouse in Minneapolis, Minnesota, in 1973. Digitally remastered sound; includes background liners and rare photos.



BRINKMANN, THOMAS: What You Hear (Is What You Hear) CD (EMEGO 204CD) 15.50
Thomas Brinkmann is renowned for audio works that hover among forms such as techno, minimalism, and ambient. Alongside such pioneering works as Klick (2000), Studio 1 - Variationen (1997), and 2012's duo with Oren Ambarchi, The Mortimer Trap (BT 006CD), with What You Hear (Is What You Hear) Brinkmann moves further to separate his art, not only from descriptive musical terms that oppress creative output, but also from the notion of an author in the act of creation. The 11 tracks on display form a series of self-perpetuating rhythms that exist more as sound structures than as any kind of traditional sound forms. Any associations, emotions, and reactions are purely in the reasoning of the listener as the artist makes a strong and deliberate move away from intent. This is a strident development in the conceptual thinking of Brinkmann's solid career, one that places the listener simultaneously inside and outside objective parameters. Dedicated to Zbigniew Karwkowski. Design by Stephen O'Malley.


BRINKMANN, THOMAS: What You Hear (Is What You Hear) 2LP (EMEGO 204LP) 29.00
Gatefold double LP version.



DAWN OF MIDI: Dysnomia CD (ERATP 068CD) 15.50
Channeled madness -- the sound Dawn of Midi spent years shaping culminates in their most mesmerizing work yet. With Dysnomia, the Brooklyn-based group abandons improvisation in favor of composition, utilizing sophisticated rhythmic structures from North- and West-African folk traditions to weave a sonic tapestry of trance-inducing grooves. "We didn't want to create anything cerebral," says pianist Amino Belyamani, "we wanted something visceral, something that would awaken our instinctive dance impulses." The manner by which a trio of solely acoustic instruments ends up sounding like electronic music has to do with the unconventional ways the group play their instruments on Dysnomia. The record comes to life in the trio's critically acclaimed live shows, a test of endurance and trust that involves performing their hand-looped acoustic minimalism note for note, just as the compositions were recorded. Dawn of Midi's sets are as energetic and rhythmic as a seamlessly mixed DJ set, mesmerizing fans in the same way the group's favorite experimental and electronic acts have for decades. The album was recorded to two-inch tape at Waterfront Studios in Hudson, New York, a former church that was purchased and transformed into an analog recording playground by the great engineer Henry Hirsch. Rusty Santos then mixed the album to make sure it would hit as hard as the group's favorite electronic albums do in spite of being entirely acoustic. "We wanted to make a record that sounded both musically futuristic and sonically vintage," explains bassist Aakaash Israni, "and since the album never saw a proper international release, it is very exciting to see what might happen when more people are exposed to it. And to be aligned with Erased Tapes, whose enthusiasm for the music they release has done a lot for exposing unique instrumental and electronic music, makes it that much more interesting." Swiss artist Fabian Oefner created the cover image by placing paint on a spinning drill bit and firing it at a canvas, then capturing it with high-speed photography. Formed in 2007, the band happened upon their name after drummer Qasim Naqvi casually uttered the phrase in reference to the improvised music the trio was making at the time; they had no idea that years later they would make an album like Dysnomia that would make their name appear fateful.


DAWN OF MIDI: Dysnomia 2LP (ERATP 068LP) 25.00
Double LP version. Includes download code.


ESK 507061

THIS SOFT MACHINE: On & On/This Place Was Meant for Me 7" (ESK 507061) 12.50
This Soft Machine presents his debut EP, featuring electric guitar from Dave Harrington of DARKSIDE, alluring vocals by Lorraine Nicholson for "On & On," and synth recording help from Dan Whitford of Cut Copy fame. "This Soft Machine is a band at heart. Recorded live at Linear Studios in Sydney in January 2015, everything you hear on the record was recorded by human hands, played by some of my oldest, dearest friends and some hired musicians." --Tim Sullivan aka This Soft Machine



VA: The East Village Other CD (ESPDISK 1034CD) 12.00
2013 reissue; originally released in 1966. The first North American CD release of the "electric newspaper," an archetypal '60s counterculture "happening" from August 6, 1966, this is also the first edition anywhere since the original vinyl to include the lengthy closing track, "Interview with Hairy." A legendary all-star cast of performers got together to make an anti-war collage of words and sounds that defies mere track listings -- one of the elements is "Silence" by Andy Warhol, which, contrary to at least one wrong-headed European reissue, is not actually a separate track (so don't write in complaining about its supposed absence). For some period of time, while the radio played and/or other performers did their things, Andy stood in the studio silently. Hey, it was the '60s. It's a concept, man. Track listing includes plastic clock radio; Steve Weber; The Velvet Underground; Gerard Malanga and Ingrid Superstar; Marion Brown, Scott Holt, and Ron Jackson; Allen Ginsberg and Peter Orlovsky; Tuli Kupferberg; Ishmael Reed; Andy Warhol; and Ken Weaver and Ed Sanders. RIYL: Revolution, The Fugs, owning EVERY Velvet Underground track.


VA: The East Village Other LP (ESPDISK 1034LP) 24.00
LP version.


WATTS & COMPANY, MARZETTE: Marzette Watts & Company CD (ESPDISK 1044CD) 12.00
In 1966, Marzette Watts recorded, engineered and produced his first and only album. The music reflects the turbulence of 1966 at the height of the Civil Rights Movement and the growing war in Vietnam. The Alabama born saxophonist/clarinetist had a short lived career as a member of the sixties avant-garde, but achieved legendary status for the company he kept in his Cooper Square loft where the likes of Ornette Coleman, Cecil Taylor, Don Cherry, Archie Shepp, and Pharoah Sanders often congregated. This debut date is best known for the presence of players, who like Watts, were to become renowned for the rareness of their recorded output, including Sonny Sharrock, Byard Lancaster, Clifford Thornton, Karl Berger and Henry Grimes.


LOWE, FRANK: The Loweski CD (ESPDISK 4066CD) 12.00
This track is the unreleased beginning portion of this 1973 Frank Lowe concert that was released as Black Beings. This incredible performance is filled with the fire and drive Frank Lowe was projecting on his tenor sax in 1973. This extended track titled "The Lowesky" is set in a five part suite form. Each performer is allowed ample time to express his individual contributions to this phenomenal group. The Band: Frank Lowe-tenor sax, Joseph Jarman-soprano, Raymond Lee Cheng (The Wizard)-violin, William Parker-bass and drummer Rashid Sinan perform admirably on this 38 minute performance, which contains minor feedback on the original recording.


SANDERS, PHAROAH: In the Beginning 1963-64 4CD (ESPDISK 4069CD) 39.50
2012 release. This four-CD set documents the first recordings of the iconic tenor saxophonist, prior to his well-known association with John Coltrane. Beginning with two previously unreleased sessions with Ornette Coleman alumni Don Cherry and Paul Bley, followed by Pharoah's debut date as a leader for ESP-Disk', and concluding with the first issue ever of the complete December 30 and 31, 1964, concerts with Sun Ra at Judson Hall, Sanders's only known recordings with the Arkestra. The set also includes rare recorded interviews with Sanders, Cherry, Bley, and Ra by project producer Michael D. Anderson. Personnel: Don Cherry, Paul Bley, Sun Ra, David Izenzon, Paul Motian, Jane Getz, Marshall Allen, Alan Silva, Ronnie Boykins, and many more!


TIGER HATCHERY: Sun Worship CD (ESPDISK 5003CD) 12.00
2013 release. Chicago power-jazz trio Tiger Hatchery proudly comes out of the ESP-Disk' free jazz tradition, as saxophonist Mike Forbes's playing makes clear, but there's an added noise-rock edge, especially in Ben Billington's aggressive drumming, that keeps the sound modern. Bassist Andrew Scott Young does much more than lay down the bottom, emerging as a fully equal member of their glorious cacophony. This is one of the most powerful albums in the storied history of ESP-Disk', and that's saying something! Liner notes by John Olson of Wolf Eyes. Mike Forbes, saxophones; Andrew Scott Young, basses; Ben Billington, drums. RIYL: Albert Ayler, Peter Brötzmann.


TIGER HATCHERY: Sun Worship LP (ESPDISK 5003LP) 24.00
LP version.



MONKI: FabricLive 81 CD (FABRIC 162CD) 16.00
The 81st installment in the world's leading house, techno, and electronica mix series from London's renowned Fabric nightclub, a continuous DJ mix by South Londoner Monki aka Lucy Monkman, who made her name through the radio airwaves, having graduated from local and online stations to national broadcaster BBC Radio 1. Under the tutelage of Annie Mac, her career has accelerated to playing worldwide club and festival gigs, and hosting regular Monki and Friends nights at Fabric. Mixing up stone-cold classics with upfront exclusives, and featuring specially-recorded MC overdubs, FabricLive 81 is infused with the effervescent energy of her club performances and radio shows. Packaged in bespoke slipcase containing die-embossed tin. Includes tracks by FPI Project, Arma, Deapmash & Raito (remixed by Strip Steve), DJ Dealer & Groove Junkies feat. Chezere, DJ Haus, Bot, Tony Quattro, Doctor Jeep feat. TT The Artist, Sly One, Melé (with additional vocals by Chimpo), DJ Technic (presented by DJ Spen), FCL (remixed by San Soda), Adesse Versions, Eddie Mercury, Floorplan, Kalyde, Mak & Pasteman, Mella Dee, Callahan, Gage (remixed by Sudanim with additional vocals by Slick Don), Danny Daze & 214, and Golden Girls (remixed by Frank De Wulf).



4004: Bringing It All Back EP 12" (FACES 1219EP) 12.50
Fabricio Gerardo Tepetitlan aka 4004 is a Mexican producer known for his previous work with Sebastien Vorhaus and as Soul of Hex for labels like Quintessentials and Vicario Musique. This killer four-track EP feature three original tracks and one remix from Concrete Paris resident S3A (Sampling As An Art). From Mexico to Paris via Amsterdam, a serious weapon for the dancefloors from a name to watch.


KEZ YM: Escape to the Vibe EP 12" (FACES 1220EP) 12.50
Japanese deep house king Kazuki Yamaguchi aka Kez YM delivers his third release on the FACES imprint following 2011's Stride EP (FACES 1210EP) and Root Bound EP (FACES 1215EP). Escape to the Vibe EP is Kazuki's first release after his relocation to Berlin. As usual, he mixes ingredients from Detroit techno, Chicago house, funk, disco, and Afro styles into the blend of his signature recipe. His reputation extends beyond his productions, as one of the standout Japanese house DJs endlessly rocking dancefloors and hearts from Berlin to Tokyo.



YAMASUKI: Le Monde Fabuleux Des Yamasuki CD (FES 002CD) 16.50
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 CD (FES 003CD) 16.50
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 5002CD

WARNER, EDDIE: Progressive Percussions CD (FD 5002CD) 16.50
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 5003CD

GARSON, MORT: Mother Earth's Plantasia CD (FD 5003CD) 16.50
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 5004CD

STRINGTRONICS: Mindbender CD (FD 5004CD) 16.50
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. A masterpiece!


GB 019LP

HASSELL & BRIAN ENO, JON: Fourth World Music Vol. I: Possible Musics LP+CD (GB 019LP) 26.50
2015 repress. Gatefold LP version on 180 gram vinyl with CD. Originally released in 1980, Jon Hassell and Brian Eno's collaborative album Fourth World Music Vol. I: Possible Musics is a sound document whose ongoing influence seems beyond dispute. Not only is the album a defining moment in the development of what Eno coined as "ambient music" but it also facilitated the introduction of Hassell's "future primitive" trumpet stylings and visionary "Fourth World" musical theories to the broader public. These vectors continue to enrich contemporary audio culture. Eno's ambient strategies are now fixed in the DNA of electronic music and the cross-cultural legacy of Hassell's "Fourth World" concept is apparent not only in the marketplace genre "World Music" but also more persuasively in the accelerating number of digitally-driven, borderless musical fusions we now experience. By the time that Eno and Hassell met, Hassell's experiments with a "Fourth World" musical vocabulary were well underway and in fact it was because of these experiments, particularly Hassell's debut album Vernal Equinox that Brian Eno purposefully sought him out. Within a couple of months of Hassell's performance at The Kitchen the duo entered Celestial Sound in New York City and began work on what would become Fourth World Music Vol. I: Possible Musics. Hassell invited previous collaborators like the Brazilian percussionist Nana Vasconcelos and the Senegalese drummer Ayibe Dieng to join the sessions. Most of the tracks carry a Hassell/Eno writing credit, though the 20-minute "Charm (Over 'Burundi Cloud')" was a carryover from Hassell's concert repertoire. Hassell has made it clear in several interviews over the years that the album's shared billing was at least partly inaccurate and that Eno's contribution was mainly as a producer. More spiky, angular and steeped in rhythm and exoticism than most of Eno's records and more drone-based, reflective and sonorous than most of Hassell's outings, Possible Musics -- whatever the actual division of labor in sound and concept -- is a seminal highlight in both of their discographies. A meeting of two of the late 20th century's most restless and prescient musicians, the album sounds as beguiling, indeterminate and otherworldly today as it did 34 years ago when it was originally released. The impact of Possible Musics on the contemporary music conversation was almost immediate. Just ten days after it was mastered, Brian Eno and David Byrne convened in Los Angeles to continue experiments inspired in part by Hassell's musical theories. The resultant album would be called My Life in the Bush of Ghosts. All parties involved agree that Ghosts was originally conceived as a trio project that included Hassell but the idea fell apart over disagreements about logistics and musical direction. Hassell still remains bitter about what he considers the projects un-credited appropriation of his musical signatures. From there it was a short jump forward to the chart-topping, Afro-futurism of The Talking Heads Remain in Light, an album that Eno co-produced and Hassell guested on. "Fourth World" strategies have echoed, and can still be heard echoing in the music of Peter Gabriel, Nils Petter Molvaer, Björk, David Sylvian, David Byrne, Ryuichi Sakamoto, Damon Albarn, DJ Spooky, Jah Wobble, Matmos, 23 Skidoo, Goat, Bill Laswell, Mark Ernestus, Adrian Sherwood, and of course, the ongoing projects of Eno and Hassell themselves. Glitterbeat is proud and honored to re-release and re-introduce this compelling, groundbreaking album.

GB 024CD

SACRI CUORI: Delone CD (GB 024CD) 17.00
The music of Sacri Cuori is a kaleidoscopic road trip through imaginary '60/'70s soundtrack music and post-folk sonics from Italy, Europe, and beyond. Sacri Cuori only half-jokingly call themselves the bastard children of Fellini. Their sound palette is defined by a moody, Adriatic twang, falling somewhere between the old-time dance music of their native Romagna and Lynch's Mulholland Drive; between Santo & Johnny and Ry Cooder (or Brian Eno). Of course Ennio Morricone and Nino Rota are also present, as are Riz Ortolani, Piero Piccioni, Piero Umiliani, Armando Trovajoli, and other maestros of Italian film music's golden age. Delone was crafted over two years in a series of sessions in which the band consciously stretched their identity. Core personnel Antonio Gramentieri (guitars and more), Francesco Giampaoli (bass and beyond), and Diego Sapignoli (drums and percussion) recorded the album with Francesco Valtieri (baritone saxophone), Denis Valentini (percussion, horns, and more), Christian Ravaglioli (keys and horns), and Enrico Bocchini (drums and percussion). While still primarily an instrumental affair, the album introduces the resplendent voice of Carla Lippis, the last Italian diva, whom Sacri Cuori met in Australia and brought back to her ancestral homeland (and language). She sings in both English and Italian. Other vocalists include French chanteuse Emmanuelle Sigal, Howe Gelb of the famed American cult band Giant Sand, and Adam Gladyszek (Snake Charmer). As always, Sacri Cuori is more like an enlarged family than a fixed ensemble, and other guests include Evan Lurie (The Lounge Lizards, soundtracks for Roberto Benigni's films) on keyboards, guitar pioneer Marc Ribot (Tom Waits), drummer Steve Shelley (Sonic Youth), and members of the Mexican Cumbia sensations Sonido Gallo Negro. While certainly beholden throughout to its Italian musical roots, Delone collides in unpredictable ways with a variety of global sound transmissions. The breathless rush of the surf-driven opener "Bendigo" cuts hard to the sultry romanticism of the second song "Una Danza," which in turn, slyly gives way to the nostalgic twang of "La Marabina." The album flows like this for the duration, brilliantly touching upon disparate sound-worlds that range from the pastoral ("Billy Strange") to the cosmopolitan (the Gainsbourg-influenced "Serge") to the classically pop ("Delone"). There is passion and adventure, excitation and sadness. There is a magnificent sense of wonder. Delone plays like a treasured notebook full of restless dreams and nostalgic sketches, all of it edited together like an old, suspenseful TV movie.


GM 208CD

AKA: Crazy Joe CD (GM 208CD) 14.00
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 209CD

SAN UL LIM: The Second CD (GM 209CD) 14.00
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?



DEVIL WORSHIPPER: Devil Worshipper LP (HOLY 1997LP) 19.00
"Imagine a version of Julio Cortázar's The Night Face Up where there is no motorcycle crash and no series of dreams about trying to outrun Aztec warriors determined to capture you for human sacrifice. There is still darkness in this story -- the darkness of living in post-Reagan America, existential dread, the futility of living one's dreams and still waking up every day. Devil Worshipper is the dream that swirls and reflects landscapes in chrome as snakes dance in your spine. Blistering solos that wouldn't be out of place on a Helios Creed or The Mike Gunn LP draw the night sky as a steady, hypnotic rhythm paints the lines dividing the highway out of here."



NOBODY HOME: Where We Come From EP 12" (HOMER 002EP) 14.00
This record is a monument to discoveries in the search for the Self. Contemplating and exploring the questions, "Who and what am I? Where do I come from? And what is this 'I' that we all are referring to?" These two musical pieces and the artwork were created with these matters in mind.



AKITSA: Grands tyrans CD (HOS 442CD) 16.00
"Five years in the making, Montreal's Akitsa delivers their fifth album of spirited and inevitable black metal fatalism. A respected and passionate disciple of the black metal underground from its earliest days, Akitsa's Outre-Tombe has remained true to the spirit of the genre, while carving out a personal space within it. Akitsa was founded in an environment of isolation. A pre-Akitsa Outre-Tombe gained experience from early maneuvers out of the DIY cassette culture of the early 90's experimental mail circuit, and he eventually transmuted this abstraction and freedom back into misanthropic black metal -- and Akitsa was born. This passionate yet primitive North American black metal pioneer came into existence regardless of any local indifference to the need for it. Fusing a love for industrial noise, punk, and creepy synth soundscapes with pure raw black metal, Grands tyrans is the most challenging, powerful, and fully realized synthesis of these various strands to date. While sonically Akitsa has matured into a perfect amalgamation of extreme music (metal, punk, experimental), Outre-Tombe's voice has the rude and fearless energy of youth expanding upon the diversity of emotions that black metal festers in the complex mixture of violence and introspection. Grands tyrans masterfully strikes with urgent immediacy like the falcon springing through frost covered branches commencing the hunt."


AKITSA: Grands tyrans Cassette (HOS 442CS) 13.00
"Five years in the making, Montreal's Akitsa delivers their fifth album of spirited and inevitable black metal fatalism. A respected and passionate disciple of the black metal underground from its earliest days, Akitsa's Outre-Tombe has remained true to the spirit of the genre, while carving out a personal space within it. Akitsa was founded in an environment of isolation. A pre-Akitsa Outre-Tombe gained experience from early maneuvers out of the DIY cassette culture of the early 90's experimental mail circuit, and he eventually transmuted this abstraction and freedom back into misanthropic black metal -- and Akitsa was born. This passionate yet primitive North American black metal pioneer came into existence regardless of any local indifference to the need for it. Fusing a love for industrial noise, punk, and creepy synth soundscapes with pure raw black metal, Grands tyrans is the most challenging, powerful, and fully realized synthesis of these various strands to date. While sonically Akitsa has matured into a perfect amalgamation of extreme music (metal, punk, experimental), Outre-Tombe's voice has the rude and fearless energy of youth expanding upon the diversity of emotions that black metal festers in the complex mixture of violence and introspection. Grands tyrans masterfully strikes with urgent immediacy like the falcon springing through frost covered branches commencing the hunt."



Another smoker from Acid Mothers Temple & The Melting Paraiso U.F.O., in typically fine form. Benzaiten is an In C-style homage to the classic Osamu Kitajima record Benzaiten (1973). Acid Mothers Temple covers the title-track and reprise using Kitajima's original composition as a departure point to explore the outer realms of AMT territory. Further instrumental explorations reveal textures of the original composition while launching out further into the cosmic domain. Numerous Acid Mothers originals are scattered in between. Benzaiten!


KR 020LP

ZEITKRATZER: Column One: Entropium LP (KR 020LP) 20.00
Five compositions by the Berlin-based electroacoustic/industrial collective Column One in stunning interpretations by zeitkratzer, recorded live at Berghain during MaerzMusik 2012. Since their inception in 1997, zeitkratzer have built a reputation for their unique approach, their outstanding and internationally acclaimed members, and their adventurous projects that include collaborations with noise musicians like Merzbow and Zbigniew Karkowski, rock 'n' roll experimentalists like Lou Reed and William Bennett (Whitehouse), electronic musicians like Carsten Nicolai and Terre Thaemlitz, reinterpretations of Schönberg and Bach, as well as performances of music by composers such as Helmut Lachenmann, James Tenney, and Karlheinz Stockhausen. Column One and zeitkratzer first worked together in the late '90s at Podewil, which was at that time the most influential and vanguard location in Berlin. For these compositions, presented here for the first time, Column One's mastermind Robert Schalinski developed five scores for acoustic instruments based on electroacoustic sound files. These scores were transcribed by Reinhold Friedl and the zeitkratzer musicians, refining and working them out together, using the complexity and sensuality of their amplified instrumental sound that matches perfectly the "industrial musique concrète" of the Berlin-based artist collective (which Rashad Becker joined in 2013) who cite Dada and the Surrealists as important influences. Pressed on 180-gram vinyl; presented in gatefold sleeve; includes download code. Limited to 300 copies.


KH 9034LP

DAVIS QUINTET, MILES: Harmon Gymnasium, University of California, Berkeley CA, April 7th 1967 LP (KH 9034LP) 23.00
This remarkable 1967 concert finds Miles Davis playing with his second quintet: Wayne Shorter (tenor saxophone), Herbie Hancock (piano), Albert Stinson (bass), and Tony Williams (drums). Recorded for broadcast on KALX radio, it features the only live recording of "Dolores" by this group, and their last known recording of "Stella By Starlight." An incendiary document of a great artist at the peak of his powers, it's presented here with background notes and images. Digitally remastered.



PFEIFFER, THORE: Im Blickfeld CD (KOMPPA 002CD) 18.00
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."



VALET: Nature CD (KRANK 195CD) 13.00
"For the last seven years fans of Honey Owens' Valet have been patiently wondering if they would ever hear another record of her trademark ephemeral, fractured blues. Owens herself had been unsure she'd revive the Valet name after six busy years exploring psychedelic house music in the Miracles Club with her partner Rafael Fauria. But the arrival of Owens and Fauria's first child would soon inaugurate a time of change and reflection that would lead to the surprising arrival of Valet's third LP, Nature. Recorded at home over the course of a year, Nature evolved as a collaboration between Owens, Fauria, and drummer/bassist/keyboardist Mark Burden. The album finds the trio crafting enveloping layers of guitars, synthesizers, and reverb to create a shimmering, wide open sound. It's a restrained, direct style, but tying it all together is a lulling, dreamy melodic sense that is distinctively Valet. At the center stands Owens' ethereal voice, which has transitioned from evoking trippy fantasies to creating space for honest contemplation. Informed by Owens' early musical life in the 90s Bay Area underground music scene, Nature slyly synthesizes the DIY spirit of punk, the expansive guitar whorl of shoegaze, and the propulsive rhythmic drive of dub. For Valet, Nature's sound is a change in style, but not substance. From the haunted blues of 2006's Blood is Clean to the Fourth World free fusion of 2008's Naked Acid, Owens and company have always demonstrated a mastery of bringing together disparate musical genres into a unified musical whole."


VALET: Nature LP (KRANK 195LP) 14.00
LP version.



One of the more delicate recordings of Sun Ra's 28-strong Arkestra, Sleeping Beauty drifts in on a cloud of cosmic dust, sounding unlike anything before or after. With drummer Luqman Ali keeping the narcotic funk, but with dreamy solos from other key Arkestra players like John Gilmore, Michael Ray, and Marshall Allen, no Sun Ra collection is complete without this LP. Inspired space-age lullaby music, originally released on Saturn Records in 1979.



VA: Native North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966-1985 3LP BOX (LITA 103LP) 45.00
2015 repress. 3xLP version. "Includes 60 page book with comprehensive liner notes, artist interviews, unseen archival photos, and lyrics (with translations), housed in a 'Tip-On' slip case with three 'Tip-On' jackets. Largely unheard, criminally undocumented, but at their core, utterly revolutionary, the recordings of the diverse North American Aboriginal community will finally take their rightful place in our collective history in the form of Native North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966-1985. An anthology of music that was once near-extinct and off-the-grid is now available for all to hear, in what is, without a doubt, Light In The Attic's most ambitious and historically significant project in the label's 12-year journey. Native North America (Vol. 1) features music from the Indigenous peoples of Canada and the northern United States, recorded in the turbulent decades between 1966 to 1985. It represents the fusion of shifting global popular culture and a reawakening of Aboriginal spirituality and expression. The majority of this material has been widely unavailable for decades, hindered by lack of distribution or industry support and by limited mass media coverage, until now. You'll hear Arctic garage rock from the Nunavik region of northern Quebec, melancholy Yup'ik folk from Alaska, and hushed country blues from the Wagmatcook First Nation reserve in Nova Scotia. You'll hear echoes of Neil Young, Velvet Underground, Leonard Cohen, Creedence Clearwater Revival, Johnny Cash, and more among the songs, but injected with Native consciousness, storytelling, poetry, history, and ceremony. The stories behind the music presented on Native North America (Vol. 1) range from standard rock-and-roll dreams to transcendental epiphanies. They have been collected with love and respect by Vancouver-based record archaeologist and curator Kevin 'Sipreano' Howes in a 15-year quest to unearth the history that falls between the notes of this unique music. Tirelessly, Howes scoured obscure, remote areas for the original vinyl recordings and the artists who made them, going so far as to send messages in Inuktitut over community radio airwaves in hopes that these lost cultural heroes would resurface. Considering the financially motivated destruction of our environment, the conservative political landscape, and corporate bottom-line dominance, it's bittersweet to report that the revolutionary songs featured on Native North America hold as much meaning today as when they were originally recorded."


LL 023LP

VA: Los Angeles LP (LL 023LP) 21.00
"In less than a year's time, Adrian Younge's Linear Labs imprint has made a very firm impression on fans of forward-thinking, analog-based music from multiple genres. One notable fan, among many, is DJ Premier, who produced his late-2014 PRhyme album exclusively using samples drawn from Younge's catalog. To give fans a chance to revel in Younge's range and -- just as importantly -- give followers a sneak-peek at four impressive 2015 albums, Younge is proud to release the compilation album Los Angeles. On Los Angeles, many hip-hop fanatics will impatiently skip forward to the graceful, galloping, and appropriately dramatic 'Return of the Savage,' from the upcoming Younge-helmed Twelve Reasons to Die II. The song features Ghostface Killah alongside Raekwon and RZA. But track-skippers will soon head back to the album's opener, the dusky, baroque soul of 'Memories of War,' from Something About April II, with vocals by Stereolab's Laetitia Sadier. Also a track from the Adrian Younge/Ali Shaheed Muhammad concept album The Midnight Hour, titled 'Feel Alive,' with silky vocals by Karolina, alongside longtime Younge collaborator Loren Oden."



FANTASTIC MAN: Dream Machine 12" (LOTR 005EP) 14.00
Melbournian producer Mic Newman aka Fantastic Man follows his instantly-sold-out 2014 Animal Language EP and 2015's El Tropo with Dream Machine. The title-track slides into its house-inspired beats with a taste of some early '90s progressive pads like an early bird's waking chirps between fields hazy with morning dew and slight winds howling from above, before a piano unravels. "Fountain Gate" merges the NYC garage house feel of Sha-Lor's "I'm in Love" with jungle-inspired snare fills and a timeless acid line. "St Elmo's Theme" features saturated kicks with hypnotic drum patterns and some xylophonic sparkle.



ANDREW RED HAND: For My Mother 12" (MOSDEEP 023EP) 12.50
Romanian DJ and producer Andrew Red Hand, who has been called "the Romanian Underground Resistance," has a long history of making Detroit-inspired techno and electro. "My Guardian Angel" features cowbells and coarse claps offset with rich, heartwarming chords and teary-eyed strings. "Never Be the Same" is a busy cut stuffed with arpeggiated bass, bright melodies, glassy chords, and plenty of reflective surfaces. "Shattered Soul" is awash with trilling glassy sounds, echoing melodies, and oodles of atmospheric texture over hurried techno drums. The somber "Mourning My Mother" features classic Chi-town percussion and drums weighted down by long-tailed pads and poignant chords.


ASOK: Future Wars EP 12" (MOSDEEP 024EP) 12.50
Liverpool producer Stu Robinson aka Asok follows EPs on M>O>S Recordings (Poltergeist, MOSDEEP 018EP, 2014) and his own Scenery label with the Future Wars EP. The beautiful, melancholic "Future Wars" features its doleful pads, paddy drums, and generous sense of space. Then comes the pricklier "Final Battle," with its spinning hi-hats, daubs of acid, and lingering pads. "Interaction" is a cleaner, clearer track focused on a squelchy lead synth-line. It's nicely mechanical and perfectly offsets the swirling soft-focus pads. "Abandoned Places" is a slo-jack track with skittish, broken-sounding hits and drums, more flecks of acid, and vivid, rusted textures.


MW 058LP

"Minimal Wave proudly presents a newly remastered deluxe double album of archival material by pioneering '80s minimal electronic duo Oppenheimer Analysis. Oppenheimer Analysis was formed in London, England, in 1982 by Andy Oppenheimer and Martin Lloyd. Their first meeting though was at the 1979 World Science Fiction Convention in Brighton. They quickly became good friends, sharing an interest in the work of David Bowie, electronic music, and early synthesizer bands such as the Human League and Soft Cell. They also shared a love of old science fiction movies and 1950s graphics and comic book imagery, and a fascination with post-World War II propaganda, the politics and aesthetics of the Cold War, and the social impact of the atomic bomb. Over the next few years Andy and Martin frequented the growing club scene, including Studio 21 on Oxford Street, and became involved in the developing Futurist and New Romantic style sub-cultures. During this period Martin recorded as Analysis, both alone and with David Rome of Drinking Electricity. They released their first single, Surface Tension/Connections on David's Survival label in 1981. In 1982, Oppenheimer Analysis began writing and recording together at Feedback Studio in Battersea, and performed several times at The Bell, Islington, the 1983 World David Bowie Convention in Hammersmith, the Starzone Birthday Party at Camden Palace, the 1984 European Science Fiction Convention in Brighton, and other live venues. Their first demo tape and 12-song New Mexico cassette were sold at gigs and by mail-order, and were reviewed in Melody Maker, Sounds, and Soundmaker. For the years to follow, Oppenheimer Analysis became recognized among electro-music aficionados as a pioneering duo that influenced countless other bands during the club and home-recording era of the early 1980s and beyond. Their cassettes became massively collectible. In 2005 they re-formed with the release of a self-titled four-song 12" EP of selections from the New Mexico cassette, including 'Cold War' and 'The Devil's Dancers.' This marked the first release on Minimal Wave. Now in 2015, we're happy to present the entire New Mexico collection, newly remastered and cut to vinyl for the first time ever, to celebrate our 10-year anniversary. This first edition of 1000 copies is pressed on deluxe 'nuclear' style black-and-white 160-gram vinyl and housed in a glossy gatefold silver-and-black printed sleeve, featuring all the song lyrics on the inside of the sleeve."



HOULE, MARC: Restored EP1 12" (MINUS 035-1EP) 12.50
Pressed on 180-gram vinyl. Originally released on Richie Hawtin's Minus label in 2004, Marc Houle's full-length debut Restore helped to establish his penchant for the quirkier side of techno and his superlative production skills. This EP kicks off the Restored remix project, and features remixes by M.A.N.D.Y. and Monkey Safari; with Houle himself collaborating with vocalist Genevieve Marentette for an edit of "Demor." "Restore was the beginning of it all for me... I am excited to present... modern interpretations of old tracks by some friends and colleagues who have kept the party going throughout the world." --Marc Houle



"Under the modest title Best Of, the Berlin native Pilocka Krach has assembled 11 hits from her current treasure trove in a debut album that holds a pedigree of 'homegrown premium extra plus.' Although she has been releasing tracks continuously since 2007 (including on Katermukke and her own label Greatest Hits International), up until now she could not have cared less about the album format. What's the point? Generation Download prefers things bit by bit. And her oeuvre consists entirely of hits, anyway. For Pilocka, even B-sides were seen as a mere waste of time, something best avoided. It's better to get it done and bring it out, with each track as it comes, song by song. Extroverted to the brink, extravagant, but approachable, this woman unleashes a kind of techno from a different angle: funky, demanding, dirty, funny, live, and direct. She initially emerged from the noise/avant-garde scene in Vienna, then the techno-hippy post-rave scene of a good-humored Berlin that gladly considers Monday afternoon to be peak time. From there, Pilocka won over hearts and rode on to victory with boundless passion and enthusiasm. Her music is meant to rock -- more Freddy Mercury than Robert Hood. Pure belladonna! So Best Of begins accordingly with 'Oh Yeah Voll Krass' -- which in the context of this album is more a mid-tempo number of rock stage proportions, boasting a massive bass line -- a wave that immediately goes pop when raving. Anyone who has been at one of her live appearances knows that this lady rocks, simultaneously loving and brash as she tears up the stage. It's like that at every one of her numerous performances, and now she has finally conveyed that spirit over the full length of an album. Best Of is like an application for a dream job that she -- unhesitatingly, without batting an eyelid, yet with an extra dash of mascara -- clearly defines: rock star! This is once again author-techno, but by an author who takes herself anything but seriously, and who gladly and immediately sacrifices any authorly gesture for the sake of a great moment -- a moment that is best shared with her! Pilocka Krach prefers to make a splash." --Daniel Meteo


LP version.



SLOW STEVE: Steps CD (MORR 134CD) 14.00
Steps, the debut EP from Slow Steve aka Rémi Letournelle (Fenster) is a combination of mantra pop, sexy beats, and hit single karaoke with instruments, under the influence of Ariel Pink, Air, Caribou, and even Balinese music. Its six tracks were produced by Tadklimp (Fenster) in Berlin and are dedicated to old analog synthesizers. The opening track, "Minuit," feels like the echo of a party that never ends, an invitation to dance again and again. Minimalist arrangements, nagging loops, and a noisy Korg MS20 bring a touch of irony that suggests the song is less an invitation to forget daily worries than a ritualistic release. It's a rendezvous in the middle of the night, a nod to those who dance as if time doesn't exist. "Sun Moon" closes that party with tenderness, a tropical sound, and strong melodies that bring in the early morning sun, ending with an eccentric, joyful percussive performance. "Prince de Combat" further develops the Slow Steve aesthetic with instrumental dreamy choruses and an electronic waltz that slowly evolves toward a spectacular finish. The intense second half is an ode to electronic instruments, some kind of analog synth poem. "Vostok" may be the most representative song of the EP. The tone is detached but still attractive. The instrumentation is surprisingly diversified: a guitar joins synthesizers, a human voice and a vocoder duet; both excited and nonchalant, rousing and non-linear, this track sums up all the richness of Steps. "Break My Soul" is the exception to the rule. A noisy loop made with a used mechanical piano, crushed percussions, and a tired organ. An ironic interlude, like in a shaky carousel. Finally, "Aquabed" is the intimate EP's conclusion. Rhythms have disappeared, instrumentation gets down to basics. The French vocals tell the story of a journey on a hybrid vehicle, a souvenir from some utopia. It describes affection for ghosts of technology and the source of creation they represent.


SLOW STEVE: Steps 12" (MORR 134EP) 15.50
EP version; includes download code.



STERAC: Different Strokes 12" (MOTE 042EP) 12.50
Dutch producer Steve Rachmad aka Sterac presents his first release on Luke Slater's Mote Evolver label, a series of hypnotic, uncluttered drum-machine experiments. The Roland 808 can feel like a tired cliché when it comes to techno, yet Rachmad's manipulation of the tool is nothing short of masterful. "Stroke 1" marches forward, steady and resolute, with heavily processed elements. Across "Stroke 2," the synths feel hazy and out of focus, jutting forward between Rachmad's stuttered rhythms; the track shares a celestial space-age feel with "Stroke 3." "Stroke 4" is a frantic percussive workout incontestably rooted to the dancefloor.



FREY, BENEDIKT: Portal 12" (MRT 001EP) 14.50
Benedikt Frey delivers the inaugural release on MRT, a division of Lux Rec created out of a need to wander further, cut deeper. Three perfect tracks to start the journey, build foundations, and describe the far-off, obscure fringes of the MRT universe. "Portal," a dreary number, together with "Telamon," acidic march, and "Stereobate," relentless physical techno music, portrays Frey's quality and musical range, and sets the path for MRT. "We live our life free of compromise, we step into the shadow without complaint or regret." So they say, believe them. A-side plays at 45 RPM; B-side plays at 33? RPM.



RICCI, VITO: I Was Crossing a Bridge 2LP (MFM 005LP) 28.50
On the leading edge of NYC's underground music scene, Vito Ricci produced only a handful of self-released cassettes and one LP between 1983 and 1985, with most of his work recorded for experimental theater and performance art pieces. Taking their label name from Ricci's only LP, Music From Memory brings together a compilation of works by one of the unsung heroes of New York's downtown music scene. Starting out as a percussionist, Ricci's early musical journey led him to improvised and experimental jazz; working alongside such luminary musicians as Rashied Ali, Byard Lancaster, Peter Zummo, and Yousef Yancey. He quickly became involved in the avant-garde scene with spoken word performances, film scores for independent movies, and even performances with punk bands at venues such as CBGB's and the Mudd Club, and his compositions drew on all of these influences while channeling them through his experiments with synthesizers and drum computers. Drawing comparisons with New York's downtown no-wave scene, Vito's compositions blend his unique use of intricate percussion with a wide sphere of musical influences to create a world of hypnotizing ambient, meditative minimal-synth, dubbed-out electronic funk, and even left-field boogie. With most of Vito Ricci's music remaining previously unreleased, the compilation I Was Crossing A Bridge unveils Ricci's unique and visionary take on electronic music.


NP 015LP

EEK: Kahraba LP (NP 015LP) 23.00
Kahraba is the debut studio album of Islam Chipsy's EEK. Recorded in late 2014 in downtown Cairo, it contains four tracks perfectly representing Chipsy's wild and inimitable artistic spectrum, ranging from the frenzied sound signature technique that brought him his fame ("Trinity" and "Kahraba") to the band's individual maneuverings of typical Egyptian standards such as the Northeastern Nile delta "Simsimiyya" in "El-Bawaba" or Upper Egypt's traditional "Mouled Saidi" in "Mouled El-Ghoul."


NN 019LP

KOERNER, SPIDER JOHN: Some American Folk Songs Like They Used To LP (NN 019LP) 22.00
After moving to Denmark in 1972 and abandoning music for a spell, the legendary Spider John Koerner returned to the U.S. in 1974 to record an LP for Dave Ray's Sweet Jane label. The resulting record is one of the finest of his 50-plus-year career. As its title implies, the album displays a conscious move away from the folk-blues stylings of earlier recordings and toward an embrace of traditional American folk music. The enduring quality of its songs is evidenced by their continued inclusion on Koerner's set lists over 40 years later. This first-ever reissue of Some American Folk Songs Like They Used To is the fourth release by Koerner on Nero's Neptune. Available in a limited artist's edition of 300 numbered copies, the record is mastered from remarkably well-preserved first-generation reel-to-reel tapes. The lacquers were cut by Ralph Karsten at Atma-Sphere, and the LP pressed at RTI. There is no digital technology used at any point in the process. Not only is the sound better than on the original 1974 release, but the beautiful, hand-printed covers feature new and improved artwork from a woodblock designed by Nero's Neptune art director and recording artist Paul Metzger.



OD/MB: Shplittin' the Shtones 12" (RHD 021ODMB-EP) 17.50
Repress. Marvelous split mini-LP from the Rathmines nook. Mastered at New Atlantis by Sonic Boom. "Licked a drop from the silver tether, The vein that held the grit together, Ridges scored when grunt met bone, When shtones were shplit when shplittin' stone. He rose from the roots in fine spirits did Lankin, And magicked up money from none. With no cause to work I'm bone-idle and bored! And I miss the days, days shplittin' the shtones." --Lee Eel


BLACK DEER: Pray for Us 12" (RHD 023DEER2-EP) 12.50
The Melanistic One returns...


C 1017LP

BASHO, ROBBIE: The Falconer's Arm, Vol. 1 LP (C 1017LP) 17.50
First reissue of Robbie Basho's The Falconer's Arm, Vol. 1, originally released by John Fahey's Takoma label in 1967. The Falconer's Arm pair of LPs (this record and the simultaneously reissued Vol. 2 (C 1018LP)) is widely considered Basho's best work; monumental pieces of folk guitar invention from the pioneer, fusing the drones of Indian raga with flamenco and traditional folk. Fully remastered with excellent sound. Limited edition pressing of 500 copies.

C 1018LP

BASHO, ROBBIE: The Falconer's Arm, Vol. 2 LP (C 1018LP) 17.50
First reissue of Robbie Basho's The Falconer's Arm, Vol. 2, originally released by John Fahey's Takoma label in 1967. The Falconer's Arm pair of LPs (this record and the simultaneously reissued Vol. 1 (C 1017LP)) is widely considered Basho's best work; monumental pieces of folk guitar invention from the pioneer, with guitar lines in unusual tunings influenced by both blues and Indian music. Fully remastered with excellent sound. Limited edition pressing of 500 copies.



CHEVEL: Backward Loops I 12" (NONSERIES 017EP) 12.50
Part one of two. Non Series presents its third release of 2015, following Mark Broom's Attitude (NONSERIES 015EP) and Savas Pascalidis's Nightshades (NONSERIES 016EP). Backward Loops, from Italian producer Chevel (Stroboscopic Artefacts, Enklav.), is spread over two separate records, this 12" and Backward Loops II (NONSERIES 018EP).


CHEVEL: Backward Loops II 12" (NONSERIES 018EP) 12.50
Part two of two. Non Series presents its third release of 2015, following Mark Broom's Attitude (NONSERIES 015EP) and Savas Pascalidis's Nightshades (NONSERIES 016EP). Backward Loops, from Italian producer Chevel (Stroboscopic Artefacts, Enklav.), is spread over two separate records, this 12" and Backward Loops I (NONSERIES 017EP).


NA 5110LP

HEITKOTTER, STEPHEN DAVID: Black Orckid LP (NA 5110LP) 21.00
2015 repress. Single LP version (not including the deluxe version's "bonus LP"). Includes a 16-page booklet. "Psychedelic rock record collectors have been repeating the name Heitkotter as if it were a mantra ever since the first copy of a hand-made demo LP turned up in a Los Angeles music publisher's reject bin, with nothing more than that word scrawled across a plain white jacket. Now-Again Records embarked some years ago on what seemed like a fruitless crusade -- to find out more about this Heitkotter, his music, his story. In the process, we've visited the house where this confounding album was recorded, found Heitkotter's musicians, rescued the demo-recordings that paved the way for this album, uncovered unpublished photos and paintings by the man behind the album, and are now ready to present the definitive look into a musical vision equal parts dangerous and peaceful, nihilistic and optimistic. It's safe to say the world has never heard something like Heitkotter -- it is a unique piece of art unlike anything that came before or has come after it. The bizarre LP known as Heitkotter -- recorded in around 1971 and pressed in a run of less than twenty five copies -- was the culmination of one Stephen David Heitkotter's artistic career. Ross Dwelle, Stephen's childhood friend and the drummer on the record, describes the bedroom sessions in a handsome Craftsman home in Old Fresno as this young trio 'trying to play five songs written by a man losing his mind... probably stoned the whole time.' Heitkotter, this time issued as Black Orckid, as we assume Stephen would have wanted it -- is too complicated to be written off as a symptom of a greater ill, or lionized by a few (and dismissed by the majority) as 'outsider' art. It's a rare and vital look at 60s and 70s American rock through the sad story -- and incredible music -- of an untethered soul. And as we hope to show in enlightening more of Stephen's backstory, it can also be considered sweet, kind and optimistic. The Heitkotter tale is cautionary, but Stephen's music is as close to the sublime as American rock has ever ventured."

NA 5116CD

MARKS, RICHARD: Never Satisfied - The Complete Works: 1968-1983 CD/BOOK (NA 5116CD) 21.00
"Seven years in the making, Never Satisfied is our collection of legendary soul and funk singles by Atlanta guitarist/singer/songwriter Richard Marks. This 21-track anthology follows Marks's stylistic development, from his earliest work for the legendary Tuska label, from 1968 until approximately 1972, through his more mature releases on the Shout label and smaller regional labels like Note, Free Spirit, and RSC. It also includes two tracks never released in any form, found on reels Marks had maintained in his Atlanta home. Marks's story is that of an unsung soul and funk hero; a guitarist, vocalist, and songwriter whose number was in Al Green's, Barry White's, and Eddie Kendricks's rolodexes, but whose talents have only been heard in sporadic bursts since his 45s were released and disappeared into Atlanta's urban expanse. This is the story of a father and husband who managed to keep his family together as he gigged the third shift six nights a week. The story of a man who wished for more and whose talent is overdue for reassessment. He and his music are unknown to the majority, but to an obsessive minority, he is a lightning rod, that singular point at which numerous Southern soul and funk musicians converged and exploded, spreading wondrous music in all directions. Marks's impeccable run of 7" singles, released largely on tiny, local labels, are the stuff of legend, and are hen's-teeth-rare. Marks died of cancer in May of 2006, never having issued an album, either in the '60s and '70s, when many of his peers were able to find a way to issue an LP, or in anthology form in his later years. He never granted an interview. Given the caliber of his recordings and the near-complete lack of information available about him before the issue of this anthology, Marks stands out as the most mysterious talent to originate from Atlanta, a city that birthed no shortage of genius, from acclaimed worldwide (the Mighty Hannibal), obscure yet celebrated (Lee Moses), and local, but well documented (Tommy Stewart). The CD is packaged in a 56-page, saddle-stitched book. The book contains extensive essays on Marks's career and is full of never-before-seen photos and ephemera from this crucial Southern soul and funk epoch."

NA 5123CD

AMANAZ: Africa 2CD (NA 5123CD) 18.00
"Issued in 1975, this is the articulation of Zambia's Zamrock ethos. While other albums -- Rikki Ililonga's Zambia, WITCH's Lazy Bones!! -- are competitors, it's hard to best this album as it covers each major quadrant of the Zamrock whole: it came from the mines, its musicians were anti-colonial freedom fighters, it envelops Zambian folk music traditions, and it rocks -- hard. Amanaz were serious, and they made a serious stab at an album. They titled their album Africa, according to original band member Keith Kabwe, 'because of how it was shared and how its inhabitants were butchered and enslaved, its resources stolen... all the atrocities slave drivers committed.' Thus, their 'Kale,' a blues sung in Nyanja, that traced the continent's arc from slavery to Zambia's independence closes the album. Kabwe and rhythm guitarist John Kanyepa have a winsome softness to their vocals, which sit politely aside the feral growl of drummer Watson Baldwin Lungu, bassist Jerry Mausala, and bandleader/lead guitarist Isaac Mpofu. Africa's vibe ranges from anxious ('Amanaz') to escapist ('Easy Street') to straight-up pissed-off. On the 'History of Man,' his voice whiskey-burned, his distorted guitar buzzing like swarming hornets, Mpofu indicts his species. There's a darkness to Africa not found on any other Zamrock records, and a melancholy drifts throughout, specifically on Mpofu's more restrained 'Khala My Friend,' which stands as an effective, bleak situation for the Zambian everyman, the average citizen of a struggling, new nation, who might have had relatives in conflict-torn countries on the horizon, who might have been struggling to find his next meal, who might have seen a bleaker future than his president promised. Then there's the clear Velvet Underground-influence on the nostalgic 'Sunday Morning,' which, as Kabwe recalls, was the first song written for the album, back in 1968, when Velvet Undergound and Nico was a new release -- and the underground funk of 'Making the Scene.' The album also tackles traditional Zambian music and early-'60s rock -- punctuated, of course, by Kanyepa's wah-wah and Mpofu's fuzz guitars. But every time Amanaz get too deep, too violent, they come back with an accessible song and woo their listener back to the groove. 'Green Apple' is a civil song, featuring Kanyepa's sighing guitar. It is a perfectly arranged album, from the dichotomy of Mpofu's and Kanyepa's lead and rhythm guitars, to the vocal harmonies, to the rhythm section's sense of space and time, which allows Africa's funk to build. Inexplicably, Africa was given two separate mixes and two separate presses: one version is dry, with the vocals and drums mixed loud, the other slathered in reverb, with the vocals and drums disappearing into the mix, and with the guitar solos mixed much louder. We've presented them both here as they each have their appeal: it's up to the listener to pick the one he or she prefers. This is a highpoint of the Zamrock scene and we hope that this can be seen as its definitive reissue."



TERJE, TODD: Alfonso Muskedunder Remixed 12" (OLS 010EP) 14.50
"Initially Alfonso Muskedunder was just the nickname for my newborn son Alf, but the character soon started leading its own life. Interpreted for this single by a bunch of good people, such as Deetron (jazzy-ish housey-ish), Bullion (main vocal funky Latin house mix... or not. It's vocal though), Mungolian Jetset (acid mambo deep in the forest, quattro formaggio pizza style), and the mysterious Tangoterje (dub mambo especial)." Vinyl artwork by Bendik Kaltenborn and Espen Friberg; mastered and cut by Matt Colton at Alchemy Mastering.


OM 004LP

BOOT & TAX: Boot & Tax 2LP (OM 004LP) 25.00
After two sold-out 12" EPs on Optimo Trax (Acido (OT 004EP, 2013) and Fusci (OT 008EP, 2014)), Boot & Tax head over to motherlabel Optimo Music for the release of their full-length debut. The Milanese duo of Cristian Croce (The Barking Dogs) and Claudio Brioschi (Brioski) are two of the most popular and respected DJs and producers of the Italian scene, who share a great passion for analog synths and experimentation and a deep knowledge of both clubbing and production. Dance albums are notoriously difficult to pull off and often fall flat, but Boot & tax succeed where many fail by making a record that will work on open-minded dance floors but isn't necessarily a dance album. Incorporating Brioschi's guitar playing, Boot & Tax's trademark eccentric instrumentation, along with their analog arsenal and the occasional vocal from Croce, they have managed to forge a uniquely characteristic sound world. Playful, psychedelic, hypnotic, captivating, the album comes in a gatefold sleeve on double vinyl.


OT 001EP

L/F/D/M: Purple Maps 12" (OT 001EP) 12.50
2015 repress. Optimo Trax is an offshoot label of Optimo Music for tracks aimed at DJs/dancefloors. L/F/D/M is from London and studied art with Dom from Factory Floor, who encouraged him to work on music production. But his musical influences range from jazz, exotica, Afrobeat, disco, post-punk -- you name it. "I'm always trying to reach that magic point where you can remove yourself from what you're making, and the music starts to trigger an emotion rather than just being blocks of color on a computer." --L/F/D/M



WRUHME, ROBAG: Cybekks EP 12" (PAMPA 023EP) 14.00
Robag Wruhme returns to Pampa following the whirlwind of acclaim for his 2011 album Thora Vukk (PAMPA 002CD/S-LP). The wait was worth it; Cybekks EP finds Wruhme in stunning form yet again. "Cybekks" leads off with a weighty tread, thundering downward with heavy, robotic drums as cloud-like chords of suspenseful pads appear and disappear on the horizon. "Anton" returns to melancholic brilliance, with a lilting piano loop and subtle digital trickery that blurs the edges of each note. "Volta Cobby" reinvigorates the classic collision of tech, house, and stripped-back body music. "Anton II" draws on electronica with a pastoral feel.



STEVE BUG: Coconut Paradise EP 12" (PFR 161EP) 14.00
Not content with presiding over three outstanding labels -- Dessous, Audiomatique, and Poker Flat -- and dusting off his long-dormant Traffic Signs pseudonym for the brilliant Cookie Jar (TRAFFIC 007EP, 2015), Steve Bug finds time to spoil you with another stellar release. "Coconut Paradise" is a masterclass in crisp, high-definition house, as dubby synths, a solid kick, and an insistent bass stab form a deeply hypnotic groove. "Thick As Mud" draws on spacious arrangements of dubstep and glitch, burnished with snickering percussive repetition and scything synths. "Pants On Fire" is a restlessly inventive bricolage of unconventional percussive sounds and textures.



VOIGT, WOLFGANG: Rückverzauberung 10/Nationalpark CD (PROFAN 016CD) 20.00
In celebration of the opening of German national park Hunsrück-Hochwald, Wolfgang Voigt has conceived an abstract, ambient-infused sound installation which can be experienced as a kind of "acoustic hike through the forest," thanks to a series of loudspeakers allocated in a natural environment. This approximately hour-long piece of music is a freeform improvisation on a classic sonic scenario made of strings and winds, processed with electronic means. The rather elegiac billows of sound flow into each other and part again, like a musical early morning fog in a "reverse-enchanted" woodland. They weightlessly trek alongside auspicious shadows of atonality, across gentle hills and valleys, through gleaming clearings into eternity. The visual equivalent to this fantasy can be found on the CD cover, by way of a hypnotically focused view of a forest and its intricacies -- harkening back to Voigt's Gas concept series and the '90s albums Königsforst, Zauberberg, and Pop. As with Gas, both the music and the visual design of Rückverzauberung 10/Nationalpark formalize an essentially Voigtian simultaneity of an idea of romanticism based on nature-induced rapture and an approach to the beauty of surfaces trained by pop art. Nationalpark is the tenth part of the open concept series Rückverzauberung.


PSI 002-1CD

HOOKER, D.R.: The Truth CD (PSI 002-1CD) 14.00
D.R. Hooker was a musician from the Connecticut scene of the early '70s who gathered a bunch of willing hired guns to back him up instrumentally for his debut hard psych/prog album, The Truth, which was originally released in an edition of 99 copies in 1972. There may be more obscure records (like Stonewall's sole album (KIS 4004CD/LP)) with print runs of even smaller sizes, but D.R. Hooker's The Truth is definitely one of the most iconic records in the field of US hard rock. Despite a somewhat rough and unpolished sound, the music is definitely intriguingly composed, well executed and backed with feelings of peace or passion, depending on the song. The fervid opener "The Sea" is one of the best testaments to the brilliant songwriting ability of hippie singer/songwriter Donald R. Hooker. A pulsating rhythm of regular drums and obsessively beaten percussions, held together by an ever-pumping bass guitar, is the background for an epic, picturesque vocal melody riding on a guitar stampede with excessive leads. The following tracks include a gentle pop tune, a steaming funky rocker with an easy and relaxed vocal line, and another quite progressively structured composition of crushing heaviness. Each note here is captivating and will inspire you down to the bare bones. Hard to compare this music but it ranges from pop psych of the highest order in the vein of the Strawberry Alarm Clock, to powerful late '60s rock with a funky attitude as played by so many rock bands those days, to thought-provoking singer/songwriter tunes in the vein of Neil Young, Nick Drake, or even Donovan, with alternately lush and sparse arrangements. And there's way more than that. Haunting synthesizer lines on powerful guitars build an epic beginning for a fuzzed-out yet relaxed garage rocker that could be a lost outtake of a Jefferson Airplane session with The Seeds. The whole album bears a homemade feeling and creates a very imaginative atmosphere. Next to the ten original tracks of The Truth, this reissue also includes six of eight songs that were recorded in 1974 and released in 1979 as Armageddon, coming on with the same power as The Truth. '60s psychedelia, dramatic pop, progressive power rock, and great folky bits and pieces flow into each other. The result is music in full blossom, colorful and thrilling.



JODOROWSKY, ALEXANDRO: The Holy Mountain: Original Soundtrack 2LP (RGM 301LP) 36.00
2015 repress. "One of the ironies of the career of Chilean-born filmmaker Alejandro Jodorowsky is that while he is best known as a visual stylist, his most avid and loyal champions have often been musicians. When Jodorowsky arrived in New York from Mexico City in 1970 carrying a copy of the then-unreleased El Topo, it was the jazz producer Alan Douglas who bought the distribution rights to the film. When Jodorowsky and Douglas were looking for a venue in which to screen El Topo, it was John Lennon and Yoko Ono who asked for it to run at midnight following their short-film festival at New York's Elgin Cinema. After six months of sold-out midnight screenings at the Elgin, it was Lennon's manager, Allen Klein (ABKCO's founder), who bought the rights to El Topo and agreed to produce its follow-up, The Holy Mountain. And when Jodorowsky wanted, in his words, 'another kind of music -- something that wasn't entertainment, something that wasn't a show, something that went to the soul, something profound,' for the soundtrack to The Holy Mountain, forward came jazz legend Don Cherry and crack studio musician (and one-time Archie) Ron Frangipane to share composing and (along with Jodorowsky) conducting duties. And, boy, did they deliver -- the score to The Holy Mountain is every bit as hallucinatory as the fantastic visual imagery in the film itself. The deep, primordial chants that begin the movie, 'Trance Mutation,' give way to an almost jaunty percussion-and-plucked-strings melody, 'Pissed and Passed Out.' On the next track, 'Violence of the Lambs,' a single flute is slowly joined by a set of mournful strings while, onscreen, Gestapo-like soldiers in gas masks parade with bloody lamb carcasses on sticks. 'Drink It,' an upbeat sitar folk melody, follows, briefly accompanying the main protagonist The Thief's ill-considered decision to guzzle tequila (or sleeping potion). Then there is 'Christs 4 Sale,' a blaring orchestral riff that sounds like it was ripped from a 1950's swords-and-sandals epic. The next track, 'Cast Out and Pissed,' begins with a beelike buzz, then is overwhelmed by a cacophony of drums, horns, and, finally, screaming. 'Eye of the Beholder' which follows, changes moods entirely once again -- a string section swells with overwrought romanticism. (Onscreen, a group of young prostitutes prays in a church. One of them later walks arm and arm with a chimpanzee.) And then there is 'Communion,' a brooding, trumpet-led number that would be at home on the noir-steeped Chinatown soundtrack. (As 'Communion' plays, the Thief is not driving through Los Angeles at night but eating the face off a statue of Christ.) This veritable cornucopia of musical styles would be more than enough to fill an entire movie. It would be more than enough to fill three movies. But in fact, the eight musical compositions described above play entirely in The Holy Mountain's first 24 minutes. Still ahead lie the hard rock of 'Psychedelic Weapons,' the pomp and circumstance of the waltz 'Miniature Plastic Bomb Shop,' the gospel-inflected sax of 'Isla (The Sapphic Sleep),' and so on. Every one of the 24 tracks on the film's soundtrack presents another vertiginous twist in the philosophical and spiritual journey that is The Holy Mountain. Now, Real Gone Music, in association with ABKCO Music & Records, Inc., presents, for the first time ever on vinyl, the original soundtrack to Alejandro Jodorowsky's 1973 masterpiece The Holy Mountain. The double-LP edition features liner notes by New York Times contributor Eric Benson that include exclusive quotes from Jodorowsky himself, festooned with copious production stills. Produced for release by Grammy-winning producer Teri Landi and Mick Gochanour, and mastered from the original tapes by Joe Yannece (with lacquer cutting on the LP by Carl Rowatti at Trutone Mastering), this long-awaited release of Alejandro Jodorowsky's The Holy Mountain: Original Soundtrack offers a major addition to the soundtrack canon and a completely unique listening experience."


RS 098LP

VISION HEAT: The Chosen Themes - Program I LP (RS 098LP) 17.00
Recorded between 2012 and 2014, Jared Blum's (GiganteSound, The Talking Book (with Bill Gould of Faith No More), Blanketship, Vulcanus 68, et al.) Vision Heat project is a laser-guided, hyper-vintage conflation of early-to-mid-'80s-centric production, montage, and style. Recalling such luminaries as Tangerine Dream, John Carpenter, Harold Faltermeyer, Craig Safan, and such lofty houses as KPM, Bruton, and Parry with nods to oddballs from Russia and the Eastern Bloc, Blum still manages to be forcefully yet effortlessly unique. Inspired by countless soundtrack compilations and blog mixes of rare, foreign library and VHS music, Vision Heat varies in production style and technique as if it were the definitive archive, deftly genre-skipping from moody sci-fi suspense, incidental queues, and dramatic scores to uplifting electro-boogie, synthpop, and cinematic arrangements. Ultimately so much more than an homage, The Chosen Themes are a subtle and skilled conjuring of a full spectrum re-imagined past. Part one of a two-volume set. LP includes download code. Exclusive video stills provided by Jennifer Juniper Stratford.



NO PAIN: It's Gonna Be Alright 12" (RH RSS14-EP) 12.50
Reissue of this essential and RH favorite New York 12". A 1993 classic, the way they were done during the golden years in NYC! Pure dancefloor madness!


FLOYD, VINCENT: I Dream You 12" (RH RSS15-EP) 12.50
Originally released on Dance Mania in 1991, "I Dream You" is an absolute Chicago house classic. It is one of the deepest and most soulful releases the label put out in its early days, and it totally captures Vincent Floyd's signature sound. Tip!



FISHERMEN: Remixed 12" (SKUDGEWR 001EP) 12.50
In December 2013, Fishermen released their well-received debut album, Patterns and Paths (SKUDGEWLP 001). They return with remixes of some of the standout tracks from the album by Cut Hands, Florian Kupfer, Steve Bicknell, and Abdulla Rashim and Varg's Ulwhednar project.



BONTEMPI, MARCEL: Witches, Spiders, Frogs & Holes: Demos & Recordings 2009-2014 CD (STAGO 068CD) 17.00
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.



COCOON, THE: While the Recording Engineer Sleeps CD (STAUB 138CD) 17.00
First reissue of While the Recording Engineer Sleeps, the first album by The Cocoon, recorded in 1985 and originally released in 1989. The Cocoon was a kind of psychedelic supergroup featuring legendary figures of the German music scene of the 1960s, '70s, and '80s: Gunter Hampel (vibraphone, piano, flute, bass clarinet, lead vocals), Jürgen Gleue (lead vocals, bass, guitar), Matthias Arfmann (guitar, bass organ, electric piano, lead vocals), Rüdiger Klose (drums, vocals), and Thomas Keyserling (flute, alto saxophone). Most songs were written by Hampel and Gleue with Gleue providing the lyrics. The legendary jazz composer, bandleader, vibraphonist, bass clarinetist, flutist, and baritone saxophonist Gunter Hampel is one of the most influential musicians, composers, and pioneers of the worldwide jazz evolution. He is the major instigator of the European jazz movement since 1958. On his own Birth Records label he has recorded more than 200 albums, most of them together with his Galaxie Dream Band. Jürgen Gleue was a founding member of the infamous neo-psychedelic band 39 Clocks, with whom he released four albums between 1981 and 1987. Under the moniker Phantom Payn, he later recorded another six albums of acid-driven psychedelia, and, together with Rüdiger Klose, he also played in the psychedelic rock band Exit Out. Klose also contributed to 39 Clocks, Phantom Payn, and avant-garde group Die Kastrierten Philosophen. First known as a founding member of Die Kastrierten Philosophen, Matthias Arfmann later became famous as the producer of German hip-hop/reggae star Jan Delay. And Thomas Keyserling, also a member of Hampel's Galaxie Dream Band, played with Agitation Free and was a guest musician on two legendary 1970 German krautrock albums: Tangerine Dream's Electronic Meditation and Amon Düül II's Yeti.



THORN, TRACEY: Songs from The Falling 10" (FEEL 017EP) 12.50
Limited restock, originally an RSD 2015 release. Set in a girls' school in the late '60s, The Falling (2014) is the atmospheric debut feature film by acclaimed director Carol Morley (Dreams of a Life (2011), The Alcohol Years (2000)), which garnered a rave five-star review in The Guardian when it premiered at the London Film Festival in September 2014. The soundtrack is dominated by eight songs and sketches by Tracey Thorn, which are gathered together on the 17-minute mini-album 10" Songs from The Falling, also available as a CD released in May 2015 (FEEL 017CD). Written after consultation with Morley to fit the film's mood and themes, Thorn's music was inspired by one the central scenes in which several girls form the "Alternative School Orchestra" and jam listlessly on instruments left lying around in the music room. "Carol sent me a cardboard box full of the instruments they used -- the typical things you'd expect, wood-block, tambourine, triangle, recorder -- and I decided to use the scene as a springboard for my songs," says Thorn. Recorded in the north London home studio she shares with her partner Ben Watt (who engineered the recordings), Thorn added guitar and piano, wrote the songs and then playing everything herself, allowing herself only one take on each of the instruments. "I wanted to leave in all timing discrepancies to try and capture the loose freeform feel of an untutored school performance," she adds. The final mixes were done by Bruno Ellingham. Part folk, part minimal garage band, the music's gauzy simplicity harkens back to Thorn's cult debut album A Distant Shore (1982).


SA 024EP

LUCY AND KLOCK: War Lullaby 12" (SA 024EP) 14.50
Debut collaboration between Ben Klock and Lucy. Listeners familiar with the classic kosmische feel will be taken immediately by the opening gambit "Bliss." On "War Lullaby," an FX-shrouded voice precedes a confident kick thump trailing ephemeral clatters. "Santeria" is the busiest and most engaging of the bunch, with fleeting snatches of conga, phasing zaps, and rhythmic ricochets all making for a rich concoction. "A Ghost Lovestory," like the opener, is a non-"dance" piece, but is no less compelling for that fact, with a foam of white noise panning between the listener's ears alongside a slurred and pitch-bent refrain.


SR 396CD

OISEAUX-TEMPETE: Ütopiya? CD (SR 396CD) 15.50
Ütopiya? not only continues Oiseaux-Tempête's first album (SR 381CD/LP); it also extends it. The travels move this time to Istanbul and Sicily, providing the food for its urgent energy and indomitable drive. While the structures still hint at moments of post-rock, they go further now, almost into the area of free-jazz yet without losing a directness rooted in punk (highlighted perhaps by the presence of G.W. Sok from The Ex). In addition, the bass clarinet of Gareth Davis references both the roughest of experiments of Akosh Szelevényi and The Stooges' Fun House. There are, so the story goes, sea birds that reveal themselves only at times of approaching storms. This story though, is a little more complicated. For some, the pipers riding the deluge, yet for the mariner the prophets in the lingering final moments of calm. Ultimately, are they the creator or created if the existence of one requires the other? It is this Mediterranean Sea that Oiseaux-Tempête chose to roam. More or less anchored in Paris, Oiseaux-Tempête is the result of the meeting between Frédéric D. Oberland and Stéphane Pigneul (members of both Farewell Poetry and Le Réveil Des Tropiques) and Ben McConnell (Beach House, Marissa Nadler). For Ütopiya?, the group is expanded with the addition of bass clarinet virtuoso Gareth Davis. CD presented in eight-page digipack. Limited edition double LP pressed on marbled vinyl; includes download code. "Palindrome Series (Live at Saint-Merry)" available on CD and via download code. File under experimental, stoner, post-rock, ambient, free music.


SV 071LP

ZNR: Barricade 3 LP (SV 071LP) 24.00
"ZNR was the French duo of Hector Zazou and Joseph Racaille (hence, Zazou 'n' Racaille) active in the mid to late '70s. Their 1976 debut, Barricade 3, is an anti-pop masterpiece that truly defies categorization; it makes perfect sense that ZNR appears on the infamous Nurse With Wound list. Featuring an array of seemingly dichotomous instruments (piano, synthesizers, woodwinds, electric guitar, and more) as well as genuinely bizarre vocals, the album is composed of fifteen odd experiments using a loose framework of analog electronics, avant-garde rock, jazz influences, and post-structuralist études. As The Shadow Ring's Graham Lambkin writes, 'The debut ZNR LP has long remained one of my all-time faves. A collision of eccentric Satie-esque miniatures, strange keyboard / synth explorations and the occasional song, delivered in a mixture of French and Spanish tongues. I always think of the creepy, over-ripe vocals on "Seynete" as one of the LP's most memorable moments, but there are many.' Despite its schizophrenic mystique, Barricade 3 is very witty and surprisingly accessible with hints of Robert Wyatt, Kevin Ayers, and Perrey-Kingsley. This long out-of-print vinyl reissue reproduces the original gatefold design including illustration by Don Van Vliet."



DENIRO: The Penal Colony 12" (TAPE 009EP) 12.50
Deniro strikes once more on Amsterdam's fabled Tape Records with The Penal Colony. His hypnotizing sound lurks between the first waves of Detroit techno and the finer bits of contemporary techno. He puts melody above power, depth over effect, but proves his commitment to maintaining floor heat over and over again. White-on-black silkscreened outer sleeve designed by Ruben Verkuylen.


TR 309CD

A PROJECTION: Exit CD (TR 309CD) 18.00
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.


WIRE 376

WIRE, THE: #376 June 2015 MAG (WIRE 376) 9.50
"Deep Cover: The Wire's contributors blow the cover on the musicians who work under alter egos, pseudonyms and secret identities, including reggae gunslingers, psychedelic cultists, punk miscreants, Mayan metalheads and more (Organum, Sun Araw, Palace, DJ SS, Clint Eastwood and others); Invisible Jukebox: Eugene Chadbourne (The freeranging guitarist and rake player frets over The Wire's mystery record selection); Global Ear: Hanoi; Inner Sleeve: Actress; Plus: Container, Lead Belly, Susan Alcorn, Eva-Maria Houben, Mikhail Karikis and more."



ANTIGONE: Cantor Dust 2x12" (TOKEN 053EP) 17.50
180-gram vinyl. Since debuting in 2011 on Zadig's Construct Re-Form, Parisian producer Antonin Jeanson aka Antigone has enjoyed an impressively consistent run of releases. His inaugural release with Kr!z's Token reflects of his inclination to mix the abstract with the functional. "Anna Livia" opens with Klaus Schulze-reminiscent, spatial electronica before "Enter" asserts Jeanson's dancefloor sensibilities, chugging forward unfalteringly. On "Prime Mover," reverberant stabs lunge forward over driving low-end. On "Artefakt," the interplay between rasping mechanical percussion, booming low-end, and grinding drones is rushingly intense. "Blue Note" provides a moment of reflection, with distant synthesizers easing out gently above booming rhythms.



TRIPEO: Sixth Trip 12" (TRIP 006EP) 14.50
Following the success of the 2015 double EP Anipintiros Reworks (TRILPRMX 001EP & TRILPRMX 002EP), featuring remixes from the likes of Mike Parker, James Ruskin, Blawan, Ben Sims, Cadans, and Exium, Tripeo presents Sixth Trip. Each side features different moods, yet both are equally suited for a time past the midnight hour. The A-side opens full-throttle; a thumping techno track with elevating high-hats and deep tones that will punish any dancefloor. Side B sets the scene for a battle across the supernovas, with a hypnotic overdrive and galloping notes enveloping the listener in a mesmerizing state.



CLOUDS: Tannhauser Acid Works III 12" (TURBO 170EP) 12.50
Young Scottish techno gods return with part three of Tannhauser Acid Works following TURBO 138EP (2012) and TURBO 160EP (2014). Hardcore hooligan anthems. Fear-inducing, awe-inspiring warehouse acid. Limited vinyl.



RETRIBUTION BODY: Aokigahara LP (TYPE 122LP) 20.00
Boston, Massachusetts-based Matthew Azevedo is a world-class technician, and by day engineers architectural acoustic simulations, teaches students about musical acoustics at Berklee College of Music, and occasionally finds time to master the odd record. It's this rare set of skills that can be heard on Aokigahara, an album made up of two long slabs of low-frequency drone. Aokigahara's focus on bass isn't necessarily anything new -- it positions itself alongside tomes such as Earth's seismic Earth 2 (1993) and Sunn O)))'s soupy ØØ Void (2000) -- yet Azevedo manages to inject something very different into the mix. Unlike many contemporary drone records, the album is an acoustic recording made in a concert hall, something which adds a certain magic that's impossible to recreate using software trickery. Azevedo's use of the space is the record's power, and occasionally you find yourself focusing not on the booming sub-bass but the airy flutter around it, or the echoing distortion that rips through like thunder. This is not a record to listen to on laptop speakers or through your flimsy, white Apple headphones. To experience its literal punch to the gut you need to make sure you've got the right gear to hand -- a good subwoofer is highly recommended.



GO MARCH: Rise (P1 incl. Psychemagik & Dreems Rmxs) 12" (UNDAY 040-1EP) 12.50
Go March are an instrumental group based in Antwerp, Belgium. "Rise" is an electronic, Germanic-infused, post-rock screamer, a sort of Mogwai-meets-Kraftwerk synthesis yet with all the futuristic propulsions of a new, fresh, hungry band. This is the first part of a two-part remix series, preceding UNDAY 040-2EP. On this 12", Psychemagik and Dreems each adds an imprint to the track, unpacking and expanding it to take it across a range of sounds and tones that weave from ambient dub to dancefloor-filler. The original version of "Rise" is included on both 12"s. Limited colored vinyl in silkscreened sleeve.


GO MARCH: Rise (P2 incl. Peaking Lights & Shigeto Rmxs) 12" (UNDAY 040-2EP) 12.50
Go March are an instrumental group based in Antwerp, Belgium. "Rise" is an electronic, Germanic-infused, post-rock screamer, a sort of Mogwai-meets-Kraftwerk synthesis yet with all the futuristic propulsions of a new, fresh, hungry band. This is the second part of a two-part remix series, following UNDAY 040-1EP. On this 12", Peaking Lights and Shigeto each adds an imprint to the track, unpacking and expanding it to take it across a range of sounds and tones that weave from ambient dub to dancefloor-filler. The original version of "Rise" is included on both 12"s. Limited colored vinyl in silkscreened sleeve.


VD 022-1EP

VA: Voyage Direct: First Mission Sampler 1 12" (VD 022-1EP) 12.50
Voyage Direct's message comes through loud and clear on the label's first compilation, Voyage Direct: First Mission (VD 022CD), a collection that takes in both previously unreleased tracks and a hand-picked selection of classics from the imprint's first five years, 2010 through 2015. This sampler includes tracks by Ebokai, Efdé & Tom Ruijg, Magnesii, and House of Jezebel. Released alongside two other 12" samplers, Voyage Direct: First Mission Sampler 2 (VD 022-2EP) and 3 (VD 022-3EP).

VD 022-2EP

VA: Voyage Direct: First Mission Sampler 2 12" (VD 022-2EP) 12.50
Voyage Direct's message comes through loud and clear on the label's first compilation, Voyage Direct: First Mission (VD 022CD), a collection that takes in both previously unreleased tracks and a hand-picked selection of classics from the imprint's first five years, 2010 through 2015. This sampler includes tracks by Maxi Mill, Simon Weiss, Overlast, and Melon. Released alongside two other 12" samplers, Voyage Direct: First Mission Sampler 1 (VD 022-1EP) and 3 (VD 022-3EP).

VD 022-3EP

VA: Voyage Direct: First Mission Sampler 3 12" (VD 022-3EP) 12.50
Voyage Direct's message comes through loud and clear on the label's first compilation, Voyage Direct: First Mission (VD 022CD), a collection that takes in both previously unreleased tracks and a hand-picked selection of classics from the imprint's first five years, 2010 through 2015. This sampler includes tracks by Awanto 3, Tom Trago, and William Kouam Djoko. Released alongside two other 12" samplers, Voyage Direct: First Mission Sampler 1 (VD 022-1EP) and 2 (VD 022-2EP).

VD 022CD

VA: Voyage Direct: First Mission CD (VD 022CD) 17.00
Voyage Direct's message comes through loud and clear on the label's first compilation, a collection that takes in both previously unreleased tracks and a hand-picked selection of classics from the imprint's first five years, 2010 through 2015. Includes tracks by Ebokai, Efdé & Tom Ruijg, Magnesii, House of Jezebel, Maxi Mill, Simon Weiss, Overlast, Awanto 3, Tom Trago, William Kouam Djoko, and Melon. Includes download code for tracks by William Kouam Djoko, Dexter, Interstellar Funk, Tom Trago (remixed by Carl Craig), House of Jezebel, Boris Werner, Elias Mazian, Overlast, Benny Rodrigues, and Maxi Mill. Released alongside three 12" samplers: Voyage Direct: First Mission Sampler 1 (VD 022-1EP), 2 (VD 022-2EP), and 3 (VD 022-3EP).


WPH 023-5EP

FCL: Can We Try (Remixes) 12" (WPH 023-5EP) 12.50
The first two-sided release and the first full remix EP in We Play House's V.I.P. series, featuring our distinct remixes of FCL's "Can We Try." Swiss dancefloor master Deetron is in his usual storming remix form, delivering a monster of a track. We Play House founder Red D celebrates his love for old Italian Yamaha DX21 house sounds and cuts up the vocal MK style. WPH mainstay Russ Gabriel volunteered to do a remix, which he delivers with class and panache. Kiani & His Legion go for a Daft Punk approach to great effect.



TERRON: Whities 003 12" (WHYT 003EP) 12.50
Terron is back on Whities. This four-track EP features two lead singles -- "N° 29 Pareto 20/80" and "N° 34 Dove [Part II]" -- and a continuous piece of music running across three tracks on the B-side. Hand-painted sleeves.



CLOUTIER, ERIC: Raxiera 12" (WLTD 026EP) 14.50
American-born Eric Cloutier has long been a purveyor of meticulously crafted DJ sets, holding residencies around the world as well as talent-scouting for the legendary label The Bunker New York. He approaches his productions with the same attitude he brings to his epic DJ sets. Deep, mysterious, and mesmerizing. This EP opens with the smooth bassline and dubby overtones of "Raxeira," before "Palimpsest" introduces a profound yet groovy undertone that echoes through space and time. Donato Dozzy, a contemporary legend of hypnotizing music, adds entrancing layers to the title-track with his remix, delivering a prime-time piece to captivate any crowd.


YT 139EP

JAMIE XX: Gosh 12" (YT 139EP) 12.00
Single-sided album teaser. In limited supply.



OPOLOPO: Superconductor CD (ZEDD 036CD) 15.50
Opolopo first hove into view for many as the man behind the genre-crossing house remix of Gregory Porter's "1960 What?", a tune that finished in the top ten of many DJs in 2012. Labeled future jazz by some, it's only a minor part of the Opolopo story, which spans genres like a musical suspension bridge. Opolopo was born Peter Major in Zirc, Hungary, a short drive away from the beautiful tourist spot Lake Balaton, but spent a large part of his childhood touring around with his keyboardist father, listening to the fusion sounds of Herbie Hancock, Jeff Lorber, Jean Michel Jarre, and Tomita, before finally ending up in his current residence of Sweden. It's little wonder he's ended up where he is. His work, both on remixes and original productions, is imbued with a life spent listening to the soul, funk, jazz, and fusion of his youth. Yet, while clearly inspired by the past, Opolopo's work still has enough clank and clamor to suggest its feet are firmly in the present, whether it's channeling the sound of a 21st century D-Train; dark, fathoms-deep house; or doom-laden dubstep. His reworking of St Germain's "Sure Thing" suggests someone inheriting Ludovic Navarre's own jazz-house crown, while his remix of Omar's "Treat You" is underpinned by all sorts of wonkiness. His remix and production work has appeared on JVC Japan, Tru Thoughts, Warner Bros, Tokyo Dawn, and, of course, Z Records. Arguably, the best way to consume Opolopo is live, where he brings together DJing with an array of gadgetry that suggests an electrified Bob Dylan, switching between playing records and tweaking the vocoder while still finding time for tasty keyboard flurries in between mixes. While Opolopo's remixes dart from René & Angela basslines to delicious house music, Superconductor channels the '80s, a decade that has been a constant, enriching source for the Opolopo sound. Superconductor is firmly built around the song, with collaborations with Colonel Red, Keni Burke, Diane Charlemagne, Taka Boom, Pete Simpson, Paul Randolph, Sacha Williamson, and Erik Dillard. "The Run" sounds like a theme from a long-lost sci-fi program, while "Monolith" sounds like a tune exhumed from the vaults at Tabu Records. In short, Opolopo is a one-man Jam & Lewis. "Opolopo" means "plenty" in the Yoruba language, and on Superconductor there is a superabundance of sounds, styles, and, yes, tunes. Come feast.



BIRDS ON TV: Almado 12" (ZBZ 005EP) 14.00
Music written and produced by Konstantin Gabbro and Gonzalo Urtizberea. Mastered by Rashad Becker at Dubplates & Mastering, Berlin. Distributed by Kompakt.

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