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Forced Exposure New Releases for 6/8/2015

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New music is due from Dean McPhee, Container, Tiefschwarz, and Heitor Alvelos, while old music is due from Arthur Russell, The Kids, and King Tubby.


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BRIAN JONESTOWN MASSACRE, THE: Their Satanic Majesties Second Request 2LP (AUK 004LP) 25.50
2015 repress. Gatefold 180 gram double vinyl version. Truth in advertising: the Brian Jonestown Massacre's sophomore album does, as promised, spring forth from the Rolling Stones' long-underrated 1967 masterpiece Their Satanic Majesties Request, copping not only Mick and Keith's leering bad-boy attitude but also their rock-and-roll-circus spirit. Opening with the brilliant "All Around You (Intro)," a tongue-in-cheek guide to the mind-altering journey ahead, the record is a kaleidoscopic, drug-fueled freakout -- like the Stones' namesake album, Second Request is painted by Eastern drones and psychedelic tangents, each track bubbling with dozens of sound effects including sitars, mellotrons, farfisas, didgeridoos, tablas, congas, and glockenspiels. Travelling through the past, darkly, the Massacre arrives on the other side unscathed; their music is too rich to be merely retro, and too knowing to be merely slavish -- the Stones themselves haven't made a record this strong or entertaining in years.


BIRDSTRIKING: Birdstriking CD (AUK 107CD) 14.50
"Birdstriking and the other bands coming out of China right now are enthusiastic to explore and find out what's their own music. And so that's a new energy in the same way that rock 'n' roll was new -- young people finding their youth culture and expression," says A Recordings founder and Brian Jonestown Massacre frontman Anton Newcombe. Like Joy Division forming at a Sex Pistols gig a couple of generations before, Birdstriking was born when guitarist He Fan and drummer Wang Xinjiu met at a Carsick Cars show at Beijing's legendary, now-shuttered rock club D-22. From Birdstriking's first time on that same stage in 2009, the band quickly established itself on the Beijing indie rock scene, becoming one of the leaders of a generation of rockers born after 1990, growing when China was fully open to the West and now as likely to cite as influences homegrown talent like Carsick Cars and P.K. 14 as imported music like Nirvana and Joy Division. Birdstriking's relentless live shows masterfully blend tuneful hooks, calculated psych-noise meltdowns, precise rhythmic structure, and brash lyrical frankness. He Fan's impassioned wails are youthful and politically angled, as on "Monkey Snake," when he chokes out, "You can control the media, but you can't control my mind." In fact, the band's charged lyrics kept their debut self-titled album, released in 2012 on local label Maybe Mars and produced by P.K. 14's Yang Haisong, from ever being officially distributed in China. In 2011, CNN named Birdstriking one of the best young bands in China, and in 2014 the band opened for The Brian Jonestown Massacre in the UK and headlined Hong Kong's Clockenflap festival. Double LP version pressed on clear 180-gram vinyl with etching on side D.



ESSER, DARKO: Juilce EP 12" (ARTLESS 2186EP) 14.00
Mojuba sub-label a.r.t.less welcomes another addition to the label roster, but Dutch techno boss Darko Esser is no stranger to the game. He has showcased his talents under the acclaimed Tripeo moniker, but now it's time to unleash a powerful and very emotional EP under his own name. The Wolfskuil and Balans cofounder turns in two tracks for his label debut that will catch your attention right away. They're capable of maintaining any crowd, from sunny festival ravers to lost-in-the-moment underground clubbers!


SN 7211LP

MARLEY & THE WAILERS, BOB: Jamaican Storm LP (SN 7211LP) 12.00
2015 repress. Exact repro, originally released in 1982. Tracks include "Treat You Right," "Soul Rebel," "Hammer" and "How Many Times." "This early recording by Bob Marley and the Wailers is a fine example of the artistry and talent of the group that have now become legendary."


ATA 1972EP

BRADOCK, PEPE: Deep Burnt Edits 12" (ATA 1972EP) 15.50
After an almost-two-year break since 2013, Pépé Bradock is back with a special release, Deep Burnt Edits. Edition of 2000, individually silver-stamp numbered.



KONITZ WITH WARNE MARSH, LEE: Lee Konitz With Warne Marsh LP (ATL 1217HLP) 15.00
Pressed on 180-gram vinyl. June 1955 session with Lee Konitz (alto sax), Warne Marsh (tenor sax), Sal Mosca (piano), Billy Bauer (guitar), Oscar Pettiford (bass), Kenny Clarke (drums) and Ronnie Ball (piano). Exact repro, manufactured by Rhino.

SD 8204LP

BELL & THE DRELLS, ARCHIE: I Can't Stop Dancing LP (SD 8204LP) 14.00
2015 repress. Houston's Archie Bell & The Drells' "big break came when 'Mountain of Soul' disc jockey Skipper Lee Frazier noticed that they had a habit of winning his talent contests... First Tighten Up and then, I Can't Stop Dancing zoomed up the charts..." Exact repro, manufactured by Rhino; originally released in 1968.

SD 8226LP

BELL & THE DRELLS, ARCHIE: There's Gonna Be A Showdown LP (SD 8226LP) 14.00
Exact repro of Archie Bell & The Drells' 1969 album, featuring the title track, "I Love My Baby" and "Girl You're Too Young." Manufactured by Rhino.


AU 1014CD

RUSSELL, ARTHUR: Corn CD (AU 1014CD) 15.00
"It has been seven years since Audika last issued an album of Arthur Russell material. The wait ends this summer with Corn, nine tracks Russell recorded in 1982 and 1983. In collaboration with Russell's partner Tom Lee, Audika's Steve Knutson compiled Corn from Arthur's original, completed 1/4" tape masters. Russell himself compiled this material on three separate test pressings -- labeled El Dinosaur, Indian Ocean, and Untitled, respectively -- in 1985. Russell fans know something of the Corn sound from Audika's debut release, Calling Out of Context (2004), which included four songs from these sessions: 'The Deer in the Forest Part 1,' 'The Platform On the Ocean,' 'Calling Out of Context,' and 'I Like You!' This new collection includes rhythmic alternate versions of 'Lucky Cloud,' 'Keeping Up,' 'See My Brother, He's Jumping Out (Let's Go Swimming #2),' 'This Is How We Walk On the Moon,' and 'Hiding Your Present From You,' along with 'Corn,' 'Corn (Continued),' 'They and Their Friends,' and the closing instrumental 'Ocean Movie,' one of the most beautiful and curious Russell tracks ever to see the light of day. With Corn, Audika reveals yet another side of Russell's staggeringly diverse artistry, following the avant-electrodisco of Calling Out of Context, and its companion EP, Springfield; the orchestral works 'Instrumentals' and 'Tower of Meaning,' compiled and released as First Thought Best Thought; the 'Buddhist Bubble Gum Pop' collected on Love Is Overtaking Me; and Russell's definitive solo masterpiece, World of Echo."

AU 1014LP

RUSSELL, ARTHUR: Corn LP (AU 1014LP) 19.00
LP version.


AL 230EP

VA: Stiff Little Spinners Vol. 6 12" (AL 230EP) 14.00
33 RPM; includes download code. Five tracks spanning the widest sonic spectrum imaginable, from R&B-influenced house grooves to shimmering, broken-beat, new-age garage swing. With "Oveile," Gimmix & Zorro prove their penchant for urban slow jams with a dancefloor flavor. Rampue's "Schleiermacherstrasse" is a tripped-out, hazy roller with enough chime to hypnotize a stadium. Kalipo's "Mäusemarsch" whirls in mesmerizing fashion, fit for the party at its peak. Krink's "Close Distance" is perhaps Spinners' darkest track, with a ferocious bassline, soaring synths, and jarred drums. Joney's sophisticated "K-Hole Surfers" is a dubbed-out roller that owes as much to techno as to dubstep.



FUR COAT: Balance Presents Fur Coat CD (BAL 015CD) 17.00
However you describe riveting Venezuelan-born, Barcelona-based duo Fur Coat's style, there's no denying that theirs is very much the sound of now. Fusing bold, dramatic synth lines with heady atmospherics and rhythms that seamlessly blend the organic and electronic, they have won fans far and wide with their releases on Crosstown Rebels, Hot Creations, Culprit, Get Physical, My Favorite Robot, and BPitch Control, and debuted at #66 in Resident Advisor's Top 100 DJs of 2014. Their mix for Balance is their first official compilation, following online mixes for the likes of Red Bull Music Academy, Deep House Amsterdam, and Rinse. "We mixed the compilation live in Barcelona, at Israel's house, with TRAKTOR and an Allen and Heath mixer. We really wanted to have that DJ feeling, the actual feeling of it being mix; not just dropping the tracks on Ableton and mapping automations" --Fur Coat. We begin in deep and mysterious fashion with the throbbing beats of Mathew Jonson and The Mole's remix of Tobias and the spooky afro-tech of Masomenos, before the soaring riffs of Patlac's remix of Embassy of Joy. Âme's classic Akabu remix sends the mix into spine-tingling overdrive, with Chardronnet & Afrilounge (feat. Phetote the Poet) in hot pursuit. Francesca Lombardo plunges us into a more hypnotic place, teeing up Radio Slave's incessant Tokyo Black Star remix and more introspective, subtle material from Cesare vs Disorder and Luke Slater (the latter remixing Slam). Efdemin's remix of Simon Flower's "Phosphenes" continues to delve into the deepest reaches of Fur Coat's record box -- all throbbing low-end and mind-bending slivers of sound. Fur Coat's exclusive "Monday" -- made specially for this compilation -- brings the mix out of its depths with bold lead lines, twinkling arps, and plump bass toms. Agoria's haunting Metronomy remix increases the tension, segueing into the mesmerizing melodies of Fur Coat's now-classic "U Turn." The grunting synths of Roman Flügel's "O.T.H." provide some relief from the tension, before Malandra Jr's "Infinity" brings back the brooding feel. DJ Koze's "Mariposa" provides the perfect foil to its predecessor, maintaining a sense of majesty while bringing the energy down to a simmer. Barnt's tough-edged, industrious remix of Michael Mayer's "Voigt Kampff Test" brings the mix to a rousing close with eerie melody and swathes of fizzing white noise. As a whole, it's a very cohesive listen that manages to sound at once contemporary and classic.



Bedlam is a collaboration between Bare Hands associates Daniel and Julian dedicated to the fringes of the techno universe. "Bumerang" hits right in the head with its relentless kick drum and intense, manic synth-lines. "Eshelonka" is an exploration of '90s simplicity and jam feel; a tool for the late hours. "Obvalka" presents itself as a gentle slow-mover, tentatively cooking up the audience yet playfully introducing rougher soundscapes. "Betushnye" features sophisticated, electroid drum patterns submerged in depressing drones and uncanny samples. Limited run of 300 on 140-gram black vinyl; includes hand-numbered postcard artwork on raw 180g paper.


BP 046LP

180-gram vinyl. "Two dogs meet in the street. Stop Stare Bark. A well bred stud and a half feral bitch. They circle sniffing each others arses. Pulse rates rise and fall in excitement. False starts galore. Bones bump. Dogs fart. A growl and a nip on the behind. What good could possibly come from such a meeting. Nobody knows. That is why we watch. Patrick O'Brien from Mad Nanna, etc. Anthony Guerra from Love Chants, etc. Artwork by Joshua Burkett. 220 copies produced."


BT 017LP

COLE, CRYS: Sand/Layna LP (BT 017LP) 23.00
"Sand/Layna is the first full-length solo release by Canadian sound artist crys cole. While cole is known to many through her collaborative work with a host of Canadian artists and internationals such as Oren Ambarchi, Keith Rowe, and James Rushford, this LP presents the first opportunity for an extended appreciation of her singular approach to amplified sound. Using contact and other microphones to amplify her interactions with small objects and the surfaces on which they rest, cole's work exists in a lineage of heavily amplified 'small sound' that stretches back to Cage's Cartridge Music. cole's approach to these materials and techniques is distinguished by its single-mindedness: rather than simply searching for interesting or attractive sounds, her performances attempt to illuminate the sonic properties of the specific objects and amplification devices she uses. Devoid of looping and complex processing, the sonic outcome of her work always retains an audible link to the handling of microphones and what they amplify. The awkward and sometimes even 'ugly' sounds of manipulated microphones and recording equipment thus sit comfortably alongside the mysterious crackle of amplified salt and the deep, musical resonance of a rubbed tabletop. This LP presents two pieces, recorded almost ten years apart. Sand, recorded in 2004, crafts a sustained texture from rubbed surfaces that transcends academic sound art tropes to recall the haunted environments of Massimo Toniutti and Small Cruel Party. The seemingly static structure of the piece allows the multitude of dynamic and timbral variations caused by the basic instability of cole's sound sources to come to the fore. In contrast, Layna, constructed between 2012 and 2013, lets loose a volatile stream of microscopic activity. Adding extremely amplified voice and domestic field recordings to the mix, the piece inhabits a space of bodily, almost sensual intimacy, moving beyond the Cageian tradition of small sounds to somewhere uncomfortably human" --Francis Plagne, Melbourne, January 2015. Artwork design by Lasse Marhaug. Vinyl cut made by Rashad Becker at Dubplates & Mastering, Berlin. LP-only release; edition of 300. ][Please note: there was an error with the labels which state 33rpm, it was actually cut at 45rpm]



LP version. Includes MP3/FLAC download code. Legendary trumpeter Jac Berrocal joins two fellow travelers in the French avant-garde, David Fenech and Vincent Epplay. A lugubrious mise-en-scène in which ice-cold outlaw jazz meets musique concrète, DIY whimsy, and dubwise studio science, all watched over by the lost souls and hungry ghosts of rock 'n' roll. The trio's first album together, Antigravity is a richly imagined universe combining original compositions and détourned standards. Berrocal revisits his own signature piece "Rock 'n Roll Station," which first appeared on his '77 LP Parallèles (TES 037CD) with chain-wielding, leather-clad wildman of British rock 'n roll Vince Taylor singing the lead, and Berrocal on mic'd up bicycle; here, the Frenchman takes the vocal reins. A barely recognizable interpretation of Talking Heads' "The Overload" pushes beyond the bush of ghosts into a fourth world dread-zone of stalking drum-machine rhythms, humid electronics, and jagged guitar phrasing, while "Where Flamingos Fly" reroutes the Gil Evans Orchestra's classic rendition through the seamiest back-streets of the 13th arrondissement; there, as on the trio's reading of "Kinder Lieder," the mood is romantic, but stark, isolationist: imagine Chet Baker falling through the glacial sound-world of early PiL or Scott Walker's Climate of Hunter. Originals include the agitated Iberian psychedelia of "Spain," and "Panic in Bali," which begins in seemingly trad-jazz fashion only to swell into a cacophony of a gurgling electronics and fevered "Lonely Woman" quotations. "Solaris" is a swirling, suspenseful arabesque of whiplash guitars and Black Ark FX, Berrocal's trumpet hitting deep blue notes while his vocals are sliced and diced and tossed into a yawning void of tape-delay -- like Antigravity at large, the result is oblique, dissolving, forever out of reach. Despite the chilly, sometimes austere mood of the album, it is, ultimately, a deeply human and welcoming work, with a playfulness and sly humor pervading; see the anarchic cross-hatch of "Ife Layo," or the CD-only track "L'essai des Suintes ou le bal des Futaies," Berrocal's poetic disquisition on the infinite variety of female genitalia. Mischief and misdirection are rife here, and fans of Officer!, Henry Cow, and the ReR axis will find much to chew on. Play, as we know, is serious business. Put another way, and to quote Berrocal entirely out of context, Antigravity is completely crazy, completely timeless, completely out. As its title suggests, the objective is nothing less than lift-off, weightlessness, a total unshackling from earth. Sunglasses on, collar up, let's go.


BC 001CD

VA: The Bombay Connection: Funk From Bollywood Action Thrillers CD (BC 001CD) 16.50
2015 repress!. ...1977-1984, Vol. 1. This is the first volume in a planned series of 6 CDs presenting the best, rarest and most exciting songs from the colorful history of Bollywood music, most of which are still gathering dust in Indian vaults and are unknown to the Western public. Bombay Connection Vol. 1: Funk from Bollywood Action Thrillers 1977-1984 showcases the sound of the Indian action film of the late '70s and early '80s. Under the influence of films like Shaft and Dirty Harry, a new kind of Indian action film came into being in 1970s India. To match the loud fights and fast chases, Indian composers developed an exciting brand of Bollywood funk. Wah-wah guitars, congas and funky Moogs were effortlessly blended with tablas, dhols and Indian melody lines. This album compiles 13 of the best, incredibly original Bollywood funk grooves, painting scenes of frantic chases through the back streets of Bombay, sexy seductive dances by female spies and secret plots conceived in subterranean headquarters by fake-moustached villains. The series is compiled by Bollywood connoisseur, researcher and top collector Edo Bouman, who carefully selected the songs, assuring that each of these tracks is an ear-tantalizing gem, compiled into an enjoyable, consistent listening experience. The Bombay Connection series will cover a multitude of exciting genres from the 1950s to the late '80s, including Bollywood horror, hippie psychedelics, spy flick suspense music, and stomping 1980s Indian disco. The 6-panel digipack comes with a colorful 30-page booklet containing well-researched info and a wealth of pictures. For the very first time, extensive research has been done into the history of Bollywood film music: interviews with composers and musicians have been conducted, and Bombay Connection has spared no energy or expense to locate the original stills and posters of the films. This is also the first Bollywood compilation CD to feature the Hindi song lyrics and English translations. Thus the booklet provides a wealth of information and pictures, sketching the original context in which these songs were made and enjoyed.



BOYS NOIZE: Boys Noize Presents Strictly Raw Vol. 1 2x12" (BNR 138EP) 15.50
Boys Noize presents a collaborative double EP featuring massive artists Tiga, the mysterious Johnny Sack, Totally Enormous Extinct Dinosaurs, Atom TM, Pilo, and SCNTST. "The idea of the 'Sessions' releases is to take 1 drumachine + 1 or 2 synths and make a track with it... friends came in/out my studio and sometimes we end up jaming on my machines... As a DJ you always look out for these timeless house or techno music and here are 7 tracks that go from breaks to techno to acid to classic house, all analog, all strictly raw !!" --Boys Noize


BB 205CD

AUTOMAT: Plusminus CD (BB 205CD) 18.00
"In my desperate attempt to free art from the ballast of objectivity, I took refuge in the square form and exhibited a picture which consisted of nothing more than a black square on a white field. The critics and, along with them, the public sighed, 'Everything which we loved was lost. We are in a desert...' But the desert is filled with the spirit of non-objective feeling..." --Kazimir Malevich. "Anyone endeavoring to free music from such weight inevitably lands at dub, the analog mother of all minimalist pop. The studio as a black cube, devouring all that is dispensable or banal. Rhythm and sound prioritized over melody. Repetition reveals itself as a form of change; focus gravitates to important details. It was under this premise that Berlin-based trio Automat recorded the follow-up to their 2014 self-titled debut (BB 161CD/LP). Denser and more unflinching than their debut, Plusminus recalls the monolith in Stanley Kubrick's 2001 (1968). There's nothing here to hold on to, and yet so much of it that the listener is transported into a kind of trance. While its predecessor featured prominent guest vocalists like Lydia Lunch, Blixa Bargeld, and Genesis P-Orridge, here it is the studio that speaks -- the 1950s analog technology of Candy Bomber Studios, Tempelhof, Berlin, where Automat recorded the album over three days, without much rehearsal. First takes were final -- limitation as strength. Most track-titles come from devices and effects units used during production: 'EMT 140' is a two-meter long reverb-plate and 'H 910' is a harmonizer that defined the sound of David Bowie's Low. Automat member Zeitblom had been searching for this unit for ten years; his perseverance paid off. The thunderous bass lines, delirious rhythms, and hypnotic sounds of Plusminus make notions of categories and genres superfluous. Of course, we're not dealing with classic dub reggae here. And the Detroit techno of musicians such as Terrence Dixon is another story. Yet oscillating between these poles is a music that also draws from jazz and other genres without compromising its autonomy. One can follow this development through previous productions, including a 2014 split single with Schneider TM (BB 178EP) and a 2015 EP with Max Loderbauer (BB 197EP). But with Plusminus, Automat has succeeded in creating their interim masterpiece" --Jürgen Ziemer. Automat is Jochen Arbeit (Einstürzende Neubauten, Die Haut), Achim Färber (Project Pitchfork, Prag, Phillip Boa), Georg Zeitblom (Sovetskoe Foto).

BB 205LP

AUTOMAT: Plusminus LP+CD (BB 205LP) 25.50
LP version. Includes CD.



Following a three-year hiatus from Cadenza after their 2012 Hole in the Middle EP (CADENZA 073EP), Felipe Valenzuela and Dani Casarano return for a third release on Luciano's imprint, continuing the label's rich musical history of electronic dance music fit for all purposes. "Instinct," a versatile slice of intricate house music, delivers a bubbling groove supported by a groovy bass melody, crunching claps, and shimmering rides. "Impulse" sees the pair venture into more avant-garde territory, with lo-fi electronics, discordant piano notes, offbeat string arrangements, and shimmering synths. Perfect headphone electronics with stacks of detail and fresh touches.


CH 4802CD

FROST AND THE TROOPERS, MAX: Shape of Things to Come CD (CH 4802CD) 14.00
1968: garage rock, psychedelic sounds, mind-expanding substances, and wicked, colorful, fantastic movies pointing at a probably strange future or dealing with the then-current dissatisfying political and social situation or with the abuse of drugs. The Vietnam War had reached a preliminary peak in its progress; the atmosphere was full of either love or fury. A great time to create a movie about a future society of young people taking over the reign in the USA; the first step on this film's path to success was a rock band, Max Frost and the Troopers. Not much is known about the musicians who participated in the soundtrack of Wild in the Streets (1968) and released their sole album, Shape of Things to Come, the same year. The band's name is a reference to the film, in which Frost refers to his friends and followers as "troopers." This reissue includes both Shape of Things to Come and the entire soundtrack album for Wild in the Streets. The music ranges from fuzzed-out garage beat via soulful, high-energy rock to acid freak-outs. The compositions show a straight and accessible structure with a decent dance groove typical of the pop music of the day. Some tinges of psychedelia like howling fuzz guitars, darker harmonies, and swirling sitar lines were added for good measure. All 19 songs here are memorable pieces of late 1960s acid pop, and despite the movie-related revolutionary and political statements in the lyrics, all the tunes will drive you into a state of sheer bliss. Recommended for fans of late 1960s acid pop and garage psych in the vein of The Third Bardo, The Seeds, Strawberry Alarm Clock, and The Music Machine.



BOURSIER-MOUGENOT, CELESTE: From Hear to Ear Cassette (SAUNA 025CS) 9.50
Céleste Boursier-Mougenot produces music in surprising and unexpected ways through large- scale acoustic environments. Boursier-Mougenot's immersive sonic installation, From Here to Ear, introduces a flock of 70 brightly plumed zebra finches to a gallery-turned-aviary to live among iconic Gibson Les Paul and Thunderbird bass guitars. By turns ambient and melodic, a constantly changing soundscape emerges as the finches explore their environment, eating, nesting, and perching on the amplified instruments. Previously on view from January 18, 2014, through April 13, 2014, at the Peabody Essex Museum (PEM), Salem, Massachusetts. Recorded by Tom Eaton and John Brien on May 23, 2014, at the PEM.


P 756987HLP

WITHERS, BILL: Greatest Hits LP (P 756987HLP) 15.00
2015 repress. 180 gram reissue of Bill Withers' second best of collection for Colombia, originally released in 1981. Instantly recognizable, powerful pop soul. Tracklist: A1. Just The Two Of Us; A2. Use Me; A3; Ain't No Sunshine; A4. Lovely Day; A5. I Want To Spend The Night. B1. Soul Shadows; B2. Lean On Me; B3. Grandma's Hands; B4. Hello Like Before; B5. Who Is He What Is He To You.



AGUAYO, MATIAS: El Rudo del House: Round Three 12" (ROUND 003EP) 14.00
Inspired by Elbee Bad's question, "Why not just dance through life?", Matias Aguayo found radical dancing spirit El Rudo del House, who speaks in a pitched-down voice and produces heavy house rhythms engineered to trigger movement. This is the third EP in the series (following ROUND 001EP and ROUND 002EP), each installment of which includes a mask to "allow anonymity and freedom... to evoke spirits at your celebrations," and images of dance poses in Rudo costume, all designed by Sarah Szczesny. Video lessons for each EP's dance moves, created in collaboration with London-based choreographer Alexandra Green, are available on


AGUAYO, MATIAS: El Rudo del House: Round Four 12" (ROUND 004EP) 14.00
El Rudo del House strikes again with this fourth release of this series, continuing to spread awareness of body mechanics and touring from South Africa to New York City to the multi-colored fiesta at Vive Latino in Mexico City, with sightings documented at As with the first three Rounds, this colored vinyl 12" includes a life-sized Rudo mask, and contains locked grooves of field recordings from Matias Aguayo's Rudo adventures. El Rudo del House makes each hearing ear a vessel for a dancing mask-clad clan through heavy commercial promotion and eventual sponsorship according to underground strategies of marketplace infiltration.



LABAND, FELIX: Deaf Safari CD (COMP 470CD) 15.50
"Deaf Safari is an audio collage of subjects that interest me and speak of the world I live in. It is an album composed of sampled recordings from the media landscape that has been the soundtrack to my life over the last ten years. The most important development in my current music, as can be heard on Deaf Safari, has been my understanding of the beauty and power of the spoken word. I have experienced severe indifference to contemporary pop and electronic music as a whole over the last many years, as I have felt that social comment of any relevance has been ignored by music in general. Deaf Safari attempts to bring sociopolitical comment into my music without taking any specific stand. Sampled outside of musical influence directly from the news; from preacher sermons or from contemporary African documentaries. I have finally created a story with sound that I feel accurately conveys my personal experience with the African world I live in. My musical influences on this album lie mostly with local Kwaito house. Deaf Safari is an experiment within certain boundaries of the 4/4 genre, to create my own South African 'house' album. I am proud and inspired about the South African Kwaito house scene. However, as with my first three albums, Thin Shoes in June (2001), 4/4 Down the Stairs (2002), and Dark Days Exit (COMP 185LP, 2005), I am still interested in making strange and evocative music. American roots music from the earlier periods of the 20th century has deeply resonated with me during the making of this album. The incredible field recordings by Alan Lomax of Negro prison and chain gang work songs, and the beautiful early recordings of artists such as Leadbelly have had a major influence on Deaf Safari. I am truly excited to release this album and to start performing in the music world again. It has been ten years since I released Dark Days Exit, and although I have been purposefully absent from the music world, I have nonetheless never stopped making music. I feel that I have finally arrived at a mature and challenging stage in my pursuit of making emotional music of relevance." --Felix Laband, February 13, 2015



OLDERIC: Compost Black Label 125 12" (COMP 467EP) 12.00
Vinyl collector, producer, and resident DJ at influential Italian underground club CIRQ, Olderic delivers nothing less than a banger in "Alma." The dramatic melody break will take you on a journey and the gentle but effective bass and rhythm will shake your senses, bringing you back to reality. Drum master Christian Prommer remixes "Alma" with an irresistible rhythmic sequence arranged around the anthemic layers of the song. The B-side features the intriguing interlaces and pulsating beats of "Oasis" -- luscious, sensual, and mysterious. Engrave Ltd head Musumeci adds his own combination of twisted arpeggios and an outrageous bassline to "Oasis."



DE LA MONTAGNE, GASPARD: Stallion 12" (CRDS 049EP) 14.00
Gaspard de La Montagne follows his highly acclaimed 2013 debut, Pôle, with Stallion, featuring two curiously optimistic yet hesitant sculptures of techno hybrids that wade near the deep end and are driven by well-endowed low-end and contemplative melodies. From a genuinely open-minded generation with incredibly eclectic taste, Gaspard de La Montagne brings you the best of it all as a mess of inspiring cross-pollination. A must-have!



MORRICONE, ENNIO: The Big Gundown (La resa dei conti) LP (RED 211LP) 25.50
2015 repress. Ennio Morricone's legendary score for The Big Gundown (La resa dei conti) (1966) is densely packed with pathos and drama that run deep into the listener's mind. Using almost the same great talents as Sergio Leone's Dollars Trilogy, with the orchestra conducted by fellow composer Bruno Nicolai, and the mighty twangin' guitar of Alessandro Alessandroni, the maestro Morricone delivers outstanding results! Pressed on "splatter" vinyl (black with sand speckles), includes poster, remastered sound.



MERIMELL: Cyber Seduction 12" (DESOLAT 043EP) 14.00
Estonian upstart Merimell joins Desolat with a four-track forward-thinking EP that pushes the boundaries of the house and techno genres with nods to moombahton and trap. "Cyber Seduction" is a futuristic staccato cut that itches and scratches; the rising synths create tension that segues nicely into lip-curling, head-nodding bass. "Drop It," an erratic yet pulsating affair, precedes "Back," which makes effective use of a distinctive topline underpinned by bass-led goodness, with repetitiveness cleverly offset by a full range of drum sequences. "His Rhythm" features nice chunky beats and sharp vocal samples. Check it. The kids are alright.



KINK GONG: Tanzania LP (CREP 017LP) 20.00
Another unique document of Laurent Jeanneau aka Kink Gong's electronic deconstructions, this time stepping away from his usual Southeast Asia area of expertise and releasing some of his first reinterpretations and field recordings made in the late '90s in Tanzania, Africa. "December 1999, Tanzania. I had an appointment with James Stephenson an American friend from the 90s in NYC, he used to skip the American winter every year to be with the Hadzas bushmen and other Tanzanians tribes in Tanzania. Whilst there, James and I lost completely track of time and did not give a shit about what day Christmas was, or New Years for that matter -- with the majority of the planet knowing they were heading into the 21st Century. At some point end of December or early January 2000(?) we asked a group of Hadzas we were hanging out with, 'what's the date today?' None understood the question but one Hadza who had been sent to school in the early 70s answered that we must be in 1975! Tanzania in 1999/2000, this intense trip away from all the millennium bullshit celebrations. I gathered all kinds of sounds, not only music, that expresses proximity and that was the first time I decided I was going to remix those raw recordings into a decent soundscape. It was also the first time I was pleased with the result -- to go into a direction of redefining world music, away from the commercial clichés. This has been the direction I've taken and focused on ever since with the recomposing of my Asian recordings" --Laurent Jeanneau, Berlin, 2015. Mastered by Rashad Becker at Dubplates & Mastering. Cover photography by James Stephenson. Limited to 500 copies.


ACV 2050LP

HARDY, FRANCOISE: Francoise Hardy (Clear Vinyl) LP (ACV 2050LP) 20.00
2015 repress. A seminal album of the French yé-yé era, Françoise Hardy's self-titled 1962 full-length debut, released in the U.S. as The "Yeh-Yeh" Girl from Paris! in 1966, appeared shortly after her 1962 debut single Oh Oh Chéri/J'suis D'accord. The success of this album, along with its hit "Tous les Garçons et les Filles," made the 18-year-old French bombshell a huge star in Europe and an icon of the French fashion and music industries. Along with other yé-yé girls of the '60s like Jane Birkin, Brigitte Bardot, France Gall, and Sylvie Vartan, Hardy exuded a kind of sexy innocence that made French women the most liberated and the most desired in the world. On 140 gram audiophile clear vinyl; limited numbered edition of 500.

ACV 2054LP

EVANS TRIO, BILL: At Shelly's Manne-Hole, Hollywood, California LP (ACV 2054LP) 20.00
At Shelly's Manne-Hole is a live album by American jazz pianist Bill Evans, released in 1963 as his last recording for Riverside Records. The trio featured Chuck Israels, who followed Scott LaFaro on bass in autumn 1961, and Larry Bunker on drums, who had just joined the reformed trio after Paul Motian's departure. "The leadoff track, 'Isn't It Romantic,' is one of Evans' finest moments, with the gently swinging theme leading into a strong, if restrained, solo from Israels. Over Bunker's sensitive brush work, Evans comments briefly and beautifully on the theme before returning to the head. The band's readings of such classics as ''Round Midnight,' 'Stella By Starlight,' and 'All the Things You Are' are wonderful, but it is the lesser-known tracks, such as 'Swedish Pastry' and the aforementioned 'Isn't It Romantic,' that makes this recording so valuable. Jazz is rarely as sensitive or as melodic as this. Another classic from Bill Evans and company" --AllMusic. Limited first press of 500 numbered copies.

ACV 2055LP

MINGUS, CHARLES: Reincarnation of a Love Bird LP (ACV 2055LP) 20.00
Reincarnation of a Love Bird is an album by jazz bassist and composer Charles Mingus, recorded in November 1960, but unreleased until 1988 due to the closure of the Candid label in 1961. Four of the five long tracks presented from this session have never been issued on Candid before. The extended head-arrangement "R & R" spotlights urgent Eldridge and a relatively mellow Dolphy in a combination that still sounds strange and wonderful. "Wrap Your Troubles in Dreams" is the previously unknown alternate, while the beautiful "Body & Soul" is the highlight of this unique and timeless collaboration between Roy Eldridge and the Mingus men. Limited first press of 500 numbered copies.


VA: Orfeu Negro LP (DOC 117LP) 20.00
Winner of the 1959 Cannes Film Festival Palme d'Or and the 1960 Academy Award for Best Foreign Language Film, Orfeu Negro (Black Orpheus) was based on the Greek legend of Orpheus and Eurydice, but updated and played against the colorful background of the Carnival of Brazil, featuring an all-black cast. French director Marcel Camus adapted the movie from Vinícius de Moraes's musical play "Orfeu da Conceição." More than just showcasing samba, Black Orpheus brought this music to life, making Antônio Carlos Jobim and Luiz Bonfá international stars. From the very opening title scene to the climactic Carnival parade, music pervades practically every moment of the film. This movie and its soundtrack had a major role in leveraging bossa nova popularity outside of Brazil. This first pressing of this reissue is limited to 500 copies.


JOBIM & VINICIUS DE MORAES, ANTONIO CARLOS: Brasília - Sinfonia da Alvorada LP (DOC 122LP) 20.00
In 1958, Juscelino Kubitschek, president of Brazil, asked Vinícius de Moraes and Antônio Carlos Jobim to compose a symphonic suite to be used at the opening ceremony of a city that was being built in the middle of Brazil to be the new capital. Antônio Carlos Jobim and Vinícius de Moraes spent some time at the new city before the inauguration to check out the place and get inspiration. This is Brasília - Sinfonia da Alvorada (1961), recorded in the studio in November 1960. Jobim conducts the orchestra with the participation of Radamés Gnattali (piano), Vinícius de Moraes (words, poetry), Elizete Cardoso (voice), and Os Cariocas (voices). This first pressing of this first-ever reissue is limited to 500 copies.


EB 067LP

DUBXANNE: Police in Dub LP+2CD (EB 067LP) 29.00
Hamburg group DubXanne's 2008 album Police in Dub now available on 180-gram vinyl for the first time, with two bonus CDs containing the complete original album (EB 067CD) and Rob Smith aka RSD's 2014 re-synchronized remixes (EB 104CD). DubXanne are devoted to bringing out the original dub roots from the biggest band in '70s-'80s Britain, The Police. At the apex of their career, The Police were a massive, bleached-blond juggernaut, surfing a new wave sound that valued intellectual cool and lightly sprinkled ethnic influences over the discredited rock 'n' roll bluster of old. The first post-punk supergroup. At the end of 1977, over the Christmas period, Stewart Copeland played Sting some of his reggae records. When Summers returned to Britain from his vacation in the United States, he found his bandmates newly inspired by Jamaican sounds. "There is this terrible wrong-headed cliché that The Police were a white reggae band," protests Summers. "We weren't at all. A white reggae band would be UB40. The Police was The Police. We took elements out of reggae, principally the bassline and tempo, and used them creatively... and that was the point of departure." Indeed it was. Reggae rhythms finally shook The Police free from post-punk rock convention and the rest has become history -- to date, 40 million people all over the world have bought a Police record! The first recordings for Police In Dub started in September 2006. After exhaustive scrutiny of The Police's back catalog at EMI Music Publishing (which controls and manages the rights for Sting's songs) and lengthy negotiations with Sting's management team, final consent for the project was granted in March 2008. Now the world can enjoy dub versions of the biggest tunes by The Police. The musicians behind DubXanne are members of the group Okada (backing band for Zoe, Maxim, Don Abi to name a few): Mykal (drums), Marcus (bass), Manougazou (guitar), and Guido Craveiro (guitar/keyboards; produced Moloko, Zoe and Bootsy Collins). Police in Dub also features such well-known vocalists as Big Youth, Ranking Roger from The Beat, Earl 16, Benjamin Zephaniah, Eased From Seeed, Jazz'min, and Joe Peng. DubXanne's album is a unique masterpiece, paying respect to an influential super-group. This is massive roots reggae. Limited edition of 500 paginated and numbered copies.

EB 109CD

DUBBLESTANDART: King Size Dub: Special 2CD (EB 109CD) 9.00
This double CD is available for a very special low price in an edition of 3000 copies. Dubblestandart's contribution to Echo Beach's famous King Size Dub series precedes the 2015 release of the band's 15th album, a work of bassy, full-time flavor that follows Woman in Dub (CCT 3027CD/LP, 2013) and In Dub (EB 098CD, 2014). King Size Dub: Special contains a showdown between Dubblestandart classics, tunes from the upcoming album, and previously unreleased mixes. A colorful journey that ranges from lover's reggae through dub poetry to dubstep and trap. Since 1990, Dubblestandart has released 14 full-length albums, several 12"s and 7"s, and appeared on more than 70 compilations. Their collaborating artists list includes Lee "Scratch" Perry, Ari Up, David Lynch, Ken Boothe, Adrian Sherwood, Sly and Robbie, Dillinger, Anthony B., Elephant Man, William S. Burroughs, Mad Professor, and others. They have performed all over Euroland as well as in Canada and the US, including in New York's Central Park with Lee Perry and Ari Up during the legendary SummerStage concerts in 2009.Their production with NYC's Subatomic Sound System is known as an inspirational basis for cutting-edge and progressive bass music. Dubblestandart's productions get stronger and heavier with every release. Chill out and enjoy Dubblestandart bass music! Features appearances by Oskar Werner, David Lynch, Gu Gabriel, Ari Up, Dillinger, Banth Singh MC Dehli Sultante, Anthony B., Hoda, Lee "Scratch" Perry, and Marcia Griffiths; and remixes by DJ Liondub, Adrian Sherwood, Robo Bass HiFi, Fuzzy Logic, Jstar, Umberto Echo, Dub Spencer & Trance Hill, Kid Kenobi, Grant Phabao, Moshi, Skip "Little Axe" McDonald, Alpendub, Salz, Victor Rice, Dubvisionist, Mix n Blend, Dropshop, Wrongtom, KLB, and Oliver Frost.


EM 1134CD

SYNTOMA: Syntoma CD (EM 1134CD) 20.00
These recordings pull back a curtain to reveal the mysterious world of Syntoma and early-'80s underground Mexico. Syntoma was founded by Alex Eisenring in 1980, made use of synths and drum machines, and was driven by a freedom-seeking DIY ethos informed by a "rock-jazz-prog-experimental" background. These '70s-born influences throw crazed funhouse mirror reflections onto later Kraftwerk, UK synth-pop, post-punk, and pure pop forms. The first five tracks are instrumental, evidencing some intelligent melodic and harmonic conceptions; the same can be said for the remaining female/male vocal tracks, but the sense of otherness is boosted as the vocal stylings combine a definite UK '80s feel with an unplaceable geo-temporal essence, spanning decades and continents. Primarily a trio during the period of these recordings, 1981-84, Syntoma transcends the era and stands apart from their peers with a surprising melodic sense, harmonic adventurousness, interesting arrangements and, above all, an atmosphere of freshness and enthusiasm. Includes liner notes and lyrics. CD includes two bonus tracks.



GALLERIA (AKA MORGAN GEIST), THE: Calling Card/Mezzanine 12" (ENV 038EP) 14.00
The Galleria is a large indoor shopping mall with a full arcade and food court. Strawberry lip gloss is on sale. These are your sticky years. The Galleria is a project from Morgan Geist (Storm Queen, Metro Area) that ripples with echoes of the indigenous music of long-gone New Jersey malls and NYC radio stations: bombastic freestyle, club dubs, razor-edits, and bubblegum-pop R&B. This debut features vocals from Jessy Lanza, whose debut album, Pull My Hair Back (Hyperdub), was shortlisted for the 2014 Polaris Music Prize. Each title features a dancefloor-friendly dub with plenty of jump-cuts for the forward-thinking nostalgic.



MOORE, JERRY: Life Is a Constant Journey Home CD (ESPDISK 1061CD) 12.00
Originally released in 1968. Jerry Moore was working as a folksinger in Greenwich Village when ESP-Disk' artist Randy Burns brought him to the label's attention. Recorded in August 1967 at Impact Studios, NYC, the soulful Life Is a Constant Journey Home (also issued at one point as Ballad of Birmingham, acknowledging its most famous and important song) is so legendary that we'll just let the press quotation below describe it. But please also consider this: that's a heckuva band Mr. Moore's backed by. Eric Gale, who had the chops to play with both jazz and soul legends, was an elite session guitarist until his premature demise of lung cancer. By the time Warren Smith played this date, he'd already recorded with Miles Davis, Gil Evans, and Charles Mingus, and he has gone on to a legendary career as a jazz drummer, composer, and bandleader. Bill Salter, if less famous, still boasts credits with everyone from Rahsaan Roland Kirk and Herbie Mann to ESP-Disk's own Pearls Before Swine. Ralph McDonald would go on to be one of the busiest studio percussionists of the '70s and '80s while recording many albums as a leader. Moore, however, never released another album. This is the first authorized remastered CD reissue of Life Is a Constant Journey Home in the United States. "Here's a classic case of a great release coming from a most unexpected source. Moore did a number of reasonably effective soul and blues singles on regional labels, then recorded this seven-track concept work for the legendary bohemian New York label ESP Disk, best known for '60s underground rock bands like the Fugs, the Godz and Pearls Before Swine. Life Is a Constant Journey Home contains several remarkable protest and topical tunes, each sung with grit and conviction. 'The Ballad of Birmingham' revisits the horrible bombing incident in 1963 that killed four little girls, while 'Winds of Change' offers hope and inspiration to those battling for justice, and 'Life Is a Constant Journey' takes almost a folkie musical approach while discussing the impact of fate and personal decisions.... [T]his... still stands as a fine piece of singer/songwriter commentary and vocal polemic" -- Ron Wynn, AllMusic. Jerry Moore, vocals, guitar; Eric Gale, guitar; Bill Salter, bass; Warren Smith, drums; Ralph MacDonald, congas. RIYL: Tim Buckley, Bill Withers, Terry Callier.


2013 reissue; originally released in 1968. First ever American CD edition of this lost classic, recorded "live" during ESP's 1966 New York State College Tour. 50th Anniversary Remaster from the original tape. The "piano harp" credit is Burton Greene's way of noting that he plays inside the piano, directly on the strings -- the first jazz pianist to do so on record, taking a page from avant-gardist Henry Cowell's book. In his notes to the original LP, included complete in this reissue, Greene writes, "The tour found people largely unexposed to this music. They were often shaken up. Some were deeply moved. Those who came for a total body and soul experience were rewarded with the vibrations. The people who constantly needed the theoretical approach or 'road maps' were not... Like the time a boat load of people left the hall at a lecture following a performance at Fredonia State Teacher's College. We had the audacity to tell people that not only was our approach to music valid but that often the results were as musically complex and often more so than, let's say Beethoven. Throughout the tour we continued to denigrate the idea of the 'sacred cow' and tried to encourage people to learn to do their own thing rather than to follow us blindly and mimic our techniques etc." Burton Greene, piano, piano harp; Steve Tintweiss, bass; Shelly Rusten, percussion. RIYL: Matthew Shipp, Paul Bley, Lowell Davidson, Cecil Taylor, Henry Cowell.


2012 release. Born in Buffalo in 1939, Charles Gayle had hit New York City by the early '70s. He almost made his mark with an album on ESP-Disk' in 1974, but the label shut down before it came out. When he next recorded in 1988, he had been homeless for a while, sheltering in an empty Brooklyn storefront. The Knitting Factory gigs and concurrent CDs from Swedish imprint Silkheart, the Knit's own house label, the Italian label Black Saint, and a particularly well-received-in-Europe album on FMP, Touchin' On Trane, all boosted his profile and to a lesser extent his finances. He moved up to an East Village squat, then finally a small apartment. Further fame came when he collaborated with Henry Rollins in the mid-'90s, and the European festival circuit helped as well. Charles Gayle's first release for ESP-Disk is this 1994 high-energy performance recorded live in Santa Barbara, California. Total fire music. Charles Gayle: tenor saxophone, bass clarinet, and vocals; Michael Bisio: double-bass; Michael Wimberley: drums.


LAST EXIT: Iron Path CD (ESPDISK 4075CD) 12.00
All-star quartet Last Exit garnered its reputation with a string of unrelentingly forceful concert recordings in which it pushed the energy style of free jazz to its limits. When the group went into the studio, though, a very different sort of album emerged -- very different not only from all their other output, but even from anything else ever heard from anyone at that time. Because of that, when it was released in 1988, some fans and critics didn't know what to make of it. This was, in a way, understandable, because Iron Path was so far ahead of its time that perhaps only a quarter of a century later, in 2015, is there an audience prepared for this album's pioneering hybrid of abstract heavy metal, unsettling ambient music, and free improvisation. Back in 1988, "darkwave" hadn't yet been conceived, much less named and niched. The brutal sonic assault of Last Exit's live albums is not banished; it lurks below the surface on Iron Path, sometimes allowed to break through for a moment of stark contrast. But the unremitting density of texture heard in the quartet's shows is stripped back in favor of more subtle and varied textures, sculpting an atmosphere of moody brooding and sinister suspense. And, of course, the studio also allowed for far greater sonic clarity, putting these virtuoso players in a setting that shows off their masterful command of myriad timbres. In a world that has since become accustomed to hearing Earth, Pelican, Blut Aus Nord, Aphex Twin's Ambient Works sets, and Oöphoi, and artists such as Whote who explore the overlap between them, Iron Path can finally get its due, and an audience schooled to appreciate what it offers. Sonny Sharrock, guitar; Peter Brötzmann, saxophone; Bill Laswell, bass; Ronald Shannon Jackson, drums.


VA: Fire Music Vol. 1 CD (ESPDISK 5001CD) 11.50
2013 release. Two of the things most often associated with ESP-Disk' are free jazz and balls-to-the-wall saxophone improvisations. Go with your strengths, people say, so as part of the label's first batch of physical releases in its 50th anniversary year (2013), it presents producer Michael D. Anderson's compilation Fire Music. The saxophonists on these tracks are Albert Ayler, Charles Tyler, Frank Wright, Arthur Jones, Jack Graham, Byard Lancaster, Joe Phillips, John Tchicai, Marshall Allen (twice), Gato Barbieri, Sonny Simmons, Pat Patrick, and John Gilmore. Obviously, the compilation doesn't just include obvious choices, because ESP-Disk' is not that kind of label. Thrill to the sounds of saxophone legends so obscure, they're almost mythical -- alongside, of course, giants such as Ayler, Wright, Barbieri, and Sun Ra's trio of decades-faithful saxmasters. Leaders as above; featured soloists include Archie Shepp, Charles Tyler, Arthur Jones, Jack Graham, Byard Lancaster, Joe Phillips, John Tchicai, Marshall Allen, Gato Barbieri, Pat Patrick, and John Gilmore. RIYL: John Coltrane, Albert Ayler, Charles Gayle, Sun Ra.


ARBOREA: Fortress of the Sun CD (ESPDISK 5002CD) 12.00
2013 release. Among the most artistically successful alchemists of indie/psychedelic folk, Maine-based duo Arborea consists of Shanti Curran (vocals, banjo, "banjimer" (a banjo-dulcimer hybrid), harmonium, ukulele, sawing fiddle, and hammered dulcimer) and Buck Curran (guitars, vocals, sawing fiddle, flute, and banjo). Weaving together strands of indie rock, Appalachian folk, psychedelia, and ambient music into what has been called avant-folk, Arborea's songs combine delicate beauty and mystical lyrics with the timelessness of ancient songs (sometimes literally, as they occasionally rework old folk and blues songs into new shapes). Fortress of the Sun is their fifth full-length album, and their first on ESP-Disk'. Shanti Curran: vocals, banjo, guitar, harmonium, ukulele, hammered dulcimer; Buck Curran: vocals, acoustic and electric guitars, flute, Ebow banjo. With: Anders Griffen: drums on "Pale Horse Phantasm"; Greg Boardman: upright bass on "Daughters of Man" and "Rider" and viola on "Cherry Tree Carol"; Michael Krapovicky: electric bass on "After the Flood Only Love Remains." Produced, created, recorded, and mixed by Buck Curran and Shanti Curran; mastered by Harris Newman. RIYL: Espers, The Pentangle, Tim Buckley, Jeff Buckley, Sharon Van Etten, Mazzy Star, Robbie Basho.


ARBOREA: Fortress of the Sun LP (ESPDISK 5002LP) 24.00
LP version.



LITTLE BIG BEE: High Clouds 2014 Mixes (Ron Trent) 12" (FLRS 107EP) 17.50
180-gram vinyl. Little Big Bee's 2005 hit "High Clouds" remixed by Ron Trent. Also includes a remastered version of the original mix.



KADEN, MATHIAS: Energetic CD (FREUDE 013CD) 17.00
DJ and producer Mathias Kaden has been on an energetic musical route since the beginning of his career. In his preferences he has never stuck to just one sound. From filigreed micro-house and percussive minimalism to his collaborations with Marek Hemmann and the Leipzig band Marbert Rocel (under the name Karocel), Mathias Kaden has continuously revealed new facets of his work. Six years after his widely acclaimed 2009 debut, Studio 10 (VA 004CD/030LP), Kaden now refers to both his musical roots as well as his current experiences as an internationally travelling DJ. With Energetic, he gives something back to the dancefloor, namely a positive and timeless vibe deeply rooted in funk and the dignity of the early house years. For Kaden, as for many others, this early house ethos forms the foundation for a classic club sound. His new warmth had already started to come through in 2013 on his Tentakle EP on Desolat (DESOLAT 020X-EP) and "Fin," an exclusive track for his Watergate mix compilation (WG 014CD). Between autumn 2014 and spring 2015 Kaden took some time to produce Energetic. He invited the open-minded solo pianist and Karocel-partner Martin Kohlstedt to join him in the studio. The results are most apparent on the hymn-like, uplifting "Wisdoms," which also features live drums played by Kaden's longtime school friend Herby, a gifted drummer with his own studio in Gera, Germany. The bassline on "Get Phunky" is another live recording, this time from Dave Daniel of German band Lilabungalow. Kaden has also rediscovered his analog synthesizers. Juno 106, Moog Litte Phatty, and Moog Minitaur shape the original sound of Energetic as much as the spoken-word elements of a number of vocalists, including American legend Foremost Poets, whose 1998 track "Moon-Raker" is one of Kaden's all-time favorites; exceptional hip hop and dancehall performer Aquarius Heaven; Zoe Xenia; Sophie Taylor; and Rocko Schamoni, star of German underground pop entertainment, who closes the album with a half-spiritual, half-laconic speech about the effectiveness of energy. Mario "Marlow" Weise, also known for his work with Sonar Kollektiv, provided the tonal finishing on the album. Energetic captures the manifold emotional billows of a club night. It concentrates on the essentials -- few elements, full of energy; more soul and history than quick dancefloor effects. It is an album that is very close to Mathias Kaden as a person, which also shows in his track-by-track notes.



KENTON SLASH DEMON: Skydancer I & II 12" (FCL 152EP) 14.00
Single-sided 12" with silk-screened B-side. Silas Moldenhawer and Jonas Kenton grew up together Copenhagen, spinning records and producing tracks, and later formed the indie-electro quartet When Saints Go Machine, while also building Kenton Slash Demon. The duo now follows its 2011 EP The Schwarzschild Solution Part III (TART 016EP) with Skydancer I & II. The haunting "Skydancer I" features pitched vocals, industrial hats, and a sinister bassline. The sunnier "Skydancer II" nods to UK rave with its broken drum patterns. This release represents the birth of WAA Industry, an imprint helmed by KSD and visual artist The Emperor of Antarctica.



RAMMELLZEE: Brainstorm 12" (GPF 058EP) 14.00
Rammellzee, the legendary visual, graffiti, and hip-hop artist, passed away in 2010, but before he left us he recorded his magnum opus, Cosmic Flush, with producer Jonah Mociun. The album has remained unreleased since, but now, in 2015, Gamma Proforma celebrates the life of one of hip-hop's great minds by releasing Cosmic Flush as a commemorative series of limited-edition 12" records -- just 500 of each. The collection of breakcore and speed metal-influenced rap tracks stands as a futuristic relic. This 12" includes a remix and instrumental by Divine Styler.


GB 025LP

HAYVANLAR ALEMI: Visions of a Psychedelic Ankara LP (GB 025LP) 23.50
Formed by three school friends in the Turkish capital of Ankara in 1999, Hayvanlar Alemi have established themselves at the vanguard of global psychedelic sound. Their acclaimed 2010 album Guarana Superpower (SF 062CD) was released on the buzz-label Sublime Frequencies and showcased the band's unrepentant eclecticism and wide-eyed cosmic spirit. Interfacing with the golden age of Turkish psychedelic rock, surf music, Cambodian pop, West African guitar motifs, Middle Eastern traditional music, and the knife-edge of indie rock, it was clear from the beginning that Hayvanlar Alemi was an instrumental rock band for our radically interconnected millennium. But in 2010 they also recorded and released (online) a dramatically different sort of album. The band had flirted with dub-reggae stylings since their inception and with Visions of a Psychedelic Ankara they at last realized their dream of making a full-blown dub album, though clearly a dub album that also embraced their own agenda. The album includes covers of the Eek-a-Mouse classic "Assassinator" and a legendary Turkish radio jingle, and blends together re-workings of older Hayvanlar Alemi songs with freshly minted, dubwise explorations. Drummer I??k Sar?han explains the album's inception this way: "We were listening to a lot of dub and reggae during the days leading up to this album. We even ended up playing in a reggae festival at some point; we were invited for some reason, maybe because we had some reggae rhythms on a bunch of songs on the previous demos. Anyway, we had this fantasy of creating a dub record, but in our own psych-rock fashion which led to Visions of a Psychedelic Ankara. The title is a reference to the African Head Charge album Vision of a Psychedelic Africa." Visions of a Psychedelic Ankara is the flashpoint where dub music and global psych-rock melt together. It is a feast for all well-appointed sonic explorers. This is its first vinyl release, pressed on 180-gram vinyl, presented in a gatefold sleeve, and limited to 500 copies. Side A is the complete Visions of a Psychedelic Ankara (2010) and side B is a collection of related, previously unreleased songs and experiments titled Selected Visions (2009-2011).



IGLEW: Urban Myth EP 12" (GOB 014EP) 14.50
First vinyl release on Gobstopper Records; debut EP from Iglew, who says, "I didn't grow up in a city and there's no underground electronic music scene here. It's only in the last couple of years that I've heard soundsystem music in its intended environment. I'm hyper aware of how effective bass can be because I only really heard it properly recently." The synth flashes and silence in "Sleep Lighter" contrast with the somber tones of "Urban Myth"; the clattering percussion of "Regalia" plays against the enveloping bass of "Cymatism." DJ support from Murlo, Oil Gang, Dark0, Airhead, and Last Japan.



Stolen Car, recorded in January 2013, performed by saxophonist Steve Baczkowski, drummer Chris Corsano, and guitarist Bill Nace, and featuring Paul Flaherty napkin art on the front and back covers, does something completely different again. The sprawling title jam that covers the entirety of side A scratches and crackles before exploding into a full-on roar of expressionism that stretches the boundaries of non-idiomatic improv. Side B collects three shorter, similarly rabid pieces, which each elevate Baczkowski's playing to mind-boggling levels as he proves his mettle against two of the most outstanding proponents of their respective instruments in the world. Absolutely unmissable and in a run of just 300 copies. 140-gram vinyl.


GM 203CD

AKA: Reflection CD (GM 203CD) 14.00
AKA's 1970 debut album Do What You Like (GM 201CD) combines earthy, heavily buzzing, and fuzzed-out rock monuments in the vein of classic UK and US bands with a few tunes in the Continental European heavy rock style, with big chorus lines and a bit of a pop thrown in for good measure, plus great melodic ballads and pop tunes in their native Indonesian language. The Indonesian band carried their trademark sound through whole recording career, including Reflection, their fifth album, originally released in 1974 and reissued here for the first time. Different melodies and titles but the same wild crossover of styles, with a change between each and every song. Lush epic ballads, powerful heavy rock, a great beat tune with a flowery feel that drags you straight to the dancehall, and another epic and utterly heavy blues rock and psych freak-out. At the time of its original release, most of the tunes would have seemed retro in the west -- except for the heavy rockers -- but everything here comes well-performed and executed with passion, and the stuff that diverges from the more accessible pop sound will definitely swallow your brain into a gorge of swirling colors. Fans of '60s US west coast dream pop who can stand heavier tunes and devoted music-lovers who go for the classic '60s and early '70s sound will go nuts!

GM 204CD

QUINTAL DE CLOROFILA: O Mistério dos Quintais CD (GM 204CD) 14.00
Quintal de Clorofila's O Mistério dos Quintais, originally released in 1983, contains a wild and captivating crossover between Celtic and South American folk from the Andes plus many elements of traditional music from Southern Europe and some more contemporary singer/songwriter aspects with a mystical atmosphere. All the participating musicians are enormously skilled, and the distinctive multi-voice vocals capture your attention in just a second when you take a closer listen to the 12 songs on this album. A few steps into pop music with a slight psychedelic edge, manifest in a saxophone here or synthesizer there, make for vivid, mind-blowing music. From harmonium to pan flutes, you will find all kinds of instruments backing the beautiful acoustic guitars and haunting voices. Almost a South American version of The Incredible String Band, reminiscent of several gypsy and folk acts from southern and southeastern Europe. The whole album has a rather epic feel and drags you deeply into a colorful world of sound. Truly majestic, unearthly, and enchanting.

GM 205CD

GWYDION: The Faerie Shaman CD (GM 205CD) 14.00
Gwydion Pendderwen was one of the more chatoyant figures of the folk music underground. Both of his albums -- Sings Songs for the Old Religion (1975) and The Fäerie Shaman (1982) -- were far above the average standard folk of his time, especially on his second album from 1982, reissued here for the first time. The Neo-Pagan and environmentalist tried a different path seven years after his haunting debut album, mixing bluegrass, country, gospel, and dixie into classic folky singer/songwriter tunes of enchanting beauty. Most of the time the atmosphere on this album is rather friendly and lightweight, with bright melodies and a cheerful mood. Just take a walk in spirit through the garden of sound created by the delicate arrangements and rich, mostly acoustic instrumentation. Will you ever wish to return to what people call reality? Doubtful. There are also moments of melancholy and musing, but this is just a little shade of evening, the moment when the sky turns dark blue and the two worlds come as close as they could. This album breathes a flaming joy of life, and one would not expect that it was released shortly before Gwydion Pendderwen lost his life in a car accident. The music presented on The Fäerie Shaman swallows you like a river; you may ride like a valkyrie upon the raging waters or dive deep inside and be enchanted by the magic world beyond the surface. This should have been a classic and it is a real gem for fans of Planxty, Hamish Imlach, Dulcimer, The Pentangle, and Steeleye Span.

GM 206CD

SAN UL LIM: The First CD (GM 206CD) 14.00
Gentle garage-psych with a dreamy west coast flair and tons of awesome fuzzed-out guitars... with Korean-language lyrics. Originally released in 1977, South Korean trio San Ul Lim's debut album sounds like the best psychedelic power pop and garage stuff you could get in the UK and USA ten years before its release. One of the most popular acts on the Korean scene, San Ul Lim had exactly this typical 1966 garage sound, with fuzzy axes and some thin but sympathetic Farfisa organs. These compositions were conceived between 1971 and 1975, and, with their heartwarming vocal melodies and gifted musicianship, are heavily reminiscent of The Zombies, though San Ul Lim play in a much more direct fashion. Their music represents a movement from early beat to heavier and darker garage rock, which finally shifted into psychedelic rock. Fans of proto-garage beat with psychedelic tinges from 1965 to 1967 will go wild for this album. Other reference points include The Flies (UK, pre-T2) and The Petards (Germany). A lovely flashback to the golden age of music.

GM 207CD

PROGRESIV TM: Dreptul De A Visa CD (GM 207CD) 14.00
The '70s were the decade of progressive rock music of all calibers. And it seems not one country of this world was spared when the new kind of sound spilled over like a giant wave of inspiration. Even the European Eastern Bloc countries, where rock music was regarded as subversive by the authorities, had their share of rock bands with a hippie, heavy, or freaked-out direction. These include Omega from Hungary, SBB from Poland, Modry Efekt from the Czech Republic, and, of course, Phoenix from Romania. The latter were the biggest rock music export of their home country, but there were others with them, building a solid spine for the still young and expanding rock scene. One of these unknown forces was the Romanian band Progresiv TM, a band not easily categorized. They loved big melodies with yearning vocals, and mixed blues, folk, jazz, and playfully twisted rock patterns. The guitar had a scratchy and fuzzy distortion that came close to what Tony Iommi ripped off his fretboard on the very early Sabbath albums, even when the composition itself rather felt like a relaxed and jazzy ballad. What you get here on this debut album released in 1976 is a captivating, well produced, and even better played piece of rock music combining influences from everything that was cool at the time the band was formed, around 1972. Folky and catchy heavy rock like Golden Earring or Jethro Tull, dreamy Eastern rock like Omega and Phoenix, utterly grinding guitar power like early Black Sabbath, and some wicked progressive freak-outs along with jazzy breaks. If you are looking for a hot-blooded and steaming yet relaxed unique rock album from the '70s and can get along well with a band singing in its native tongue rather than English, grab this masterpiece.


GR 019EP

VAN OERS, REGGY: Mavie/Loctivity 12" (GR 019EP) 12.50
Edwin Oosterwal and Joris Voorn's GREEN imprint is a platform free of boundaries and restrictions, as comfortable with ambient beauty as with sweat-inducing techno. For its latest release, GREEN welcomes Reggy van Oers. As Oosterwal explains, "Joris and I are fans of Reggy's music and we asked if he'd consider working on some music for GREEN. We like his approach to making music and his unique style, so we gave him a blank canvas and complete control. We're excited to be unveiling these new tracks." "Mavie" and "Loctivity" follow van Oers's trademark sound: deep, dark, and with a bewitching dub-touch.

GR 020EP

ROYKSOPP/AUDION: I Had This Thing/Dem Howl (Joris Voorn Remixes) 12" (GR 020EP) 12.50
Jamie Irrepressible's lullaby-infused whispering voice sits atop Dutch producer Joris Voorn's signature rhythmic framework, with layered emotion of textured synths and acoustic subtleties as soft and supple as they are comforting. With an ever-increasing discography reaching from atmospheric interludes to broken beats, Voorn puts his remixing skills to Norwegian electronic music duo Röyksopp's poignant single "I Had This Thing" and Audion's "Dem Howl (feat. Troels Abrahamsen)."



HAUNTOLOGISTS: Hauntologists LP (HAUNTOL 001LP) 20.00
LP version. A specter is haunting the clubs -- the specter of ancient rhythms that have been wandering over this planet for millions of years. Jay Ahern and Stefan Schneider summoned this specter, and now it will not let them be. The truth is they don't want to part ways. Together they are Hauntologists, and together they unchain the ghosts in the machines. Coarse and physical; dark and sexually-charged updates of ancient rhythms -- and motorik, driven like a drummer in a time loop, improvised just like African street music. This analog, rumbling techno, shifting and layering meticulously, is simultaneously forward-looking and ancient, idiosyncratic and deeply-rooted. It all started with a chance meeting between Ahern (Add Noise, Cheap and Deep Productions) and Schneider (To Rococo Rot, Roedelius Schneider). Five EPs showered down to earth over the course of the following years, the results of concentrated studio jams during which the machines talked to each other while the Hauntologists did not do much more than mumble certain magic formulae and sprinkle some magic powder over the proceedings. Sure, these machines are those legendary X0X devices from that Japanese manufacturer with a name that starts with an "R." You can tell, but whatever -- that doesn't really matter. For the two Hauntologists these little boxes are just physical utensils to use during their rituals and ceremonies. They do not deny their sound-shaping characteristics. But they do avoid the clichés associated with them. So here it is: the first album. After the first five EPs, the Hauntologists album discloses further facets of the two Hauntologists, shadow images of bleeps and acid, sähkö and longing, all drifting and floating in and out of the mix. These tracks were created live, and there release comes in advance of their live invocation, continuing the live interaction and dialogue between two human beings. An invocation of ghosts from the past, reimagined in the present. These rhythms, they will never stop.



FOUK: Kill Frenzy EP 12" (HEIST 010EP) 14.00
180-gram vinyl. "Kill Frenzy"'s wobbling bassline might easily be a playful Dave Holland getting into his zone, and all the tiny elements and variations give the track that perfect vibe to really get a party going. "Lefty's Bar" features the same loose percussion and vintage keys, a lazy horn section, and a lovely twisted and turned female vocal sample. "Ken Sent Me" is perhaps the most straightforward track on the EP, with Rhodesy pads and a great use of tremolo to give swing to the 4x4 rhythm. Get it while you can -- this one is gonna hit hard.



Split release by Bruno Pronsato and Jens Zimmermann on Hello?Repeat.


HERZ 050-3LP

BODZIN, STEPHAN: Powers of Ten 3x12" (HERZ 050-3LP) 25.50
Pressed on 180-gram vinyl; includes download code. German techno mainstay Stephan Bodzin unleashes his full-length musical vision on the world in the form of Powers of Ten, providing another great insight into the melodically rich mind of this modern great. Bodzin says, "Powers of Ten has been with me all my life and is named after a book that has been my background hiss, its confusing truth is my only real faith and its infinity shows me its finiteness. The album is about harmonies, melodies, rhythms. It is an homage to Bob Moog, full of techno beats and sounds and space and party and ecstasy and dancing and listening, and crying and feeling. It is a journey, a philosophy of life, a view of the world, a vague perception. It is my wife, my children, my family, my friends, my passion, my enemy, my greatest fulfillment, my fear, my deepest peace, my power, all my love." As such, this album is hugely personal and is filled with cerebral messages and well-thought-out concepts. All this shines through and makes the listening experience all the more engaging from start to finish. Kicking off with the spine-tingling chords and louche beats of "Singularity," cuts like "Lila" then continue to confirm that Stephan Bodzin has a classical understanding of melody that is way above average. "Blue Giant," "Wir," and "Ix" all manage to be uplifting and thoughtful while simultaneously driven and groovy, and "Birth" comes on with a hymnal high note, long-tailed pads, and subtly shifting beats. The ghostly grooves of "Zulu" mark the majestic midpoint of the album, which then continues to seduce with spiritual synths and more beautiful melodies on cuts like "Odyssee" as well as the album's standout title-track. Unfolding coherently and in soothing fashion, this album once again proves that few producers in the modern world have a knack for melody and an ear for sonic ingenuity quite like Stephan Bodzin.



MARTIN, RYAN: For All the Beautiful Losers CD (HMRRM 001CD) 11.50
Ryan Martin's debut album, For All the Beautiful Losers, is the work of a passionate, bold artist with a wide-screen vision. Drawing on artists like Neil Young, Bruce Springsteen, and Townes van Zandt, as well as more modern influences like Sparklehorse and Elliott Smith, these songs are full of timeless melodies, big hooks, evocative lyrics, and buckets of soul. Exploring personal takes on classic themes of love and longing, heartbreak and alienation, Martin's honest lyrics are woven through with compelling imagery and beautiful turns of phrase. From the soulful, Stones-y swagger of "New York Women" to the buoyant indie-folk of "Replacement Avenue" to the fragile beauty of "Blue Blue Winter" and "Either Way (I Am Free)," the depth and range in these songs is striking. Inspired sonic touches abound: the jubilant horns on the Brian Wilson-influenced "Private Holiday"; the hammered dulcimer coda on "Blue Blue Winter"; the regal French horn intro on "Fool in Love"; and the retro-futurist Mellotron and drum machine on "Either Way (I Am Free)" all elevate and illuminate this outstanding collection of songs. Originally from Los Gatos, California, Martin played the cafe and bar circuit from San Francisco to LA as a teenager, eventually landing in New York City in 2009. He soon found both an audience for his music and six deeply talented musicians from the local scene who became the core players on For All the Beautiful Losers and in his powerful live band.



KONNTINENT: The Empire Line CD (HOMEN 075CD) 16.50
Conceived as a follow up to Konntinent's previous album, 2010's Opal Island, and over five years after its completion, Paco Sala's Antony Harrison has finally consented to the release of The Empire Line. It is the final Konntinent album and includes vocal contributions from Cuushe, Chantal Acda and Lisa Beth Madisson. It is (insert sycophantic word here).



DJ SOTOFETT: Drippin' for a Tripp 2x12" (HJP 074EP) 20.00
Repressed! Epic, protean brilliance from the Sotofett corner, bumping nylon new age and ill chill out against reggaeton and jungle exotica, spilling batucada-style percussion workouts out of clean-heeled house. Each side introduces a new collaborator or two -- Jaakko Eino Kalevi, Thomas "Paleo's Buddy" Mende, JEKS -- Phillip Lauer from Tuff City Kids is here; Gilb'R from Versatile... The knockout punch comes with Karolin Tampere and Maimouna Haugen: "Nondo" -- "Heaven," "Eternity" -- starts out as an electro-lullaby from Côte d'Ivoire, sotto voce and abuzz, before lifting off as a zinging, anthemic, future-house classic. A real tour de force all round.


MOSSE/SIMONE WHITE, KASSEM: Three Versions 12" (HJP 075EP) 12.50
Repressed! Kassem Mosse remixes Simone White.


Repressed! Stunning new music from Istanbul! Wild baglama improvisation and mystical male-unison singing, atop the propulsive mass of a Berlin half-stepper, with turbulent detours into dub, radiophonics, and psychedelia. "Kime Ne" means "so what," "what's it got to do with you." The song adapts verses from the seventeenth-century poet Kul Nesîmî, wistfully invoking the Melami strain of Sufism as a touchstone of humility and tolerance in dark times. "Insanlar" means "humankind"... "The Human Beings." RV's mixes are expert, taut and hard-grooving. "2" is the more agitated and dubwise. Side D is etched with Katharina Immekus's lovely artwork.


VON OSWALD TRIO, MORITZ: Sounding Lines CD (HJR 072CD) 15.50
The Moritz Von Oswald Trio opens a new chapter. There's a new configuration to the project, with Tony Allen joining original members Moritz von Oswald and Max Loderbauer. Allen, the legendary drummer who's amassed a formidable catalog both as a solo artist and as part of Fela Kuti's band, has taken over percussion duties from Vladislav Delay. Together, von Oswald, Loderbauer, and Allen form something close to a dream team, two masters of the electronic sphere meeting an afrobeat pioneer. Allen had already established a rapport with the group before they entered the studio to record Sounding Lines -- he's been touring with von Oswald and Loderbauer for more than a year, playing live shows around the world. There has been an evolution on each new Moritz Von Oswald Trio record, and Sounding Lines is no different. The album, which was mixed by Ricardo Villalobos, maintains the project's trajectory -- a fearless exploration of dub techno, classical music, and jazz -- but the prevailing mood feels looser and more organic than ever before. Allen's imperious percussive work sits tantalizingly in the mix. His drums meet the electronics of von Oswald and Loderbauer in a way that renders the project in new, vivid colors. There are 4/4 tracks, beatless interludes, and complex jazz structures, with propulsive recordings ("3") coexisting alongside more languid moments ("1"). Sometimes Allen provides flourishes of drums (notably on "4") while at other times spectral synths come to the fore (as on "5"). Von Oswald, a masterful composer and arranger with a deep understanding of space, paints the crevices of each composition on Sounding Lines with rich detail. Individually, von Oswald, Loderbauer, and Allen are formidable and hugely influential musicians. As a trio, they've conjured something remarkable. Tony Allen, drums; Max Loderbauer, synthesizers; Moritz von Oswald, percussion sequencing, synthesizers, additional electronics. Artwork by Marc Brandenburg.



RACKER & ORPHAN: Sounds of Insects 10" (HDFR 005EP) 22.00
In one form or another all insects produce sound. Many of these are audible to the human ear whilst others go unheard by us without the aid of specialist audio equipment. Sounds of Insects sees N.Racker (Pre-Cert Home Entertainment) and David Orphan (Folklore Tapes) calling into question the value of human modes of communication, taking due care to unravel the innermost workings of the arthropod mind. Bringing to mind elements of the work of artists like Faust, Pierre Henry and Autechre, Sounds of Insects is a mysterious synthesis of specialized field recording, homemade instrumentation and sympathetic reassembling where it is uncertain where one sound source ends and another begins. A direct homage to the Scholastic Folkways Sounds Of Insects recordings by Albro T. Gaul and informed by viewing countless nature documentaries, this artifact attempts to form an entomological soundscape of wonder and intrigue, a minutiae of alien environments and meetings. Plays at 45rpm. Limited edition of 250 copies -- housed in a reverse board sleeve with protective bag.


MCPHEE, DEAN: Fatima's Hand CD (HDFR 006CD) 16.50
Fatima's Hand is West Yorkshire based solo electric guitarist Dean McPhee's second full-length album and the follow up to 2011's critically acclaimed Son of the Black Peace (PTYT 047). Fatima's Hand is a meditative and quietly intense album combining influences from British folk, dub, Moroccan trance and ambient/drone. McPhee's sparse, melodic and echo-laden guitar playing on Fatima's Hand has been compared to Vini Reilly, Fripp & Eno and Loren Connors but his singular approach to the instrument is very much his own. Steve Barker of BBC Radio Lancashire's On the Wire program described Dean as "definitely one of the leading contemporary guitar stylists in the UK, and in the world". Fatima's Hand features cover art by Federico Cortese which is beautifully presented on a matte laminate sleeve.


MCPHEE, DEAN: Fatima's Hand LP (HDFR 006LP) 25.00
LP version on 180 gram vinyl; edition of 500 copies.



WHEN: The Black Death LP (SOMA 022LP) 20.00
Originally released in 1992 on CD by Tatra; never previously reissued. "Coming out of the 1980s Norwegian post-punk scene, When is the solo project of Lars Pedersen. The first albums were in a similar landscape as what he was doing with industrial art-rock band Holy Toy, and his later works have veered into a wide range of territories, but in between all this we find his fourth album from 1992 -- The Black Death (titled Svartedauen in Norwegian) -- a decidedly darker creation. Inspired by Theodor Kittelsen's 1900 series of grim drawings depicting The Black Death's 1349 ravaging of Norway, The Black Death is a highly sophisticated 38-minute musique concrète sound-collage that mixes elements of manipulated traditional Norwegian folk music (such as the eerie Hardanger fiddle) with sounds of horses whining, rats gnawing, wood grinding, and people moaning. Musically, it fits somewhere between Nurse With Wound's Dadaist studio experiments and Luc Ferrari's dramatic narrative environmental sound poems. Fans of Norwegian black metal will recognize the Kittelsen art from several Burzum album covers. The Black Death's release just happened to coincide with the church-burnings of the 1992 black metal summer, and Varg Vikernes, and a generation of young metal artists who would radically change the musical landscape of extreme metal forever, were big fans of this album. The Black Death incomparably evokes that feeling of doom and medieval dread that the black metal bands were attempting with croaked screams and distorted guitars around the same time. So if you're looking for the missing link between Arne Nordheim and Mayhem -- this is it. Pristine vinyl cut by Rashad Becker at Dubplates & Mastering in January 2015 and packaged in a gatefold sleeve featuring texts and interviews with and about Pedersen as well as a 12-page booklet of Kittelsen's drawings for Svartedauen. The rats would be pleased" --Lasse Marhaug, Oslo, March 2015. Composed by Lars Pedersen: programming, keyboards, harp, cello, percussion, sounds, and voices. Recorded summer 1992 at Sound Sector, Oslo, with engineer Bernt Kanstad. Mastered 2011 at Livingroom, Oslo, by Morten Lund. Produced by When. The Black Death is based on Svartedauen (1900) by Theodor Kittelsen (1857-1914). All drawings by Theodor Kittelsen. Liner notes by Bjarne Riiser Gundersen and Bård Torgersen. Assistance and consultation on this edition: Kristoffer Rygg. Ideologic Organ curation and art direction by Stephen O'Malley; manufactured and distributed by Editions Mego.



EMMANUEL, JD: Wizards CD (IMPREC 305CD) 14.00
This CD reissue of JD Emmanuel's Wizards contains two tracks excluded from the original 1982 LP due to master tape problems. "Wizards was my first deep trance electronic music album. This album was inspired by Terry Riley, one of the earliest people ever to compose and perform long, extended, cyclic pieces in the electronic format. This music was composed and performed in '81 and '82. I consider this album my best work. The instrumentation is three Sequential Circuits PRO-1s, Crumar Traveler One, and a Yamaha SK-20, all real time recording to a Teac four-track reel-to-reel. I mixed the four tracks to a Teac A-7300 Master 2-Track tape recorder using a DeltaLab DL-2 to create the delay track. In 2006, I used a Tascam 34B 4-track to remaster all my master tapes to digital master of 196 KHz/24 bit .WAV files using Soundforge 8 software. The original Wizards LP was published in the Summer of 1982 with the black and white cover. The initial tracks had no names and were called Movements I-V. Several years later sales had slowed down, in an effort to improve sales we tried the color cover and I created names for each track." --JD Emmanuel


"The crystal in men's heads / Blackened and fell to pieces. / The valleys went out. / The moorlands broke loose" --from "Heptonstall Old Church" by Ted Hughes. So begins Catch Me Daddy (2014), the award-winning feature film directed by Daniel Wolfe and written by Wolfe and his brother Matthew. The film's score consists of beautiful and bleak wind-ravaged music from Matthew Watson (aka Matthew Wolfe) and Daniel Thomas Freeman (whose 2011 debut album The Beauty of Doubting Yourself Norman Records described as "a profoundly moving piece of music... highly recommended"). Set in the desperate and unrelenting West Yorkshire moors, the film follows Laila, a British Pakistani girl, and her Scottish drifter boyfriend, Aaron, in their attempts to escape Laila's violently protective family. The film was screened as part of the Directors' Fortnight section of the 2014 Cannes Film Festival; star Sameena Jabeen Ahmed was named Best British Newcomer at the 2014 London Film Festival; and Ahmed was named Most Promising Newcomer at the 2014 British Independent Film Awards, where she was also nominated for Best Actress, the film was nominated for Best Achievement in Production, cinematographer Robbie Ryan was nominated for Best Technical Achievement, and the Wolfe brothers were nominated for The Douglas Hickox Award. Taking inspiration from such classics as Popul Vuh's score to Werner Herzog's Aguirre, the Wrath of God (1972), Carmine and Francis Ford Coppala's Apocalypse Now (1979) soundtrack, and the opening moments of High Plains Drifter (1973), combined with the influence of Swans, Tim Hecker, and English Tudor-period choral music, Watson and Wolfe's score uses a deliberately limited instrumental palette of piano, percussion, and oscillators, twisted, gnarled, and ghosted beyond recognition to realize the sound of the biting moorland wind as it hammers against metal doors and rusted corrugated roofs and sings in lonely high tension wires and as distant choirs howl into the swirling darkness. The album is completed by a further seven unused themes selected and re-worked from the five hours of music written for the film. "Monkey Puzzle" and "Burning Fields I" narrate the original beauty and innocence of Laila and Aaron's dream, whereas "Gorse Wind" is forever lost in the moorland blackness. The oscillators and ghosts of "Under the Sodium Lights" and "Doubt" lead into the monumental distortion slabs and requiem of "Codeine Fuzz" before, finally, "Heath Land Siren" issues its rusted animal warning across the rain-sodden hills.



CASSEGRAIN & TIN MAN: Window Window 12" (INF 019EP) 14.00
Cassegrain & Tin Man present an EP from the same sessions as their exclusive track "Oxide," featured on Berghain 07 - Part II (OSTGUT 087EP, 2015), a 12" released in advance of Infrastructure founder Function's Berghain 07 mix. The elegant, serene introduction of "Faint Faint" builds gently before "Seduct Seduct" breaks the peace, its addictive bassline and powerful momentum providing the go-to track for DJs. Both club-ready and contemplative, "Ether Ether" works a beautifully unusual 303 line. "Window Window" is a journey into Tin Man's achingly touching melodic formations, accentuated by Cassegrain's killer percussion, sleek sequencing, and unique sound design.



PADILLA, JOSE: So Many Colours CD (IFEEL 042CD) 17.00
José Padilla, a legend in the Ibiza scene, presents his stunningly forward-thinking Balearic album So Many Colours. It would have been easy for Padilla to make a chill-out album, but instead he worked together with four forward-thinking producers to create a modern work, moving across the genres held together by the Balearic umbrella. Padilla is loved by many for his work soundtracking sunsets at the Café del Mar and compiling the seminal Café del Mar compilations, which sold over six million copies. His fans are wide and varied -- on one end of the spectrum there's Madonna or Karl Lagerfeld, and on the other DJ legends such as Harvey and Andrew Weatherall. To create So Many Colours, Padilla worked with International Feel founder Mark Barrott (Sketches from an Island (IFEEL 029CD/LP)); Telephones, a man making serious waves with his deep house sound; Dusseldorf-based natural beat-maker Wolf Müller aka Jan Schulte; and Australian Tornado Wallace of Tim Sweeney's Beats In Space Records. All four are known for differing styles and sounds, though their work together with Padilla forms a naturally cohesive whole. Barrott brings a deep oceanic mellowness; Tornado the electronic, synthesized, melodic beats and grooves; Wolf Müller the afro sound; and Telephones the beautiful dream-like house. Each producer was flown to Ibiza to work at Padilla's home in Santa Agnes, with their studios set up in the house overlooking one of the island's most beautiful valleys, for a week collaborating with Padilla, immersed within the feeling of the island. Each found his own sound within the walls of Padilla's villa, but ultimately it is all extremely Balearic. "Day One," "Lollipop," and "Blitz Magic," produced by Telephones, pay heed to the newly revived dream-house sound -- expect an underground sleeper hit from one of these tracks. Barrott produces "Solito," as well as the beautiful closer "Remember Me" and the acoustic guitar vibes of "Mojame." Müller brings Brazilian afro beats to "Whistle Dance" and "Afrikosa," and the album wouldn't be complete without Tornado's "Maybe the Sunset (feat. Lydmor)" -- a ride on Ibiza sunshine -- and the widescreen "On the Road." Padilla has created an album for dancing wildly, relaxing wholly in nature, and losing yourself. It is a true musical journey covering all angles of the Balearic scene. Reminiscent of a classic Café del Mar compilations but in the form of an artist album by the artist Jose Padilla.


PADILLA, JOSE: So Many Colours 2LP+CD (IFEEL 042LP) 27.50
Double LP pressed on 180-gram vinyl; includes CD. José Padilla, a legend in the Ibiza scene, presents his stunningly forward-thinking Balearic album So Many Colours. It would have been easy for Padilla to make a chill-out album, but instead he worked together with four forward-thinking producers to create a modern work, moving across the genres held together by the Balearic umbrella. Padilla is loved by many for his work soundtracking sunsets at the Café del Mar and compiling the seminal Café del Mar compilations, which sold over six million copies. His fans are wide and varied -- on one end of the spectrum there's Madonna or Karl Lagerfeld, and on the other DJ legends such as Harvey and Andrew Weatherall. To create So Many Colours, Padilla worked with International Feel founder Mark Barrott (Sketches from an Island (IFEEL 029CD/LP)); Telephones, a man making serious waves with his deep house sound; Dusseldorf-based natural beat-maker Wolf Müller aka Jan Schulte; and Australian Tornado Wallace of Tim Sweeney's Beats In Space Records. All four are known for differing styles and sounds, though their work together with Padilla forms a naturally cohesive whole. Barrott brings a deep oceanic mellowness; Tornado the electronic, synthesized, melodic beats and grooves; Wolf Müller the afro sound; and Telephones the beautiful dream-like house. Each producer was flown to Ibiza to work at Padilla's home in Santa Agnes, with their studios set up in the house overlooking one of the island's most beautiful valleys, for a week collaborating with Padilla, immersed within the feeling of the island. Each found his own sound within the walls of Padilla's villa, but ultimately it is all extremely Balearic. "Day One," "Lollipop," and "Blitz Magic," produced by Telephones, pay heed to the newly revived dream-house sound -- expect an underground sleeper hit from one of these tracks. Barrott produces "Solito," as well as the beautiful closer "Remember Me" and the acoustic guitar vibes of "Mojame." Müller brings Brazilian afro beats to "Whistle Dance" and "Afrikosa," and the album wouldn't be complete without Tornado's "Maybe the Sunset (feat. Lydmor)" -- a ride on Ibiza sunshine -- and the widescreen "On the Road." Padilla has created an album for dancing wildly, relaxing wholly in nature, and losing yourself. It is a true musical journey covering all angles of the Balearic scene, reminiscent of a classic Café del Mar compilation.


COBBY & TRUDIE DAWN SMITH, STEVE: We Start Over (Features Remix by Apiento & Lx) 12" (IFEEL 043A-EP) 14.50
180-gram vinyl. Steve Cobby co-founded Fila Brazillia in 1990 and has remixed artists as diverse as Radiohead, Busta Rhymes, Black Uhuru, and A Certain Ratio; in 2014, he released the acclaimed Saudade album on his Déclassé label. His deep, forward-thinking "We Start Over" features a gorgeous vocal from Trudie Dawn Smith. This first of two remix 12"s (preceding IFEEL 043B-EP) consists of the original and a remix by Apiento & Lx (their first track together since the 2011 underground classic "The Orange Place"); Andrew Weatherall and Sean Johnston's ALFOS named the remix "one of the records of the summer."


COBBY & TRUDIE DAWN SMITH, STEVE: We Start Over (Remixes by Tuff City Kids) 12" (IFEEL 043B-EP) 14.50
180-gram vinyl. Steve Cobby co-founded Fila Brazillia in 1990 and has remixed artists as diverse as Radiohead, Busta Rhymes, Black Uhuru, and A Certain Ratio; in 2014, he released the acclaimed Saudade album on his Déclassé label. His deep, forward-thinking "We Start Over" features a gorgeous vocal from Trudie Dawn Smith. This second of two remix 12"s (following IFEEL 043A-EP) features two club remixes by Gerd Janson and Phillip Lauer aka Tuff City Kids. The "Garage Dub" is classic New York house; the "Private Acid Mix" goes heavy on the beats and drops the 303, with the vocal looped and twisted.



THEODORAKIS, GEORGE: The Rules of the Game (Original Studio Recordings 1978-1996) CD (ITL 003CD) 17.00
Into the Light Records continues to shine light on the undiscovered heritage of Greek electronic music, highlighting the work of prolific Greek composer George Theodorakis on the label's third archival release. The Rules of the Game features mostly unreleased studio recordings Theodorakis made between 1978 and 1996, with the addition of selected material taken from his sought-after Margo and Sima LPs. George Theodorakis is the son of legendary Greek composer Mikis Theodorakis. Unlike his father, George only released four albums -- pressed in small quantities -- over a period of time spanning nearly two decades. Despite such limited official output, Theodorakis was intensely involved in music. George has always had the privilege of owning a well-equipped home studio -- the SSR Studio (1976-1984) and later the Theta Studio (1985-1987, 1993-1997) -- where he'd spend most of his days working, often completely losing all track of time. These studios provided the ideal environment where he could explore new synthesized sounds and freely experiment. Although Theodorakis' music can be considered reclusive, esoteric and personal -- especially if measured against the standards of most Greek productions of the same time -- a number of his compositions found their way into the soundtracks of theater plays, TV series, dance performances, etc. Theodorakis' work was probably too forward-looking to meet with wider success and appeal to a broad audience back then; The Rules of the Game hopes to finally earn the composer the attention and acclaim his music undoubtedly deserves. N.B. There is an ultra-short drop out at the very end of "Genesis" due to the original DAT tape wear. The track was too good to be excluded; Into the Light hopes you feel the same. Includes one bonus track not available on vinyl.



BLACK UHURU: Red LP (ISLAND 535158LP) 20.00
180 gram reissue of the 1981 sophomore LP from Black Uhuru, featuring singers Michael Rose, Sandra "Puma" Jones, and Derrick "Duckie" Simpson, and the Sly & Robbie band.



GAZNEVADA: I.C. Love Affair (Exclusive 2015 Edition) 12" (EXIT 010EP) 14.00
Italian Records strikes again with another retro-futuristic step through its kult '80s catalog. In the late '70s Gaznevada was one of the most relevant Italian post-punk bands from the Italian underground scene. In 1982, with "I.C. Love Affair," Gaznevada moved from post-punk to new wave synthpop; this tune is, without any doubt, a work of proto-house disco, and an anthem in the most important clubs all over the world. This special release includes reconstructions by I-Robots and Giangi Cappai, the already well-known Munk Edit, and finally and officially the David DePino edit.



COBBLESTONE JAZZ: Northern Lights 12" (IIWII 016EP) 14.00
Canadian trio Cobblestone Jazz debuted on Itiswhatitis Recordings in 2002, and now return to the label for the first time since 2006 with arguably their most musical and expansive release, recorded over a three-day period in 2013 and edited in the winter of 2014. The 11-minute "Northern Lights" features tight gated keys layered with complex harmonies and soaring pad swells. "Drawn from the Side of Crime" is another twisting musical journey, running just shy of 13 minutes with a meditative bassline rolling underneath for the duration and hints of a beautiful modal Rhodes line teasing throughout the arrangement.


JPR 82801LP

WIPERS: Is This Real? LP (JPR 82801LP) 19.00
2015 repress. "Unquestionably Portland's most well-loved punk group, the Wipers formed in the late 1970s and in 1980 released their debut LP, Is This Real? -- twelve songs of stabbing, jittery guitar, snapped vocals, and unabashed teen angst. Full of desperation and yearning, the LP has stood as a blueprint for wretched youth for over 25 years. In the early 1990s Is This Real? was given mainstream attention when Nirvana covered two tracks off the record and Cobain announced it was one of the primary influences on his group. While it was reissued on compact disc and available as a part of the Wipers Boxed Set (Zeno), this is the first time Is This Real? has been available on vinyl in the U.S. since its initial release. Remastered from original tapes as provided by Greg Sage himself, the LP is pressed on audiophile grade vinyl and housed in a deluxe tip-on sleeve. Complete with a printed insert that replicates the original innersleeve, the Jackpot Records reissue of Is This Real? is a lavish tribute to one of the greatest recordings of the last 30 years."



CARLOS, DON: Inna Dub Style: Rare Dubs 1979-1980 CD (JRCD 017CD) 14.00
2015 repress; originally released in 2004. A collection of previously unreleased dubs mixed from original Don Carlos (Black Uhuru) vocal tracks dating from 1979-1980, produced by Bunny "Striker" Lee. Included in this set are dubbed versions of rhythms like "Satta Massagana," "Tribulation," and "Real Rock." Recorded at Harry J's and Channel One Studio. Musicians include Sly Dunbar, Carlton "Santa" Davis (drums), Robbie Shakespeare, Errol "Flabba" Holt (bass), Earl "Chinna" Smith (lead guitar), Earl "Wire" Lindo (rhythm guitar), Keith Sterling, Jackie Mittoo (piano), Winston Wright, Robbie Lynn (organ), Bobby Ellis, Tommy McCook (horns).


KING TUBBY: King Tubby's Lost Treasures LP (JRLP 001LP) 14.00
2015 repress, originally released in 2001. Lost Treasures is an essential selection of rare and previously-unreleased dubs from the legendary King Tubby. Taken directly from master tapes, these heavyweight versions of Bunny Lee-produced Aggrovators rhythms have only previously seen the light of day as sound system dub plates or rare Jamaican 7" B-sides in the mid-'70s. This is the first in a series that includes similar releases from Augustus Pablo, Lee Perry, Studio One, Channel One, Sly & Robbie, and the Wailers.


REVOLUTIONARIES: Dubplate Special LP (JRLP 003LP) 14.00
2015 repress; originally released in 2001. Jamaican Recordings follows up its excellent King Tubby (JRCD 001CD/JRLP 001LP) and Augustus Pablo (JRCD 002CD/JRLP 002LP) sets with a superb dub outing from The Revolutionaries, the legendary mid-'70s Channel One in-house session band built around Sly & Robbie. Dub Plate Special features 14 rare and previously unreleased Bunny "Striker" Lee-produced dubs from the classic '75-'78 period when The Revolutionaries' militant rockers sound was dominating the reggae scene. All tracks are previously unavailable on CD, having been taken straight from the original masters. Included are raw dubwise reworkings of "Love Me Forever," "My Conversation," "Going to the Ball," and "Give Up the Badness" rhythms. Another essential selection from Jamaican Recordings, once again excellently packaged with full sleeve notes.


NINEY THE OBSERVER: At King Tubby's: Dub Plate Specials 1973-1975 LP (JRLP 011LP) 14.00
2015 repress; LP version. 2002 release. At King Tubby's: Dub Plate Specials 1973-1975 features unreleased dubs from Niney's mastertapes. The majority of the tracks featured were mixed by King Tubby. To be found on this set are rare dubwise cuts to Dennis Brown's "Lately Girl," "Westbound Train," "I Am The Conqueror," "No More Will I Roam," "Here I Come," and "Silver Words," as well as Micheal Rose's "A Love Between Us" and "Freedom" -- plus many more.


KING TUBBY: The Roots of Dub LP (JRLP 035LP) 14.00
2015 repress. LP version. Dynamic Sounds upgraded to 16-track recording in 1972 and King Tubby purchased, again with the help of a deal brokered by Bunny Lee, the old 4-track equipment and the MCI console from their Studio B. The four tracks now gave him a far wider scope to work with, and he began to create a new musical form where the bass and drum parts were brought up while the faders allowed Tubby to ease the vocal and rhythm in and out of the mix. It was only a matter of time before Tubby's dub plate experiments began to make it onto vinyl and the first-ever King Tubby album releases would feature a collection of his mixes to a selection of Strikers' rhythms. So please sit back and enjoy this historic set of sounds. These releases were the first to carry the name of King Tubby and the first to credit the great musicians that contributed so much to the rhythms that made these albums possible.


KING TUBBY: Dub from the Roots LP (JRLP 036LP) 14.00
2015 repress. King Tubby's Dub from the Roots album was originally released in 1974. Osbourne "King Tubby" Ruddock was born in Kingston, Jamaica on January 28, 1941 and grew up in the High Holborn Street area of downtown Kingston. He studied electronics at Kingston's National Technical College and also in two correspondence courses from the U.S.A. When he had qualified, Tubby began repairing radios and other electrical appliances in a shack in the back yard of his mother's home. His work in the early days included winding transformers and building amplifiers for Kingston's sound systems. Tubby built his first sound system in 1957 playing jazz and rhythm & blues at local weddings and birthday parties. His reputation as a man who knew and understood both electronics and music grew steadily, and as the '60s drew to a close, Tubby purchased his own basic two-track equipment. He installed this alongside his dub cutting machine, a homemade mixing console, and his impressive collection of jazz albums in the back bedroom of his home at 18 Dromilly Avenue which he christened his music room. Lovingly restored, these releases were the first to carry the name of King Tubby and the first to credit the great musicians that contributed so much to the rhythms that made these albums possible.


LP version. 2010 release. King Tubby and producer Bunny "Striker" Lee are intertwined in the birth of dub music. After discovering a mistake that was made into a "serious joke" they went on to release the first pressings of this new musical genre, named "Dub Music." Tubby's vast knowledge of electronics and Bunny's vast catalog of rhythms would lay the foundations of what today is taken as a standard... the remix/version cuts to an existing vocal tune. "Tubby did three original dub albums, Dub from the Roots, The Roots of Dub and Brass Rockers with Tommy McCook 'pon the flying cymbals. Where he mixed it with the horn going in and out in a dub way and one named Shalom Dub, you can call Tubby's, too, because he mixed the versions as they were off 45s.'' --Bunny "Striker" Lee



VA: A New Life: Private, Independent and Youth Jazz in Great Britain 1966-1990 2LP (JMAN 075LP) 25.50
Gatefold double LP version. Limited to 1000 copies. Thought you knew about British jazz? Think again. Diving into the unknown world of the private pressing, Jazzman Records presents some of the rarest and wildest British jazz ever recorded! The major stars of British jazz such as Stan Tracey, Michael Garrick, and Joe Harriott are now rightly recognized as the giants they were, and the legendary Brit jazz recordings of the 1960s are amongst the most highly-prized of all collectable records. But what happened to jazz in the UK when the recording industry lost faith in it? A New Life is the first survey of British jazz labels and musicians that went their own way in the 1970s, bringing to the light the unknown indie gems and outsider private pressings that let jazz musicians keep the faith into the 1980s. From the time-bending spirit music of London's Lori Vambe to the psych-jazz of Birmingham's Poliphony, via Spot the Zebra's jazz dedication to David Attenborough and Indiana Highway's modal Christmas carolling, A New Life chronicles a compelling selection of lost and obscure jewels of the British jazz underground. Compiled by Francis Gooding and Duncan Brooker (the team responsible for the acclaimed Next Stop Soweto series), and presented with comprehensive and detailed liner notes with pictures and information on each track, created from interviews with the musicians involved, A New Life is the first major British jazz collection since Gilles Peterson's Impressed series (2002-2004), and the first ever to shed light on the forgotten legacy of independent, regional, and experimental Brit jazz. All tracks fully licensed and digitally restored. Also includes tracks by Joy, Nottingham Jazz Orchestra, Billy Jenkins & The Voice of God Collective, London Jazz IV, Graham Collier, Quincicasm, Frank Evans, Edge, Walsall Youth Jazz.


SADAKA: Premonition CD (JMAN 077CD) 14.50
The album Premonition is a masterpiece of spiritual jazz, and reflects the spiritual awakening of a natural musical genius, Umlah Sadau Holt. In the 1970s, Holt was involved in all kinds of jazz, reggae, and world music projects in the San Francisco Bay Area. Over time he absorbed the global rhythms that can only come from extensive involvement with a variety of international musicians, and he integrated them into his own developing ideas of jazz. When his friend Emmanuel Nado returned from Africa one day, Umlah was fascinated by his pictures and stories and was inspired to learn more about his heritage -- even to the extent of learning to play soccer! He was also inspired to use his skills to create music that would bridge the spiritual gap between the continent in which he now lived and that of his ancestors. Drawing upon his close friends and a varied selection of session musicians, the concept for an album developed, and eventually Premonition was born. Umlah composed and arranged all the songs on Premonition, his first and only album, and released it on his own private label in 1981. Yet despite an enthusiastic response from jazz aficionados and favorable reviews by the critics, as is often the case with independently produced records, sales were poor. In the time since, the LP has become an elusive -- and expensive -- collectors' item. With this first-ever reissue, Premonition finally receives the exposure it deserves. Here is an album that is the sole representation of an inspired jazz artist who had the talent and dedication to see his dreams materialize. A work significant and important enough in the heady realms of spiritual jazz to be rescued in its entirety from obscurity. Another exceptional album in the Jazzman Holy Grail Series.


SADAKA: Premonition LP (JMAN 077LP) 25.50
LP version. Numbered edition of 1000 copies. The album Premonition is a masterpiece of spiritual jazz, and reflects the spiritual awakening of a natural musical genius, Umlah Sadau Holt. In the 1970s, Holt was involved in all kinds of jazz, reggae, and world music projects in the San Francisco Bay Area. Over time he absorbed the global rhythms that can only come from extensive involvement with a variety of international musicians, and he integrated them into his own developing ideas of jazz. When his friend Emmanuel Nado returned from Africa one day, Umlah was fascinated by his pictures and stories and was inspired to learn more about his heritage -- even to the extent of learning to play soccer! He was also inspired to use his skills to create music that would bridge the spiritual gap between the continent in which he now lived and that of his ancestors. Drawing upon his close friends and a varied selection of session musicians, the concept for an album developed, and eventually Premonition was born. Umlah composed and arranged all the songs on Premonition, his first and only album, and released it on his own private label in 1981. Yet despite an enthusiastic response from jazz aficionados and favorable reviews by the critics, as is often the case with independently produced records, sales were poor. In the time since, the LP has become an elusive -- and expensive -- collectors' item. With this first-ever reissue, Premonition finally receives the exposure it deserves. Here is an album that is the sole representation of an inspired jazz artist who had the talent and dedication to see his dreams materialize. A work significant and important enough in the heady realms of spiritual jazz to be rescued in its entirety from obscurity. Another exceptional album in the Jazzman Holy Grail Series.



MR FOGG: Youth CD (KIR 015CD) 17.00
Since the release of his second album Eleven (KIR 012CD) in 2012 ("Stunning" --Dazed & Confused, "Brilliant" --NME), Mr Fogg has continued to tread an unconventional path. In 2014 he spent several months working behind the scenes on the development of Thom Yorke's BitTorrent experiment, recorded a duet with the singing comet 67P, and unveiled a previously unheard collaboration with Under the Skin (2013) soundtrack composer Micachu. Youth -- a response to the death of his father in 2012 -- is a departure from the electronic wizardry of Fogg's previous two studio albums, drawing almost entirely on natural instrumentation, spaces, and sounds. String quartet, flugelhorn, and organ are translated faithfully onto record from a series of churches and found spaces and embellished by the rhythms of timpani and tuning forks. At its core, however, this is an album that puts its faith in bold, expansive songwriting. First single "Time to Ascend" ("Joyous... Incredibly emotive" --Clash) is a statement of intent for an album that ducks the sonic arms race of the electronic music scene in order to concentrate on melody, harmony, and emotion. It is a track that draws its power from the raw energy of the orchestra, with timpani, trumpet, and church organ lending their weight to an intricate construction of harp, grand piano, and tuning forks. Above the drama, Fogg's soaring voice weaves a melody of hopeful, melancholic beauty. Mr Fogg is the grandson of an opera singer and the great-grandson of two 19th-century music hall performers. His first two albums, Moving Parts (2010) and Eleven (2012), both co-produced by Valgeir Sigurðsson (Björk, Feist, Damon Albarn), saw him spring a full marching band on the audiences of Reading and Leeds festivals, collaborate with the controversial film director Tony Kaye (American History X (1998)), take over Trafalgar Square for a one-shot music video, and perform 40 times in three days in his pop-up Fogg Shop.


KD 081EP

YOKOO: Satya EP 12" (KD 081EP) 12.50
French mastermind YokoO presents his Kindisch debut, the sensual and moving Satya EP. "Satya" delivers warm percussion topped off with long, drawn-out pads and elegant notes, and holds its energy back to create a beautiful ambience and amazing warm-up or after-hour vibe. "Shaping Our Own Reality" fills the room with deeper percussion and simmers for a while to set the mood before leading into the night with more energy than the title-track. The track again features long, drawn-out pads for dramatic effect, as well hopping synth notes on top, and follows a 1950s vocal sample with a dramatic finish.



THE CONGOS: Feast LP (KSLP 008LP) 14.00
2015 repress. LP version. 2002 release. At King Tubby's: Dub Plate Specials 1973-1975 features unreleased dubs from Niney's mastertapes. The majority of the tracks featured were mixed by King Tubby. To be found on this set are rare dubwise cuts to Dennis Brown's "Lately Girl," "Westbound Train," "I Am The Conqueror," "No More Will I Roam," "Here I Come," and "Silver Words," as well as Micheal Rose's "A Love Between Us" and "Freedom" -- plus many more.


SKATALITES, THE: Play Ska LP (KSLP 011LP) 14.00
2015 repress. If one band could be cited for the emergence of ska, it would be The Skatalites. Formed around June 1965 and built around the many musicians that had honed their craft at the Alpha Boys School in Kingston, Jamaica, the early line-up consisted of Don Drummond, Roland Alphonso, Tommy McCook, Johnny "Dizzy" Moore, Lester Sterling, Jerome "Jah Jerry" Hines, Jackie Mittoo, Lloyd Brevett and Lloyd Knibbs. The time-span of the Skatalites' career, considering their output of literally hundreds of sides of music, was a relatively short one of just over two years. Here, Kingston Sounds have delved into the vaults of Wirl Records and have selected some tunes that show the dexterity of the band and what great sounds this group of musicians were capable of producing.


ZUKIE, TAPPA: Rootsman Connection LP (KSLP 014LP) 14.00
2015 repress; originally reissued in 2008. The mid-'70s in downtown Kingston was a heavy time both musically and politically. The climate defined the music; dread was everywhere. During this time, Tapper Zukie was establishing himself as star on the DJ roots circuit, and would become a favorite with the UK punk scene. He was also gaining recognition for his production talents, showcased on the 1978 compilation Roots Man Connection. This expanded reissue includes 15 fine cuts, with singers such as Horace Andy, Cornell Campbell, and Prince Alla, as well as such lesser known singers as Ba Wisdom and Putto Black. Of course, no Tapper Zukie collection would be complete without the man himself dropping some lyrics, so there are a couple of cuts from him, too, including a sound-clash with Jah Mikey. Also includes tracks by The Seekers, Errol Dunkley, Junior Ross, The Mighty Diamonds/Tullo T, Frankie Jones, and The Vibes Tone.


I ROY: Heavier Than Lead LP (KSLP 015LP) 14.00
2015 repress; originally released in 2008. In the early 1970s, I Roy's lyrics left listeners with not only a great vibe but also a little something to think about after the initial rush of the tune. I Roy (born Roy Reid, 1942, St. Thomas, Jamaica) had initially found work in the Customs Department of the Jamaican Civil Service, but, at the turn of the 1970s, found his vocal talents being appreciated on the sound systems in and around the Kingston area. He began with the Sons Junior System before moving over to its bigger rival, Ruddy's Supreme Ruler of Sound, which also worked out of the same Spanish town district. This district soon became I Roy's home, and it was there that he met producer Harry Mudie, with whom he would cut his musical teeth. Spurred on by fellow DJ U Roy, I Roy entered the studio and cut, among others, "Musical Pleasure," "Heart Don't Leap," and "Drifter." When U Roy was away on tour in the UK, King Tubby's Home Town Hi-Fi Sound System was missing his on-mic duties. An introduction from another producer, Bunny "Striker" Lee, would lead to another match made in heaven when I Roy took hold of Tubby's sound system and rocked the town. I Roy cut his 1973 debut album, Presenting I. Roy, with producer Gussie Clarke, and such was the demand for his talents that he went on to cut tracks with the great producers of the time throughout the 1970s. The producer who worked with I Roy the most throughout the DJ phenomenon is Bunny Lee. Having set I Roy up with the great King Tubby, getting him into the studio was the obvious next step. A new genre was born when I Roy, warming up for a vocal showdown, spotted singer Prince Jazzbo walking into the studio and dropped the line, "Jazzbo, man if you were a juke box I wouldn't put a dime into your slot." A humorous, off-the-cuff spar that would later get a release as "Straight to Jazzbo Head" (included on this release) and open a flurry of bragging cuts. Heavier Than Lead collects some of I Roy's finest moments so you can enjoy his vocal dexterity for yourself; remember listen to the quick, tuneful, tight lyrics. They all tell a story worth listening to.



MAYER & REINHARD VOIGT, MICHAEL: Time Is Running 12" (KOM 328EP) 14.00
Kompakt luminaries Michael Mayer and Reinhard Voigt join forces and continue a conversation that, since the days of Cologne's legendary techno supergroup Forever Sweet, has delivered such iconic moments as "Pride Is Weaker Than Love" and "Supertiel" (Speicher 2 (KOM EX002EP)), "Unter Null" (Speicher 7 (KOM EX007EP)), and "Sky Dumont" (Speicher 28). Here, they present their own solo work: the straightforward thump of Mayer's hearty techno romp "The Stickler" comes with sizzling percussion, siren-like synth stabs, and throaty bass; "The Buddy" is a rock-solid floor jam from Voigt, enforcing the producer's madcap hypnotism with paranoid synth squelches and tenacious beats.


KOLSCH: 1983 2LP+CD (KOM 329LP) 23.50
Gatefold double LP version. Pressed on 180-gram vinyl. Includes CD.


KOLSCH: 1983 CD (KOMP 122CD) 15.50
Revered Danish producer and live performer Kölsch follows his 2013 hit album 1977 (KOMP 107CD/KOM 276LP) with 1983, again chaining up heroic techno tracks for a grandiose sonic journey to the vibrant heart of today's dancefloor. Coupling contemporary production pizazz with nostalgia-tinged soundscapes and sweeping melodies, this opus acts as both a skillfully composed portfolio of personal memories and a sublime collection of crowd-charming cuts -- a modern classic in the making from a master of his craft. Hot on the heels of Speicher 84 (KOM EX084EP, 2015), featuring club crackers "Derdiedas" and "Two Birds," 1983 is very much a travel album: "When I was a kid in 1983, we used to drive through Europe every summer on the way to the south of France", Kölsch explains. "A lot of my early music memories stem from these long travels, as we would listen to all my father's favorite records on the cassette deck. After getting a walkman, I would make up my own soundtrack for travelling, with early electro and hip-hop creeping into my life. My father of course did not like it, and it never graced the official cassette deck of the car, obviously." Informed by the symbolic quality of these slightly gauzy childhood memories, Kölsch's unique mélange of emotional and functional elements works exceptionally well for the full-length format -- a seamless transition of musing introspection and explosive expression, where catharsis never seems far away in dance-ready techno vignettes like "Moonface," "Unterwegs," or "Pacer." From beatless opener "1983" to the filigreed piano banger "Die Anderen" or the bleep-infused synth-fest "E45," each cut operates as its own little time capsule, storing bits and pieces of recollection and then magically transforming them into epic, beat-driven soundscapes. Confronted with other producers' input (and other memories), these traits find themselves extended in the most interesting ways; "Talbot," "The Road," and "Cassiopeia" (the latter also featured on Speicher 79 (KOM EX079EP, 2014)) make excellent use of Gregor Schwellenbach's emotive orchestral flourishes, while the lyrics of "Bloodline" come to life thanks to the distinct timbre of Tomas Høffding of WhoMadeWho fame. A powerful take on an earlier collaboration, "Papageno 30 Years Later" not only features the return of WAA Industry on vocals, but also ends the album on a wonderfully elegiac, yet hopeful note, basically turning water into wine, as we've come to expect from Kölsch.


KOS 3058CD

SMITH, SAM: The Lost Tapes (Remixed) CD (KOS 3058CD) 15.50
The lost album of a super star! If it hadn't already been obvious before, the 2015 Grammy and Brit Awards left no doubt in anyone's mind that Sam Smith is one of the most outstanding, independent and successful singers of our time. Global hits, initially as a "featured artist" for Disclosure and Naughty Boy, and then as a solo artist on his award-winning masterpiece album In the Lonely Hour, saw him rise to mega-stardom in 2014. But, what many people aren't aware of is that Sam recorded an entire studio album before all that. Between 2007 and 2010 the young Sam Smith juggled between school studies, being a teenager and recording his debut album - Time Won't Wait. Sam's desire to be a star along with the songs he had helped choose encouraged him to commute from his home to the studio of his West London Label -- V&M Music, a small independent Label with a big instinct for recognizing talent. V&M released Sam's first single "Bad Day All Week" --- remixes by Per QX and Kinky Roland achieving top 10 Music Week hype charts. V&M then remixed one of Sam's favorite tracks -- "When It's Alright" -- remixes by Per QX, Kinky Roland & Kid Massive. In 2009, independent dance Label, Kosmo Records, also recognizing the talent that is Sam Smith, teamed up with V&M Music, signing a worldwide license deal for the single "When It's Alright" adding a Tom Novy mix and taking an option to remix Sam's debut album Time Won't Wait. In 2010, just as the album was ready for worldwide release, Sam moved on to new horizons leaving V&M and Kosmo with Sam's album without Sam. Since then, only two tracks from this album have seen the light of day: "When It's Alright," Sam's first Kosmo release from 2009 charting again in 2013 and 2014; and "Moments," a collaboration with the German-Colombian DJ-producer Freddy Verano. Both songs left their marks by making the Top 3 of the worldwide Hypem Charts. Now Kosmo Records is blowing the dust off the entire buried treasure, presenting the long-lost Sam Smith debut album retitled The Lost Tapes - Remixed. For The Lost Tapes - Remixed, Kosmo Records had talented DJs/producers re-work the Sam Smith numbers from the years 2007 to 2010. Stylistically, the new tracks largely range between deep house and modern electronic with blog-affinity, putting young Sam Smith's vocals in a contemporary environment, while always keeping the focus firmly on the magic of his recordings. The idea behind the album is to put a completely new take on the songs of the 17-year-old Sam Smith, just the way a 17 year-old singer with a very special voice might approach the production of his debut album today. The end result is not only an unexpected collector's item for Sam Smith fans, it will also appeal to those for whom Sam Smith's well-known mainstream productions perhaps sound a touch too slick for his "soul" voice. It leaves no doubt that Sam Smith has always had an entirely unique and extraordinary voice even in his formative years. Listening to these songs, one could easily draw the conclusion that his rise to the peak of the Pop charts was inevitable and merely a matter of time. This album is an absolute must for anyone wanting to gain the complete picture of Sam Smith and how he got where he is today.


LE 001EP

SOULPHICTION: Legit Edits #1 12" (LE 001EP) 14.00
Philpot presents Legit Edits. "Thanks for purchasing a real copy!"



WARD, WILL: Interval One EP 12" (LSR 015EP) 14.00
The second in Leisure System's 2015 Gridlock series of dancefloor 12"s. Will Ward (Circle Traps, with Jack Wyllie and Duncan Bellamy of Portico) has gained support from such tastemakers as Rob da Bank and Gilles Peterson. Aural kaleidoscope "Digital Design" features a shimmering melody line refracted in squiggly arcs next to murmured female vocals and resonant chords. "Portion" features Circle Traps member Jack Wyllie, and subtle additions accrue to create waves of unease, while the melody line bounces energetically through a maze of ossified handclaps and buoyant chord stabs. The title-track builds from a woozy introduction to an ebullient peak.



RECONDITE: Think Twice EP 12" (LAD 021EP) 14.00
A longtime friend of the label and an artist who needs no introduction, Recondite presents two unique techno narratives for his much-anticipated first EP on Life and Death. Like the turning of the great Boethian Wheel, "Think Twice" is an ever-advancing, urgent reminder of the transitory nature of the eternal now, leaving the listener with a shaking sensation deep in the bones. "Serak" begins with a bellowing bass emitted like a series of holotropic breaths from belly of Stanislav Grof himself. Its portentous melody winds and wanders until exploding midway thru the piece in a burst of restrained emotion.



NIGHTINGALES: Mind Over Matter CD (LTW 008CD) 17.00
The Nightingales were formed by vocalist Robert Lloyd, formerly of The Prefects (part of The Clash's "White Riot Tour," John Peel favorites, etc.), recorded a bunch of albums and 45s in the 1980s, and played shows throughout Europe as headliners and in support of acts as diverse as Bo Diddley and Nico, but stopped working when Lloyd decided to combine a solo career with money-earning manual labor. In 2004, Lloyd reformed the band, not as a nostalgia act performing old material for the entertainment of the affluent and aging ex-punk/indie brigade, but as an uncompromising, confrontational contemporary group. After much coming and going of various mercenary, starry eyed, wastrel and/or part time musicians, Lloyd met Andreas Schmid during the recording of Insult to Injury in 2008; Schmid joined the band and the group, as Lloyd says, "got good." The Nightingales then "got great" when former Violet Violet drummer Fliss Kitson joined the group before the recording of No Love Lost in 2012. This lineup (completed by original Prefect Alan Apperley on guitar) became a top-notch live unit and, following the sold-out, self-released For Fuck's Sake LP (2014), the streamlined four-piece Nightingales embarked on their most successful UK tour to date before writing and recording Mind Over Matter in September, 2014, at the end of a short tour of Germany and Austria. Mind Over Matter is a short, sharp blast of melody, rhythm, irritation, and humor. The group might play around but does not fuck around. They may indulge themselves but do not waste your time. They could be insane but are most certainly diligent. The album is released to coincide with a session for Marc Riley's BBC 6 Music show on May 13, before a tour of the UK and Ireland and trips to West Coast USA and mainland Europe. A compilation of covers of 'Gales songs by various fans/artists is also scheduled for release in 2015 or '16. Like the band's three preceding albums, Mind Over Matter was recorded in Germany at Hans-Joachim Irmler's Faust Studio and produced by the 'Gales bassist and Faust Studio house engineer Andreas Schmid.


NIGHTINGALES: Mind Over Matter LP (LTW 008LP) 26.50
180-gram gatefold LP version.



VA: Loveland 20 Year Anniversary Collection 2x12" (LLR 101LP) 23.00
Loveland is one of the longest-running quality event promoters in the Netherlands. As music has always been its reason for existence, it made sense to launch a record label after 20 years in the business, an anniversary it reached in 2015. Most artists on this release have a special bond with Loveland, built up over many years of performing at Loveland's events -- in some cases, from the very start of their careers. This collection showcases seven exclusive tracks on two 12" discs. From the bright and melodic sounds of Egbert, Vince Watson, Arjuna Schiks, and Dosem to the repetitive, hypnotizing grooves of Mathew Jonson, Anthony Rother, and Aril Brikha, this release covers a wide scope of quality music. Listen for yourself. Double 12" in deluxe gatefold sleeve. All tracks exclusive to this release.



DEATHDAY: No Future 12" (MNQ 046EP) 14.50
2014 release. Deathday (formerly Deathday Party) is a Los Angeles-based experimental post-punk band, formed in Santa Ana, California in 2008 by brothers Alex Guillén and Giovanni Guillén. While the title-track is an unreleased one, "Dropped Into Obscurity" was already included in the Downwards compilation Click Heels alongside Tropic Of Cancer, Silent Servant, and The KVB. On the B-side, Mannequin asked the synth-master Legowelt to remix After Dark." Seldom has the post-punk revival seemed as urgent as with Deathday, who match their guitar-driven dirges with esoteric industrial soundscapes and tape manipulation. Comparisons could easily be made to the likes of Throbbing Gristle and Suicide's uncompromising attitude.


RED TEMPLE SPIRITS: Dancing to Restore an Eclipsed Moon 2LP (MNQ 047LP) 27.50
Limited restock; RSD 2014 release. Dancing to Restore an Eclipsed Moon is the debut studio album of American post-punk band Red Temple Spirits. It was released in 1988 on the Nate Starkman & Son label, a subsidiary of Fundamental. Rock critic Piero Scaruffi praised the album, calling it a "ponderous masterpiece" and writing, "The extravagant mysticism [...] had few or no precedents. It rehashed emotional debris left buried under the cosmic and ritualistic hymn of 'Interstellar Overdrive,' under the psychotic and metaphysical melodrama of 'The End,' under the apocalyptic frenzy of 'Sister Ray,' while scouring medieval fairy tales, Tibetan mantras, whirling sufi dances and gothic ballads for intimations of supernatural existence." L.A.'s Red Temple Spirits perform ritualistic, droning post-punk soundscapes augmented by tribal drumming, '60s psychedelia, and a (new age) spiritual sensibility courtesy of British emigré and frontman William Faircloth, fresh off of an EP with Ministry Of Love. The band also features guitarist Dallas Taylor and bassist Dino Paredes, a former member of Perry Farrell's pre-Jane's Addiction band Psi Com. Los Angeles-based Red Temple Spirits were prophets and shamen, ritualistic healers musically exploring an entirely new world. Pulsating psychedelic sonics meet mesmerizing mysticism, comprising intense spiritual, tribal, primitive imagery. Formed in early 1987, the band has released two albums via Nate & Starkman Son Records (distributed by Fundamental) and disbanded in 1993. Limited edition of 500 copies, no repress. RSD 2014 exclusive. Long-time no repress vinyl version. Strongly recommended for fans of The Cure, Savage Republic, Pink Floyd, and Christian Death.


MUSUMECI: Harry Batasuna/Untitled (An-i Edit) 12" (MNQ 066EP) 14.50
After the killer Der Zeltweg compilation (MNQ 060LP, 2015), the LP reissue Schwarz Morgen/Zusammen (MNQ 042LP, 2013), and the Untitled EP (MNQ 050EP, 2014) with Traxx, Mannequin Records continues to deliver the brutal sound of the Italian industrial/EBM band Musumeci, this time with two killer edits from Lee Douglas/An-i (Cititrax, ESP Institute). Limited edition of 250 copies.


SR 61288LP

BLACKFOOT, J.D.: The Ultimate Prophecy LP (SR 61288LP) 14.00
2015 repress. 180 gram exact repro reissue, featuring the original René Magritte-inspired cover art, as originally issued in the U.S. in 1970. "J.D. Blackfoot's The Ultimate Prophecy, originally released on the Mercury label (SR 61288) in 1970, is widely regarded as one of the top US psych albums of all time. The band, which was from Columbus, Ohio, began as a combination of two local groups, The EbbTide and Tree, the latter winning a recording contract with Mercury as a prize in a local band competition. Craig Fuller, later a founding member of Pure Prairie League, joined the band, which by this time had changed its name to J.D. Blackfoot, after some of the material for The Ultimate Prophecy had been written. Shortly after the release of the album, Blackfoot left the group which continued to perform as Osiris, while J.D. himself assembled a new outfit which delivered two well-received albums for Fantasy. The Ultimate Prophecy with its killer psych guitar, combined a strong British sound with the distinctive song-oriented California sound of Grateful Dead and Neil Young, two of the main inspirations for many an aspiring rock musician of the time. However, despite the laid back rural West Coast sound that the band effortlessly cultivates, shades of UK progsters such as Jethro Tull and the Moody Blues often come to the fore revealing what is, in essence the group's true musical intentions. Nevertheless, this is a fine album, beautifully played (drummer Dan Waldron is in many ways the hero of the hour) and extremely well recorded."


MN 1011CD

MIND GARAGE: A Total Electric Happening CD (MN 1011CD) 16.50
Mind Garage are one of those dozens of bands from the commercial bottom section of the psychedelic rock genre in the late '60s, rather unknown to the record buying audience due to the fact they came from the Christian music scene, similar to The Search Party with their 1969 Montgomery Chapel album. Just a bit more professional in the sense that these guys here are real musicians with the aim to play music, and not a bunch of talented people from a Christian community that puts the word of the lord into a garment of flashing and swirling acid rock. Mind Garage were also different from the more trippy female-fronted project mentioned above. Their music was built on blues-drenched yet utterly dirty and fuzzed-out guitar lines; captivating organ carpets; naughty, angry vocals; and a rather possessed kind of power-drumming that gives the music an irresistibly sexy groove in case they did not slow down for a mind-melting trip into the colored depths of LSD-based insanity. And they did all of this in the name of the lord. The sound is rough and you can hear that the band recorded each song in one take with no overdubs, but this proves how gifted and talented these guys were, and how much love and effort they put into their music. And the raw production makes the music feel even more gruff and honest. This compilation contains their very first single, privately released in 1968 through their own Morning Glori label, plus eight previously unreleased songs. Beautiful garage-psych, as the band name already implies, made for all fans of bands like The Third Bardo, Fraction, The Seeds, The Head Shop, H. P. Lovecraft, The Doors. So roll a blunt in praise of the lord and let the world feel the greatness of the holy smoke while enjoying this lovely freak-out rock.



NIGUEL W. LOCKED GROOVE, EDDIE: The Journey 12" (MNSW 001EP) 14.00
Midnight Shift launches its White Label series with Eddie Niguel's first full EP for the label. "City 2 City" moves from the dancehalls of Berlin to the festivals of Krakow to basement dens in Singapore. "The Warehouse" follows the melancholic "Where Do We Go from Here" and features classic drum work and an uplifting vocal and synth lead, plus wide, spacious breathing capacity. Simple but effective. Young Belgian Locked Groove aka Tim van de Meutter remixes "Where Do We Go from Here" with the hand of an alchemist, transforming the original's sincere and pensive yearning into a heroic statement.


HECKLE, JOHN: Wet Noises 12" (MNSX 003EP) 14.00
John Heckle, from Merseyside, UK, presents the third installment of Midnight Shift's MNSX series, hot on the tail of two releases by Tapirus aka Rotterdam's own Charlton. "Wet Noises" delivers upfront drumming, an acid bassline, and soaring synths. "Alpha Deux" begins with a deceptive ambient soundscape that organically evolves into a full-blown Chicago acid workout. Let it reverse and play on for a secret ending! Tapirus's remix of "Wet Noises" opens with an acid bounce that snakes its way into the mystical. "Frozen Planet" is an evocative piece anchored by a broken beat and deep bassline.



PIGEONS: The Bower LP (MIE 033LP) 21.00
There's a house situated amongst the knobby hills of the eastern section of the Hudson Valley in New York. In our new lives, buoyed by satellite perspectives, it is the proverbial needle in a haystack. But for years there have been somewhat secluded and secretive musical goings-on in the room between the domestic area and the over-stuffed garage. Beyond the large, sun-dappled bay windows, more than a generation ago, a man, a pioneer in his field, took his music to the north country and began to move the air inside this room, vibrating the wooden walls, opening those little portals some of us believe allow the magic to seep through, no matter how many years later. Now here we are, in those later years, and a small group of sonic voyagers have roosted in this space once again. Pigeons have arrived at this uncommon structure, The Bower, via oceanic travels around the Pacific Northwest with The Sea Donkeys and early duo explorations with tape machines and tube-sock-mallet percussion and saxophones and a drum machine named Sammy. This record, The Bower, is an explosion of change. They are in the midst of their longest-running lineup, with Wednesday Knudsen and Clark Griffin augmented by Rob Smith on drums and voice, tho' this particular configuration is new to anyone save those who have seen the band perform live since their last full-length. They have invited you back into their home after years rooting around the confines of the studio seeking their very particular, and peculiar, forms of clarity. Roles have changed; song structures have more movement, richer textures, greater surprises. For one long weekend in March 2014, about a year after full-time occupation of the house in the woods, the trio, perfectly captured by Mike Fellows manning the board, laid down the songs carved deep in the grooves of this slab, mixed by Jason Meagher at Black Dirt Studio in July 2014. Some know-it-alls will hear a wide breadth of influences; some will research the band's past and compare fleeting words to current sound; others will be confounded, befuddled, and tickled with the possibility of the old new noise pop lullaby prog earthly outer space future sounds of the band. Regardless, this is a new mach, and the blazing arc across the skies outside your window is the remnant of the band moving on to even newer sonic destinations.



HOULE, MARC: Restored EP2 12" (MINUS 035-2EP) 12.50
Printed sleeve; 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 is the second EP in the Restored remix project, following MINUS 035-1EP, and features remixes by Joris Voorn, Danny Daze, Harvard Bass, and Popof. "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



STONE ROSES, THE: The Stone Roses 2LP (MCR 914LP) 33.00
"180-gram double LP on 'lemon yellow' color wax. Remastered from the original tapes. Deluxe edition first pressing includes hand numbered Stoughton gatefold 'tip-on' jacket with album title in gold foil. Some albums hold the blueprint for something bigger than can be contained on twelve inches of vinyl; the self-titled debut album by The Stone Roses is one of them. Despite clocking in at less than fifty minutes long, it's a record that shaped the next two-and-a-half decades of British music. Released in 1989, The Stone Roses was a fusion of rock music and the nascent rave scene in the group's native Manchester. For a period of a few years, the industrial English city that gave us Joy Division, The Fall, and The Smiths was home to a drug-fuelled, club-based scene that earned the town a new nickname -- Madchester. Falling squarely in that point of transition, The Stone Roses created guitar music that made people dance, fostering the baggy scene that paved the way to Britpop and Manchester's next mega band, Oasis. The Stone Roses were the full package: they had the tough demeanor and insular mentality of any group of friends from a rugged city, they had a unique look comprised of bucket hats, Adidas sportswear, baggy jeans, and oversized T-shirts, and they talked a mean fight in interviews. But musically they were groaning with talent -- Gary 'Mani' Mounfied (bass) and Alan 'Reni' Wren (drums) made complex rhythms seem effortless, guitarist John Squire could give his beloved Jimmy Page a run for his money, and frontman Ian Brown balanced punk sensibility and hippy mentality. In the UK, the album is the stuff of legend, its cover still seen on T-shirts in any given gig venue. Around the world, its influence was less tangible, most likely due to the fact that the group was hamstrung by a legal wrangle with the Silvertone label following the album's release. Musically, it's a mix of the grandiose and the intimate, containing songs so forceful and emotive they've become terrace anthems ('This Is The One' is Manchester United's walk-on music) alongside introspective tracks like the anti-monarchy madrigal 'Elizabeth My Dear.' In 'Waterfall,' there are cascading guitar lines that describe its title like musical onomatopoeia, and in 'Made Of Stone' and 'She Bangs The Drum,' there are perfect pop songs too. Most significantly, there are songs in which the band etch their own myth in earth-rumbling basslines and grandiose statements: 'I Wanna Be Adored,' which opens the album, and 'I Am The Resurrection,' which closes. Reissued on Light In The Attic on deluxe double-vinyl, this is your chance to discover the album for the first time or to own it in its most beautiful presentation yet."


STONE ROSES, THE: Turns Into Stone 2LP (MCR 915LP) 33.00
"180-gram double LP on 'stone' color wax. Remastered from the original tapes. Deluxe edition first pressing includes hand numbered jacket with album title in silver foil. You can tell a lot about a band by the songs they leave off their albums. Manchester's Stone Roses released just two albums -- the self-titled 1989 debut and, five years later, the follow-up, Second Coming. But those albums tell only part of the story. The missing bits can be found on Turns Into Stone, originally released in 1992 and scooping up early singles and B-sides that didn't appear on the debut album. The album's provenance speaks nothing of its quality: here can be found some of the greatest songs the four-piece ever recorded, from their poppets single, 'Elephant Stone,' to the towering 'One Love' and the anthemic 'Fools Gold,' the track on which their hybrid of atmospheric indie and acid house found its most perfect balance. It's the track that allowed the group's rhythm section of Gary 'Mani' Mounfied (bass) and Alan 'Reni' Wren (drums) to shine and the one that gave them cred beyond the indie scene -- Run DMC sampled it on 1990's 'What's It All About?' Quite why The Stone Roses chose not to put these songs on an album is a mystery, but Turns Into Stone itself was controversial at the time. In a protracted battle with record label Silvertone, the band were unable to release any new material for several years due to an injunction against them, and Turns Into Stone was released without input from the band -- unlike the majority of their releases, it boasts no cover art from the guitarist, painter and sculptor John Squire. The title is taken from the closing line in 'One Love' -- 'What goes up must come down/Turns into dust or turns into stone.' The lyric proved prescient for The Stone Roses who split acrimoniously following the divisive Second Coming and a poorly received performance at the UK's influential Reading Festival. It took eighteen years for the group to reunite, and when they did, they played to 220,000 people in three nights at Manchester's Heaton Park. For a time, relations between the band did indeed turn to dust. The band's legacy, which lives on in those three albums, is rock solid."



BADIE, BERNARD: Open Up 12" (MOJUBA 024EP) 14.00
Chicago original Bernard Badie, creator of the classic "Time Reveals," showing off his skills to the fullest with Open Up. His vision of Chicago house 2015 comes in four different flavors and will please everybody who loves quality kicking house music! Open up your ears and let the music make you dance!



BERG, HANS: Field EP 12" (MONTAGE 002EP) 14.00
Ian Pooley's techno label Montage follows up the 2015 inaugural release from his Silvershower alias (MONTAGE 001EP) by handing a label debut to Swedish producer Hans Berg (Kant, Johanna Knutsson). "Field" employs an elastic bassline that recalls some of the more dancefloor-focused workings of UK producers such as Four Tet and Joy Orbison, while "Polar" sees the Swede head in a more stargazing direction, its trance-like melodies cloaking a sturdy backbone. Pooley's Silvershower alias rounds out the 12" with a darker take on "Field," pinning the original's bassline to its heavy kick, ride, and claps for a powerful techno roller.



FIXMER, TERENCE: Aktion Mekanik Theme 12" (MMSPEC 012EP) 12.50
Single-sided reissue pressed on red transparent vinyl and limited to 300. Terence Fixmer's "Aktion Mekanik Theme," originally released on Music Man in 2003, was as much a landmark for techno as the Aktion Mekanik compilation (MM 021CD) was for EBM. "As an artist who's been pushing EBM sounds into the modernity of Techno it was a logical step to do the compilation back then," Fixmer says. "I wanted to show my influences as a Techno artist, as Detroit sounds weren't my roots at all, but classics by Front 242, Fad Gadget, Nitzer Ebb, Crash Course in Science, or Snowy Red."



BLEND MISHKIN & ROOTS EVOLUTION: Settle Down (feat. Exco Levi) 7" (NUP 018EP) 11.00
Following a number of singles on Nice Up!, Greek producer Blend Mishkin delivers an EP with the quintet Roots Evolution. The combo takes Blend's sound to the next level -- real authentic reggae music! "Settle Down" features Exco Levi, an up-and-coming Jamaican superstar and part of the reggae revival movement alongside artists such as Chronixx, Protoje, and Kabaka Pyramid.


45 189EP

MIRIAM: The Hand Don't Fit the Glove/Take Me for a Little While 7" (45 189EP) 7.00
"Two boss sides from Miriam and monster producer legend Sam Elwitt-- both from the upcoming new album, slated for fall release!"

45 190EP

FOWLEY, KIM: The Trip/Underground Lady 7" (45 190EP) 7.00
"50th anniversary edition of 'The Trip' tips off the upcoming second volume of Kim's life story, THE TRIP -- stay tuned!"

45 9671EP

FLESHTONES/LOS STRAITJACKETS: Gotta Get Away/2000 Light Years from Home 7" (45 9671EP) 7.00
"The Rolling Stones as interpreted by top stars The Fleshtones (Fleshstones?) and the Los Straitjackets- mama mia here's a fabulous pairing."


CHILTON, ALEX: Live At the Ocean Club '77 CD (CED 400CD) 13.00
"We are THRILLED beyond all git out to present the insane double album set Alex Chilton - Ocean Club '77 (live in NYC-- direct from master tapes with crystal clear sound!)... never heard, never issued..."

ED 400LP

CHILTON, ALEX: Live At the Ocean Club '77 2LP (ED 400LP) 26.00
Double LP version.

ED 401LP

VA: Whiplash! Crude Unissued New Jersey Rock and Roll LP (ED 401LP) 15.00
"World famous WFMU DJ Rex, adored the world over for his Fools Paradise show, has revved up this posse of Jersey jammers into a set to reckon with, with poo-lenty notes and acetate action!"

ED 402LP

DADDY LONG LEGS: Rides Tonight - Recorded Live! LP (ED 402LP) 15.00
"Here comes the wildest live record in history as the blues wailing Daddy Long Legs drives it home with a live set to end all live sets- what a POUNDER!"

ED 403LP

TOUBIN, JONATHAN: Souvenirs of the Soul Clap Vol. 3 LP (ED 403LP) 15.00
"Dig two big new volumes of Souvenirs of the Soul Clap, delivered by internationally famous DJ Jonathan Toubin! The first two volumes set the dance frenzy world on a tiltawhirl, redefining 'Northern Soul' as 'Norton Soul'! Just kidding, Anglo-Saxons, we loves ya! So here are two more gigantic sets of floor fillers that spell INSTANT PARTY whenever the rubber meets the road!"

ED 404LP

TOUBIN, JONATHAN: Souvenirs of the Soul Clap Vol. 4 LP (ED 404LP) 15.00
"Dig two big new volumes of Souvenirs of the Soul Clap, delivered by internationally famous DJ Jonathan Toubin! The first two volumes set the dance frenzy world on a tiltawhirl, redefining 'Northern Soul' as 'Norton Soul'! Just kidding, Anglo-Saxons, we loves ya! So here are two more gigantic sets of floor fillers that spell INSTANT PARTY whenever the rubber meets the road!"


OM 027EP

JUNTO CLUB: Junto Club 12" (OM 027EP) 14.00
Optimo Music presents the next wave of unique talent to emerge from Glasgow, once again recorded in the near-legendary Green Door Studio. Four tracks of highly original, impossible-to-pigeonhole, dancefloor-not-dancefloor music. Junto Club are four men from Glasgow who have remained friends since they were teenagers through creating music they love. While learning new instruments during a long winter, their sound was fashioned unexpectedly with sporadic melodies overlaid on taut drum machines, synthesizers, and bass guitar. Many humble dance moves followed as the band began to carouse behind closed doors with their newly-found rhythm. Presented in picture sleeve.



FIXMER, TERENCE: Aktion Mekanik Theme Versions 12" (OSTGUT 088EP) 14.00
Terence Fixmer's "Aktion Mekanik Theme," originally released on Music Man in 2003, was as much a landmark for techno as the Aktion Mekanik compilation (MM 021CD) was for EBM. This remix EP coincides with a single-sided transparent red vinyl reissue of the original (MMSPEC 012EP). "Kobosil... injects an amazing energy with a great sound, I wish I would have done such a version... The Norman Nodge version could be a track done in '89 or '90, it sounds so much New Beat, very Belgian, like another original. And Marcel Dettmann uncovers the core, the essence of the original." --Fixmer



MILLER, SEAN: Matter of Time EP 12" (OVM 255EP) 14.00
Toronto native and production chameleon Sean Miller (Mobilee, Supernature, VIVa Music, Saved) joins the ranks of Josh Wink's Ovum Recordings, following releases from the likes of Wink himself and Vince Watson (who released the label's 250th release at the end of 2014 (OVM 250EP)). "Vida" exudes a percussive, instrumental flair with sounds of Afrobeat and Latin-house squeezed between its rhythmic beats and flanked by wailing vocal chants. The "Percapella" version strips back the beats for a sturdy DJ tool. "Come June" brings the carnival sound, doused in uplifting, poly-rhythmic percussions and deep slabs of sub-weighted bass.



2015 repress. Exact repro reissue, originally released in 1972. Astrud Gilberto's beautiful Brazilian vocals with funky straightlaced tropicalia. A notable contributor is percussionist Airto Moreira, whose own solo albums should be gripped on sight.



VILOD: Safe in Harbour 2LP (PERL 105LP) 23.50
Double LP version. The smart and airy groove of atoms in space rules this mesmerizing album from Ricardo Villalobos and Max Loderbauer as Vilod, leading off with an irresistibly deconstructed downbeat monstrosity deceptively tagged as the "Modern Hit Midget" -- it's actually a giant. One giant of seven, to be precise: Safe in Harbour contains seven giants of free funk that proceed through a variety of way-out psychedelicacies. Which increase in flavor under headphones. The wane of the free-floating energy in Villalobos and Loderbauer's 2011 Re: ECM work is more than offset here by the increase in rhythmic push through sensual syncopation and eruptive bass energy. The duo is the impetus in Perlon's swinging machine.



MCLEAN, JACKIE: Strange Blues LP (PRESTIGE 7500LP) 11.50
Exact repro; originally released in 1957. "The last of the Jackie McLean Prestige sessions [with] material from two different sets... the music is on a higher level than one might expect of 'leftovers'" --AllMusic. Recorded at Van Gelder Studio in Hackensack, New Jersey, on February 15, July 12, and August 30, 1957. Jackie McLean: alto saxophone; Webster Young: trumpet (tracks 2 and 4); Ray Draper: tuba (tracks 2 and 4); Gil Coggins: piano (track 3); Jon Mayer: piano (tracks 2, 4, and 5); Mal Waldron: piano (track 1); Paul Chambers: bass (track 3); Art Phipps: bass (track 1); Bill Salter: bass (tracks 2, 4, and 5); Louis Hayes: drums (track 3); Art Taylor: drums (track 1); Larry Ritchie: drums (tracks 2, 4, and 5).


PP 010EP

BELL TOWERS: Hyper-Realised-Self 12" (PP 010EP) 14.00
On this "highly conceptual" release by Bell Towers there is a "ME)" and a you "YOU)" side. Selfish -- Selfless. Side one features the bumpy dance cut "Hyper-Realised-Self" in which he very elegantly recites his track "Lightrail," which was previously released on PP (PP 003EP, 2013). On the YOU) side, Rohan continues to make music not only for the feet, but also the heart. "Jumpin Off into the Sea of Your Love" is an emotional ride carried by dreamy bells and a powerful bassline. Make sure to make eye contact with a person of your choice before playing that track.



VA: 3 Years of Pushmaster Discs 2x12" (PUSH 011EP) 29.00
Vinyl only. Special 2x12 full-cover edition, limited to 280 copies. Pushmaster Discs is very proud to celebrate its third year of work, music, and passion, following its inception in 2012. Solid techno works from Andres Zacco, Bleak, Ilario Alicante, Percyl, Mattia Trani, Los Hermanos, Mike Storm, and Claude Young.



VA: Love, Peace & Poetry: Latin America Psychedelic Music LP (QDK 022LP) 16.50
2015 repress, vinyl edition. Full color gatefold sleeve presentation. 2nd volume in this series. Featuring tracks from Almendra (Argentina, 1968), Laghonia (Peru, 1971), Traffic Sound (Peru, 1968, '70), Kaleidoscope (Mexico, 1969), We All Together (Peru, 1972), Los Gatos (Argentina, 1968), Kissing Spell (Chile, 1970), Los Macs (Chile, 1967), Los Vidrios Quebrados (Chile, 1967), Som Imaginario (Brazil, 1970), Ladies W.C. (Venezuela, 1970), Módulo 1000 (Brazil, 1970), The St. Thomas Pepper Smelter (Peru, 1969) & Dug Dug's (Mexico, 1971).


VA: Love, Peace & Poetry - British Psychedelic Music LP (QDK 041LP) 16.50
2015 restock. LP version in deluxe full color gatefold sleeve. Fifth volume in this phenomenal series of compilations focusing on the weirdest and most uncommon records from the late 60s/early 70s, this time focusing on underground UK releases. "Not just another collection of rare singles tracks, this series is designed to introduce you to a large box of albums you may have heard of but have never heard; designed to show you that there was a bit more Love, Peace and Poetry around than you might have thought." --Stan Denski. Artists include: Red Dirt, Gary Walker & The Rain, Andwellas Dream, Dark, Dogfeet, Tony, Caro & John, Candida Pax, Pussy, Mark Fry, Motherlight, Light Years Away (Astral Navigations, aka Bill Nelson), Bodkin, Forever Amber, Oliver, Parameter.


VA: Love, Peace & Poetry: Mexican Psychedelic Music LP (QDK 045LP) 16.50
2015 restock. LP version, full color gategold sleeve. "The economic prosperity that fueled the Baby Boom generation in the United States didn't exist for Mexican youth, nor was Mexico as racially volatile or sexually repressed. In the 1950's the culture of the United States was far more shook up by Elvis and his gyrating army than was Mexico. Rock and roll became dangerous in Mexico when it began to be mixed with a challenge to the political status quo. Tracks from rare LPs by The Flying Karpets, Grupo Ciruela, Los Ovnis, La Onda De Survival, and Nahuatl help complete our tour through the various climates of 1960s-1970s Mexican psychedelia, and readily demonstrate the origins of a musical culture that continues on into contemporary times in the many bands that make up the active Mexican music scene here in the new century."


VA: Love, Peace & Poetry - Turkish Psychedelic Music LP (QDK 047LP) 16.50
2015 repress. LP version, deluxe gatefold sleeve. This is the ninth volume in the impressive Love, Peace & Poetry compilation series, following America, Latin America, Asia, UK, Japan, Brazil, Mexico and Africa. Artists include: Selda, Özdemir Erdo?an ve Orkestras, Alpay, Mazhar ve Fuat, Erkin Koray, Ersen, Edip Akbayram, Hardal, Selda, Erol Büyükburç, Cem Karaca, Üç Hürel, Baris¸ Manço, Mo?ollar, Bülent Ortaçgil, Erkut Taçkun



VA: Gentlemen Cuts (Vol. 1) 12" (QUINTESSE 044EP) 12.50
It started in 2009 with Deep, Raw and Real (QUINTESSE 010.1), then in 2012 and '13 it was Thank You Freaks (QUINTESSE 028EP, QUINTESSE 033EP, QUINTESSE 036EP), and now it's Gentlemen Cuts -- all well-rounded, lovely compilations bringing hot tunes from all over the globe. Vol. 1 includes tracks by Clang83, an up-and-coming Italian artist who's into this kinda classic house and Detroit sound; 4004 (Soul of Hex, Sebastien Vorhaus & 4004); The Legendary 1979 Orchestra in his debut appearance as Standard Model; and Finnish hotshot Saine (Voyage, Pusic, Sleazy Beat).


RAD 8001LP

4 SKINS, THE: The Good, the Bad & The 4 Skins LP (RAD 8001LP) 23.00
The Good, the Bad & The 4 Skins is the debut LP -- originally released on the British Secret label in 1982 -- from East London Oi! legends The 4 Skins. Recorded with the first stable lineup after numerous changes, fronted by legendary vocalist Panther (who stepped in after original singer Gary Hodges's defection), this is violent, political, and as real as Oi! gets; one of the absolute classic LPs of the genre. Featuring studio recordings on side A and amped-up live versions of such Oi! classics as "A.C.A.B." and "Chaos" on side B, the album remains a coherent punk masterwork, which also happens to include -- in the first song of the LP, "Plastic Gangsters" -- one of the best British two-tone ska tracks of all time, composed and sung by 4 Skins' original drummer Gary Hitchcock. A classic LP reissued for a new generation of skins and punk/Oi! fans of all stripes. The first release on Radiation Deluxe Series, this classic punk LP is reissued on 180-gram vinyl in a deluxe 350-gram cardboard sleeve.

RAD 8002LP

KIDS, THE: The Kids LP (RAD 8002LP) 23.00
Hailing from Antwerp, Belgium, The Kids formed in 1976 to prove to the world that punk was more than just a London vs New York fashion contest. Originally released on the Philips label in 1978, and highly acclaimed as one of the best punk records EVER, The Kids' debut album is now reissued on vinyl, with two bonus tracks recorded in 1977. This is pure and quintessential punk rock. The second release on Radiation Deluxe Series, this classic punk LP is reissued on 180-gram vinyl in a deluxe 350-gram cardboard sleeve.

RAD 8003LP

KIDS, THE: Naughty Kids LP (RAD 8003LP) 23.00
Originally released a mere eight months after their groundbreaking 1978 self-titled debut LP (RAD 8002LP), The Kids' second album is a pure masterpiece of straightforward punk rock. A little less raw than their previous material, but still far from the new wave sounds the band started experimenting with on their following records, Naughty Kids remains one of the best examples of non-UK '70s punk and definitely a mandatory addition to the collection of any Killed by Death fanatic! This reissue also includes five bonus tracks recorded live in 1978. The third release on Radiation Deluxe Series, this classic punk LP is reissued on 180-gram vinyl in a deluxe 350-gram cardboard sleeve.



LATINS/ALBA AND ORCHESTRE ARIS, THE: Habibi Twist/Alba's Shake 7" (MARTIKO 001EP) 18.00
7" limited to 500 copies; not to be repressed. Oriental rock 'n' roll! This killer double-sider features two raw vintage dance tunes from the '60s by The Latins and Alba and Orchestre Aris, combining the best of the East and the West. Each of these two dancefloor-fillers is unique in its own way. Getting these tunes on original 45 is rather tough, so grab your chance!


R-N 158LP

DASHA RUSH: Sleepstep 2LP (R-N 158LP) 23.00
Sleepstep's subtitle, Sonar Poems for My Sleepless Friends, describes its underlying concept -- Sleepstep is a trip through electronically alienated micro-compositions and sound collages that, interwoven with text passages, aim at creating a dream-like atmosphere. The album's journey strives for oblivion of time, an immersion, a drifting in universal states -- moving through the stations of death, life, birth, grief, desire. The titles often appear to be raw sketches; fugitive, surreal short stories. The musical arrangements are rather subtle and fragile, and, though the pieces are electronically manipulated, no production technique pushes itself to the fore. Dasha Rush's sonar poems for her sleepless friends are feminine, subtle, and personal reports. A musical dream journey in the form of a classical concept record, and an album that also stands in the tradition of ambient music. Dasha Rush is already known as a techno DJ and producer. Here on Sleepstep, she celebrates her alter ego.

R-N 159LP

ALVA NOTO: Xerrox Vol. 3 2LP (R-N 159LP) 23.00
Double LP version. After a break following the 2009 release of Xerrox Vol. 2, Alva Noto continues his Xerrox series with Xerrox Vol. 3, titled Towards Space. This is a journey that started with Xerrox Vol. 1 (R-N 078CD, 2007), referring to the "old world," and Xerrox Vol. 2, heading "to the new world." Using the process of copying as a basis, the Xerrox series deals with the manipulation of data by means of endless reproduction. Due to the inherent vice of the procedure that becomes especially visible when copies are made from copies, everyday sounds are so much altered that they can be hardly associated with the source material anymore. As a result, entirely new sounds are created that, being copies of originals, become originals themselves. On Xerrox Vol. 3, a new aspect enters the scene. Inspired by childhood film memories from the 1970s including Tarkovsky's adaption of Solaris (1972) and La isla misteriosa y el capitán nemo (1973), based on Jules Verne's The Mysterious Island, the album shows Alva Noto's private side. With its very intimate atmosphere, it is a personal reflection of dreams, an imaginary journey through emotional landscapes or, as he himself puts it, a "cinematographic emotion of a soundtrack to a film that actually does not exist in reality." Alvo Noto further states, "I see Xerrox Vol. 3 as my most personal album so far. I have to admit that this emotional output is a surprise even for myself. It remains exciting how the last two albums of this series will sound."



REDREAM: 11 12" (REDREAM 011EP) 14.00
¡redream! is a white-label series showing up here, there, and everywhere in your trusted record store. Excellent, swinging, spaced-out, catchy techno. After being played for a long time as true secret weapon, finally available on vinyl. Unknown origin. Hand-stamped. 180-gram vinyl. Vinyl only.


RM 007LP

SOOM T & MONKEY MARC: Bullets Over Babylon LP (RM 007LP) 25.00
LP version. Bullets Over Babylon drops from the womb of the renegade ma, ready to destroy neuro currents, reestablishing a new etheric body for the duration of its ten holy onslaughts. Diggin' deep into the underbelly of the bass-loving classes, it wanders into dark hip-hop territory with unmistakable homage to Cypress Hill of the early '90s while propping up the atmospheric slant of '50s jazz, occasionally coursing into uncharted rage-infused confusery. Many years in the making, this beast groomed itself into an idea worth sharing, drawn from two divergent camps: India-born, Glasgow-raised MC Soom T's activist words, poignant delivery, and spiritual vocal underpinnings; and the politically charged electronic wizardry of Monkey Marc (producer from Australian label Omelette and politico-activist stalwarts Combat Wombat). Each instrumental provides the backdrop, embellishing the gush of ideas that lean into epicurean drama when the mood brings it. The bullets from this Babylon-induced homage to truth carry the listener on a deep emotional journey that demands that they question reality and turn up the bass. Bullets Over Babylon -- get it... to know that you know nothing. May the source be with you. Features appearances from Mantra, Joelistics, Solo Banton, and Marina P.



CLOCK, LAURA: Baby - Part One 12" (RINSE 060EP) 12.50
Laura Clock, who first made her voice known on oOoOO's 2012 Our Loving Is Hurting Us 12", follows her acclaimed 2013 full-length debut, First Prom, with Baby - Part One. "Fade" is a maze of reggaeton rhythms and glassy-eyed melodies; "Cold" features lyrics delivered with an aching synthetic bite; and exquisitely spaced-out "Fantasy," produced by Ana Caprix, weaves sound, mood, and lyrics into an inseparable whole. "Slowly" is a headlong soundclash between Clock's sorrowful voice, synthetic choral synths, and crunching rap beats, featuring a fast-paced turn from rapper Nina B -- the EP's most striking moment, its dizzying emotional peak.



GHOLD: Of Ruin LP (RITE 034LP) 25.00
LP version on 180 gram vinyl with download code. The two components of bass and drums are bound together so tight on Of Ruin that they resemble a singular gnarled entity, kneading together groove and melody like putty in the palms of their hands, with explosive results. Intrinsically heavy and elastically supercharged, London duo Ghold create a strain of viscous rock that is as plainly devastating as it is capricious, pushing down the scales to achieve an ever heavier outcome. The wealth of ideas presented by Paul Antony and Alex Wilson on Of Ruin surpass the imaginations of the majority, and it's easy to see why Terrorizer tipped them as one to watch for 2015. The alchemical duo fuses elements of power violence, doom, gloom, and heavy rock with enchanting vocal incantations. Since their inception in 2012, Ghold have been steadily amassing fans of their filth jams from countless shows performing alongside the likes of Yob, Pallbearer, Stephen O'Malley, and Årabrot. Of Ruin was mastered by James Plotkin. The CD and LP artwork feature different paintings by Alex Virji.


RL 301LP

JEFFERSON, BLIND LEMON: Volume 1 LP (RL 301LP) 12.00
Repressed. Exact repro of this 1970 compilation, originally released on the Austrian label Roots in 1970. Includes the song "Black Snake Moan." "The father of Texas blues, Blind Lemon Jefferson began a successful recording career for Paramount Records in 1926 in Chicago, recording over 100 sides until his death at age 35 in 1929... his songs have also been covered by many rock artists including, The Beatles, Bob Dylan, and the Grateful Dead."


RB 007CD

BOOF: The Hydrangeas Whisper CD (RB 007CD) 17.00
The Hydrangeas Whisper is Maurice Fulton's first Boof material since 2011's Shhh, Dandelions At Play (RB 003CD), an album that was swiftly re-issued on CD by Running Back, as presumably Gerd Janson wanted to save it from obscurity. Like previous excursions under the long-running pseudonym (Fulton first used it way back in 1999), The Hydrangeas Whisper presents the more flowery, melodious and, on occasion, smoother side of the producer's work; warm, often organic deep house littered with live instrumentation, drenched in dub delay and touched by his usual rich, dancefloor-friendly disco influences. There are many reasons to love Maurice Fulton, not least the majestic, off-kilter nature of his finest musical moments, but his pig-headed desire to stick two fingers up at the music industry machine is arguably not one of them.

RB 007LP

BOOF: The Hydrangeas Whisper 2LP (RB 007LP) 23.50
Double LP version.



MATAT PROFESSIONALS: Dial B for Fun Time 12" (S1WWA 004EP) 15.50
Warsaw-based producer Matat Professionals follows his crooked disco debut on the 2014 Par Avion EP with Dial B for Fun Time, recalling DJ Shadow's early sublime beats, Soundstream's disco-house pumpin', Bjørn Torske's Nordic moods, and Mobb Deep's lo-fi hardcore hip-hop instrumentals. All served with a cheeky sense of humor and a dose of irony. Made with tons of absurd samples on some suspicious gear over 12 months of changing apartments and playing records around the country, it finally got serious finishing touches with an analog reel-to-reel mix and dope remix by well-respected NYC multitalent Willie Burns on his mighty SP-12.


SS 011LP

SANI ET SON ORGUE, MAMMANE: La Musique Electronique du Niger LP (SS 011LP) 17.00
2015 repress. "Mammane Sani Abdullaye is a legendary name in Niger's avant garde. A pioneer of early West African electronic music, for over 30 years his instrumentals have filled the airwaves. The instrumental background drones of radio broadcasts and instrumental segue of TV intermissions borrow heavily from his repertoire. The dreamy organ instrumentals drifts by sans comment, yet are known to all. New pressing with printed covers, reissue of his 1978 cassette. Co-release with Mississippi Records."



GONPUTH, SARAH: I'm Still in Love: The Remixes 12" (RMX 007EP) 12.50
So this EP exists because of nothing but Sarah Gonputh's voice track? How can you remix a song that does not yet exist? The BELP version is a tribute to a woman's voice; sepia-toned, wearing a long, pale raincoat in an industrial London from another time. Steril's bright, shiny version definitely uses Gonputh the most. Protein's version is the most reminiscent of the original reggae vibe -- something like acidofluorescentropical music. Everything good and dirty happens below the belt on Bartellow's version; Pacifico Boy's version is fit for a psycho-circus waltz ballroom; Eshna_TRON's version is the most hardcore thing ever.



MUNGO'S HI-FI: Sound System Champions 2LP (SCOB 001LP) 27.50
2015 repress. 2LP version, with four extra tracks not included on the CD. Scotland's number one reggae dancehall sound system and bona-fide institution, Mungo's Hi-Fi have been releasing hits since 2001 when their killer tracks "Wickedness" and "Ing" featuring Brother Culture first took the world by storm, getting heavy plays by Jah Shaka, the late great John Peel and Mr. Scruff, who went on to include "Ing" on his Solid Steel mix released on Ninja Tunes. At this point in their life, the trio have truly earned the title of Veteran Selectors and are one of the most in-demand sound systems in Europe. Drawing faithfully on foundation reggae, dub and dancehall music from the last 50 years, their genuinely fresh sound spans a broad selection of musical stylings from ska and rocksteady, through roots and steppers, to rub-a-dub, digital roots and dancehall. As with their live sound, powered by their own enormous, homebuilt PA, their inspirational forward-thinking productions continually push reggae boundaries into new groundbreaking frontiers. Sound System Champions features an onslaught of world class reggae MCs and singers, including Top Cat, Tippa Irie, Ranking Joe, Soom T, Kenny Knots, Mikey Murka, Ras Charmer, Aya Faith, Suncycle, MC Ishu and Marina P, and is as huge as Mungo's infamous speaker stacks.



CHARLIES: Jail Sessions CD (SHAD 173CD) 17.00
Shadoks's third release by Finnish band Charlies following reissues of Buttocks (2013) and Musiikkia Elokuvasta Julisteiden Liimaajat (SHAD 163CD, 2014). Jail Sessions was recorded in 1969 and 1970 in Charlies's rehearsal room, a drunk tank at the local jail, made available to the band by Kari "Pitkä" Lehtinen's father, a local police officer. After Charlies finished the 1969 Julisteiden Liimaajat album, they never thought the final product sounded right, though it received a lot of positive feedback. Pitkä (bass) and Eero (guitars) spent a lot of time considering how to deliver a harder-sounding album as a follow-up, representing the true Charlies spirit. They got the chance to make a new album, one that would be released by the famous Love Records label. That album, Buttocks, also gained a good reputation, but the result was only as good as its budget. In the end, the band was never content with it. One night Pitkä said, "Eero, we should have made our album from your tapes, the result would have been much different." Jail Sessions is those tapes. Much heavier in sound, with amazing electric guitar and 100% pure heavy underground sound. Includes alternative versions of songs from Buttocks as well as previously unknown songs.



MAHK AND MORPHEUS: Desert 12" (SOUVENIR 070EP) 14.00
DJ Morpheus aka Samy Birnbach (SSR/Crammed Discs' Freezone compilations) and Mahk aka Mahk Rumbae (Konstruktivists, Urban Takeover) twist Section 25's 1984 classic "Desert," from the album From the Hip on Manchester's renowned Factory label, into a slow-driving, blood-curdling, arpeggiated late-night anthem for the freaks. French electronic producer Danton Eeprom injects a little more funk with a chopped and slapped bass and piqued guitar hooks, all cloaked in dubbed-out reverb ambience. Industrial and analog noodlers Juju & Jordash turn in a tripped-out journey through the original.


SP 040LP

Ren Schofield's Container took the world of underground electronic music by storm with the debut LP in 2011 (SP 007LP). Following massive amounts of touring and the powerful follow-up LP, LP, in 2012 (SP 025LP), the project became a must-experience staple everywhere from U.S. basements to Berghain. After two fantastic EP recordings on Morphine (Treatment, DOSER 016EP, 2013) and Liberation Technologies, Container returns with the first full-length album since 2012, simply titled LP. LP is the most explosive offering in the Container oeuvre, capturing the raw and unhinged essence of the live Container experience while exploring new compositional and sonic limits. Opener "Eject" wastes no time with its instant feedback squeal backed by a barrage of pounding, distorted percussion. The concomitant storm of misfiring FX and derailed drum patterns sets the stage for the aural pandemonium to come. "Remover" and "Peripheral" are dense and intricate structural compositions ruthless in their delivery and infectious in rhythm, stretching the known limits of the project's sound into welcome new realms. Tracks like "Appliance" and "Cushion" find Schofield in his most vicious form, with floor-destroying tempos and a miraculously adroit sense of arrangement. Somehow, LP manages to simultaneously be the most palatable and most damaged contribution yet. Patchwork polyrhythm motifs, melodic (albeit fully blasted) hook sensibilities, and ballistic synthesized sounds are melted down together and shaped into some of the most rewarding, enjoyable works yet heard on any of the LP offerings. The closing "Calibrate" pounds with a hypnotic churn, growing into a stasis of red-hot squelches and deranged electronic malfunction that recalls some of the earliest tape works Schofield created. LP gives a sense of "full circle," blurring the end and the beginning into a baffling riddle that can only be admired and never solved. Schofield has enigmatically crafted his most insane Container album to be the most architecturally dexterous and club-minded, never compromising his fundamentals while evolving the project in an utterly satisfying fashion. LP is his most locked-in full-length recording to date, long overdue and absolutely essential.



VA: iV3SCR (The Great Complotto 2) LP+CD (SPITTLE 060LP) 23.00
The second chapter in the Great Complotto manifesto from Pordenone (birthplace of Italian punk). Originally issued in 1983, though most of its songs were recorded in 1981, Italian Records' second compilation of Italian punk is even more attractive than its first (The Great Complotto - Pordenone (SPITTLE 048LP)). What glues together all the contributors (Sexy Angels, Gigolo' Look, Cancer (credited on the cover as 0010110000010011), and Mess) is their innovative and creative use of electronics. This reissue includes the original artwork (a giant poster folded in four parts) and an extra CD with the LP's tracks and five bonus tracks from the ultra-rare 7" single originally enclosed with the Onda 400 fanzine in 1980 (including contributions from Andy Warhol Banana Technicolor, 001011000010011101, Sexy Angels, Fhedolts, and Mind Invaders). RIYL: The Cure, DEVO, Joy Division.


STUPID SET, THE: Soul Of Trade LP+CD (SPITTLE 063LP) 23.00
Stupid Set are one of the most sought after bands of the Bologna rock scene. Their parabola ended in the early eighties but the band, led by Gaznevada's first bass player Gianpietro Huber, had been one of the most intense of the new era, leading to a connection with the stalwarts of American avant-garde. Truly they've been the Italian answer to Residents and Negativland. Soul of Trade was executed only three times in 1981 and was a strong emotional and technical effort: from the generation of electronic sounds, to the use of loops and cut-up of magnetic tapes. It is available on vinyl after 34 years from the very first live performance, and still retains the strictness of its theoretical impact and the freshness of the songs. Paolo Bazzani, Gianpietro Huber, Giorgio Lavagna, Fabio Sabbioni and the artistic/executive producer are very proud of this unknown masterpiece, made in 1981.



USIO: Kuwa Jasiri 12" (BARN 031EP) 14.00
The mysterious Usio project first showed its bewitching Janus-face in 2013 with Kuwa Huru (BARN 012LP), a collection of electronic blues for the dancefloor and the first full-length album to appear on Studio Barnhus. Kuwa Jasiri is a follow-up and an appendix, with four tracks stemming from intense rehearsals of Usio's emotive, energetic live show (coming soon, if you're lucky, to a dark basement or dewy forest floor near you): the breezing funk of opener "Gonna Make It," the freakish stomp of "Planet Dust," "Over the Andes" in all its precipitous acid-jammin' glory, and the contemplative, elegant closer "Pamoja."



VA: Thai Beat A Go-Go Volume 3 LP (SUBL 074LP) 25.50
2015 restock. Finally on vinyl, volume three of the legendary Thai Beat compilation including 5 (!) awesome extra tracks that were not previously available on the CD! Incredible and ultra-rare recordings from Thailand in the 1960s. The amazing Thai Beat A Go-Go Vol 3 concentrates on Shadow music string bands, cosmic surf instros, mad garage/beat, mystic go-go organs, wild guitar rave-ups and psychedelic mind-benders, exotic female singers, wild Moog funk, disco madness, funky and soulful with extreme sensuality and emotions, surreal and groovy, all with a totally otherworldly Thai flavor. Experience the blossoming Bangkok night club scene with the exotic bar and lounge go-go bands! These recordings have a sound that's completely inexplicable, despite the use of standard rock instrumentation and song structures combining a fascinating and primal version of rock n roll, surf, r 'n' b -- sometimes all in one song. Don't miss this ultimate Thai '60s compilation. Limited edition of 1,000 copies worldwide. Housed in a beautiful full-color gatefold sleeve.


TR 316LP

LAST DAYS OF APRIL: Sea of Clouds LP+CD (TR 316LP) 25.50
LP version. Includes CD. Since their formation in 1996, Swedish band Last Days of April has enriched the world with their enchanting indie pop. Their ninth album, Sea of Clouds, follows a series of outstanding releases. And yet the ninth studio album by this Stockholm band -- based around the songwriter Karl Larsson -- sounds so much more deliberate, mature, and balanced than ever before, while continuing the band's hunt for the timelessly beautiful Swedish pop song, in a snow flurry between Neil Young and The Lemonheads. The result is a wonderful long-player, and the group's most authentic and grounded work so far. This is surely due to the restrained instrumentation of the nine pieces. The songs are carried by acoustic guitar and piano, as well as by gently propulsive drum rhythms and immersive, reverberant guitars. It all comes together to underline Larsson's delicate, crystal-clear vocals in the most grandiose fashion. Sea of Clouds impresses with its shimmering melancholy and alternates between quiet, reverent numbers ("Sea of Clouds" and "Oh Well") and sprawling, guitar-propelled songs like "The Thunder and Storm." In between, there are charming and simply captivating pop songs/compositions (opener "The Artist" or "Everybody Knows") that have the character of classic Last Days of April hits. The pieces are always catchy, inviting the listener to dream, sometimes even to dance. In contrast to its predecessors, for Sea of Clouds the band dispensed with digital technology while recording and captured the entire album live to tape in just two and a half days, relying exclusively on analog equipment and recording without overdubs. Without countless synthesizer and guitar tracks that would create a glossy sheen, Sea of Clouds is somewhat purified and cleansed compared to previous albums such as If You Lose It (2004) or Might As Well Live (2007). The purely analog form of the recordings can only be realized in a handful of studios in Sweden or even throughout Europe. Last Days of April chose to work in the legendary Atlantis Studios in Stockholm, where bands such as ABBA or The Cardigans once cavorted. Immediately upon hearing the first few bars of the opening track "The Artist," it becomes clear that this was the perfect decision. After decades of touring around the globe, Last Days of April have delivered their strongest and truest work to date. Simply a beautiful piece of music, for faithful fans and the newly converted.



PINCH & MUMDANCE: Big Slug (feat. Riko Dan)/Lucid Dreaming 12" (TEC 084EP) 12.50
Pinch and Mumdance return to deadly form alongside legendary grime MC Riko Dan. "Big Slug" hits hard, with ice-cold atmospherics setting the mood and a racing hat line to keep pace. It's got a seriously weighty bassline, with Riko going full-blaze on the mic, dropping his calling-card war lyrics, raging in full-on slaughter mode. Deep, dark, and deadly 128bpm soundclash war rhythm. Instrumental track "Lucid Dreaming" takes the spirit of the rave in a new direction with pounding 126bpm beats of distorting kick drums and searing hi-hats. A voice from another world chimes in, taking you into a psychotic trance.


BK 012EP

ROMANS: Ambulare Aude EP 12" (BK 012EP) 11.50
Romans (Gunnar Haslam and Johannes Auvinen (Tin Man)) follow their 2014 collaborative debut on Auvinen's Global A Records with Ambulare Aude, containing two murky, psychedelic, acid-etched cuts ("Emona" and "Delmenium") buffered by a gradually unfolding up-tempo floor-burner ("Coptos"). The result of extended improvisational jam sessions in Vienna and Brooklyn, the tracks have a slight aleatory air about them, as though both artists are being led down an unforeseen musical path, not entirely certain of where it leads. This culminates in "Delmenium," the record's B-side, a true techno journey featuring an emotional, metallic synthesizer coruscating against a melancholy background.



180-gram vinyl. Following a period of hibernation since 2002, Claudio Coccoluto's The Dub label comes back to life with a disco-tinged offering from the label boss himself. Coccoluto is one of Italy's most famous musical sons; a DJ, producer, radio- and TV-show host, and music writer. He plays all over the world at clubs and festivals as well as for brands like MTV and Peroni. Using everything from the vintage sounds of Chicago and Detroit to the ultra-modern music coming out of Europe and everything else he hears around the world, Coccoluto is never afraid of experimenting with pioneering sounds.


TO 097CD

ALVELOS, HEITOR: Faith CD (TO 097CD) 14.50
Faith is the first full-length sound release by media researcher and curator Heitor Alvelos under his own name. Heitor Alvelos has been a long-time on/off collaborator of Touch, having on occasion provided photography and stage visuals for Biosphere, Fennesz, BJNilsen, Rafael Toral, and Philip Jeck, as well as releasing sound pieces under the aliases Autodigest, Antifluffy, and Before Surgery, on Ash International, TouchRadio, and The Tapeworm. "The essence of the present piece is autobiographical: therefore the use of my own name," the author clarifies. "And yet it aims at being resonant to others": in this context, resonance may be regarded as both semantic and visceral, as the sound frequencies on Faith are often of the kind that "rearrange one's organs," to quote the recently departed Bernadette Martou. A necessity in order to carry the gravitas inherent to the subject, a confessional confrontation with the zeitgeist. All sources have been gathered, recorded, and produced throughout five decades, all the way back to a 1972 recording by Francisco Alvelos that closes the release. Elsewhere, sounds have been processed to various degrees, the bookends retaining their original contexts, others mutating into deep abstraction. Overall, they flow as one single composition, evocative and foreboding in equal measures.



ATKINS AND MORITZ VON OSWALD, JUAN: Borderland 1/3 12" (TRESOR 262A-EP) 12.00
2015 repress, now packaged in a house bag, not a picture sleeve like original pressing. First of three limited 12" records. After more than two decades of behind the scenes collaboration, Juan Atkins and Moritz von Oswald present Borderland -- their debut collaborative album. The album -- made up of eight sequences, which seamlessly blend the styles of both masters -- was recorded at the beginning of 2013 over various studio sessions in Berlin.


ATKINS AND MORITZ VON OSWALD, JUAN: Borderland 2/3 12" (TRESOR 262B-EP) 12.00
2015 repress, now packaged in a house bag, not a picture sleeve like original pressing. "Footprints" was the second work to be produced in the Borderland studio sessions. A robust groove reminiscent of earlier collaboration between Juan Atkins and Moritz Von Oswald. On the B-side, "Mars Garden" returns to the "Electric Garden" theme with a high dose of ultra-deep, gritty funk. Together with a live show being debuted in May 2013 at the MUTEK festival, the record gives common voice to two independent yet mutually-supporting musical journeys.


ATKINS AND MORITZ VON OSWALD, JUAN: Borderland 3/3 12" (TRESOR 262C-EP) 12.00
2015 repress, now packaged in a house bag, not a picture sleeve like original pressing. Part three of three 12" records. After more than two decades of behind the scenes collaboration, Juan Atkins and Moritz von Oswald present Borderland -- their debut collaborative album. The album -- made up of eight sequences, which seamlessly blend the styles of both masters -- was recorded at the beginning of 2013 over various studio sessions in Berlin.



SKIRT: Mirage EP 12" (TROLLDANS 004EP) 12.50
On her Trolldans release, with an arresting cover by John Bauer, Skirt creates visions of thick fog rising from insidious marshes; a mourning veil caught in a dead tree in a deserted graveyard; a massive dust-covered church organ playing for itself in a long-crumbled chapel. But there's a clear sense of pace and motion too: below the sweeping, eerie sounds there are beats of stuttering hearts and shaking bones triggering bodily movement. Lakker adds to this with their heavy, pulsating remix, and even brings some playfulness to the table before they too descends into complete darkness.


TC 5014LP

AFRO PERCUSSION ENSEMBLE: Soul of a People LP (TC 5014LP) 12.00
Reissue of this '70s percussion group featuring various Bata drums and African conga drums: "A Bata drum is a two headed instrument from which two different tones emanate. The Yorubas of West Africa use Bata drums for religious purposes. In these recordings, Jean Devres' group displays percussive virtuosity in the various selections along with ritual chants."


UY 092EP

LOYOTO: Looking at the Starz 12" (UY 092EP) 12.50
The debut of Loyoto, the brainchild of Berlin-based artists Clé (Märtini Brös., Poker Flat Recordings, Local Talk) and Eva Be (Best Works, Best Seven, Sonar Kollektiv, Pulver Records), opens with "Looking at the Starz," a deep and organic tech-house affair touched by floating dub and featuring beautiful bass motifs, levitating drones, reverberant chords, and dream-inducing space vocals. Upon.You cofounder Marco Resmann's primetime-focused remix of the opener features demandingly pounding drums and sharp hi-hats paving the way for a threatening, ever-evolving, and slightly metallic-sounding sawtooth synth. "Black Holes" is a spaced-out, sparse, and stripped-down vision of electronic dub.



In advance of their 2015 album Distractions, truly irregular punk band Sauna Youth teams up with itself, in the form of sister band Monotony, for a split 7" featuring headrush lead single "Transmitters" and two exclusive Monotony tracks. In 2014, both bands did sessions for Marc Riley on BBC 6 Music, and Wire invited both bands to play DRILL Festival. The bands include members of Tense Men, Primitive Parts, Feature, and Cold Pumas. Sauna Youth consistently pose the question, "Why can't we be both The Ramones and Steve Reich?" Monotony prefer to keep things simpler and go straight for the jugular.


W 014EP

DJ W!LD: W14 (Part 1 feat. Jus-Ed/Chris Carrier) 12" (W 014EP) 12.50
Following his 2014 album When You Feel Me (?W 002CD), French underground house legend DJ W!ld presents a two-part selection of album tracks and remixes (this EP and W 015EP). Slo-mo house affair "Au Bout Du Tunnel" features classic electro cowbells and rubbery broken beats; "Humide" features lo-fi percussion and warm synth smears. Underground Quality label boss and singular New York soundsmith Jus-Ed delivers a remix of "Ac!dmat!k" that's typically stripped-back and textured, with itchy hi-hats running on top of a deep, sublime bassline. Fellow French luminary Chris Carrier delivers a tough, barreling house remix of "End of My Summer."

W 015EP

DJ W!LD: W15 (Part 2 feat. Andrés/Honey Dijon/Dan Curtin) 12" (W 015EP) 12.50
Following his 2014 album When You Feel Me (?W 002CD), French underground house legend DJ W!ld presents a two-part selection of album tracks and remixes (this EP and W 014EP). "Love Every Day" features pinging toms, cool vocal samples, and a laid-back jazzy vibe. Detroit talent Andrés (Slum Village associate; a regular on Moodymann's KDJ label) remixes "Love Every Day" into a jazzy, hip-hop-influenced affair. Chicago's Miss Honey Dijon (Derrick Carter's Classic label) delivers an up-tempo, acid-riddled remix of "Get Busy." Dan Curtin (Peacefrog, Holic Trax, Bass Culture) remixes "Quand Tut e Touches" into a full-on techno force field.



ROGER: The Many Facets Of Roger LP (BSK 3594HLP) 14.00
2015 repress. 180 gram vinyl exact repro reissue, manufactured by Rhino. Originally released in 1981. "This is Roger Troutman's first solo release, and it blazes the same trail as the Zapp LPs. Singing through a synthesized vocal box, there's no mistaking Roger's sound. His version of Norman Whitfield and Barrett Strong's 'I Heard It Through the Grapevine' is classic, and was a monster on the R&B charts. 'So Ruff, So Tuff' continued the maddening dance grooves. But Roger does it all -- hence the title of the album; his blues and jazz explorations are top-shelf. A very well-rounded set from a versatile, underappreciated artist." -- All Music Guide



TIEFSCHWARZ: Left CD (WGA 002CD) 17.00
Since 1998, DJs and producers Ali and Basti Schwarz aka Tiefschwarz have released countless EPs and remixes, with three landmark albums, RAL9005 (2001), Eat Books (2005), and Chocolate (SOUVENIR 002CD, 2010), united by a historic vision of the musical crossroads of past and future. With Left, Tiefschwarz are able to radicalize the album-specific approach and focus more intently on combining grooves with introspection. They refrained from bringing in an outside co-producer for the album and made sure to forego the clichéd variety of guest musicians, concentrating instead on one congenial companion: Khan, with whom the Schwarzes have been close friends since the '90s. A Frankfurt native of Turkish and Finnish decent, Khan is one of the most prominent and exhilarating German techno pioneers. Since the early '90s, Khan has been looking to the future with his Bizz O.D. moniker and his demimonde project Captain Comatose, with which he blew up the club world in the 2000s, delivering his own brand of fierce theatrics, trash, and outrageous hits. He has published on Harvest, accompanied GusGus on tour, and held residencies from Mexico to New York to Berlin. Through a chance encounter in Mexico, the Schwarzes found that Khan was a perfect addition to the duo. Khan writes, sings, and instantly expresses himself as the third tastemaker while sounds meander from one machine to another and the three eat, drink, and discuss how the vision will reveal itself as a tangible artifact. Before long the result is clear. Tiefschwarz have created soulful, yearning music that goes beyond the club doors and covers the whole world in a blue satin blanket. The album highlights recurring historical moments in music as it comes of age, looking back on such moments as Marvin Gaye's unveiling of his 1971 classic "What's Going On," or Black Dog's perception-changing 1993 release of Bytes. Although Tiefschwarz have become masters of cryptic dance floor seduction, they are constantly paying homage to the Chicago house anthems, as heard on "Free Falling." Tiefschwarz invited guest musician Sven Regener (Element of Crime) to a session, and met a soulmate. With the sound of Miles Davis's echoing trumpet coming from Regener's lips on "Morgen Abend," the three produce an exit from an impending post-industrial gloom. Seduction and threat: the two eternal themes of Left. And, with this, the finished album has brought Tiefschwarz to a mellow euphoria. Features appearances from Mama and Emily Karpel.


TIEFSCHWARZ: Left 2LP (WGA 002LP) 23.00
Double LP version with download code.



L.F.T.: Wood002 12" (WOOD 002EP) 14.00
Mystery man L.F.T. delivers the second EP for Woodwork. His poignant debut includes three original tracks and a remix by Benedikt Frey. "Janus Head" is a dreamy Rhodes journey roughened up by distorted 808 sounds. "Tayto" is a melodic house track with a bubbly bassline juxtaposed against crunchy drums. On the flipside, "Escorial Dreams" will take you into a laid-back acid house trip, before Benedikt Frey twists the track into a trippy techno journey.



MCTELL, BLIND WILLIE: 1927-1935 LP (YAZ 1037HLP) 17.00
2015 repress. 180 gram vinyl. Reissue of this 1974 collection of recordings from the prolific 12-string blues guitarist.

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