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Forced Exposure New Releases for 6/15/15

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New music is due from Aidan Baker & Idklang, Ken Camden, and The Orb, while old music is due from Tuxedomoon, Robbie Basho, and Alex Chilton.


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IF 017LP

DEEBANK, MAURICE: Inner Thought Zone LP (IF 017LP) 19.00
2013 release. "Maurice Deebank recorded his instrumental solo debut for the seminal Cherry Red imprint in 1984 while still the guitarist in Felt, the pastoral English pop group led by the notorious eccentric Lawrence Hayward (best known simply as Lawrence). Felt's early albums Crumbling the Antiseptic Beauty, The Splendour of Fear and Ignite the Seven Cannons and Set Sail for the Sun were marked by melancholy guitar interplay and a lofty pop sensibility, but Inner Thought Zone illustrates how significant Deebank's role was in crafting Felt's signature sound. Seven-minute album centerpiece 'Silver Fountain of Paradise Square' and 'Study No. 1' make beautiful use of supple arpeggios whimsically bent into cyclical structures in and around which Deebank weaves solos. His performance is nuanced and dynamic, undermining his own technical skill for the sake of expression, and it's easy to hear Inner Thought Zone as an exposition of the increasing introspection that led to his departure from Felt."


7S 008CD

VA: Beach House Grooves Vol. 1 2CD (7S 008CD) 20.00
Summer is coming and so is Beach House Grooves Vol. 1. Sunny tracks with lots of groove will escort you to the pool or beach during the day and make you dance until the morning light at night. Beach House Grooves Vol. 1 offers you soothing ambient and chill-out tracks, but also groovy house rhythms. Dive into the sound! Includes tracks by Deefo, Steam Fog, DJ Rigi, Hxsky feat. Miah Draper, MAS, Riccardo Sacceddu, A. Morel, Jacques le Noir, Puccino, Klangquelle, Falko Niestolik, Robert Nimmo, Audio Luxury feat. Tiara, Alberto Casallo, Miki Leris, Francis Milia, Hailey Sphynx, Krusty, Music Hazard Inc., Electric Moonlight, and Key G.



LP version. It's dub, but reverberating far beyond the genre's borders. It has a summer reggae vibe, but doesn't sound like just another chapter of that good old story. It's perfidiously dope, but at the same time extremely danceable. It has clever lyrics, but it's all about the sound. It's what JPattersson describes as PROGaDUB -- because he's not from Jamaica, he's from East Germany. Inspired by heavyweight bass lines, bicycle rides, and Caribbean riddims; by chocolate, vintage groovebox sounds, and the carefree ruckus of kids playing on the street, the young talent delivers an album that is chiefly progressive and diverse. "We Came in Peace" is built around dynamic chanting and passionate trumpet play. "Ravers Dub" is a smooth mélange of straight beats, mellow offbeat chords, and the psychedelic echoes of a steel drum. The chorus of "Turn Off Your Smartphone" invites one to sing along, and "Vagabond" is a dreamy interplay of handmade music and synthetic groove. Some tracks come with a sublime hint of Balkan sound, some with an air of jazz. In doing what felt right, JPattersson has successfully defined his very own genre: PROGaDUB.



FORTE, NICK: Primordial Forms LP (AMIRW 037LP) 19.00
"The seventh installment in the Required Wreckers series. Primordial Forms is Forté's most demanding and conceptual work to date. Forté has always been intrigued by the visual representation of sound on the computer screen. Editing software depicts sound as 'waveforms' which can look like jagged landscapes or abstract geometric forms. For the five pieces that comprise the record, Forté created five one-second sounds on his computer based purely on the visual appeal of the waveform. He made these waveforms with the speakers off. These visually appealing forms became the seeds for the pieces on the record. With the speakers turned back on, Forté then turned these discrete sound units into long form music through a slow and deliberate process of looping, editing, and manipulation. The entire record was made in a pirated version of Sound Forge from the late 90s. No sequencers or multi-track programs were used and no real time playing occurred on these tracks. Forte's compositional process can be likened to cartoon animation, or Muybridge's photographic innovations capturing movement and motion. Forté is one of the most innovative and overlooked figures in contemporary experimental and extreme music, though those aware of his discography recognize the arch and foundational significance of his work. From Rorschach to Raspberry Bulbs, and more importantly in his solo releases on Schematic, Soft Abuse, Sublight, Wodger and Catholic Tapes, Forté is one of the most versatile and rigorous musicians working today."


AUS 1580EP

BICEP: Just EP 12" (AUS 1580EP) 14.00
Aus Music follows releases from Breach (AUS 1578EP), Huxley (AUS 1469EP), and Bwana (AUS 1577EP) with an offering from Irish duo and long-term label affiliates Bicep. The Just EP follows self-released collaborations with Ebony and Midland, and is an impassioned bundle of broken beats, shimmering synth lines, and rapturous piano chords. The title-track suffuses a broken kick and snare combo with a poignant sequence and heart-rending synth strings. "Celeste" lays a soft, filtered croon over a swelling piano motif before "Back 2 U (Tranz Dub)" drives a tough, gravelly kick under gentle flecks of acid and rich, sweeping pads.


BT 016LP

DREYBLATT, ARNOLD: Second Selection 2LP (BT 016LP) 25.00
"Black Truffle is honored to present a major collection of archival recordings by seminal minimalist composer, performer, instrument builder and visual artist Arnold Dreyblatt. Following on from the archival compilation Choice (Choose Records, 2013), Second Selection presents eleven pieces selected by Oren Ambarchi from Dreyblatt's extensive archive of previously unreleased recordings. Recorded in beautifully varying fidelity between 1978 and 1989, the pieces range from solo works to documents of various iterations of Dreyblatt's long running Orchestra of Excited Strings. The ensemble pieces here possess the singular, hypnotic quality of Dreyblatt's vintage work, underpinning the shimmering overtones of his self-devised twenty note microtonal scale with primordial, thudding rhythms that undergo surprising but economical shifts in group dynamics and sonic density. Like the court music of some imaginary ancient civilization, this music unfolds unhurriedly, relinquishing traditional melodic and harmonic movement in favor of a single-minded search for the world of sound inherent in a single string. There is much to wonder over here for the Dreyblatt connoisseur, including variants of pieces found on classics such as Nodal Excitations and Propellers in Love. But Second Selection also unearths some elements of Dreyblatt's work that have gone undocumented until now, including an incredible pair of solo pieces for modified electric guitar and electronics performed in Europe in 1988. The second of these, 'Luftmenschen II', has to be heard to be believed, consisting of 15 minutes of insistent and frenetic rhythmic irregularity sourced to multiple electric guitars run through a digital noise gate controlled by a recording of malfunctioning escalators. Second Selection is presented as a high-spec gatefold double LP with archival liner notes including contemporaneous selections from Dreyblatt's notebooks and an early conversation between Dreyblatt and Phill Niblock. This is both a gold mine for long-term fans and an ideal introduction for those still awaiting initiation into Dreyblatt's rapturous science of the string. These are stunning examples of one of the most unique and fully realized sound-worlds of contemporary music; as Dreyblatt always recommends, they are best experienced at maximum volume!" --Francis Plagne. Artwork design by Stephen O'Malley. Vinyl cut made by Rashad Becker at Dubplates & Mastering, Berlin.



CRAMPTON, ELYSIA: Moth/Lake 7" (BKEDIT 011EP) 11.00
Vinyl debut of Elysia Crampton (E + E), inaugurating her Shenandoah series, which breaks from her sample-rich arrangements to explore "Virginian American history and brownness beyond culture, as geology -- as mud, dirt, and mineral." "Moth," written for and featuring the compelling vocal of Money Allah, pays tribute to legendary African-American comedians Stepin Fetchit and Bert Williams against a backdrop of vaporous synths and strings that recalls TCF and Arca. "Lake," Crampton's version of a Bolivian Saya, references John Bunyan's 17th-century Christian allegory The Pilgrim's Progress and incorporates field recordings from a railroad path near Virginia's Shenandoah Mountain. Wraparound artwork. Edition of 300. Mastered and cut by Matt Colton at Alchemy.



BEBEY, FRANCIS: African Electronic Music 1975-1982 2LP (BORNBAD 039LP) 26.50
2015 repress; Double LP version. Cameroonian musician Francis Bebey is truly one of a kind. He entered the music scene with his African compositions for classical guitar. He gave recitals while pursuing a career in journalism and then as an international civil servant. The same creative impulse also led him to write pop songs, some of which (based on novels he had written) became big hits in Africa and in the French-speaking world. But few people know that in the '70s, Francis Bebey delved into electronic music. The first electronic keyboards, organs and drum machines offered him new possibilities of totally controlling his compositions. He embraced the technique of "sound on sound" recording (recording several tracks, sequentially juxtaposed on the same tape). This new stage in his musical career included the production of several records (Savannah Georgia, New Track, Haiti), rarities both for their creative explorations as well as their manifestations on vinyl. This was a particularly rich period for him, as he tested the limitless possibilities of the medium, and made use of surprising and novel instruments. Incredible sounds -- in the literal sense of the word -- would soon appear on the planet Bebey. Full-color printed innersleeves with notes in English and French.


BEBEY, FRANCIS: Psychedelic Sanza 1982-1984 2LP (BORNBAD 064LP) 26.50
2015 repress. Double LP version with printed inner sleeve. Born Bad Records presents the music of Cameroonian musician Francis Bebey, circa 1982-1984. "The first time I saw a sanza (a type of African 'thumb piano'), it was just sitting there on a piece of furniture in my family's living room/dining room -- a space that our father also transformed into a recording studio every day. It seemed more like a box than a musical instrument: a mysterious instrument, which arrived at our house, like many things, in a somewhat miraculous way. The sounds it produced seemed particularly bizarre; to my young musician's ears, trained in Western classical music, it sounded out of tune. That's because, like my brothers and sisters, I had been trained on the piano. I had trouble understanding how anyone could endure these tones and, honestly, our father's passion for 'unusual sounds' did not interest me. I was in secondary school at the time (the very late 1970s) and was not at all oriented toward musical projects. I planned to graduate, and then become a chef. In the early 1980s, my interest in music picked up. I was still undecided about my career. I was content to pursue my 'serious' English studies while hanging out at jazz clubs at les Halles in Paris, where I sometimes joined jam sessions. Next, I put together my first band with professional musicians; I had hidden my age and lack of experience from them. France was just beginning to accept 'world music.' Musicians of every nationality were performing in Paris. It was a wonderful period. My father asked my brother Toups and me to accompany him for a few concerts. In particular, we toured Tunisia together at the time of the 1983 Carthage International Festival. Back then, my father was renowned across the French-speaking world. Everyone looked forward to hearing his humorous songs, like 'Agatha' and 'La condition masculine.' But, behind the scenes, he continued his research concerning electronic music, the sansa, pygmy polyphony, etc. One day he put a sansa in my hands, without saying a word. He was sending me a message: 'Let's see what you can do with it!' That's when I really discovered something. Exploring the instrument and playing, I transcended the 'imperfect' aspect of its sound and began to discover its fascinating potential. Playing the sansa, you enter a world that enraptures you in a very serene and mesmerizing way. I think its sounds evoke a rainbow, with rain falling while the sun shines. A very peaceful feeling. It allows you to make music that truly sounds like life. The sansa is also the instrument that my father and I shared the most because I am a pianist and he was a guitarist. I also share this eminently African instrument with my musician brother, Toups. Our father loved to tell us one of the legends of the sansa: how it even managed to dispel the boredom felt by... the Creator himself! This instrument gives life to the world, to beings and things. I did not participate in the production of the various records that my father devoted to the sansa. He did it himself, you might say, in his 'laboratory.' Yet today, I cannot imagine playing a concert without using a sansa. The piano remains present so that listeners don't become disoriented and wonder about the weird sounds invading their ears! However, I find the eccentric and disturbing side of sansa interesting. And the sansa always affects the audience: in reality, it excites them. The secrets of this instrument are surely its beneficial powers and... its magic!" --Patrick Bebey


The Wild Classical Music Ensemble is a musical project launched by the association vzw.with in November 2007. Thanks to vzw.with, Damien Magnette, sound artist and drummer, had the chance to meet Linh Pham, Johan Geenens, Rudy Callant, and Kim Verbeke, four artists with mental disabilities. These four artists work in different fine art media, but they also showed a will and talent for making music. Originally the band focused on free improvisation -- sound and object experimentation tied together with orchestration signals and experimental music notations. They have since begun incorporating punk rock riffs from guitarist Kim Verbeke, broadening their sound into a free-punk-noise-rock hybrid. After a several-year trip in that formation, they welcomed Sebastien Faidherbe. He plays homemade bass percussions and sings with great energy and inspiration. As a sextet, the band has developed a tighter, stronger energy and sound. The Wild Classical Music Ensemble collaborates from time to time with other groups, including the SPECTRA ensemble, with which they have worked on a more contemporary music-oriented project.



JOY WELLBOY: Wedding CD (BPC 311CD) 14.50
Belgain duo Joy Adegoke and Wim Janssens aka Joy Wellboy have been inseparable for years as a couple in life and art. Their second album, Wedding, sounds as complete and varied as anyone could wish for a pop album to be in 2015. Songwriting meets crooning and electro beats snuggle up with chanson; there's a love song on the dancefloor, a heartbreaking duet and slow-dance ballad for eternity. In short: Joy Wellboy make Love On the Beat. Janssens assumes the role of a born-again Serge Gainsbourg and Adegoke plays a Jane Birkin, in scuffed black leather jacket with a Slits patch. One is reminded of new wave hits, the German new wave, the soundtracks of French new wave cinema, and Leonard Cohen in his "First We Take Manhattan" phase.



CZARFACE: Every Hero Needs a Villain CD/BOOK (BRK 152CD) 20.00
"Sophomore release from the acclaimed trio of Inspectah Deck (Wu-Tang Clan) and 7L & Esoteric. Features MF Doom, GZA, Method Man, Large Professor, JuJu of The Beatnuts, Ra the Rugged Man, and Meyhem Lauren. Packaged in a 70+ page hardcover CD casebook with lyrics and cover art from L'amour Supreme (Mishka NYC)."


CZARFACE: Every Hero Needs a Villain 2LP (BRK 153LP) 28.00
Double LP version. Includes the first issue of the Death & Abduction comic book.



VATH, SVEN: Ritual of Life (Adam Port 108 Mix) 12" (COR 126EP) 14.00
Keinemusik co-founder Adam Port remixes techno shaman Sven Väth's 1993 classic "Ritual of Life". Following his 2013 überhit "Our Fate," Port takes the original elements of "Ritual of Life" and turns them into a 2015 tech-house bombshell. He uses tribal-flavored beats similar to those in his 2011 club monster "The American Dream" and merges them with the original dub-atmosphere. Hypnotic beats mixed with mystical sounds creates a special spiritual vibe and a genuine musical journey that delivers one clear message: dance until the morning sun! Strictly limited single-sided green vinyl edition.



VA: Correspondant Compilation 03 2LP (CORR 002LP) 22.00
Correspondant present the vinyl sampler for its third label compilation. Following the success of the two previous entries in the series (Correspondant Compilation 01 (CORR 001CD, 2013) and Correspondant Compilation 02 (CORR 002CD, 2014)), Correspondant Compilation 03 provides a perfect snapshot of how the relatively young label has matured over three years, with contributions from a range of artists including big names (such as Roman Flügel and Chloe), close Correspondant family (like Agents of Time and Red Axes), and exciting rising talent (including Bird of Paradise and Sigward). With eight tracks split over two records, Compilation 03 sees curator and label owner Jennifer Cardini displaying an even wider musical breadth than the previous two compilation incarnations, but still represents the undefinable yet unmistakable sound that truly marks out Correspondant as unique. Also includes tracks by Moscoman and Antenna.



Kollektiv Turmstrasse returns following the 2009 Like the First Day EP and the acclaimed 2010 album Rebellion der Träumer (CNS 006CD) with the Sry I'm Late EP. Since the Diynamic Showcase at Amsterdam Dance Event 2014 and its live stream, these tracks have been hyped all over the internet. "Hour After Hour" is a dark, moody house cut with deep drums and bass and a spine-tingling melodic riff; "Last Call" is a more lighthearted and soulful bit of house music; and "Sorry I Am Late" is a fierce peak-time track with a dramatic sense of narrative and a killer bassline.


DJ 003EP

HORSCH, MARVIN: Deen 12" (DJ 003EP) 15.50
"DEEN" has been making the rounds in insider circles, clubs, and forums since at least 2014. The Cologne-based collective Dorfjungs has put together savings and manpower to release its third record in a limited run of 500 copies. Once again all the covers are handmade. Marvin Horsch -- who in 2013 laid the foundation for the label with Pace -- rounds off the EP with a further three diverse tracks. While the A-side stays true to the euphoric sound of the title-track, the flipside holds two slightly more eccentric tracks, which look to new directions in contemporary club sounds.



VA: Don't Think I've Forgotten: Cambodia's Lost Rock and Roll CD (DTD 042CD) 12.00
Restocked. On April 17, 1975, Phnom Penh fell to the Khmer Rouge and Cambodian rock and roll was no more. Its star musicians were targeted and killed, record collections were destroyed, clubs were closed, and Western-style music-making, dancing, and clothes were outlawed. The deaths of approximately two million Cambodians and the horrors of the Killing Fields have been well-documented; add to this John Pirozzi's fascinating tale of Cambodia's vibrant pop music scene, beginning in the 1950s and '60s, influenced by France's Johnny Hallyday and Britain's Cliff Richard and the Shadows. The filmmaker has assembled rare archival footage, punctuating it with telling interviews with the few surviving musicians. Cambodian culture has long been synonymous with a love for the arts. Pirozzi's 2014 film Don't Think I've Forgotten pays homage to the country's rock legends who paid for their creativity with their lives. Through the eyes, words, and songs of its popular music stars of the '50s, '60s, and '70s, Don't Think I've Forgotten: Cambodia's Lost Rock and Roll examines and unravels Cambodia's recent tragic past. This soundtrack to Pirozzi's important film, compiled by the director, is very cinematic in nature. The sequencing and newly-remastered audio transport the listener through the rock and roll history of Cambodia in a similar fashion as Pirozzi's documentary film. It is both entertaining and essential to hear so many tracks that are available outside of Cambodia for the very first time. Includes tracks by The Royal University of Fine Arts, Sinn Sisamouth, Chhoun Malay, Huoy Meas, Baksey Cham Krong, Ros Serey Sothea, Pen Ran, Sieng Vannthy, Va Sovy, Drakkar, Pou Vannary, Yol Aularong, and Cheam Chansovannary.



KADEN, MATHIAS: Energetic 2LP (FREUDE 013LP) 28.50
Double LP version. 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.


GET 56035LP

JURASSIC 5: Quality Control 2LP (GET 56035LP) 28.00
"Jurassic 5 flexed serious old-to-the-new muscles in the '90s, beginning with their independently released single 'Unified Rebelution' in 1994, and book-ending with their stellar debut full-length: 2000's Quality Control. They walked a tightrope between underground and mainstream hip-hop, and toured alongside rap peers as well as punk rockers on the Vans Warped Tour. With double the pleasure of your average hip-hop group -- two DJs and producers (Cut Chemist and DJ Nu-Mark); and four MCs (Chali 2na, Akil, Marc 7 and Zaakir aka Soup) -- they brought the late 1970s 'unison MC' style of pioneering groups like the Fantastic 5 and the Force MCs to a new generation. Even more surprisingly, they did so out of Los Angeles, whose hip-hop flavors generally leaned towards Gangsta, G-Funk or Electro lines. Musically inventive and lyrically forward-thinking, each song on Quality Control is a new adventure, exploring engaging territory, delivered via one of the best live hip-hop shows fans had seen in years. From singles like the strutting groove of the title track to the throwback doo-wop samples on 'The Influence' and the catchy, keyboard groove-driven 'World of Entertainment (WOE Is Me),' to deeper album tracks like the lyrical gymnastics of 'Jurass Finish First' and the thought-provoking 'Lausd,' Jurassic 5 consistently stepped to the plate and their fans responded in kind, nearly pushing the album to Gold status. Add the innovative DJ-and-sample workout which closes out the album, 'Swing Set,' and you have one of the 2000s' most unique and solid full-length platters."



SCOTCH BROOM COLLECTIVE: Scotch Broom Collective LP (ROWF 053LP) 25.50
Amazing, whacked archival recordings from Bob Fay (ex Sebadoh/Deluxx) and a host of Western Massachusetts friends, including Conrad Capistran (TARP), Jason Loewenstein (Sebadoh), Ann Slinn (Somerville Players), and Mark Perretta (Deluxx/Deluxx Folk Implosion), initially slated for release on Thurston Moore and Byron Coley's Ecstatic Yod Actuel Ass Run series. Featuring great, snarky Byron Coley liner notes, the LP collects home cassette recordings from between 1987 and 1995 that offer a fantastic aural bridge between the grunge-offcut, Northeast American, lo-fi sludge-rock scene of the very early '90s and what later became known as "New Weird America." Stylistically all over the place and beyond brilliant, this record represents the nascent weirdo mind of a Golden Lab Records that, at the time, didn't even know it would come to be.



VON OSWALD TRIO, MORITZ: Sounding Lines 2LP (HJR 072LP) 23.50
Gatefold double LP version. 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.



AKKORD: HTH040 12" (HTH 040EP) 14.00
Due to popular demand, the final two remixes that completed Akkord's 2015 HTH035 CD (HTH 035CD) package have been pressed to vinyl. Fis (Tri Angle, Loopy) and Regis (Downwards, Sandwell District) both sourced elements from "Gravure" and "Continuum," tracks from the HTH020 EP (HTH 020EP). The former conveys experimental drones and left-of-center D&B abstraction in his reworking, whilst the latter loops sludgy dub techno atmospherics in his inimitable style. The HTH040 12" is a companion piece to the earlier HTH020 (HTH 020EP) and HTH030 EPs (HTH 030EP), with a complimentary color scheme and debossed cover with postcard insert.



BUNGER, ERIK: The Empire Never Ended 10" (IGR 007EP) 32.00
In 2006, researcher Thomas Knoefel found a mysterious backward-pressed 78rpm record containing a man's voice in a language that remains unidentified; he is assumed to be speaking in tongues, in a state of trance. "The Empire Never Ended" is a transcription of this recording, to be performed alongside playback of the original recording. Originally written for Ensemble Modern and commissioned by the BHF-Bank-Stiftung for Frankfurter Positionen 2013. Original recording published by Supposé as part of Okkulte Stimmen - Mediale Musik (2007); edited by Thomas Knoefel, Berlin, 2007. Single sided 10" cut backward and pressed to white vinyl with silkscreened B-side. Numbered edition of 300. Includes download code with digital bonus track.



VA: Bunny Lee's Kingston Flying Cymbals: Dubbing With the Flying Cymbals Sound 1974-1979 CD (JRCD 057CD) 14.00
Bunny Lee's flying cymbals or flyers rhythms dominated the dancehalls and the charts in 1974 and 1975. The style, based on Philadelphia disco and featuring the sound of an open and closed hi-hat, was not necessarily novel, but Lee's use of a number of different elements most certainly was. Johnny Clarke's 1975 interpretation of Earl Zero's "None Shall Escape the Judgement" opened the floodgates for the flyers style. The story had begun the previous year with Lowell "Sly" Dunbar: "Sly played the flying cymbals first... I said to Sly, 'You played it on the Delroy Wilson tune for Channel One named 'It's a Shame' and Sly played it before that with Skin, Flesh & Bones on 'Here I Am Baby (Come and Take Me),' the Al Green tune... with the 'tsk, tsk, tsk' sound on the hi-hat, I named it flyers, but they didn't know what flyers was!" --Lee. Before too long, "every tune we put out we put the rhythm behind it," and every Kingston producer followed suit with their own variations of Striker's flying cymbals rhythms... CD includes four bonus tracks.


VA: Bunny Lee's Kingston Flying Cymbals: Dubbing With the Flying Cymbals Sound 1974-1979 LP (JRLP 057LP) 15.50
LP version.


KK 083CD

SAMSON & HEIMER, WILL: Animal Hands CD (KK 083CD) 15.50
Animal Hands is the collaborative venture of two close friends, Will Samson (Fenster) and Heimer. As the duo had worked closely together as mutual producers on Samson's solo releases Balance (KK 069CD/LP, 2012) and Light Shadows (KK 077EP, 2014), it was natural that a joint musical project would eventually materialize. However, in comparison with these two preceding records, this new body of truly collaborative work takes a different direction into more electronic-inspired sounds. The project first appeared in the form of "Beacon Island," a track that arose suddenly and organically during a weekend of email exchanges between Oxfordshire, England, and Berlin, Germany, in autumn 2013. Excited and surprised by the spontaneity of the song's fruition, the pair played with the notion of expanding the project into a full record and continued to casually exchange sketches and ideas, such as guitar loops, vocal melodies, and field recordings. Meanwhile, their debut track made its way to the ears of Will Saul (whom Samson had met after producing It Grows Again with Tom Demac, released on Saul's label, Aus Music, in 2013 (AUS 1353EP)), and Saul included the track on his 2014 DJ-Kicks mix CD for !K7 Records. It was after a string of tours (including shows with Marissa Nadler, Kurt Vile, Hauschka, Do Make Say Think, Ólafur Arnalds, and more), that Samson temporarily relocated to Heimer's native city of Berlin, enabling them to ditch the tedious file-sharing method of work for the immediacy of true communion in the studio. It was here where they began meticulously compiling and experimenting with new ideas that, over the course of year, eventually grew into this nine-track album, Samson's third full-length. Each piece of music took on many different shapes and went through twists and turns during this time, including the previously unplanned addition of live drums. Many early sketches that had been abandoned were reinvestigated, then sampled, processed, and/or reworked, interlacing their way back into the threads of the record. The resulting album is one that strikes a dynamic balance between the immediate and the intricate. LP includes download code.


KR 021LP

BAKER & IDKLANG, AIDAN: In The Red Room LP (KR 021LP) 20.00
Aidan Baker (Nadja, B/B/S/) joins forces with Idklang aka Markus Steinkellner for two epic instrumentals, melting ambient, drone, and krautrock into a psychedelic trip of pure beauty. Baker has proven himself one of the most productive and versatile artists in post-rock, drone, and ambient music. Since his beginnings in the early millennium, the guitarist has released numerous albums with his duo Nadja, Caudal, B/B/S/, and solo and in various collaborations with artists like Tim Hecker, thisquietarmy, or Troum, documented on labels such as Alien8, Important, or Miasmah. In The Red Room presents Baker, living in Berlin at the time of its release, in a duo constellation with Idklang (guitar), member of Jakuzi's Attempt and Arktis/Air, who has also worked with Acid Mothers Temple, Ava Mendoza, and Eugene S. Robinson (Oxbow). With their guitars and effects the two create a gentle yet uncanny ambience that unfolds in two epic pieces, each clocking in at around 20 minutes. As often with Baker's music, In The Red Room transgresses genres and instead melts their diverse elements into one: ambient's detailed sound design is paired with drone's experimental guitar approach and krautrock's repetition for a psychedelic excursion of pure beauty. Pressed on 180-gram vinyl; presented in silkscreened sleeve; includes download code. Limited to 300 copies.



ORB, THE: Moonbuilding 2703 AD 2LP+CD (KOM 330LP) 26.50
Gatefold double LP version. Pressed on 180-gram vinyl. Includes CD. Iconic electronic music pioneers The Orb return to Kompakt with Moonbuilding 2703 AD, another major slice of psychedelic synth bliss, obscure loops, and deep ambient textures tossed in swinging breakbeats and powerful basslines. Installing a forward momentum rather unusual for a genre-defying project like this, the latest effort from masterminds Alex Paterson and Thomas Fehlmann follows their 2005 album success on Kompakt, the cheekily named Okie Dokie It's The Orb On Kompakt (KOMP 045CD/KOM 128LP) -- as well as several contributions to Kompakt's Speicher and Pop Ambient series -- but, more importantly, it finds the legendary duo at the peak of its creativity, ringing in another essential phase in what can only be called a groundbreaking career. True to form, Moonbuilding 2703 AD features a small track list, but turns each one of its four cuts into a mini-epic in its own right. Opener "God's Mirrorball" hits the ground floating, employing a handful of cozy statics to great effect before finally discharging into an intricate mosaic of atmospheric, melodic sketches and gripping rhythms. With a hypnotic runtime of more than 14 minutes, it immediately establishes a blueprint for the other album tracks to follow, perfectly illustrating the vast extent of the artists' vision and their impressive skills in luring in listeners -- welcome to The Orb's sonic labyrinth, where nothing is what it seems and the unexpected waits just around the corner. Likewise, follow-up track "Moonscapes 2703 BC" presents itself as a uniquely versatile affair sitting comfortably between ambient flourishes and beat-driven focus, holding as many twists and turns as a caper movie, but carefully grounding every single one of its cliffhangers in its impeccable flow. With a runtime of approximately nine minutes, "Lunar Caves" is the shortest jam of the bunch -- and also the most ethereal, keeping its rhythmic content to a bare, pulse-like minimum and opting for enticing, freewheeling synth textures instead. Album closer and title cut "Moonbuilding 2703 AD" introduces a surprisingly jazzy vibe mingling rather well with the wealth of electronic tricks up its sleeve -- even indulging in abrasive bass sweeps and a breathtaking multitude of different rhythm sections constantly switching places. It's a fitting closing act for a full-length as multifaceted as this, as idiosyncratic as possible and as muscular as needed. Cover design by iconic graphic wizards The Designers Republic.



CAMDEN, KEN: Dream Memory CD (KRANK 194CD) 13.00
"Guitarist Ken Camden returns for his third solo album, continuing his explorations to seek out new techniques and sounds from the electric guitar. By utilizing both a steel slide and e-bow technique, Camden has moved into micro-tonal territory to bridge the textural gap between guitar and synthesizer while examining their inherent differences. The palette is further broadened by introducing an organic vocal sampling machine described as a Vocaltron. Much like a Mellotron, vocal samples (contributed by Emily Elhaj and Angel Olsen) are chromatically organized in half steps from the lowest note to the highest possible. Each set is specific to the contributor's range and each note is unedited to keep all original characteristics of that particular individual's voice. This organized organic information adds a contrast to the electric guitar and synthesizer arrangements on the album. The development of all of these systems gives Dream Memory a diversity throughout its tracks while maintaining an atmospheric bond that weaves the ideas into a thematic whole."


CAMDEN, KEN: Dream Memory LP (KRANK 194LP) 14.00
LP version. "Guitarist Ken Camden returns for his third solo album, continuing his explorations to seek out new techniques and sounds from the electric guitar. By utilizing both a steel slide and e-bow technique, Camden has moved into micro-tonal territory to bridge the textural gap between guitar and synthesizer while examining their inherent differences. The palette is further broadened by introducing an organic vocal sampling machine described as a Vocaltron. Much like a Mellotron, vocal samples (contributed by Emily Elhaj and Angel Olsen) are chromatically organized in half steps from the lowest note to the highest possible. Each set is specific to the contributor's range and each note is unedited to keep all original characteristics of that particular individual's voice. This organized organic information adds a contrast to the electric guitar and synthesizer arrangements on the album. The development of all of these systems gives Dream Memory a diversity throughout its tracks while maintaining an atmospheric bond that weaves the ideas into a thematic whole."



GOLDSTEIN, MALCOLM: Full Circle Sounding LP (KYE 034LP) 18.00
"Kye is proud to present Full Circle Sounding, the brand new LP by Montréal-based composer, improviser and violinist Malcolm Goldstein. Full Circle Sounding comprises the complete recording of Goldstein's headline set at the 2014 Kye Festival, which took place at Issue Project Room in Brooklyn, NY: 'Judson Piece #6 (with improvised violin extensions)', 'but one bird sang not,' and 'Sheep Meadow (with improvised violin extensions),' plus an additional new studio improvisation 'Soundings,' recorded specifically to complement the Kye Festival set. Full Circle Sounding arrives in a monochrome matte stock sleeve featuring original Goldstein graphic art, and comes with a booklet of program notes/recollections. 'I follow the line, am molded by it, yielding, as I mold it like a brook after rain pours through dirt, rocks, trees and grass, finding new subtle twists and turns as things moved, are moved in the flow.....' (Malcolm Goldstein). Edition of 500 copies."


MCPHEE & JOHN SNYDER, JOE: To Be Continued LP (KYE 035LP) 18.00
"Kye is proud to present the release of To Be Continued, a previously unpublished 1973 performance, documenting the first meeting of Joe McPhee and John Snyder. 'On a Sunday afternoon in the summer of 1973, a group of mostly non-professional musicians/music lovers, literally friends and neighbors came together to present a concert in a communal ritual ANCIENT TO THE FUTURE, for friends and neighbors at Holy Cross Monastery in West Park, NY. The Episcopal order graciously made their facilities available for concerts in 1968 and my first recordings for CJRecords -Underground Railroad in 1968. Just a few months earlier I met John Snyder, who had recently acquired an ARP2600 analog synthesizer and immediately the "what if" scenario of such a musical adventure moved from imagination to reality.' (Joe McPhee). Mastered by Jason Lescalleet at Glistening Labs, To Be Continued arrives in a full color hi gloss sleeve, featuring archival photos from the concert, and comes with an insert containing program notes/recollections by Joe McPhee, and a download card to access the complete unedited 60 minute concert recording. Edition of 500 copies."


LL 013LP

YOUNGE PRESENTS VENICE DAWN, ADRIAN: Something About April (Instrumental Version) LP (LL 013LP) 21.00
Instrumental version. "In the four years since Adrian Younge's Something About April album first appeared, the Los Angeles-based producer and multi-instrumentalist has become his own musical cottage industry. Not only has he collaborated with musical legends ranging from The Delfonics to Ghostface Killah, Ali Shaheed Muhammad and The Souls of Mischief; his work has also been sampled by such rap giants as 50 Cent, Jay-Z and Common. In an equally impressive twist, DJ Premier produced an entire album with Younge's work as his only source material (including multiple samples from April, of course): 2014's PRhyme, with MC Royce Da 5'9". Something About April is an album that flaunts all of the trademarks that have made Younge an in-demand name as a composer and sample source-point. His work oozes raw, analog soul and the primal sonic edge of psychedelic rock, sitting nicely alongside Ennio Morricone's best soundtrack work, Pink Floyd's early catalog, and Parliament's Osmium. Younge's songwriting is what truly makes this album unique and keeps ears engaged. While many of his tunes are initially vamp-driven, there are changes and aural twists that lurk around every corner."



HOULE, MARC: Restored EP3 12" (MINUS 035-3EP) 12.50
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 third EP in the Restored remix project, following MINUS 035-1EP and 035-2EP, and features remixes by Julian Jeweil, Justin James, Monoloc, and Cosmic Boys. "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


MR 089LP

DEAD MOON: In The Graveyard LP (MR 089LP) 13.00
2015 repress, originally released in 2011. "Reissued for the first time - Dead Moon's first record! Originally released in 1988. Dead Moon were a band that existed outside of the constraints that time & style usually impose on artists. An authentic mix of psychedelic rock, punk, blues, country, & every other American music worth a damn. This LP features all time classics such as 'Graveyard' (A 13th Floor Elevators type vibrating psychedelic song), 'Don't Burn The Fires' & 'I Hate The Blues'. Lo-fi as hell. Remastered from the original tapes. We are very proud to make this LP available on vinyl once more."

MR 090LP

DEAD MOON: Unknown Passage LP (MR 090LP) 13.00
2015 repress, originally released in 2011. "Dead Moon's 2nd LP. Great pop ballads sit side by side with heavy rock songs. A hit laden record featuring classics such as 'Dead Moon Night', 'A Miss Of You', '54/40 or Fight', 'Time Has Come Today', 'Demona', & 'On My Own'. Originally released in 1989, easily one of the top 4 rock records of all time. Remastered from the original tapes."


VA: Hasabe LP (MRP 027LP) 15.00
2015 repress, originally released in 2012. "Absolutely killer compilation of Ethiopian R&B from the golden age of Ethiopian music. Classic performances by Lemma Demissew, Tlahoun Gessesse, Sefu Yohannes, Bahta Gebre Heywet, Teshome Meteku, Mahmoud Ahmed and Alemeyahu Eshete. All songs never reissued on vinyl before. A nonstop party record that we can recommend without any reservations. The third LP in our continuing series of releases culled from the monumental Ethiopiques series."


DEAD MOON: Strange Pray Tell LP (MRP 041LP) 13.00
2015 repress, originally released in 2013. "One of Dead Moon's all time classics, filled with some of their catchiest and most rousing songs. Rockers of the highest caliber such as 'Destination X,' 'Fire in the Western World,' and 'Don't Look Back' as well as perfect ballads such as 'You Can't Do That' and Out in the Blues.' An utter masterpiece of psychedelic rock straight from the heart."



VATICAN SHADOW: Death Is Unity With God (Complete Version) 3CD (LOVE 100CD) 25.50
Death Is Unity With God finds Dominick Fernow returning to the kind of feral, burned-out productions that dominated 2012's Ornamented Walls (LOVE 080LP). This triple CD includes all the material included on the original 2014 limited six-cassette release of Death Is Unity With God, following Modern Love's double-LP edition containing 12 of the tracks (LOVE 100LP). Nodding to classic Muslimgauze, but also inspired by the parallels between religious fundamentalism at home in the USA and abroad, the oppressive atmospheres and destroyed rhythms isolate the gutted toil and drone in "It's to Come," while "FBI God" reduces the drums to scorched blasts against some harrowing, darkside chords. The quasi-speed torment of "Manufactured Silencers Under Direct Orders" flows into the haunting chorales and chiming percussions of "Living On and Off At the Shadows Motel" and the scything techno roil of "Small Explosives and Blasting Caps Inside the Pages of a Phonebook," before a particularly effective chamber-like meditation, "McVeigh Figure," draws aesthetic lines between ambient black metal, Coil, and early Autechre. "Waco Postmortem (Murrah)" ends the set operating nearly out of earshot with those incredible, sashaying synth motifs persisting in their struggle against the patina of hiss and exasperated rhythms blurred around the edges. Mastered by Miles. Presented in deluxe six-panel Digipak.


NMG 5758CD

SLUM VILLAGE: Yes! CD (NMG 5758CD) 16.00
"Yes!, the highly anticipated album from Slum Village is ready to hit your ears. The new album features beats produced by Jay Dee aka J Dilla along with production from Young RJ who together produced one of Slum Village's finest moments ever in the form of Fantastic Vol. 2. Yes! features performances by original Slum Village members T3 and Baatin in addition to the aforementioned J Dilla. There are also features from Bilal, Jon Connor, BJ The Chicago Kid, Phife Dawg, J Ivy, De La Soul and Illa J."


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."

45 9672EP

KING KHAN AND HIS WILD DOGS OF KENTUCKY/THE ARKAICS: Have You Seen Your Mother, Baby, Standing in the Shadow?/I'm Free 7" (45 9672EP) 7.00
"What a pair! The marvelous King Khan asks a musical question while the fantastic Arkaics take a stand- incredible!"


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!"


NA 5122EP

PAZAZZ: Kenny Dope Remixes 12" (NA 5122EP) 13.00
"Late '70s deep Miami disco remixed by Kenny Dope. Includes download card for remixes and original versions. This is the first official reissue of Pazazz's deep disco two-sider, originally released as an obscure, promotional-only 7" single in South Florida circa 1980. And, while it took nearly two years, this 12" contains the excellent Kenny Dope's remixes of both tracks. Naturally, Kenny brought the funkiest parts of each track to the fore and, while they're DJ-friendly, they're now our preferred way to listen to these tunes."



GAMBLE, LEE: Diversions 1994-1996 LP (PAN 033LP) 18.00
2015 repress, originally released in 2012. The 30-minute Diversions 1994-1996 EP is made up entirely from samples from the collection of Lee Gamble's jungle cassette mix-tapes. The audio has been subjected to analog and digital deformations, while trying to extract, expand upon, and convey particular qualities emblematic of the original music. The effect is that of a musical body scan, all that is solid melts into air. Sounds are unearthed, dissected on the operating table, melted and unlocked , evoking sonics not unlike the heavy dub processes of Jah Shaka and Scion in an INA GRM frame of mind or bearing a similar methodological approach with what Mark Leckey explored in his piece "Fiorucci Made Me Hardcore." It can be heard as a "memory" of a period of music and for some could work as a "cued recall," which is a form of memory retrieval. Lee Gamble started out as a teenager DJing on pirate radio and on the emerging jungle scene; however, his own approach to music has taken a more experimental direction. Exploring the outer realms of abstraction through digital synthesis/resynthesis, Lee has described his current compositional process as "the configuration of material (ex nihilo) via various digital synthesis methods, prompts further disfigurations and reconfigurations. What you then have left is often the detritus or debris of an idea. Phantasms of both previous and current musical, pseudo-scientific and sculptural influences are manifest as new material abstractions, created from the digital blank canvas. This abstraction allows several interests to appear in the works simultaneously." He is also a founding member of the UK-based CYRK collective and has curated/co-curated several CYRK events. He has also produced and curated three radio series for London-based radio station Resonance 104.4 FM and he continues to DJ. Lee has released his computer compositions on the Entr'acte label and has collaborated with composer John Wall and artists Yutaka Makino and Bryan Lewis Saunders. Diversions 1994-1996 is the beginning of a longer-term collaboration with Pan. Mastered and cut by Rashad Becker at Dubplates & Mastering. Pressed on 140 gram white vinyl housed in a silk screened PVC sleeve with artwork by Kathryn Politis & Bill Kouligas.


HELM: Olympic Mess 2LP (PAN 063LP) 25.50
Double LP version. Pressed on 140-gram vinyl. London-based experimentalist Luke Younger (aka Helm) returns to PAN with Olympic Mess, a record born of destructive practice, competing desires, and troubled optimism. Where his previous effort, 2014's The Hollow Organ (PAN 050EP), dealt in dense, distressed sonics, Olympic Mess is Younger responding to a period spent engaged with loop-based industrial music, dub techno, and balearic disco. These musical references, all of which can induce hypnotic states and feelings of euphoria, inform ten evocative aural landscapes that unfurl over the course of an hour and act almost as a counterpoint to the turmoil that spawned them. "It's about exploring a perverse desire to pull the rug from under yourself, and the struggle to achieve a healthy equilibrium between one's personal and artistic lives," Younger says. "Dealing with the problematic consequences of pushing your own limits, forming and dissolving relationships, transient lifestyles, physical and mental exhaustion, excess, and other kinds of personal chaos." Crafted using an array of heavily processed samples, found sound, and electroacoustics, personal conflict manifests in "I Exist in a Fog" and "Outerzone 2015," in which visceral noise disintegrates into veiled, ambient strata. The disquieting crescendos of "The Evening in Reverse" and "Fluid Cloak" offer no such relief, while the title-track and "Don't Lick the Jacket" are mineral, multilayered abstractions twisting around a brittle pulse. Following a period of extensive touring throughout the States and Europe, which included 20 dates in support of Danish punk group Iceage, Olympic Mess was recorded in London, New York, and Berlin by Sean Ragon, Luke Younger, and John Hannon. The album is mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin. It features photography by Kim Thue and artwork by Bill Kouligas.


ERRORSMITH & MARK FELL: Protogravity EP 12" (PAN 064EP) 18.00
The first collaborative single from electronic composers Mark Fell and Erik Wiegand, the latter appearing under his Errorsmith alias for the first time since 2004. The seminal Errorsmith albums from the turn of the millennium are often referenced beside Fell's early works as pivotal moments in the evolution of club music. Made in June 2014 at Weigand's Berlin studio, the Protogravity EP is a cohesive collection of subterranean techno; three hypnotic cuts with a playfulness that often underlies the artists' solo work. Mastered and cut by Rashad Becker at D&M artwork by Kathryn Politis and Bill Kouligas.


ASH 3002LP

2015 repress. Deluxe LP format; 180 gram pressing. Reissue of the second Flower Travellin' Band album, originally issued by Atlantic Records in Japan in 1971. Satori is a conceptual hard rock/psych album driven by Hideki Ishima's furious guitar licks which erupt and explode over the harmonic heart beat of the drums and bass. Yamanaka's banshee-like vocal style turned him into an occidental Iggy Pop or Robert Plant while the band itself was rapidly becoming Japan's answer to Led Zeppelin. Satori is a huge album in every way. From power chords to Eastern-tinged North African six-string freak-outs and crashing tom-toms, the band flexes its collective muscle from start to finish. In short, this is a real rock classic of the type they simply don't make any more.



BUTTHOLE SURFERS: Independent Worm Saloon LP (PLAIN 199LP) 22.00
Pressed on 180-gram vinyl. "Independent Worm Saloon is the major-label debut by the Butthole Surfers originally released by Capitol Records in 1993. Riding the wave of the early '90s alternative explosion the band used some of that major label money and hired former Led Zeppelin bassist John Paul Jones as producer and the result is a tight in your face album that didn't tone down the band at all. Gibby Haynes is in fine form with his often hilarious and bizarre vocals and lyrics working their way into your brain on all out rockers like 'Who Was in My Room Last Night?' and 'Goofy's Concern' and on the more mellow numbers such as 'The Ballad of Naked Man' and 'You Don't Know Me.' First time ever domestic vinyl release."



SIENKIEWICZ, JACEK: Drifting 12" + CD (RECOG 036EP) 14.00
EP version. Includes CD. Jacek Sienkiewicz is back. Drifting is the artist's fifth full-length release and the second on his Warsaw-based label Recognition since 1999. His records have been played and strongly supported by such renowned artists as Sven Väth and Richie Hawtin; legendary producers like Ricardo Villalobos, Uwe Schmidt, and, in 2015, Max Loderbauer have collaborated with Sienkiewicz (RECOG 035EP). Drifting takes its listener on a complex but still accessible journey to state-of-the-art techno territory where Carl Craig melodies coexist with the stark minimalism of Robert Hood, but they serve only as entry points for further exploration. There is no doubt -- Sienkiewicz knows all of his roots yet he creates a signature sound that results from his highly original approach to modern electronic music production. Drifting can be seen as a personal diary that Sienkiewicz uses to invite all listeners, no matter their listening preferences, on a deep and unique ride. Constant drift and dislocation creates imaginary landscapes of future unknown. A pleasant surprise at a time when the market is flooded with predictable releases and tasteless hype. Above all, this album comes both from the soul and the brain and it shouldn't be missed. Every listen is a different adventure.



HENRY BLACKER: Summer Tombs/Hungry Dogs Will Eat Dirty Puddings CD (REPOSE 045CD) 17.00
Henry Blacker (featuring members of Hey Colossus and Reigns) have been up and down the country and into Europe relentlessly since 2013, three times playing twice in a day, slamming heads in doors, raging left and right. Touring their 2014 debut, Hungry Dogs Will Eat Dirty Puddings, and road testing the tunes that make up LP two: Summer Tombs. Recorded in one brutal day, one voice-box-shredding day. Westminster Brown (Part Chimp) at the desk, South London, September 2014. Tunes are more complex, more speed, more frustrated, with the same vocal mangle and rhythmic splat. Seven tracks, 29 minutes, set to cruise control and ride. Summer Tombs was released on vinyl on Record Store Day 2015 (REPOSE 045LP); this expanded CD version includes the album plus all eight tracks from Hungry Dogs Will Eat Dirty Puddings. Card sleeve CD limited to 500 copies worldwide.



11PARANOIAS: Stealing Fire from Heaven CD (RITE 030CD) 14.00
11Paranoias encapsulate otherworldliness and psychedelia, drawing in inspiration and spewing out the results in a devilish cocktail of riffs, fuzz and fury. Formed on 11/11/11 with a jam that set them off on this eventful musical path, the band has relied on improvisation and instinct throughout; at no point more so than when it came to record Stealing Fire from Heaven. With no songs written or rehearsed, the band decamped to the studio on the summer solstice to lay down the seven tracks that make up the album. The results are a heady mix of low, swirling grooves, super-heavy psych and seriously uneasy listening. The phenomenal artwork for Stealing Fire from Heaven is a piece by celebrated pioneer of the Surrealist art movement, Max Ernst, entitled "The Temptation of St. Anthony."


11PARANOIAS: Stealing Fire from Heaven 2LP (RITE 031LP) 55.00
Gatefold double LP version on 180 gram vinyl; includes download code.


BONG: We Are, We Were and We Will Have Been CD (RITE 036CD) 14.00
We Are, We Were and We Will Have Been continues Bong's unregulated experiments in tonal prolonging. Solemn in its delivery and frightening in its implications, this album signifies a point of no return from the Pied Pipers of mesmeric drone; its two near-20-minute tracks will surely loop and envelop indefinitely, freeing the listener from this increasingly unfamiliar material world and mercifully trapping them in the weightlessness of Bong's sonic void. Microtonal adjustments and invading frequencies are pleated into a tapestry of gooey guitar and midnight-ritual percussion, melting at a glacial pace across "Time Regained" and "Find Your Own Gods." The first of the two tracks creaks under the weight of residual distortion and unfathomable density, while the second opens with the powerful command of the track title, evoking a deity-defying thought process that unravels through the duration of the song, providing the synth-mist and distant rumbles with an origin so ancient it predates comprehension. We Are, We Were and We Will Have Been is Bong's report from their explorations past the point where others fear. The album was captured and mixed in November 2014 by Mark Wood at the Soundroom in Gateshead, England, and the cover art is from "Thomson's Aeolian Harp," by famed pre-impressionist painter J. M. W. Turner, picturing an infant London in the background.



CRYSTAL SYPHON: Elephant Ball LP (ROAR 037LP) 21.00
"For decades, Crystal Syphon were, at most, a footnote in the music history books: a name on posters from the psychedelic ballroom days, and a fond memory to those who'd seen the Merced, California band perform on the west coast circuit in the late 1960s. That changed with the release of Family Evil in 2012. Their debut album -- evidence that the mine of hidden gems from the original psych era had not yet been picked clean -- caught the ears of fans worldwide, garnering raves and equal-footing comparisons to Quicksilver Messenger Service, Jefferson Airplane, and The Byrds; the group reunited and began playing out again, with their vintage sound intact. Now, Roaratorio is proud to present Elephant Ball, a second helping of unearthed material from the band's archives. Starting with three tracks from their earliest recording sessions under the Crystal Syphon name, in 1967 -- the swaggering garage-rock miniature 'Dawn Sermon' and the folk-rock of 'For All of My Life' and 'Tell Her For Me' -- it then moves on to a Fillmore West gig from November 1969, featuring the final incarnation of the group during their original run. With the same complex harmonies, nuanced songwriting and top-drawer musicianship that won Family Evil its accolades, the half-dozen tunes range from the crunchy riffs of the title track and 'It's Winter' to the lightly jazzy 'Don't Fall Brother' and the Latin-tinged moves of 'There Is Light There.' Comes in an old-style 'tip-on' jacket with a digital download."



ARNALDO: Your Favourite Colour Is Green Yet You Dress in Black 12" (SMALL 042EP) 12.00
The Manchester-Berlin-Smallville connection is back! William "Arnaldo" Smith comes up with a truly inspiring three-track EP. After his 2012 vinyl debut, We Met in Manchester (SMALL 030EP), and his hidden hit "A Song Name of One Word," he became a regular on soundsystems and dancefloors around the world with releases on Greta Cottage Workshop, UntilMyHeartStops, and Aim. Arnald wanders around in the new house music microcosm, and Hamburg's Smallville is pleased to release a fabulous selection of the warmest sounds. Don't miss the first edition with another wonderful cover artwork by Stefan Marx.


S-R 020CD

BASHO, ROBBIE: Twilight Peaks CD (S-R 020CD) 19.50
Formal reissue of Twilight Peaks, guitarist Robbie Basho's last recordings. It was originally issued in 1984 on a tape label called The Art of Relaxation, and never got any reviews or attention at the time. For this proper release it was mastered by Glenn Jones (of Cul de Sac fame) and Matt Azevedo, from the original demo tapes, provided to Glenn Jones by Basho himself as he was working on the album. The CD has two extra live tracks, also culled from the original demo tapes. Amazing liner notes by Glenn Jones and Rich Osborn.

S-R 020LP

BASHO, ROBBIE: Twilight Peaks LP (S-R 020LP) 25.00
LP version with download code.



SURGEON: Rare Tracks 95-96 (2014 Remaster) 12" (SRX 005EP) 15.50
Fifth of six Surgeon reissues on SRX, collecting together an important selection of one-off tracks and highly limited rarities. "Fivo" appeared on release on Round Records and "Pagga" featured on the Underground UK compilation release by Kickin Records. The B-side features two tracks from the mythical THX-1139, which was previously only available as 50 white labels in 1996. Includes download code.



MUSLIMGAUZE: Sulaymaniyah CD (ARCHIVE 007CD) 18.00
2009 release. Sulaymaniyah is part of Staalplaat's ongoing Muslimgauze archive series. The masters were originally submitted in 1997, then "replaced" by what became Vampire of Tehran, released early in 1998. It was not uncommon for the prolific Bryn Jones to replace masters with what he believed to be a more fit release. Short of two tracks, "Fez Tishan" and "Hamas Pulse of Revenge," this is Vampire of Tehran with nine additional, previously unreleased tracks. Because Sulaymaniyah was "replaced," it was stored in Staalplaat's vaults until its first CD release in 2009, a decade after Jones's passing in 1999, and it will take several more years before Staalplaat has completely caught up with additional "replaced" and unreleased masters. Sulaymaniyah is stylistically varied, with ethno-electro, ethno-breakbeat, and several dub cuts. Ethno-electro/breaks are analogous to urban dance/hip hop, with catchy, distortion-ridden breaks and heavily edited ethnic music, cut up and reassembled into Frankenstein hybrids, sometimes further complicated with dub elements. Wanton mixtures of styles are one of many defining qualities of Muslimgauze music. Like "replaced" masters, versions of tracks such as "Arabs Improved Zpain" and "Arabs Return Zpain" demonstrate Jones's near obsessive search for the right sound. For those who appreciate the later rhythmic ethno-breaks and dub phase of Muslimgauze circa Tandoori Dog, Sulaymaniyah is a must-have. Limited edition of 500.


MUSLIMGAUZE: Sycophant of Purdah CD (ARCHIVE 009CD) 18.00
2009 release. Part of Staalplaat's ongoing Muslimgauze archive series, Sycophant of Purdah was submitted in 1994 then "replaced" by another master Bryn Jones felt more fit for release. Sycophant then languished in the vaults until its first CD release in 2009, a decade after Jones's passing in 1999. Sycophant opens with a radio broadcast on the ongoing Palestinian crisis set to breakbeats and marmalade-thick bass lines; the forward to another sonic treatise on struggles of the Muslim world. Tracks that follow are more consistent with industrial stylings of the Muslimgauze oeuvre including Zealot (1994), Blue Mosque (1994), Silknoose (1995), and Izlamaphobia (1995). Industrial, in the context of Muslimgauze, is often characterized by tightly woven percussion loops with scant variance while melodies hover. Additionally, tracks like "Radif Avaz and Dastgah" and "Mossad Evil" are another facet of industrial, in the classic sense of the word, meaning "mechanical", "machine-like," with little in the way of melodic overtones. The commonality is rigorous, dogmatic structure that is nonetheless hypnotic and engaging. Because the above albums vary, despite being of the same sub-genre, Sycophant could be considered a "missing link" that ties them together -- with ethno-breaks added for variance. None of the track listings, handwritten by Jones, are repeated on any other release, hence Sycophant of Purdah is a must-have for fans and collectors. Limited edition of 500.



HNNY: Good 12" (BARN 030EP) 14.00
HNNY is finally back on Studio Barnhus after debuting with that legendary Mariah edit in 2011. What a triumphant return to the motherland this impeccable 12'' is -- three pieces of naturally flowing happy-sad house MUSIC glazed with that sweet, golden, sticky stuff. Artwork by Malin Gabriella Nordin. Beauty is everywhere, but it's most easily found on this record.


SV 036EP

TUXEDOMOON: No Tears 12" (SV 036EP) 15.00
"Debut EP from 1978. Tuxedomoon's unique combination of synthesizer and guitar placed them at the forefront of the US post-punk movement in the late 70s. For fans of The Residents, Units, and The Normal."

SV 037EP

TUXEDOMOON: Scream with a View 12" (SV 037EP) 15.00
"Their 2nd EP. Brilliant analog concepts recorded in The Residents' private studio in 1979. For fans of DEVO, Cabaret Voltaire, and Brian Eno."

SV 058LP

GORAGUER, ALAIN: La Planete Sauvage LP (SV 058LP) 24.00
2015 repress. "Animated sci-fi masterpiece La Planète Sauvage (aka Fantastic Planet), winner at Cannes Film Festival in 1973, is a bizarre and beautiful film. Towering blue-skinned figures, tiny humanoids in the midst of revolt, and drug-induced Tantric sex transport viewers to a truly magical setting. Composer Alain Goraguer creates an equally hypnotic score from a palette of effects-laden guitars, flutes, Fender Rhodes, and strings. While the lush arrangements are reminiscent of Goraguer's collaborations with Serge Gainsbourg in the 1960s, space-age synth flourishes suggest a more psychedelic era. Moody vignettes flow together in tense, slow-paced funk rhythms and Baroque textures. It comes as no surprise that La Planète Sauvage has been cited as an influence on contemporary artists such as French duo Air and American hip-hop producers J Dilla and Madlib. Gorgeous, interplanetary soundscapes resemble the surreal meeting point between Pink Floyd's Obscured by Clouds and Broadcast's Future Crayon. This long out-of-print vinyl release features the original soundtrack recording and newly designed artwork. Recommended for fans of Ennio Morricone, Basil Kirchin, and David Axelrod."



JOE: Thinkin About 12" (TEXT 037EP) 12.00
One-sided white label.


WIRE 377

WIRE, THE: #377 July 2015 MAG (WIRE 377) 9.50
"On the cover: Mark Fell (The South Yorkshire producer injects ideology into dance music by narrowing house's margins); The Primer: Keiji Haino (A user's guide to the vast discography of Japan's black clad mystery man); Karin Krog (The Norwegian jazz vocalist looks back on a 50 year career poised between tradition and innovation); crys cole (The Canadian sound artist explores time and memory in close-up); Insect Ark (The former Angel of Light embraces the darkness); Principe Discos (The ever-mutating dance sound of Lisbon); Global Ear: Shenzhen (Bibo Kopf listens to the sound of rust filling the cracks in new music from China); Invisible Jukebox: Joshua Abrams (The Natural Information Society and Town And Country bassist picks up the vibrations of The Wire's mystery record selection); The Inner Sleeve: Ducktail's Matt Mondanile on Pacific by Haruomi Hosono, Shigeru Suzuki and Tatsuro Yamashita."



PBR STREETGANG: Move On EP 12" (TOYT 037EP) 14.00
British duo PBR Streetgang (Hot Creations, Wolf Music, 20:20 Vision, residents at We Love in Ibiza) belong to the finest class of UK techno funk. Now they join the German label Toy Tonics, which Beatport named "a visionary imprint that will rise to prominence in the coming year." The Move On EP is the next step in Toy Tonics' Germany-UK collaborative history, following releases by British artists including Luke Solomon, Whitesquare, and Montel. The EP includes a bomb remix by Kian T. Sounds like Max Graef taking too much MDMA and getting lost in vintage synth hell.


TEG 74004CD

WATERS, MUDDY: Sail On CD (TEG 74004CD) 15.00
"Starting his career in his native Mississippi, Muddy Waters played country blues on acoustic guitar. He was recorded by Alan Lomax in '41 and again in '42, an experience that some say led Waters to more diligently pursue a career as a full time professional musician. In 1943 he relocated to Chicago, where Big Bill Broonzy helped establish Waters with opening slots on his shows in some of the city's most rowdy clubs. The sheer noise level of the rambunctious audiences in these venues gave Muddy's uncle, Joe Buck, an idea. In 1945 Buck presented Muddy Waters with his first electric guitar in an effort to allow Waters to be heard above the crowd. But with more than sheer volume, Waters was now taking the blues in a new and exciting direction. Waters' first greatest hits collection was pulled together by Chess as The Best of Muddy Waters in 1957, designed to appeal to American blues fans of the era. By the late 1960s it was clear that Waters had also had such a heavy influence on the younger rock performers (and audiences) of the day that Chess pulled together a resequenced version of that material called Sail On. All the best of Waters' Chess sides are included with the end result being a collection of material that's the perfect starting point for discovering one of the most consequential blues artists that's ever been."


UT 039

UGLY THINGS: #39 MAG (UT 039) 9.95
"We gave two attention-grabbing cover stories this time... Brian Jones was one of '60s rock's most iconic stars -- and also one of its most maligned and misunderstood. Harvey Kubernik sets the record straight, weaving together interviews with many people who knew or worked with Brian. The Clingers were one of the first all-female rock groups, four beautiful sisters whose story is a gripping saga of teenage drama and determination. We also have an in-depth feature one of the ultimate UK freakbeat groups, The Mickey Finn, and an interview with Michael Des Barres about his rock 'n' roll days with Silverhead. Other interviews include Chris Bailey of The Saints, Tim Warren of Crypt Records, and Aussie rocker Ross Wilson of The Pink Finks and Daddy Cool. Plus stories on the San Pedro garage band The Grapes of Wrath, The Soul Vendors, French Ye-Ye girl Annie Philippe, and folk-rock duo David & Anthony. Cyril Jordan of the Flamin' Groovies revisits 1969-70, and of course there's our comprehensive review sections covering all the latest reissues, in-depth, and rock 'n' roll-related books."



PROFLIGATE: Extremities 12" (PRECEPT 005EP) 14.50
Known for his venturesome take on industrial music, Philadelphia's Noah Anthony -- member of the wrenching experimental outfits Form a Log and Social Junk -- adds a more straightforward tone to his discography. Jumping from jerky, filtered, beat-driven tunes to more hostile, squeaky pieces, Extremities highlights the clash between convulsive rhythms and spasmodic sounds, hammering and twisting the tempo through unforgiving techno grooves. Its impassive development sees him stretching opposites from one end to the other by confronting classic club themes in daring, raw rhythmic experiments. As grotesque as it is confident; a contemporary look at modern electronic music.


VG 009LP

SHEPPARD, DAVID JOHN: Vertical Land LP (VG 009LP) 20.00
LP version. Includes download code. Multi-instrumentalist and composer David John Sheppard presents his first bona fide solo album, Vertical Land. The writer and orchestrator behind the acclaimed State River Widening, Ellis Island Sound, Snow Palms, and Leaf recording artists Phelan/Sheppard, Sheppard began the tracks percussively by inserting pencils into guitars to make false bridges, then hammering the strings with vibraphone mallets, or by applying layers of masking tape to the strings of an upright piano in order to create a raw percussive instrument. Marimbas, glockenspiels, and mountain dulcimers were all attacked with a similar sense of primal reflex until the compositions were gradually built up, only to be stripped back down again in a very painterly process, to reveal new forms, combinations, and colors. For fans of The Cinematic Orchestra, Tortoise, Steve Reich, and Phillip Glass.



UNIT, THE: Ain't No Need 12" (WHR 004EP) 16.00
"Last Summer Theo Parrish toured Europe with a badass band he calls The Unit, comprised of himself on keys and vocals, lead vocals by Ideeyah, Amp Fiddler on keys and backing vocals, Myele Manzanza on drums, Mr. Mensah on bass and keys, Duminie Deporres on guitar and dancers Jade Soul, Mai Le, Dominique choreographed by Gehrik. On stage they covered Sound Signature classics, cuts from Theo's latest LP and a selection of Theo's favorite dancefloor tracks, and the label are excited to be putting out a few of the recordings made during the tour. Starting with this two track 12?, the A side is a cover of Skye's Ain't No Need. For those who know, the B side is a rendition of Walking Thru The Sky from Theo Parrish's 1996 Baby Steps EP."

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