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Forced Exposure New Releases for 10/5/2015

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New music is due from Ms. John Soda, Barbara Morgenstern, and Colin Potter, while old music is due from Bruce Haack, Death In June, and Faust.

FORCED EXPOSURE MAILORDER UPDATE
NEW RELEASES FOR THE WEEK OF 10/05/2015

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1972

IF 006LP

JESUS AND MARY CHAIN, THE: Stoned & Dethroned LP (IF 006LP) 19.00
2012 release. "The recipe for a cult-classic: a band's most-anticipated release which features a big change in sound encounters a divisive reception. Fans of the band's early work cry foul, and a younger, more open-minded set of fans (acquired by a catchy, almost accidental hit, nonetheless) welcome a tuneful and nuanced, yet often mournful offering. Pepper in an undated production and jump almost two decades into the future. The remarkable thing about Stoned & Dethroned, The Jesus & Mary Chain's fifth album, is not that it's a cult classic, but that it's also regularly touted as the band's best album. Previously known for feedback-drenched pop songs and gothic surf / blues storms, The Jesus & Mary Chain followed a successful year of touring in 1992 (including a slot on the second Lollapalooza tour) by entering the studio to record an acoustic album. The sessions were the first time that principal members Jim and William Reid had embarked on a recording with a full band since their incendiary debut, but the results could not have been different. Though the hooks were still there, Stoned & Dethroned emerged with a calmer, almost folk / country-tinged sound. Any feedback appears as hazy atmospherics rather than pain-inducing squeals. The sound of the album nobly approximates the drugged swagger of the classic early-'70s Rolling Stones records, but with The Jesus & Mary Chain's uniquely foreboding lyrical perspective."


IF 007LP

STEREOLAB: Transient Random-Noise Bursts With Announcements 2LP (IF 007LP) 27.00
2012 release. "Transient Random-Noise Bursts With Announcements is Stereolab's breakthrough album, their major label debut, and one of the most innovative releases of the 1990s, a musical decade signified by breaking down artistic barriers. Originally released in August 1993, Transient Random-Noise Bursts With Announcements builds on the promise of the band's early releases Switched On and Peng! by expanding the scope of their highly distinctive mix of one-chord Krautrock grooves, distorted vintage keyboard noise and Euro-pop. Adding touches of '50s and '60s easy listening, exotica and space-age sounds as well as samba and French pop, Stereolab did more than any group in the modern rock era to expand the language of art music by incorporating styles left for dead by the serious rock community."

50 WEAPONS (GERMANY)

50 018CD

DAMAGE, BENJAMIN: Obsidian CD (50 018CD) 15.50
Obsidian is the third album from Benjamin Damage (his second solo long-player) and the end of an era for both himself and 50WEAPONS. As the first artist (outside of Modeselektor) to release on the label, it's apt that he delivers the last album on 50WEAPONS. Benjamin Damage himself states, "Obsidian is a collection of fragmented memories from all the music I've ever liked, distorted and restructured into a full length techno record. A purely personal project and an end of an era with 50WEAPONS." It's easy to forget that Benjamin Damage has only been releasing records since 2010. Just two years after the release of his first track, he dropped his first album, They!Live (50 005CD/LP), alongside production partner Doc Daneeka, to critical acclaim. The following year saw his first solo album release with Heliosphere (50 012CD/LP), marking a pronounced sonic sci-fi development toward Plaid and Jeff Mills, and hailed by critics as a return of soul and warmth to the cold, industrial world of Berlin techno. Mining a deeper furrow than 2013's Heliosphere, Obsidian eschews crushing rhythms, for the most part. Unraveling in a dream-like realm where melody has space between the kicks and snares, the album affects a more emotional dancefloor-pull. That's not to say that the album lacks punch, as tracks like "Cosmonaut," "Parallax View," and "Transmission" deliver that adrenalin rush with aplomb. But it is on tracks such as the beautiful "Pulse Width," sublime "Shimmer," acid-tinged "Tetrapod," and ethereal "Poly" that Benjamin Damage stretches further into the unknown, touching on the genius of AFX, Skam, and Autechre. Obsidian delivers warmth, heart, soul, and sweat throughout, and, as such, couldn't be a better parting shot for the label.

7STAR MUSIC (GERMANY)

7S 021CD

DETOX CORP.: Detox Music Vol. 2 2CD (7S 021CD) 15.50
Two-CD compilation from the Detox Corp., following Detox Music (7S 012CD). Pure sounds to calm and give strength. Sounds of the finest ambient and chill-out music to smoothly support nutritional detox measures. Wellness for your ears! All-exclusive tracklisting. Three-panel digipak; two CDs for the price of one.

A RECORDINGS (UK)

AUK 003LP

BRIAN JONESTOWN MASSACRE, THE: Bravery, Repetition And Noise LP (AUK 003LP) 18.00
2015 repress. LP version, purple vinyl. Originally released in 2001. Bravery, Repetition and Noise is a dark, dreamy album, rich in atmosphere, layered in waves of sound. The album's antecedents are clear, inspired by psychedelia as they were by punk's nihilism, pulling both strands into a doom-laden, experimental sound quite distinct from anything that had come before or since. Brian Jonestown Massacre uses this as their touchstone, lovingly re-creating the moods and atmospheres of the past.


AUK 008LP

BRIAN JONESTOWN MASSACRE, THE: Methodrone 2LP (AUK 008LP) 25.50
2015 repress. Released on 180 gram blue vinyl. Deluxe gatefold with printed inner sleeves. 2007 release -- originally released in 1995. Redolent with the spirit of such high priests of effects and delay as Loop, Spaceman 3, and My Bloody Valentine, not to mention a fair dollop of the Jesus And Mary Chain, Methodrone clearly is the sum of its influences. Thankfully, BJM does a very solid job with them throughout the album's course of over 70 minutes.

ALTIN VILLAGE & MINE (GERMANY)

AVM 055CD

DIE GOLDENEN ZITRONEN: Flogging a Dead Frog CD (AVM 055CD) 15.50
Die Goldenen Zitronen ("The Golden Lemons"), born a punk band in 1980s Hamburg and since developing into a seminal art punk collective, present their 2015 album Flogging a Dead Frog. After 11 long-players and countless collaborations with artists such as Peaches, Wesley Willis (with whom the band toured the US), Chicks on Speed, Françoise Cactus (of Stereo Total), Mark Stewart (of The Pop Group), DJ Koze, and Michaela Melián, Flogging a Dead Frog is their first release on Altin Village & Mine. The album collects instrumental and, for the first time, English reworkings of songs from their most recent albums. Far from being a complacent "best of," the album directly plugs into the band's impressive body of work. Flogging a Dead Frog unfolds a re-contextualization in two senses. First, its instrumental tracks emphasize the fact that the band's sound has always been much more than a musical accompaniment for the unrelenting social commentary of singer Schorsch Kamerun, bringing out the band's tremendous nomadism between punk, techno, and krautrock and mirroring the diverse engagements of the six members in theater and film projects. On the other hand, in the English versions of songs such as "If I Were a Sneaker," a song about European immigration policy, or "The Investor," Flogging a Dead Frog proves a consequent re-adjustment of the band's political scope, opening discourse on matters that have disastrously proven to not be exclusively pertinent to Germany. As is typical for Die Goldenen Zitronen, these two perspectives -- one concerning the band's oeuvre, the other its environment -- are inseparable and testify to their political aesthetics, a political aesthetics of which Flogging a Dead Frog is not a review, but a substantial extension.

ARJUNAMUSIC RECORDS (GERMANY)

AMAC 707CD

ERDMANN - SAMUEL ROHRER WITH FRANK MOBUS & VINCENT COURTOIS, DANIEL: Ten Songs About Real Utopia CD (AMAC 707CD) 17.00
On their third album, following How to Catch a Cloud (2011) and From the Inside of a Cloud (2013), Daniel Erdmann, Samuel Rohrer, Frank Möbus, and Vincent Courtois update their Swiss-French-German story. The group's spectrum is broad, focused on the collective rather than the self-promoting individual. At times luxuriously floating, then tremendously gripping again; always alert and artful and full of musical refinement. The quartet invites the listener into open spaces that it fills with measured, thoughtful strokes. Composition and improvisation balance each other out as the listener encounters grunge influences, chamber music cello, Morse code guitar, and free, melodic percussion. The saxophone sometimes assumes a rhythmic function, but also lets loose with an earthy power. The quartet's far-reaching yet highly concise music is captivating -- it's not about whether the sound is called jazz, rock, pop, or modern classical. What counts is the group sound, which develops with amazing depth of focus and becomes ever more coherent, causing moods, nuances, and details to lift off in a fresh way yet without losing touch with reality. With enormous elasticity, the group's organic structures intertwine with drive and drama. Each participant has been celebrated in various contexts as an extraordinary instrumentalist; together, their music requires this ability, without having to exhibit it. "Undreamed of tonal possibilities," commented one critic on their 2011 debut; another heard "unique, delicately compelling music" as "flights of fancy in various forms"; a "happening"; "enormously varied group interplay. Earthy, rich in detail, rocky, contemporary."

BEDROOM COMMUNITY (ICELAND)

HVALUR 024CD

LANDAU/WILD UP, JODIE: You of All Things CD (HVALUR 024CD) 17.00
Even if, in addition to writing, playing, and singing his own material, Jodie Landau had not brought on board an established producer (Valgeir Sigurðsson), three other L.A.-based composers, six chamber musicians, and an entire Icelandic women's chorus (Graduale Nobili), You of All Things would still be a most unusual debut. For one thing, Landau's voice is a most unusual instrument. At once raw and exposed, pure and unerringly precise, his vocals are able to veer between choirboy cantillation, torch-singer croon, and full-throated bellow without losing a character that is unmistakably his own. And his compositional aesthetic -- which manages to encompass both the unpretentious bounce of popular song and moments of ominous stasis, setting his own, emotionally intimate lyrics or penning purely instrumental interludes -- demands that elasticity. His other instruments are a little out of the ordinary, as well: in addition to singing, Landau beats and bows on a small battery of percussion instruments. But as a vocalist, a composer, and a percussionist, Landau insinuates himself effortlessly into every layer of music-making on the album. Rehearsed, performed, and recorded in a week and a half, the scores demand a certain spontaneity from the performers, and that spontaneity is reflected in a recording that captures the whirlwind energy of these sessions, without sacrificing clarity, quality, or color of sound. The resulting album offers a glimpse of a wild, chimerical beast, caught in action for the first time, but never quite tamed.

BLACKEST EVER BLACK (UK)

BLACKEST 013CD

REGIS: Manbait CD (BLACKEST 013CD) 16.50
Manbait is a survey of Regis's 2010-'15 productions and remixes for Blackest Ever Black. In addition to three originals (in several different versions) and his celebrated remixes of Raime, Vatican Shadow, Ike Yard, and Dalhous, it features three previously unreleased tracks: a Regis take on a lost song by his own teenage synth-punk group Family Sex, an alternate mix of Tropic of Cancer's "Plant Lilies at My Head," and an edit of his own "Blinding Horses." Regis -- real name Karl O'Connor -- requires little in the way of introduction. Founder of the Downwards label, lynchpin of the late Sandwell District collective, one half of British Murder Boys (with Surgeon), and instigator of numerous other projects (among them Ugandan Methods, Concrete Fence, Kalon, and Sandra Electronics), the eternally shape-shifting O'Connor is one of techno's last true visionaries. O'Connor's arrival on Blackest Ever Black in 2010 coincided with a radical recalibration, and heightening, of his production work, and the tracks collected on Manbait document nothing less than an artist at the peak of his powers. One can hear elements of Sandwell District's Berlin-incubated warehouse minimalism, the brutish dancefloor provocations of Regis's '90s Downwards material (what will always be known, against his wishes, as 'The Birmingham Sound'), the DIY drone-pop and darkwave of Sandra Electronics, the high-torque breakbeat experiments of British Murder Boys. Throughout the listener is treated to some of the most morbidly atmospheric sound design in all electronic music (the shadowplay of '80s goth and industrial made thrillingly contemporary), and to urgent, cyclical, ruthlessly avant-garde drum-programming informed by jungle, dubstep, and grime... but always unmistakably, irreducibly Regis. Manbait's key track actually predates O'Connor's association with Blackest Ever Black by several months: "C U 1," a nauseous, low-slung production credited to his alias Cub, and originally self-released, incognito, on an imprint of the same name in April 2010. With its coarsely broken-beat, disarmingly slow tempo, and deep pools of low-end pressure, it set the tone for O'Connor's productions in the ensuing half-decade. In 2015, five years after its release, it's still pretty much untouchable. All tracks mastered and cut by Matt Colton at Alchemy, London, except "Loss (Regis Version)," mastered by Veronica Vasicka, and "C U 1," mastered by CGB at Dubplates & Mastering. CD housed in full-color digipak. With exquisite cover art (Survivor, 1987) by none other than Val Denham, this is an anthology that no conscientious stableboy or girl can refuse. Life hurts!

BLACKEST EVER BLACK USA

BLACKESTUSA 001

VA: I Can't Give You the Life You Want LP (BLACKESTUSA 001) 23.00
"Blackest Ever Black US exclusive release manufactured and distributed by Mount Analog. 500 copies worldwide featuring unreleased and brand new material from Tropic of Cancer, Bremen, Tarcar, Cut Hands, Exploring Jezebel, Dalhous, Secret Boyfriend, 500 Stamps (Veronica Vasicka), Infrastructure Zero and more."

BURNING SOUNDS (UK)

BSR 993LP

PAGE ONE: Rock a Dub LP (BSR 993LP) 26.00
180-gram LP version. "Another fine dub album from Niney The Observer, also known as Page One, featuring riddims possibly mixed at King Tubby's Studio in Jamaica. Amazing and hard to find dub album from the 70s."


BSR 994LP

NINEY THE OBSERVER: Sledge Hammer Dub in the Street of Jamaica LP (BSR 994LP) 26.00
180-gram LP version. "Niney The Observer's Sledgehammer Dub In The Street Of Jamaica LP has always been considered to be a long lost gem with Dub collectors. Originally released in early 1977 and pressed in a limited quantity of between 300 to 400 copies the record was a compilation of Dubs devoid of vocals but high on rhythms - mixed with feeling and showcasing the talents of both musicians and mixing engineers. King Tubby's involvement is clear, as is that of all the other parties involved such as Niney, The Soul Syndicate and The Cimarrons to name but a few. The actual LP title was derived from how King Tubby mixed his tracks. Strong! Niney described the sound coming from the speakers as like having a sledgehammer hitting you on your head. Niney himself is steeped in Reggae history, making songs for the likes of Lee Perry, Bunny Lee, Joe Gibbs and Coxsone, producing the masterful Blood And Fire cut and being one of the first to experiment with sound in early reggae. Sledgehammer Dub In The Street Of Jamaica was pressed on Nineys own Observer label without a jacket and has become something of a holy grail for collectors of dub."

BUTTERZ (UK)

AIRMILES 003EP

SWINDLE: Global Dance/Mad Ting 12" (AIRMILES 003EP) 14.00
The first single from Swindle's Peace, Love & Music album, forthcoming at the time of this release. "Mad Ting" toasts London grime with JME; "Global Dance" salutes Swindle's love and respect for Glasgow and Mungo's Hi Fi alongside Flowdan. The single also serves as Swindle's homecoming of sorts to Butterz, one of the premier brands in UK underground music underground music, with which Swindle has been involved since its inception in 2010. Peace, Love & Music, the label's first full-length release, continues on the jazzy path of Swindle's records on Brownswood and Deep Medi while introducing expanded live instrumentation.

CASTLE FACE

CF 058CD

SPACE LADY & BURNT ONES, THE: Split CD (CF 058CD) 15.00
"Announcing a totally far-out split release from unexpected corners: fave Hoosier-via-SF tripper transplants Burnt Ones sweet-talked the one and only Space Lady into a sharing an album, and the results are magical. In her inimitable style The Space Lady sparkles through 'Across the Universe,' 'Starman,' a brand-new original called 'The Next Right Thing' and an achingly elegaic 'Somewhere Over the Rainbow.' These beautiful tunes are wonderful additions to her lovely repertoire. For their half, Burnt Ones mellow down their sound, crafting a warm cocoon on two kaliedoscopic creepers, peaking just a little with a floweringly spaced-out version of the Space Lady's greatest hit, 'Synthesize Me,' and closing with another druggy lullaby. It's sweet and mellow ride through both sides and it's out on Castle Face Records."

CULT TRIP (AUSTRALIA)

CULT 003EP

ELITE ATHLETE: Californian Rites 12" (CULT 003EP) 14.00
Portuguese-born producer Elite Athlete shines on Californian Rites, offering two heavy cuts for fledgling Australian label Cult Trip. Recorded in Hamburg during a one-year sabbatical, the EP draws upon influences from around the world, with harrowing African drum samples contributing to the slammer that is "Pagan Conjurer" to the Berlin-style minimal basslines that hold together the deep-burning "Californian Rites." With remixes from Unknown to the Unknown's Palace and Forbidden Planet's Dan White, this record is club-ready and a must for any floor. Mastered at Dubplates & Mastering, Berlin.

CURTOM

CRS 8009CLP

MAYFIELD, CURTIS: Roots (Colored Vinyl) LP (CRS 8009CLP) 20.00
2015 repress on colored vinyl. Exact repro reissue manufactured by Rhino. Originally released in 1971.


CRS 8014CLP

MAYFIELD, CURTIS: Super Fly (Colored Vinyl) LP (CRS 8014CLP) 17.00
2015 repress on colored vinyl. Originally released in 1972, this is a 180 gram vinyl exact repro of the Super Fly original motion picture soundtrack, written and performed by Curtis Mayfield. Manufactured by Rhino.

DAGORED (ITALY)

RED 221C-LP

MORRICONE, ENNIO: I Pugni in Tasca LP (RED 221C-LP) 25.50
For Marco Bellocchio's masterpiece debut film I pugni in tasca (Fists in the Pocket) (1965), Ennio Morricone composed some mysterious and obsessive music for soprano voice, harp, harpsichord, and strings, alternating with lounge music of the period, swing, and jazz to create a great contrast with the dark mood of the movie. This is the first vinyl edition of Morricone's complete soundtrack. Blue vinyl; edition of 1000.

DEEWEE (BELGIUM)

DEEWEE 002EP

KLANKEN: Drie/Twee 12" (DEEWEE 002EP) 14.00
High-quality printed sleeve and inner sleeve. Recorded in Ghent. Deewee is the new label from 2manydjs.

DERELICHT RECORDS (UK)

D 003EP

GURD, JON: Birth Right EP 12" (D 003EP) 19.50
180-gram vinyl. English producer Jon Gurd, having emerged from a traumatic family-related drama, dedicates his Birth Right EP to his brother with the message, "Tomorrow Is / Promised / To No One." The result of almost two years of lab-driven experimentation, the EP features field recordings, analog rumbling, and modular synthesis. Gurd recalls, "seriously my process for producing this has been all over the place, literally stumbling on shit, slipping over my own creative vomit, workflow went out the studio window on day one." Includes remixes by Dave Clarke and Ancestral Voices (Liam Blackburn (Indigo, Akkord)).

DIAGONAL (UK)

DIAG 024CD

HASWELL, RUSSELL: As Sure as Night Follows Day CD (DIAG 024CD) 14.50
As Sure as Night Follows Day is Russell Haswell's landmark second album for the London-based Diagonal label. Consolidating a quarter-century at the forefront of extreme computer music, techno, and death metal in 19 tracks and 49 minutes, it's Haswell's most coherent yet varied burst of activity to date, zigzagging from improvised n0!se outbursts and asphyxiated R&B to a brace of thundering acid bullets that positively froth for the 'floor. The album was extracted over a fast-working period in late 2014, and is best perceived as a sort of fractured regression to his formative influences; one can hear the picnoleptic recollections of grindcore shows in the Black Country, the refracted shades of mega-raves at Coventry's Eclipse, the conflating toxic texture-memories of early Japanese noise, and the incandescent stomp of Mills and Hood in that early-'90s phase. Fortunately for the ravers, this album includes some of Haswell's most direct dancefloor attacks to date. "HARDWAX FLASHBACK," for instance, finds him in pure tekno panik mode -- a four-to-the-floor wrecking-ball groove that someone, somewhere, may even be able to mix. "GAS ATTACK" distils his penchant for all things Belgium into a vicious strain of new beat lactic acid. Haswell then doffs his cap to Detroit electro legends Drexciya on "Underwater Electronic Struggle" -- a story goes that he once thrashed a jet-ski all over the Mediterranean while listening to 'Wavejumper" in his 'phones -- before he does the salty freestyle electro flex ting on "Extended Industry Knowledge (for OSCAR)" while reminding his trusty apprentice Powell that he still has a lot to learn. Between these 'floor-flexers, one finds more freakish disturbances and intrusive drum-box improvisations: the modular mind-floss of "RAVE SPLURGE NOISE FM" or "Noise Rave," for instance, or the self-explanatory "Improvisation #1." "In the Air Today" investigates warehouse-ready electroacoustic percussion, while the chaotic clusters of "INTERLUDE" swarm and invade the senses with psychoacoustic incision. This is Diagonal and Russell at their most fucked up and fizzy, and an important reminder of the artist's stream-of-consciousness genius -- and the pressing need for more chaos and unpredictability in electronic music today. Mastered and cut by Matt "The Alchemist" Colton at Alchemy. Soft-touch laminate sleeve design by Guy Featherstone.

DIGATONE (AUSTRIA)

DIG 006LP

VA: Schnitzelbeat Vol. 2: You Are the Only One - Raw Teenage Beat & Garage Rock Anthems from Austria 1964-1970 LP (DIG 006LP) 29.00
A Sunday in August 1965: while the grown-ups are tending to their cars and gardens, a bunch of kids are mistreating budget guitars, cheap Italian combo organs, and ramshackle drum sets in the garage. Mandatory accessories: longer hair than all the other boys at school and black boots pointier than the tip of a knife. What had happened to these youths? What had infected the young, amateur musicians brought to you by Schnitzelbeat Vol. 2 was the exciting, new, hot sound seeping into cozy, provincial Austria from happening places like New York, London, and Hamburg. The artists compiled here translate the air of unrestrained abandon transported by the newly emerging popular genres into their own, locally flavored idiom. Presenting internationally operating exponents of the Austrian underground sound of the 1960s (The Slaves, The Gamblers) alongside recently rediscovered trailblazers of independent production (The Lost Generation, The Earls), Schnitzelbeat Vol. 2 is the first compilation of its kind to pay respect to the wilder side of the home-grown Austrian teenage sound of the 1960s in all its diversity: you'll find instrumental rock smashers, beat ballads, straight-up rhythm and blues pieces, jangling folksy harmonies, savage proto-punk blowouts, and -- of course -- off-the-wall appropriations of well-known international beat hits that often provided ambitious amateurs with the jump-start they needed to get their own sound up and running. Curated and compiled by Al Bird Sputnik of Trash Rock Archives (Vienna), this volume makes a compelling case for a revised history of Austrian pop and rock music. Also includes tracks by The Boys, The Beatfires, The Counts, The Desperates, The Rockets, Harry David Quintett, The Meadows, Herbert O und Die Beatniks 62, The Brand Brothers, The Lamberts, Les Fantoms, and The Seals.

DOXY (RUSSIAN FEDERATION)

DOC 118LP

HERRMANN, BERNARD: Psycho (The Original Film Score) LP (DOC 118LP) 20.00
Repressed. The score to one of Alfred Hitchcock's masterpieces, Psycho (1960), by one of the greatest composers to ever grace the silver screen, Bernard Herrmann (Citizen Kane (1941), Taxi Driver (1976), Cape Fear (1962), etc.). Herrmann began writing scores for Alfred Hitchcock in 1955, but the apex of this collaboration came undoubtedly with 1960's Psycho. Herrmann's amazing ability to set the mood has made the soundtrack to Psycho perhaps the most memorable in the history of cinema -- who can recall the shower scene without hearing the sound of shrieking violins? Do not miss your chance to own this classic on vinyl!

DUST-TO-DIGITAL

DTD 044CD

VA: Excavated Shellac: Strings CD (DTD 044CD) 12.00
Mesmerizing performances from the four corners of the world played on stringed instruments and recorded and released 78-RPM records circa 1920-1950. Featuring fiddles, shamisen, charango, Paraguyan harp, Indian vina, Lebanese oud, Persian violin, Vietnamese moon guitar, and more. All previously unreleased on CD, with three bonus tracks not available on the now-out-of-print 2010 LP. All records have been carefully transferred and mastered and are presented in a digipak with a 20-page booklet featuring rare photos, graphics from the 78-RPM era, and extensive liner notes by compiler Jonathan Ward, founder and author of the acclaimed Excavated Shellac website. Includes tracks by Sogoman Seranyan (Armenia), Sundaram Balachander (India), Alberto Ruiz y su Lira Incaica (Bolivia), Nzila Joseph et son ensemble (Congo), T?n and ??ng (Vietnam), Tatyana Makharadze & G. Bugadze (Georgia), Abol-hasan Sab? (Iran), Trio Tipico Paraguayo de Félix Pérez Cardoso (Paraguay), Bra?a Kapugi Tamburica Orchestar i Pjeva?ki Zbor (Croatia), Kjetil Flatin (Norway), Yamaura Toyoko (Japan), Chahadé Effendi Saadé (Lebanon), Galabuzi and Party (Uganda), Kemanî Amâ Recep (Turkey), Feliciano Delgado (Panama), Grupo Irmãos Borges Barros (Brazil), and Eyyubi Mustafa Sunar (Turkey).


DTD 045CD

VA: Excavated Shellac: Reeds CD (DTD 045CD) 12.00
Reed instruments are capable of some of the most impassioned music on the planet, due to the malleability of the reeds themselves -- historically made of plant tissue -- which vibrate when air hits them. The origin of most reed instruments is steeped in rural, pastoral culture. Many insistent, loud, often joyful reed instruments have always been played outdoors as traditional accompaniment for dancing and celebrations. This compelling album is the second volume in the Excavated Shellac release series, featuring rare, never-before-issued 78-RPM records from around the world centered on a unique theme. The previous volume (Excavated Shellac: Strings (DTD 044CD)) focused on stellar stringed-instrument performances. This release examines some of the most intense and hypnotic music set to disc during the early years of international recording, all featuring reed instruments. All previously unreleased on CD, with three bonus tracks not available on the LP version (PT 2006LP). All records have been carefully transferred and mastered. Digipak with 20-page booklet featuring rare and historic photos, jaw-dropping graphics from the 78-RPM era, and extensive liner notes by compiler Jonathan Ward, founder and author of the acclaimed Excavated Shellac website. Includes tracks by I Tre Antonio della Basilicata (Italy), Sylvain Poujouly & Achille Marc (Auvergne, France), Karzana Oyun Havasi (Turkey), Tufanpur Orchestra (Iran), Ahn Ki-Ok and Kin Yin Kuan (North Korea), Guangdong Troupe with Da Kai men (China), T. Rajarathnam Pillai (India), Selim (Albania), Obdulia Alvarez, "La Busdonga" (Asturias, Spain), Jhande Nath (India), Hoseynkali was Roofakah (Kurdistan), Mohamed Efendi Baz (Upper Egypt), Ngoma Ya Kitokomire (Tanzania), Mqonga Sikanise (South Africa), Musicians of Radio Studio Skopje (Macedonia), uncredited musicians (Tajikistan), and Parush Parushev (Bulgaria).

EARTHWORKS (UK)

EW 2424CD

MBULI, MZWAKHE: Resistance Is Defence CD (EW 2424CD) 16.50
1992 release. Mzwakhe Mbuli is South Africa's biggest political poet and rapper, and not only because he stands nearly seven feet tall. He came to prominence in the early 1980s after reciting two poems at the funeral of an assassinated anti-apartheid activist. Realizing that he could appeal to a larger audience with music, he began fronting a band. The more popular he became, the more he was harassed and detained by apartheid enforcers. He was living underground in 1986 when he recorded and released his first album, which was, of course, banned in South Africa. But by 1992 the momentum toward freedom was unstoppable, and Mbuli's Resistance Is Defence became his best-known record. Most of the songs contain English as well as Zulu or Xhosa verses. The hard-swinging mbaqanga music echoes the lyrics' message of racial harmony, justice, and peace, and needs no translation.


EW 2427CD

WEST NKOSI: Rhythm of Healing CD (EW 2427CD) 16.50
1992 release. For 40 years, ending with his death at age 58 in 1998, West Nkosi was everywhere in South African music. His first instrument was a pennywhistle, which in South Africa is popularly associated with the style called kwela, and he played on many kwela records in the late '50s and early '60s, including some by Spokes Mashiyane & His All-Star Flutes. He also played alto sax with the marabi jazz combo that became the house band at Gallo Records' main studio in Johannesburg. But West Nkosi was never just a sideman; as a composer and arranger, he, more than anyone else, developed the style known as township jive or mbaqanga in the '60s. Over the next three decades he and his great Makgona Tsohle Band provided the jumping beat and vital sound to hit records by the likes of Abafana Baseqhudeni and Mahlathini & the Mahotella Queens. As if that weren't enough, West Nkosi also produced the first 22 records by the famous isicathamiya a cappella choir Ladysmith Black Mambazo. For Rhythm of Healing, which turned out to be the last album he made as a player and bandleader, West Nkosi put a together a sextet to record ten of his finest kwela, marabi jazz, and township jive compositions.


STEW 037CD

SOUL BROTHERS, THE: Born to Jive CD (STEW 037CD) 16.50
1997 release. The South African Soul Brothers are, as the BBC DJ Andy Kershaw has said, "the greatest township jive group... ever!" In fact, they and Mahlathini and the Mahotella Queens pretty much defined township jive (also called mbaqanga) in the 1970s and '80s, though in contrast to Mahlathini's low, gruff "groan," the Soul Brothers' lead singer, David Masondo, has a distinctive high, tremulous voice, and instead of the Queens' chirpy chorus, the Brothers have terrific saxophonists and, above all, Moses Ngwenya's funky, funky Hammond organ. As the recordings on this CD confirm, the Soul Brothers were as strong as ever in the '90s. Included in this collection are four songs recorded live at the BBC in London in 1995.


STEW 045CD

ORCHESTRA SUPER MAZEMBE: Giants of East Africa CD (STEW 045CD) 16.50
2001 release. Super Mazembe, whose name means "giant earth-movers," was a Congolese band that achieved widespread success outside of the Congo. Its single "Kassongo" (which kicks off this compilation) was a huge hit in Kenya in 1977, and for the next ten years the band produced hit after hit, toured East Africa almost constantly, and filled clubs, theaters, and stadiums wherever it appeared. Mazembe's biggest hit was "Shauri Yako" (written by Nguashi Ntimbo), which gained further popularity in a cover version by Tabu Ley Rochereau and Mbilia Bel. Super Mazembe reciprocated by recording -- and improving on -- Rochereau's "Jiji." Giants of East Africa is a perfect complement to the 2013 Sterns CD Mazembe @ 45RPM (STCD 3063CD).


STEW 046CD

VA: PALOP Africa! CD (STEW 046CD) 16.50
2001 release. Beneath the exterior of Lisbon's crumbling grandeur lie many secrets, not least its vibrant African music scene. As the capital of Portugal, Lisbon is the home-away-from-home of people from all the Portuguese-speaking countries of Africa, which are known collectively by the acronym PALOP. Here (if you know where to look) are the studios and clubs where musicians, dancers, and scene-makers from Cape Verde, Guinea-Bissau, São Tomé, Angola, and Mozambique meet, mix, and enjoy themselves. Discover the enchanting voices, irresistible melodies, and sensuous rhythms of PALOP Africa, featuring Paulo Flores, Bonga, Africa Negra, Manecas Costa, Biús, Sema Lopi, Nany, G Mario Ntimana, and Don Kikas.


STEW 047CD

FALL & AFRICAN SALSA, PAPE: Artisanat CD (STEW 047CD) 16.50
2002 release. For 50 years or longer, Latin music has been hugely popular in many parts of Africa, not least in Senegal. Senegal's seminal modern dance band, the Star Band de Dakar, was essentially a Latin band with songs sung in Wolof. Among the Star Band's singers in the 1970s were Youssou N'Dour, Laba Sosseh, and Pape Fall -- all of whom went on to enjoy success with their own bands in the '80s and beyond. Fall led Nder de Dakar for five years before teaming up with Ibra Kassé, the Star Band's founder, in Kassé Star. He started African Salsa in 1995. Artisanat is Fall's third album with this band and their first international release. The Observer deemed it "as compulsively danceable as anything from Cuba."


STEW 049CD

VA: Tulear Never Sleeps CD (STEW 049CD) 16.50
2003 release. Tulear is a city the remote, hot, and dusty southwest of the Indian Ocean island of Madagascar. At night, when the burning day has cooled a little, tsapiky bands play at wild open-air dances in every neighborhood of the city. Over belting singers and tireless drummers, fearsome guitarists scatter dazzling fractured lines of notes. Crowds of revelers, most of them swigging from bottles of toka (the local rum), dance all night. Nobody sleeps. Tulear never sleeps. The recordings collected in this album were made in Tulear specifically for this Earthworks CD. Includes tracks by Jean Noel, Tsy An-Jaza, Los Bally, Jeff Nhoré, Teta, Rivo Doza, Said-Alexis, Nolave, Zerex, Tsapiky 2000.


STEW 052CD

VA: Future World Funk Presents Urban Brazil CD (STEW 052CD) 16.50
2003 release. Although the Brazilian record industry has been centered in Rio de Janeiro and dominated by a few multinational companies since its beginnings in the early 20th century, it's been shaken up quite a bit in the last 25 years as distinct music scenes have formed in cities as far apart as São Paulo, Salvador, and Recife, and independent studios and labels have asserted themselves. Now there's more to Brazilian music than samba, bossa nova, and MPB, though those styles continue to inform new styles, as do funk, punk rock, hip-hop, acid jazz, dub, and EDM. This is the phenomenon presented in Urban Brazil, which features singles, remixes, and previously unreleased tracks by some of the most innovative Brazilian artists of the time, including Chico Science, the originator of mangué beat; his Nação Zumbi bandmate, Otto; the genre-mashing DJ Dolores; BiD; BoTECOeletro; Thaide & DJ Hum; Max de Castro remixed by Rica Amabis; Nery Bauer; Instituto & Sabotage; João Parahyba; Rappin' Hood; Drumagick; Eddie; Mamelo Sound System; Funky Como le Gusta; and Wilson Simoninha.

ECHOES (UK)

ECHO 2033CD

QUICKSILVER MESSENGER SERVICE: Cowboy on the Run: Live in New York CD (ECHO 2033CD) 17.00
This unique show offers up a slice of QMS history with most of the band following other pursuits shortly after. Valenti carried on his solo career while Cipollina took Olsen into various offshoot projects. Duncan relocated to Hawaii, Elmore dropped into the background and Lewis ventured deep into the disco scene, the conclusion of a period that had promised so much more. Many of the shows on the Solid Silver "comeback" tour of 1975/76 brought Quicksilver back into the club scene, playing in more intimate surroundings such as My Father's Place in Roslyn, New York. It harked back to their days as psychedelic protagonists from San Francisco. Their appearance here in 1976 reflects times gone by and allows the band to enjoy their respected repertoire that had brought them the deserved attention in the late 1960s. Echoes proudly presents the entire FM broadcast of QMS' January 1976 appearance at My Father's Place in New York. Professionally re-mastered original broadcast with background liners and rare archival photos.

EL PARAISO RECORDS (DENMARK)

EPR 027CD

ELLIS & BRIAN GRAINGER, BRIAN: At Dusk CD (EPR 027CD) 16.50
Rarely has the feeling of late summer twilight been captured as well on record as on this collaborative effort by Southern California native Brian Ellis and South Carolina ambient producer Brian Grainger. This is the sound of two offbeat musicians zoning out with acoustic guitars, hand drums, flutes, and an array of vintage synthesizers and tape machines, brewing a mysterious, mellow kind of acid folk like it's never quite been brewed before. Though psychedelic in nature, this isn't yet another materialization of a 1970s commune-folk vision -- rather, it feels like a work of ghostly solitude, strangely absent from human activity, slowly, aimlessly moving forward like a lonely breeze travelling down the coastline as the day fades away. Brian Ellis has been perfecting his raga-influenced guitar-playing for years in the outskirts of San Diego County, absorbing the Takoma catalog as well as British folk from the 1960s and 1970s, before deciding to merge his unique style of playing with the hazy sounds of East Coast synth-wizard Brian Grainger, an expert in sculpting electronics in such a way that they sound like organic entities rather than electronic circuits. The result is a hushed, pastoral piece of music, evoking the rural American surroundings of its creators and its warm southern air. This lengthy collaboration took place over several years -- on one hand everything floats in a seemingly unordered manner, but on the other hand everything follows a crystal-clear overall path. Ellis's open-tuned guitar-playing merges naturally with Grainger's faded synth-lines and sound treatments, sometimes alluding to several styles and musical eras simultaneously and creating an atmosphere of ambiguity and timelessness throughout the album. Ultimately a serene, rare, and kaleidoscopic work. File next to: The Incredible String Band, Freescha, Robbie Basho, Six Organs of Admittance.

ESSAY RECORDINGS (GERMANY)

AY 037CD

SHANTEL: Viva Diaspora CD (AY 037CD) 15.50
"Cosmopolitan, globetrotter, paprika bambaataa, constantly in search of new sounds: Shantel gracefully turns pop-cultural clichés and conventionally-accepted genre-definitions upside-down. When he brings the entire stage to life with his Bucovina Club Orkestar, molding global sounds into compact, anarchic hymns, eclecticism and escapism no longer seem so very far apart. No worries: The Kiez is Alright. Disko Devil Shantel is on the case" --Rémy Kolpa Kopoul. Viva Diaspora is strongly inspired by the creative anarchy of crisis-ridden Athens, Greece. Viva Diaspora has no intention of jumping onto the crossover-and-remix bandwagon. Viva Diaspora is bold, risky, and self-assured; this is how acoustic, traditional, and Mediterranean songs sound today and this is how they can come into their own in a contemporary party context. Viva Diaspora sounds like a road movie -- cinema for the ears -- of a 24-hour trip through Athens, Frankfurt, Paris, Kingston, Brooklyn, Istanbul. Includes collaborations with Areti Ketime and Imam Baildi.

FABRIC (UK)

FABRIC 166CD

SAMA, LOGAN: FabricLive 83 CD (FABRIC 166CD) 16.00
Logan Sama has been at grime's forefront since the genre's inception, helping the careers of Wiley, Dizzee Rascal, Skepta and hundreds more. Far from a traditional DJ mix, FabricLive 83 is an intricately curated album featuring contributions from luminaries and future stars of grime. Sixty-six MCs including Novelist, Meridian Dan and Ghetts, to name but a few, lay exclusive acapella bars over twenty-four expertly-mixed, brand new instrumentals from the likes of Wiley, Jme and Preditah.

FEEDING TUBE RECORDS

FTR 188LP

GILLIG, BRYAN: Cave Trilogy - A Barricade, A Tigress, A Shadow 3LP (FTR 188LP) 31.00
"A few years back, Bryan Gillig was the frontman of the great Turners Falls MA band, Loudville. Plans were broached for a record, but nothing ever worked out and Loudville quietly devolved into pumice. A while later, Feeding Tube's Mr. Lee became enamored of a cassette of songs Bryan recorded in his car. Before anything could be done with that, however, Bryan reported back that he had recorded most of his repertoire under a bridge, by the banks of the Connecticut River in Turners. It was a lot of stuff, but it was fucking cool, so here ya go. Bryan's songs are nearly open-form in spots, and sometimes push against the bounds of known völk traditions. In other places, his approach recalls bits by the early '70s New England troubadour, Jaime Brockett. There are even points where his attack is reminiscent of Roky Erickson, circa The Holiday Inn Tapes. For an approach as minimal as Gillig's, he manages a surprising amount of variety on Cave Trilogy. The vibe is akin to being invited to enter a van full of smoke, only to discover that a river runs through it. Quite amazing in a low-key kind of way. The three albums ebb and flow with a rhythm as natural as the watery backdrop for the recording session. Some of the tunes are as tight as John Sebastian's hat, others ramble like Vince Martin wasted on reds. Together, they form a full afternoon of toasted deliciousness. It's almost like stumbling across the long-lost solo recordings of an ex-member of Spirit in the Flesh (Turners' legendary commune band of ages past). If you don't dig this one, you're definitely clenching too tight." - Byron Coley, 2015. Limited edition of 200 copies.


FTR 191LP

GARBUS, RUTH: Rendezvous with Rama LP (FTR 191LP) 18.50
"Ruth Garbus, of Brattleboro VT, is a force of nature in the Upper Valley. Her visual art and musical work are always imbued with the magic of a crisp fall evening, suggesting the shifting mystery of the seasons, rooted in the granite of the White Mountains. Rendezvous with Rama was originally issued on CD (Autumn Records) in 2010, around the same time she was working in the quartet Happy Birthday. This followed her work with the Feathers Family collective, who were responsible for some of the first progressive-folk-smoke to drift from Southern Vermont. But this here is what she sounded like solo back in those days, and it's great. These days, Ruth's voice and topics feel darker and maybe richer somehow, but the vibe here is as light as a seagull who got tricked into following the Connecticut River up from the Long Island Sound. Backing herself with circular acoustic patterns, her voice recalls the sweet charm of Sandy Denny when she was with the Strawbs, or the way Joni Mitchell covered Leonard Cohen's 'Urge for Going,' in '72. Rendezvous with Rama is a classic piece of volk vinyl, and you will be damn pleased to have it in your collection." --Byron Coley, 2015


FTR 216LP

BUCK GOOTER: First Decade LP (FTR 216LP) 18.50
"Buck Gooter's First Decade is a strange anthropological skeleton detailing how a wholly millennial-American band became the musical and performative reflection of the dog-shit-smelling (chicken-meat-processing) small town in which they reside and the human-shit-smelling national underground music scene that they epitomize. It's a collection of brutal jams that's, somehow, simultaneously historic and futurist; it's punk as fuck, but endearing and folk-ridden; it's simple and concise, yet unpredictable and psychedelic. These ten songs, one from each year of the band's first decade in operation, embody the off-kilter cultural legacy of their Appalachia whilst somehow being flawlessly delivered on a vessel of pure, wholehearted industrial punk. This music transcends categorization and provides a chronological glimpse into an intensely unique project that channels the bleak and imaginative in the same stroke of pop homage and resentment. It's impossible to nail down in any traditional generalization, as it's the complete musical embodiment of two very distinct individuals, Terry Turtle and Billy Brat, who could both carry a creative torch to the moon on their own, but whom this weird fucking universe blessed us with as a masterful and perfectly balanced union. First Decade is an incredible document of true American cultural revivalism, from the creepy hypnogogic ramshackle pop hooks of the early 'Cigarats,' 'I've Got Damn Age,' and 'Spider Wings' to the morphing, angular, noise-punk gems of 'Infant Eyes,' 'Rat On!!!,' and 'Ouija Guitar,' and finally landing on the amazing, concise, terrifying brutality that has come to be their calling card of the past four years, which includes one of my all-time favorite songs, written by any band, ever: the steadfast, perfectly produced, blues-licking chill-punk anthem 'Consider the Grackles.' This record, at its core, provides an interesting perspective on how an extremely unlikely duo have come together, birthed, and continue to grow into one of the most unique and genuine bands in the world. The First Decade is fucking awesome and it made me realize how much I'm looking forward to their next" --Justin Frye, 2015. Edition of 200.

FURTHER RECORDS

FUR 058CD

DOZZY, DONATO: The Loud Silence CD (FUR 058CD) 17.00
In April 2015, Donato Dozzy took a set of mouth harps to his parents' house in the Italian countryside and set about exploring the possibilities of that most basic of instruments. The mouth harp had been calling to Donato Dozzy ever since childhood, and he had begun to see in this peculiar, ancient sound the roots of the music he'd been making and playing in clubs. The Loud Silence is the result of those explorations, an accompanied deep-dive into childhood memory, social history, and the roots of psychedelia. Recorded indoors and outdoors; halfway up mountains and on the edge of the Mediterranean Sea, the album is meditative but also powerful. Each track maintains an inviolable central pulse, while delicate, fluttering sounds hint at vast spaces waiting for the listener to connect with them. Field recordings hover below the resonating harps, adding to the mysterious atmosphere. Tracks like "The Loud Silence" and "Downhill to the Sea" are wrapped up in simple rhythms, their strict throb drawing the listener in. The organic physicality of the sound, made in concert with the body itself, generates a primal response in the listener; an undeniably visceral understanding; an empathetic resonance. The Loud Silence is Donato Dozzy's second solo album, and it sees him return to Further Records, with which released his first solo album, K, in 2010 (FUR 018CD/LP). The two albums share a sense of dynamic movement within a limited sphere. It's not minimal, exactly -- it's hard to describe such a rich sound as minimal or reduced in any way -- but it gets the most out of a small, well-chosen set of tools. As on his 2015 album Sintetizzatrice (SP 038CD/LP), a full-length collaboration with singer Anna Caragnano, the ability to make a single element the center of a musical world is enthralling. Anyone who has followed Donato Dozzy's work, whether the celebrated Voices from the Lake collaboration with Neel, the otherworldly mixes he's done for mnml ssgs and electronique.it, or, particularly, his 2013 album of Bee Mask remixes for the Spectrum Spools label (SP 029CD), will see that The Loud Silence is a continuation of a lifelong fascination with sound and its potential to bring people, times, and places together. This album is the first in Further's series exploring the depth of one instrument, preceding a solo record from Nuel focused on the Ekdahl Polygamist synthesizer.

GOLDEN LAB (UK)

ROWF 058LP

GAMECOCK, THE: All Right, Hen? LP (ROWF 058LP) 25.50
Originally released on Gary War's Fixed Identity imprint on cassette in 2011 and then reissued by Beartown in 2013, again on cassette, this is the real highlight of the three Gamecock albums recorded at the beginning of the 2010s. A huge stanky monster of a record. Here's a slightly twerked version of the original write-up: Duo of Stuart Arnot (Smear Campaign, Plum Slate) and Nick Mitchell (Chalaque, Desmadrados Soldados de Ventura). They play a kind of arrhythmic, un-danceable funk of high-end frequencies and low-end drum machines, fed through a wah-wah and rammed forcefully into the listener's cerebral cortex. Pitch-shifted Casio crap and unadorned Roland Juno shimmer are melded to form what is at once both sweet and listenable and yet still, somehow, horribly repellant. Sitting somewhere uncomfortably, painfully and way away from the hypnogogic pop bandwagon, where the drum machines have bronchitis and the synthesizers sneeze, they are brutally loud, joyfully all-consuming and epic in their prolongation of the crescendo. This first vinyl edition is pressed on 140-gram vinyl and features new X-rated artwork by Glasgow-based artist Susan Fitzpatrick, as well as the original Fixed Identity art on the insert (also for adults only). Edition of 250.

HAFENDISKO (GERMANY)

HFNDISK 022EP

HOLTOUG: Stay in Love 12" (HFNDISK 022EP) 14.00
Holtoug's yearning "Stay in Love" is worthy of comparison in feel and tone to Âme's smash 2012 remix of Ry & Frank Wiedemann's "Howling." Marrying the drive and energy of dance music to the singer-songwriting sensibility of his indie roots, it's an intricate and playful sound-world characterized by breathy pads, deft percussive flourishes, and a swooping, swooning bass. Hafendisko label-mate Yannick Labbé (Trickski, Jazzanova/Compost) remixes the track with harsh machine percussion and vibrating subs. With his remix, Acid Pauli aka Martin Gretschmann (The Notwist) mutates the vocal into a cooing, howling, wah-wah as synth lines bounce off each other gleefully.

HALLOW GROUND (SWITZERLAND)

HG 1505LP

POTTER, COLIN: Rank Sonata LP (HG 1505LP) 25.50
"Colin Potter has been a central figure in the UK's DIY and post-industrial underground since the late '70s. His ICR label, founded in 1981, blurred the lines between post-punk experimentation, crude pop, Krautrock-inspired drone work and contemporary electronica, with releases by everyone from DIY legends The Instant Automatons through Chris & Cosey of Throbbing Gristle, experimental composer Trevor Wishart, drone soundists Andrew Chalk and Darren Tate and Bryn Jones's Muslimgauze. He has also been a key collaborator with both Current 93 and Nurse With Wound, working in the studio with both groups since the late '90s as well as serving as a member of Nurse With Wound's current live line-up. From the late '90s to the late '00s Potter's IC Studio, based in a Victorian Water Tower outside Preston, was a lightning rod for musicians working beneath the radar and a focal point for the nacsent UK drone scene" --David Keenan, Red Bull Music Academy Daily, March 31, 2015. Rank Sonata encloses sounds of organic techno, somnambulistic dub, and dream-ambient. The nearly-20-minute track "A Wider Pale of Shale" sounds absolutely timeless, with an interplay between ambient and beat-driven passages that could play all night long. With "You," Potter brilliantly weaves abstract sounds into an unexpected multi-layered dub track. The deep, slow reverb-rhythm of "Knit Where?" gives the record a touch of darkness and melancholy. Rank Sonata is a brilliant piece of music full of technical sophistication and innovation.

HARBINGER SOUND (UK)

HARB 004EP

SLEAFORD MODS/SUDDEN INFANT: You're Brave/Fat Nipple Upright 7" (HARB 004EP) 12.00
Limited copies of the 2015 tour-only 7" featuring "You're Brave" by Sleaford Mods and an exclusive track from Berlin's noise rock trio Sudden Infant -- "Fat Nipple Upright."

HEAVY SHEET

HEAVY 003LP

MOCKY: Key Change LP (HEAVY 003LP) 17.50
LP version. Includes two bonus tracks and download code. Performer, producer, songwriter, composer, and multi-instrumentalist Dominic "Mocky" Salole rose to prominence in the Berlin electronic scene of the mid-2000s, releasing three acclaimed solo albums, co-writing and producing classics like Jamie Lidell's Multiply (2005) and Feist's The Reminder (2007), and making waves on stage with close collaborators (and fellow Canadians) Peaches, Feist, and Chilly Gonzales. A critical favorite, his 2009 album Saskamodie was described by Pitchfork as "an exceptionally musical album -- there's no other word for it -- that could fail to seduce only the hardest of hearing, or the hardest of hearts." Key Change documents Mocky's move from the musical community of Berlin to that of LA, and reflects the city's underground jazz and psychedelic scene. "Frank Sinatra was the first techno artist," declared Mocky in a 2015 interview on PRI's The World. As Sinatra was one of the first singers to use microphone technology to bring more intimacy to his sound, Mocky uses software and laptop-recording to bring the listener within close range of his music. Mocky is a radical multitracker -- he plays most of the instruments on Key Change himself -- but he strictly avoids presets and uses no samples. As Mocky said in a 2015 interview in Wired, "The most modern thing I can do in 2015 is make music with my bare hands." Key Change is also a testament to Mocky's musical family: the wondrously lush "When Paulie Gets Mad" features frequent Flying Lotus collaborator Miguel Atwood-Ferguson on strings; the infectious "Living in the Snow" features a Feist cameo on drums; Moses Sumney and Joey Dosik, two singers for whom Mocky has written and produced and who have been making a mark on the LA scene, turn in a smoother-than-smooth vocal performance on "Tomorrow Maker"; and longtime collaborator Chilly Gonzales sits in on piano and Rhodes on "Head in the Clouds." Mocky draws on the past and the future to give us back the present as only someone with deep roots in electronic music can. If "machines have become the arbiters of emotion," as Mocky claims, then Key Change offers another way. Deeply familiar yet utterly new, dreamy and ethereal yet earthy and grounded, this is the music of paradox. It resists classification, as many a music journalist has discovered. It lives on its own terms. You can talk about it all you want. But in the end, you just have to listen.

HONEST JON'S RECORDS (UK)

HJP 078CD

HALO, LAUREL: In Situ CD (HJP 078CD) 14.50
Spherical collections of stars form around black holes in situ; that is, locally to their cosmic neighborhoods. It is said that future space colonization will rely on sourcing supplies in situ. Construction in situ uses raw materials at the site: colossal sculptures such as Naqsh-e Rustam, the Leshan Giant Buddha, and Mount Rushmore were built in this fashion. Wild, organic machine grooves, with a mind's eye on naked treetops and an early sunset. Melody breathes out from dubwise fx, percussion by turns sinewy and floating, sub blasts and stripped synth arrangements. Keys on air. Spacious, witty, melancholic, deadly.


HJP 078EP

HALO, LAUREL: In Situ 2x12" (HJP 078EP) 18.00
Double 12" version. Spherical collections of stars form around black holes in situ; that is, locally to their cosmic neighborhoods. It is said that future space colonization will rely on sourcing supplies in situ. Construction in situ uses raw materials at the site: colossal sculptures such as Naqsh-e Rustam, the Leshan Giant Buddha, and Mount Rushmore were built in this fashion. Wild, organic machine grooves, with a mind's eye on naked treetops and an early sunset. Melody breathes out from dubwise fx, percussion by turns sinewy and floating, sub blasts and stripped synth arrangements. Keys on air. Spacious, witty, melancholic, deadly.


HJR 111CD

ASAKAWA, MAKI: Maki Asakawa CD (HJR 111CD) 14.50
A stunning survey of the 1970s heyday of great Japanese singer and countercultural icon Maki Asakawa (1942-2010). Deep-indigo, dead-of-night enka, folk, and blues, inhaling Billie Holiday and Nina Simone down to the bone. A traditional waltz abuts Nico-style incantation; defamiliarized versions of Oscar Brown Jr. and Bessie Smith collide with big-band experiments alongside poet Sh?ji Terayama; a sitar-led psychedelic wig-out runs into a killer excursion in modal, spiritual jazz. Existentialism and noir, mystery and allure, hurt and hauteur. With excellent notes by Alan Cummings and the fabulous photographs of Hitoshi Jin Tamura. "Japan's answer to Scott Walker, with a visual aesthetic and a death-decadent appeal that is straight out of the Keiji Haino songbook." --Volcanic Tongue


HJR 111LP

ASAKAWA, MAKI: Maki Asakawa 2LP (HJR 111LP) 23.50
Double LP version. A stunning survey of the 1970s heyday of great Japanese singer and countercultural icon Maki Asakawa (1942-2010). Deep-indigo, dead-of-night enka, folk, and blues, inhaling Billie Holiday and Nina Simone down to the bone. A traditional waltz abuts Nico-style incantation; defamiliarized versions of Oscar Brown Jr. and Bessie Smith collide with big-band experiments alongside poet Sh?ji Terayama; a sitar-led psychedelic wig-out runs into a killer excursion in modal, spiritual jazz. Existentialism and noir, mystery and allure, hurt and hauteur. With excellent notes by Alan Cummings and the fabulous photographs of Hitoshi Jin Tamura. "Japan's answer to Scott Walker, with a visual aesthetic and a death-decadent appeal that is straight out of the Keiji Haino songbook." --Volcanic Tongue

HOUNDSTOOTH (UK)

HTH 041EP

CALL SUPER: Migrant 12" (HTH 041EP) 14.00
With his second 12" of 2015, Call Super contemplates the dancefloor once again, much in the manner of his previous releases The Present Tense (HTH 001EP, 2013) and Fluenka Mitsu (2015). On Migrant, the enigmatic artist returns to Houndstooth with two tracks that develop his detailed, quixotic sound with his palette of shady drums and svelte bass work. Dreamlike pieces to rotate you into the night.

I'M A CLICHE (FRANCE)

CLICHE 063EP

RED AXES: Shem Vol. II 12" (CLICHE 063EP) 14.00
Tel Aviv's Red Axes open the second installment in their Shem series, following Vol. 1 (CLICHE 059EP, 2015), with the hypnotic "Shem"; its brilliant use of space and subtle melodic variations recalls timeless film scores in the spirit of Ennio Morricone's work. With its guitars, live percussion, and keyboards, "Oh Key" is a throwback to Red Axes' early sound. "Sweet John Gang" layers psychedelic melodies on an understated groove of heavily treated guitar and frequency-oscillating synths. The syncopated beat of the highly danceable "More More and More" lets treated drums, a fuzzy bassline, and synth stabs breathe through the mix.

ISSUE PROJECT ROOM DISTRIBUTED OBJECTS

IPRDO 003LP

YARN/WIRE AND PETE SWANSON: Eliminated Artist LP (IPRDO 003LP) 17.50
Known for his uncompromising tape and synthesizer work, Pete Swanson has pushed the limits of electronic music since the early 2000s. Since stepping down as half of formative underground duo Yellow Swans, he has subverted the genres of noise and electronic dance music as a solo artist. For Eliminated Artist, the third LP release from ISSUE Project Room's Distributed Objects imprint, Swanson ventures into new territories with two works at the intersection of electronic and acoustic sound, created in collaboration with New York instrumental quartet Yarn/Wire. Combining electronics, tape loops, and modular synthesizer with Yarn/Wire's unique ensemble of two pianists and two percussionists, both works were recorded live at ISSUE Project Room, initiated as part of the ensemble's 2011 residency at the Brooklyn venue and presenting organization. For the title-track, "Eliminated Artist" (2012), Swanson recorded improvised rehearsals by Yarn/Wire, from which he crafted an exacting, repeatable framework for live performance. A combination of live signal and rehearsal recordings were then constructed by Swanson into a live electronic mix, ranging from tranquil chromatic textures to unhinged distortion. "Corrections" (2014) emerged from a series of recorded fragments Swanson made using "the Putney," an early EMS VCS3 modular synthesizer, at Rotterdam's WORM studios in 2013. Over two days of rehearsal, Yarn/Wire and Swanson developed acoustic arrangements to integrate with the earlier recordings. Clattering, intricate rhythms combine with soaring synthesizer-pitches and heavy, percussive beats; the result is atmospheric, physical, and precise. Yarn/Wire: Ning Yu, Laura Barger: piano; Russell Greenberg, Ian Antonio: percussion. Pete Swanson: EMS VCS3, electronics, and tape. "Corrections" recorded live at ISSUE Project Room on May 1, 2014; EMS VCS3 for Corrections recorded at WORM Studios, Rotterdam, December 2013. "Eliminated Artist" recorded live at ISSUE Project Room March 22, 2012. Mastered by Rashad Becker. Limited edition of 500 on 150-gram vinyl.

JAZZ VILLAGE (FRANCE)

JV 33570087LP

MAGMA: Kobaia LP (JV 33570087LP) 28.00
180-gram vinyl. "In the late sixties, Christian Vander founded Magma and stated his commitment to produce a different kind of music. Released in 1970, Magma's début album Kobaïa succeeded beyond anyone's wildest expectations. The group's sound blended diverse influences from Bach to Coltrane to produce a brand new musical style. While the instruments were familiar, they were used in unconventional ways, and the vocals, which called on an invented language, only heightened the otherworldly affect of this revolutionary band."


JV 33570091LP

MAGMA: Live 2LP (JV 33570091LP) 33.00
180-gram vinyl. "In 1975, following the departure of Jannick Top and almost all original members of the group, Magma was reborn from the ashes with a rejuvenated ambition. This live recording, which took place in June of '75 at the Olympia Tavern, captures Christian Vander at the top of his artistic game and features a mind-blowing performance from Didier Lockwood, whose violin adds an extra dimension to the profound originality of this superb double album."

KEYHOLE (UK)

KH 9060CD

MCGUINN, ROGER: Live in New York: Eight Miles High CD (KH 9060CD) 17.00
Live at Islip Speedway, New York, July 7th 1974. The Byrds split for good in 1973, following which Roger McGuinn embarked on a fascinating solo career. Recorded in the summer of 1974 for broadcast by WLIR-FM, this superb live set finds him tackling material from his debut solo album and forthcoming Peace On You set, as well as classics by the Byrds, Bob Dylan and others. It's presented here with background notes and images.


KH 9067CD

STONEGROUND: Live in Haight-Ashbury 1971 CD (KH 9067CD) 17.00
Having departed folk-rock pioneers The Beau Brummels, in 1969 Sal Valentino joined this remarkable collective, managed by legendary San Francisco DJ Tom Donahue. Recorded as part of a benefit for the Haight-Ashbury Free Clinic in March 1971 (just as their classic debut album was about to hit stores), this superb set was originally broadcast on KSAN-FM. Capturing the band at the height of their powers, it's presented here together with background notes and images. A quintessential artifact of the Californian hippie scene.

KEYSOUND RECORDINGS (UK)

LDN 056EP

WEN (FEAT. RIKO DAN): Play Your Corner (Walton/Kahn & Neek Remixes) 12" (LDN 056EP) 14.00
This one needs little introduction. The biggest track in the 2015 Keysound family arsenal -- Walton's remix of Wen's "Play Your Corner (feat. Riko)" -- finally hits wax, barging its way into the space between dark 130 rollage and grime. On the flip, Kahn & Neek's remix reveals a more nuanced side compared to their usual rave-destroying, grimey-dubplate-style.

KRANKY

KRANK 191LP

LOSCIL: Sea Island 2LP (KRANK 191LP) 21.00
2015 repress. Double LP version. "Sea Island is a collection of new material composed and recorded over the past two years. While many of these compositions were performed live extensively prior to recording, others were constructed in the studio and are being heard for the first time here. Musically, the album represents a range of compositional approaches. Murky, densely textured depths of sound are explored with subtle pulses and pings woven within, contrasted with composed or improvised moments of acoustic instrumentation making a move into the foreground. Certain tracks on Sea Island such as album opener 'Ahull' make rhythm their focus by exploring subtle polyrhythms and investigating colliding moments of repetition and variation. Though staunchly electronic at its core, instruments such as vibraphone and piano make appearances, and layers of live musicality, improvisation and detail appear in the looped and layered beds of manipulated sound recordings. A varied cast of players appear in the loscil "ensemble", some familiar collaborators from the past such as Jason Zumpano on rhodes and Josh Lindstrom on vibraphone, and others new to the mix such as Fieldhead's Elaine Reynolds who provides layered violin on 'Catalina 1943', and Ashley Pitre contributing vocals on 'Bleeding Ink'. Seattle pianist Kelly Wyse, who collaborated with loscil on his 2013 edition of piano-centric reworks Intervalo, performs on the tracks 'Sea Island Murders' and 'En Masse.'"


KRANK 198LP

HAUSCHILDT, STEVE: Where All Is Fled 2LP (KRANK 198LP) 20.00
Double LP version. "Steve Hauschildt's new album is his first since the late 2012 release of Sequitur. Although Where All Is Fled sonically harkens back to his earlier albums such as Rapt for Liquid Minister and Tragedy & Geometry, it slowly becomes apparent that it is also a divergence from those recordings. Both the artwork and the music on this new work were heavily inspired by surrealist landscape paintings, early alchemical emblems, and recurring visions Steve had from dreams. The result is a pristine series of cascading melodies, fantastical terrains of layered lattices, and overlapping patterns of synthesizers superimposed with orchestral instrumentation. Hidden in the crevices of the album are processed crowd sounds, re-sampled text-to-speech synthesis, piano, and animal noises which reveal themselves after repeated listens and blur together notions of artificial and natural sound. While slowly unfurling, each sound is given it's own place and space, never hurried, never cluttered. The album is a modern kosmische milepost, and the most accomplished statement of Steve Hauschildt's vision yet."

LIGHT IN THE ATTIC

LITA 036LP

RODRIGUEZ: Cold Fact LP (LITA 036LP) 20.00
2015 repress, LP version. Deluxe 180 gram pressing, heavy jacket. "It's one of the lost classics of the '60s, a psychedelic masterpiece drenched in color and inspired by life, love, poverty, rebellion, and, of course, 'jumpers, coke, sweet mary jane.'"

M (GERMANY)

M 004EP

MAURIZIO: M4 12" (M 004EP) 10.00
Repressed; 1995 release. "M 4 marks a break on the Maurizio label and starts what will become the famous M-series. This 12" together with its brother M 4.5 is a release with an impact that can't be overestimated. It redefined the dub house term without containing any explicit reggae elements. It is one of the coolest Basic Channel recordings ever!"

MANNEQUIN RECORDS (GERMANY)

MNQ 071LP

POLICE DES MOEURS: Ceux Qui Restent LP (MNQ 071LP) 20.00
Montréal synth punk quartet Police des Moeurs return with Ceux Qui Restent, the most dynamic and incendiary record of the group's career, following their highly acclaimed 2013 self-titled debut from (MNQ 044LP). "While the first effort was mostly about how we're all separate from each other, the second one is all about to getting over it and trying to fight it," explains vocalist and synth player Francis Dugas. "Most of the new LP is about links, love and caring (in PDM style, obviously). The title is Ceux Qui Restent, which means 'those who stay' or something like that." Still raw, but more direct and minimal than first LP, with two tracks featuring Pete from Dekoder on bass guitar.


MNQ 071LTD-LP

POLICE DES MOEURS: Ceux Qui Restent + Punk Tape 2LP (MNQ 071LTD-LP) 23.50
Double LP version. Includes the Punk Tape LP, previously released on cassette by Runstate in 2015. The second LP contains covers of Chron Gen, Reagan Youth, Thee Headcoatees, Trotskids, Antisect, Anti-Cimex, Rudimentary Peni, and Ludwig Von 88. Edition of 250.

MINIMAL WAVE

MW 060LP

AKIKAWABAYA, TOMO: The Invitation of the Dead 2LP (MW 060LP) 29.00
"An exquisite double LP release by obscure Japanese artist Tomo Akikawabaya. As long time admirers of Akikawabaya's 1980s releases on his own label Castle Records, we had attempted to reach him for many years without any luck. Finally at some point in 2014, a conversation was struck and one thing lead to the next. It was through Nao Katafuchi that we finally made contact with the legend himself, and began speaking about the proposed release idea. It turned out that the admiration was mutual, which was surprising as we thought Akikawabaya had disappeared completely. After working through the track selection and artwork ideas, we came up with the release plan. We're very excited to present this double LP entitled The Invitation of The Dead. The collection of songs include the entirety of both The Castle (1984) and Anju (1985) releases, all newly remastered. They sound fresher and stronger than ever before, exactly as the artist had intended them to sound when he recorded them 30 years ago. The songs that span this double LP are personal and unique; they are dark synthpop gems. The artist still remains a mystery, as does his relationship to the model Rena Anju featured on this and all but one of his album covers (Kojiki to Onna). The Invitation of The Dead double LP is a limited edition of 999 copies."

MIRUMIR (RUSSIAN FEDERATION)

MIR 100743LP

HAWKWIND: Live at the Astoria 2LP (MIR 100743LP) 34.00
British space rock legends Hawkwind formed in the late '60s and combined bold guitar, synthesizer, and Mellotron sounds to create heavy metal music that seemed to cross paths with Chuck Berry and The Moody Blues without sounding like either of them. This LP contains the band's performance at London's Astoria on December 19, 2007, at their annual London Christmas gig. Features founder Dave Brock and the return of keyboardist Tim Blake.


MIR 100755LP

PEPE DELUXE: Angry Birds Go! Original Soundtrack LP (MIR 100755LP) 28.50
Mirumir Music Publishing proudly presents the world's first vinyl soundtrack to a mobile game. The soundtrack for Rovio's 2013 game Angry Birds Go! is not quite your typical soundtrack. Recorded with dozens of live instruments ranging from guitars and drums to theremin, saws, and steak in a frying pan (full list of almost 100 instruments included on inner sleeve), this soundtrack contains more music than was used in the game, and even more than on the iTunes release of the soundtrack. The incredible neo-psychedelic retro-funk groove from Pepe Deluxé, who started in the late '90s with trip hop and downtempo, deserves to be heard on a high-quality audio system rather than built-in phone speakers. Guest list includes such eminent persons of the international music scene as Jens Johansson, keyboardist on Yngwie Malmsteen's Rising Force (1984) and member of Stratovarius, and Kimmo Pohjonen, the most famous accordionist in the world. 140-gram LP with printed inner sleeve.

MODERN LOVE (UK)

LOVE 098LP

STOTT, ANDY: Faith in Strangers 2LP (LOVE 098LP) 23.50
2015 limited vinyl repress. Double LP version. Making use of on an array of instruments, field recordings, found sounds and vocal treatments, it's a largely analog variant of hi-tech production styles arcing from the dissonant to the sublime.

MONIKA (GERMANY)

MONIKA 085CD

MORGENSTERN, BARBARA: Doppelstern CD (MONIKA 085CD) 15.50
"Yes, double stars do exist. They are a reality. They appear in the firmament -- sometimes as an optical and sometimes as a physical phenomenon. Two celestial bodies, working in relation to each other, circling around each other, responding to each other. Both in a delicate balance. In the German language this rare astronomical occurrence is called a 'Doppelstern.' Yet the double stars at issue here have not fallen from the sky, even if it sometimes sounds like it. Barbara Morgenstern -- the great Berlin composer, lyricist, musician, and choir director -- has conceived them, formed them, and lets them rain down upon us like a meteor shower. Three years after her previous English-language album Sweet Silence (MONIKA 074CD, 2012), Barbara Morgenstern is in possession of a marvelous new metaphor for a shining new creative principle. The name was actually a hint from Justus Köhncke, with whom she also forms a double star... In various studios and different constellations, across continents and neighborhoods, a veritable solar system has come into existence. Let's listen into it! It shimmers. Unbelievable. So many facets. Each piece is unique due to its double star constellation. Let's call them by name: T.Raumschmiere, Hauschka, Gudrun Gut, Justus Köhncke, Corey Dargel, Lucrecia Dalt, Julia Kent, Coppé, Tonia Reeh, Richard Davis, Jacaszek. And each piece is connected to the other through Barbara Morgenstern and her songs... And as complete lyrics in collaboration with the aforementioned partner stars they shine sometimes brighter than a supernova, and other times as delicately as a firefly. Between song-craft and krautrock, electronic listening and dance-pop, an entire glittering galaxy of sounds and songs unfolds in front of us. That's Barbara Morgenstern's Doppelstern. Do not miss this celestial phenomenon." --Hans Nieswandt


MONIKA 085LP

MORGENSTERN, BARBARA: Doppelstern LP (MONIKA 085LP) 17.50
LP version. Includes download code. "Yes, double stars do exist. They are a reality. They appear in the firmament -- sometimes as an optical and sometimes as a physical phenomenon. Two celestial bodies, working in relation to each other, circling around each other, responding to each other. Both in a delicate balance. In the German language this rare astronomical occurrence is called a 'Doppelstern.' Yet the double stars at issue here have not fallen from the sky, even if it sometimes sounds like it. Barbara Morgenstern -- the great Berlin composer, lyricist, musician, and choir director -- has conceived them, formed them, and lets them rain down upon us like a meteor shower. Three years after her previous English-language album Sweet Silence (MONIKA 074CD, 2012), Barbara Morgenstern is in possession of a marvelous new metaphor for a shining new creative principle. The name was actually a hint from Justus Köhncke, with whom she also forms a double star... In various studios and different constellations, across continents and neighborhoods, a veritable solar system has come into existence. Let's listen into it! It shimmers. Unbelievable. So many facets. Each piece is unique due to its double star constellation. Let's call them by name: T.Raumschmiere, Hauschka, Gudrun Gut, Justus Köhncke, Corey Dargel, Lucrecia Dalt, Julia Kent, Coppé, Tonia Reeh, Richard Davis, Jacaszek. And each piece is connected to the other through Barbara Morgenstern and her songs... And as complete lyrics in collaboration with the aforementioned partner stars they shine sometimes brighter than a supernova, and other times as delicately as a firefly. Between song-craft and krautrock, electronic listening and dance-pop, an entire glittering galaxy of sounds and songs unfolds in front of us. That's Barbara Morgenstern's Doppelstern. Do not miss this celestial phenomenon." --Hans Nieswandt

MORR MUSIC (GERMANY)

MORR 132CD

MS. JOHN SODA: Loom CD (MORR 132CD) 15.50
A lot has changed since Ms. John Soda released their first 7" in 1998, since Micha Acher (The Notwist, Tied & Tickled Trio, Alien Ensemble) joined Stefanie Boehm (Couch) and completed the creative nucleus of this band; day-to-day life indeed feels different in 2015, but the basic chemistry, the intricate balance of electronic and analog molecules that orbit this nucleus -- and thus, the resulting mood and vibe -- they're still recognizable, still undeniably Ms. John Soda. Whether it's the dense, intensely rushing soundscapes of "Hero Whales," numerous layers pushing and taking off into the same direction; the propelled clatter of "Sirens"; a track like "Millions" that blows off more and more steam, a glistening, wheezing sort of madness even (though there is a tender side to it as well); the perpetual magic-lantern-like motions of "Name It" (think Trish Keenan and Broadcast); or the gradually descending melodies of opening track "In My Arms" -- they're all lined with a certain tension, underpinned by a certain atmosphere, a unique brand of melancholy that never quite gives in and keeps searching for new outlets and answers. The title of Loom, the band's first album since 2006's Notes and the Like (MORR 064CD/LP), hints at a feeling of re-emergence, gathering and looming, but according to the singer, it also refers to a weaving loom; it's about "weaving and combining a vast number of influences, ideas, instruments, melodies, rhythms, and layers to create a whole," says Boehm, whose vocals span these tracks like thick, reliable ropes that glow with marine luminescence. "It's about weaving individuals into a group ('Millions'), weaving and merging former ideals and hopes with reality ('The Light'), combining 'hi' and 'bye,' beginning and end ('Hi Fool'), interweaving opposite or contradicting concepts, such as pushing forward vs. being pushed ('In My Arms')." Cico Beck aka Joasihno of Aloa Input (drums, electronics) and drummer Thomas Geltinger helped out on various tracks recorded with Oliver Zülch in Weilheim; Boehm and Acher were also joined by Karl-Ivar Refseth (percussions) and Matthias Götz (trombone). Together, they keep feeding the loom with countless spools of yarn, until epic piano closer "Fall Away" seems to offer a temporary respite: "find your way/take the dry suit off/for a night." Time to rest, to take a deep breath. Or are those the first rays of dawn looming on the horizon?


MORR 132LP

MS. JOHN SODA: Loom LP (MORR 132LP) 18.00
LP version with printed inner sleeve. Includes download code. A lot has changed since Ms. John Soda released their first 7" in 1998, since Micha Acher (The Notwist, Tied & Tickled Trio, Alien Ensemble) joined Stefanie Boehm (Couch) and completed the creative nucleus of this band; day-to-day life indeed feels different in 2015, but the basic chemistry, the intricate balance of electronic and analog molecules that orbit this nucleus -- and thus, the resulting mood and vibe -- they're still recognizable, still undeniably Ms. John Soda. Whether it's the dense, intensely rushing soundscapes of "Hero Whales," numerous layers pushing and taking off into the same direction; the propelled clatter of "Sirens"; a track like "Millions" that blows off more and more steam, a glistening, wheezing sort of madness even (though there is a tender side to it as well); the perpetual magic-lantern-like motions of "Name It" (think Trish Keenan and Broadcast); or the gradually descending melodies of opening track "In My Arms" -- they're all lined with a certain tension, underpinned by a certain atmosphere, a unique brand of melancholy that never quite gives in and keeps searching for new outlets and answers. The title of Loom, the band's first album since 2006's Notes and the Like (MORR 064CD/LP), hints at a feeling of re-emergence, gathering and looming, but according to the singer, it also refers to a weaving loom; it's about "weaving and combining a vast number of influences, ideas, instruments, melodies, rhythms, and layers to create a whole," says Boehm, whose vocals span these tracks like thick, reliable ropes that glow with marine luminescence. "It's about weaving individuals into a group ('Millions'), weaving and merging former ideals and hopes with reality ('The Light'), combining 'hi' and 'bye,' beginning and end ('Hi Fool'), interweaving opposite or contradicting concepts, such as pushing forward vs. being pushed ('In My Arms')." Cico Beck aka Joasihno of Aloa Input (drums, electronics) and drummer Thomas Geltinger helped out on various tracks recorded with Oliver Zülch in Weilheim; Boehm and Acher were also joined by Karl-Ivar Refseth (percussions) and Matthias Götz (trombone). Together, they keep feeding the loom with countless spools of yarn, until epic piano closer "Fall Away" seems to offer a temporary respite: "find your way/take the dry suit off/for a night." Time to rest, to take a deep breath. Or are those the first rays of dawn looming on the horizon?

NAWA RECORDINGS (UK)

NAWA 003CD

ALIF: Aynama-Rtama CD (NAWA 003CD) 18.00
Alif is the collective sound of five musicians at the forefront of independent music in the Arab world. Conceived in 2012 and taking its name from the first letter of the Arabic alphabet, Alif features Khyam Allami (oud), Tamer Abu Ghazaleh (vocals and buzuq), Bashar Farran (bass), Maurice Louca (keys and electronics), and Khaled Yassine (drums and percussion). Their self-produced debut, Aynama-Rtama (Wherever It Falls) is a reflection of its time and environment. Recorded between Beirut and Cairo in 2014, it is a shape-shifting album that twists and turns when one least expects it. Right from the lead track "Holako (Hulagu)" -- featuring a poem by late Iraqi poet Sargon Boulus (1944-2007) rendered into song for the first time -- the band immediately reveal their intention. Louca's gritty electronic percussion melds with Allami's rhythmic oud, and builds until the explosion of a driving rhythmic section, backing Abu Ghazaleh's frenzied buzuq, leads to a cinematic climax of soaring strings and raging drums. The startling synergy of these five musicians is retained throughout the album. A fiery sermon rages in "Al-Khutba Al-Akhira (The Last Declamation)" as the tumult of Yassine's acoustic percussion gives way to Louca's piercing synths, intertwining with Abu Ghazaleh's potent diction. From the melancholic beauty of "Dars Min Kama Sutra (A Lesson from Kama Sutra)" -- which features the tantalizing verses of renowned Palestinian poet Mahmoud Darwish (1942-2008) -- to the majestic and surreal album-closer "Eish Jabkum Hon? (What Brings You Here?)," penned by the band's own Tamer Abu Ghazaleh, each track bursts with rhythmic drive and fervor. The band's wide-ranging influences, along with their unified and intriguing energy, give birth to a soundscape that is at once familiar and unknown. Mixed by Ali Chant of Toybox Studios, Bristol, UK (PJ Harvey, Rokia Traoré, Yann Tiersen, Gruff Rhys, John Parish) and mastered by John Dent of Loud Mastering, UK (Bob Marley, Nick Drake, Yann Tiersen, Massive Attack, Nick Cave), Aynama-Rtama traces a complex labyrinth of genres, sounds, and emotions, rendered as a unique postcard of the tumultuous rollercoaster-ride of its time. The album is adorned in artwork featuring a painting by Syrian-Lebanese visual artist Semaan Khawam. His colorful, surreal paintings, combined with original typography by Egyptian designer Salma Shamel, perfectly complement the complexities latent in Alif's music and lyrics. All editions also feature Nariman Youssef's English translations of the poems and lyrics.

NORTON RECORDS

CED 265CD

BIG STAR: Nobody Can Dance CD (CED 265CD) 13.00
2015 repress, originally released in 1999. A mix of early rehearsal tapes and a board tape from 1974 live shows.


CED 409CD

MIRIAM: Down Today CD (CED 409CD) 13.00
"Following the track-tested formula of her debut album Nobody's Baby, the new full-length is produced by Sam Elwitt, who plays the heck out of all instruments except the strings, which are mastered by Gregor Kitzis. Yes, they are real, and they are spectacular! Expect the unexpected as Miriam and Sam tackle new dimensions where few have dared to go-- who else would go to the mat with the likes of Deep Purple, Bowie, and the DC5? Fear not, ye weak of heart!"


ED 329LP

PHANTOM RAIDERS, THE: New Sound '67 LP (ED 329LP) 15.00
2015 repress, originally released in 1997. The Phantom Raiders' New Sound '67 was their debut album, featuring "I'm A Believer," "Last Kiss" and "Stickshift."


ED 356LP

FOWLEY, KIM: Another Man's Gold LP (ED 356LP) 15.00
2015 repress. Subtitled: Lost Treasures From The Vaults 1959-69 Volume Two. Gatefold LP version. "We were trying to do Dale Hawkins, trying to imitate Susie Q, on Geronimo. And we succeeded in getting that sound. Geronimo sounds great in a car or when you're having multiple sex with lesbians." -- Kim Fowley


ED 409LP

MIRIAM: Down Today LP (ED 409LP) 15.00
LP version.

OCORA (FRANCE)

OCORA 560264

PETRAKIS, STELIOS: Crete: L'Art de la Lyra CD (OCORA 560264) 20.00
"Stelios Petrakis, musician and luthier, displays all his love for the music of Crete. Based around the emblematic instrument, the lyra fiddle, it is characterized by refined strings, expressive singing and dance rhythms that resonate throughout the eastern Mediterranean."


OCORA 561173

AL-AJAMI, HASAN: Yemen: Le Chant de Sanaa CD (OCORA 561173) 20.00
"These sublime poetic texts dating from the 14th century have the classic themes of courtly love, nostalgia and absence. Performed on the qanbus luth and copper plate percussion, the music of The Singing of Sanaa is the quintessence of Yemenite traditional music."

OKTAF (GERMANY)

OKTAF 011CD

DENZEL & HUHN: Brom CD (OKTAF 011CD) 17.00
"Here's the thing about Denzel + Huhn. They treat sound like nobody else. Everything is precious, worthy to be recorded, archived, digitalized, processed, and eventually spit out again on a record like Brom, Denzel + Huhn's first since 2007... Bertram had been busy with music for movies and high-profile TV shows, Erik too, he says, but he wants everybody to know that he bought a new guitar and a valve-powered amp to go with it... I had always considered Denzel + Huhn's music to be extremely special, yet more or less completely overlooked by the busy mainstream, unable to cope with their very particular and peculiar approach to music... Brom is a very special record. This is why I don't have time for platitudes like 'the experimental duo from Berlin' or 'critically acclaimed Oktaf label.' That stuff just does not matter... Two things have always been extremely important for Erik and Bertram: sampling and collaborating. With each other, but also with other people. This is what happened recording Brom as well, but on a completely new scale. 'We'd normally start off by sampling tons of records, always looking for bits and pieces to work with. This time, we also started with sampling, but we recorded the stuff ourselves,' says Bertram. 'Instruments, field recordings, experimenting with microphones, looking for a new kind of ambience as a basis for our tracks. We've enjoyed this very much, so we were inviting friends to bring their instruments and ideas into the fold.' Tarwater's Ronald Lippok is among that crew, as is Brandt Brauer Frick's Florian Juncker playing the trombone. You'll also hear many self-made instruments on Brom, plus the 'hang,' a kind of Swiss-made steel drum with a confusing esoteric heritage. Bringing all this into the mix, 'the record sounds more mature and complete in a way,' says Bertram. What really matters is that Denzel + Huhn actually made another record. Maybe their best one yet. Who am I to judge? All I know is that this record matters in a big way, more than you can imagine. Just listen to 'Schlagton,' the album-closer, which condenses a million centuries of music history into a pop song four minutes and 17 seconds long. If this tune does not provoke tears in your eyes, you're dead. Sorry for being so blunt. The truth sometimes hurts. Trust me, I've learned this the hard way." --Thaddeus Herrmann, Berlin, 2015

OVUM

OVM 259EP

AVNI, YOTAM: This Is How 12" (OVM 259EP) 14.00
Israeli producer Yotam Avni follows killer cuts for the likes of Robsoul, Be as One, and Osunlade's Yoruba Records with "This Is How," bursting in with a clipped but swollen kick drum before a vocal snippet chimes in through a mesh of bass. The break kicks the driving rhythm up a notch, mixing Avni's trademark uplifting house with galvanized, toughened techno beats. Steve Rachmad's remix sits dry flanges, acid stabs, and filtered analog synths atop a frenetic hi-hat for a bass-less but high-impact smasher. The hypnotic, wavering acid synth lines and muted kick drums of "Bbbooy Skat" ignite into a techno roller.

PLAY LOUD! PRODUCTIONS (GERMANY)

PL 005EP

MONKS: Complication/Oh-How to Do Now 7" (PL 005EP) 11.00
2009 reissue. First official authorized reissue of Complication/Oh-How To Do Now by legendary avant-garde rockers Monks, originally released by International Polydor Production in 1966. Original artwork. Original master sound.


PL 006LP

FLOATING DI MOREL: Said My Say LP (PL 006LP) 21.00
2009 release. Floating di Morel is probably the best rock 'n' roll band to come out of Germany since 39 Clocks. This might sound like overblown hype, but it's not; the few critics who attended the band's rare live performances were all flabbergasted. Here are a few reference-points: Suicide, free jazz, Throbbing Gristle, The Jesus and Mary Chain, Big Star, White-Light-hysteria -- stuff Floating di Morel likes but doesn't copy at all. Get ready for one of the strangest and most exciting acts from Berlin.


PL 007LP

DOC SCHOKO: Schlecht Dran/Gut Drauf LP (PL 007LP) 21.00
2009 release. Doc Schoko wrote his first songs at the age of 11. He self-distributed his first releases on microcassette in Germany's most industrialized and populated state of North Rhine-Westphalia (Rhine-Ruhr). A working-class punk rocker who uses the German language ("Some German words are so long that they have a perspective" --Mark Twain) just like his German idols, such as S.Y.P.H., Fehlfarben, Kolossale Jugend, Die Regierung, Ton Steine Scherben, Mutter, NEU!, and Blumfeld. No hipster bohemian attitude, just a down-to-earth understanding of stark, primitive krautrock. On Schlecht Dran/Gut Drauf, some of his heroes shine through, but they never dominate the presence of Doc Schoko himself. Doc Schoko has opened for Mark E. Smith (The Fall); both Smith and Doc Schoko appeared on Silver Monk Time: A Tribute to the Monks (PL 002CD, 2006). The Village Voice's Don Allred wrote, "Doc Schoko's doom-swallowing 'Sei Still' smirks at its English-speaking doppelgänger, 'Shut Up.'" Schlecht Dran/Gut Drauf was mastered by Hans-Joachim Irmler (Faust).


PL 008EP

GOSSIP/RAINCOATS: Drunken Maria/Monk Chant 7" (PL 008EP) 11.00
2009 release. With their work on Silver Monk Time: A Tribute to the Monks (PL 002CD, 2006), The Gossip, The Raincoats, and Play Loud! Productions developed a sort of kinship, perhaps best manifested during a live performance by The Raincoats with the Monks at the Volksbühne in Berlin in 2006. This luxurious 7" contains both of the bands' contributions to Silver Monk Time. The Wire selected Silver Monk Time as one of its best compilations of 2007.


PL 020EP

FAUST: So Far/It's a Bit of Pain 7" (PL 020EP) 11.00
2010 reissue. First reissue of Faust's only 7", originally released only in Germany, France, and the UK in 1972. This reissue bears the original artwork and was remastered by Faust member Hans-Joachim Irmler from the original recordings. Both tracks are non-LP versions. It is said that "It's a Bit of Pain" was John Peel's favorite Faust track. Archive your music on vinyl!


PL 034LP

FLOATING DI MOREL: Goal Less Play LP (PL 034LP) 25.00
2013 release. The Berlin-based band Floating di Morel follows Said My Say (PL 006LP, 2009) and their entry in the Play Loud! (Live) Music Series, A Summer Evening with Floating di Morel (2011), with their fourth studio album, Goal Less Play. Cover art by Lara Esther Goldman. "Alas a new album by my favorite band. No idea what planet or what era these songs are from. Beautiful free poetry over disintegrating protest songs. Imagine the best sunglasses you've ever seen started a band." --Wesley Eisold (Cold Cave)

PURPLE TAPE PEDIGREE

PTP 003EP

GANG FATALE/CYPHR: Body Horror 12" (PTP 003EP) 14.50
Purple Tape Pedigree, the New York City electronic imprint run by Geng, follows the 2015 Ride or Die EP by Celestial Trax with the first release in its split-12" series, a bold departure into the less-frequented realm of 95-120 BPM. London's Trap Door and Ra's Al Fatale combine as Gang Fatale to mix a pot of '80s funk/boogie, newer rhythmic themes such as "lite feet," and their spiced-up metallic reverb. CYPHR (Her Records) upends his own palette of kaleidoscopic ambience and sub-heavy percussion into two rollers drenched in viscous psychedelia. Mastered by Tony Dawsey. Cut by Matt Colton. Art by Chris Ramos.

REBECCA & NATHAN (GERMANY)

RAN 011LP

HILDENBEUTEL, RALF: Moods LP (RAN 011LP) 23.00
LP version. Includes download code. Ralf Hildenbeutel produced many of Sven Väth's most important releases, including L'Esperanza (1993) and Fusion (1998), and was an essential creative part of the Eye Q label in the '90s. His Earth Nation project was the first live techno act to use a live drummer on stage, playing at international festivals including the Montreux Jazz Festival. While many other musicians kept working on techno, Hildenbeutel went on to compose for artists such as Laith Al-Deen and Simon Collins (the son of English drummer and singer Phil Collins), and has composed music for films including the award-winning Hommage à Noir (1996) and Ausgerechnet Sibirien (2012), as well as the German TV series Kommissarin Lucas and Verbotene Liebe. His score for the internationally acclaimed 2013 short film Momentum was nominated for the Best Music award at The Newport International Film Festival 2013. On Moods, Hildenbeutel finds his way back to electronical music, delivering an album that fans of artists such as Ólafur Arnalds, Nils Frahm, or Jon Hopkins will enjoy. Hildenbeutel mixes complex string-arrangements and piano pieces with clicks and cuts and invents his own coherent language that allows both directions to live in harmony. Elegiac compositions and vivacious, percussive breakouts as in "Spark" meet on this album; a word that grows and gains depth with each hearing.

ROOT STRATA

RS 100LP

WESTBROOK, BYRON: Precipice LP (RS 100LP) 17.00
Precipice is Byron Westbrook's first long-playing record under his given name. Operating under the handle Corridors for many years, Westbrook has established a reputation for creating immersive, multi-channel, site-specific live experiences using sound, image, and light. Precipice expands upon these ideas as a collection of approaches to texture, landscape, perception of time, and the potential for sound to generate visual space. Like climbing a column that inexplicably leads to a plateau of glass, the topography above and below visible in crystal clear relief. Byron Westbrook is an artist and musician based in Brooklyn, NY. He works with listening, space, perception, and awareness, often pursuing routes with social engagement. His electronic sound interventions play with dynamics of perception of space, sometimes manifesting as multi-channel sound performances or as small- or large-scale installation work using video or lighting. He has presented work at the Institute of Contemporary Arts (London), Clocktower Gallery (NYC), ISSUE Project Room (NYC), Abrons Arts Center (NYC), Roulette Intermedium (NYC), Diapason Gallery (NYC), Eyebeam (NYC), BRIC Arts Media House (NYC), LMAKprojects (NYC), Human Resources (Los Angeles), The Lab (San Francisco), International House (Philadelphia), VIVO Media Arts Centre (Vancouver), Les Voûtes (Paris), Festival Colla+eral (Bologna), O' (Milan), Cyberfest (St. Petersburg), and many others. He studied with David Behrman, Marcus Schmickler, Laetitia Sonami, and Marina Rosenfeld for his MFA from Bard College, and has also toured and collaborated with Rhys Chatham. He has also worked closely with Phill Niblock at Experimental Intermedia in NYC since 2005. He has been an artist in residence at Clocktower Gallery, The Wassaic Project, Diapason Gallery, and HotelPupik, and was a 2014 Civitella Ranieri Fellow. LP includes download code.

ROX VOX (UK)

RV 1019LP

MARLEY & THE WAILERS, BOB: Live at the Record Plant '73 LP (RV 1019LP) 23.00
Broadcast live on KSAN-FM in the wake of The Wailers' ill-fated 1973 tour with Sly & the Family Stone, this superb live set, recorded at the Record Plant in California on October 31, 1973, features the classic line-up of Bob Marley (vocals, guitar), Peter Tosh (vocals, guitar), Aston "Family Man" Barrett (bass), Carlton "Carly" Barrett (drums, percussion), Earl "Wire" Lindo (keyboards), and Joe Higgs (vocals, percussion). It offers several classics from the landmark 1973 Burnin' LP, which had just been released, and finds Peter Tosh contributing some memorable vocals. The complete broadcast is presented here in digitally remastered sound on 180-gram vinyl with background liner notes and images.

RUSH HOUR (NETHERLANDS)

RHM 018CD

JANSON PRESENTS, GERD: Musik For Autobahns 2: Ambient Race Car Music Compiled by Gerd Janson CD (RHM 018CD) 14.50
"So, what awaits you on the second edition of a compilation that claims to present 'ambient race car music'? Exactly what it says. A fresh and exclusive collection of music that hopefully sounds as great in a car as it will in the comfort zone of your own living room or during dusk and dawn in your favorite club environment (see Bicep and Fort Romeau for further reference). But first and foremost it is truly inspired by many trips on the Autobahn between Frankfurt and Heidelberg. Going to and fro from one club to the other was the way to spend countless hours of adolescence in excitement instead of tedious purposelessness. But I will not bother you with droll stories of my youth. Musik for Autobahns 2 is the result of a collective effort by dear friends and esteemed colleagues who picked up where the first one ended, while paying attention to the prevailing theme. From Leon Vynehall and his profound research of the BAB 5 highway to Joy Orbison's 'A213' or Lauer's heartfelt and wry Kraftwerk pastiche, all of the tracks have a certain compatibility in common or just sound great, while having a drive. 'Breaking' by AKSK for instance made the stop-and-go traffic in the blazing heat of Los Angeles so much more bearable (the vintage Volvo helped as well). Also, you will meet freshmen like Orson Wells, whose idea of traveling exceeds the boundaries of our planet, next to a grey eminence like Orlando Voorn or elusive characters like Disco Nihilist. All bringing their special skills and imagination to the table" --Gerd Janson. Also includes tracks by Shan and Conga Radio.

SALTERN

SLT 002CD

FELDMAN, MORTON: Clarinet and String Quartet CD (SLT 002CD) 14.00
Saltern returns with a gorgeous new recording of Morton Feldman's Clarinet and String Quartet (1983) performed by Anthony Burr (clarinet), Graeme Jennings (violin), Gascia Ouzounian (violin), Che-Yen Chen (viola) and Charles Curtis (cello). This performance highlights Feldman's interest in notation by treating the slight differences in intonation and rhythm literally and specifically. Recorded by Tom Erbe in the living room of a friend of the musicians. Edition of 400. Housed in jackets printed at Stoughton and featuring a cover image by artist Raha Raissnia.From Anthony Burr and Charles Curtis's liner notes: "Near the end of the final Contrapunctus in The Art Of Fugue, Bach introduces a new four-note countersubject which, in the German note names, spells B, A, C, H (in our note names, B-flat, A, C, B-natural). To those within Bach's circle, and probably to any attentive musician of his day, the notes thus sounded would have unmistakably articulated Bach's name -- an embedded signature, not just a melodic motif but a salutation in musical code. Morton Feldman begins Clarinet and String Quartet with the same four notes in reverse order -- H, C, A, B, if you will. These four notes are repeated over and over by the clarinet and the cello simultaneously, the two instruments in minutely different rhythms and phrasings. These notes, however, are given anomalous names: in the cello, B, D-double flat, G-double sharp, A-sharp; and in the clarinet, C-flat, C, A, B-flat. Whether or not Feldman placed the retrograde B, A, C, H motif intentionally, it fits seamlessly into the pitch world of his late music, in which chromatic clusters (often four notes) are obsessively restated in different permutations, like anagrams."

SECOND STATE AUDIO (GERMANY)

SNDST 013CD

PAN-POT: The Other CD (SNDST 013CD) 15.50
In the time since the 2007 release of their euphoric full-length debut, Pan-O-Rama (MOBILEE 003CD/MOBILEE 029LP), Pan-Pot (Tassilo Ippenberger and Thomas Benedix) have seen relationships bloom and wilt, celebrated the birth of Benedix's child, embraced adventures, and founded their Second State Audio label, all while cultivating one of the heaviest and most consistent tour schedules of any present-day artist. The wait between Pan-O-Rama and their 2015 follow-up was not due to a lack of time or ideas -- the duo has spent the intervening years carefully calculating and constructing, and now present their highly-anticipated second studio album, The Other. Through all this Pan-Pot have created a body of work perfectly displaying their growth, not only as artists and individuals, but also as a cohesive unit forged into one single, astute mind. Over the span of 14 tracks, the duo showcase not only their impeccable knowledge of sound-craft, but also their uniquely diverse scope, spanning a wide range of genres and influences. While the album has an abundance of big-room techno productions, including "Pina," "Twelve," and "Get In (feat. Kevin Knapp)," it's also intricately scattered with shimmers of sound ranging from experimental bass and left field to borderline pop and down-tempo. With cuts like "Sleepless" (which features L.O.U. from Abby, who also contribute to a track) and "Riot" (with Berlin-based singer Frankie), Ippenberger and Benedix exhibit a rare maturity. The Other is not merely another extended EP from a dance music artist, but a grand display of the duo's sophistication, commitment, and passion for the music to which they have so faithfully devoted themselves. With countless EPs, remixes, and their Pan-O-Rama album already establishing them as tried and true artists, as well as their collaboration with Susi Sie's visionary visual artwork for the tour supporting this album, it's The Other that will truly guarantee Pan-Pot a place in the history books. Open your mind. Free your body. The long wait is over. Lose yourself in The Other.

SMALLVILLE (GERMANY)

SMALL 010CD

VA: Smallville Ways: Ten Years CD (SMALL 010CD) 17.00
When the Smallville record store was founded in 2005, people were surprised and regarded it as an experiment, citing the fall of vinyl sales and the rise of music downloads. Only a small group of people regarded record shops, vinyl labels, and clubs as places of true magic. Smallville's finest, Stefan Marx, who is responsible for all artwork-related things and therefore the visual impact that Smallville has always had, got a call one night from one of these dreamers, Ata Macias. He came up with the idea to create a standard 12" cover reading "Vinyl Kills MP3." This hilarious statement marked the end of that tedious debate. And now, in 2015, it turns out that everyone involved was right to just do what they love. Smallville celebrates its 2015 tenth anniversary with the third and fourth parts of the Ways series (Fortyfour Ways (SMALL 044EP) and Fortyfive Ways (SMALL 045EP)), which began in 2011 with Twentyfour Ways (SMALL 024EP) and continued in 2013 with Thirtyfive Ways. This CD collects Fortyfour Ways and Fortyfive Ways, plus three tracks from the earlier Ways releases -- 11 wonderful tracks in all, from Smallville's favorite producers and family members. With a track list that includes STL, Christopher Rau, Moomin, L'Amour Fou (Move D with Benoit Bouquin (BB) and Marco Wollenberg), Kornél Kovács, Smallpeople, Juniper, Jacques Bon, Lawrence, Rvds & Rau, and Tilman Tausendfreund, Smallville is happy to thank all of its supporters, fans, and dancers worldwide. Cover art by Stefan Marx. Mastered by Helmut Erler at Dubplates & Mastering.

SOLEILMOON RECORDINGS

BADVC 058LP

DEATH IN JUNE: Best of Lounge Corps LP (BADVC 058LP) 21.00
"Best Of Lounge Corps presents eleven piano instrumentals personally chosen by Douglas P from a collection of Death In June tracks arranged and performed by Miro Snejdr. The collection includes four pieces from Death In June's last studio album, Peaceful Snow, and seven timeless classics spanning Death In June's career. This is the first time Miro's arrangements have appeared on vinyl. The pressing is limited to 506 numbered copies. An included download card provides DIJital access to the album and 19 more Lounge Corps instrumentals in MP3, FLAC and WAV format."


SOL 188CD

STOREY/RAPOON, ROBIN: A Pale Blue Door CD/BOOK (SOL 188CD) 19.00
"Robin Storey, best known for his musical avatar Rapoon, has written his first book, a 68 page short story about a group of characters navigating an unfamiliar and changing world. A Pale Blue Door takes place in the past, the present and the future, and may involve time travel. The people in the story are trying to live their lives as best they can, but a mysterious spaceman floats in and out of view, affecting them in different ways, and never quite touching the ground. A Pale Blue Door is a tightly written, well paced tale that reveals its secrets slowly. Robin Storey's prose is concise and economical, engaging and seductive. The book begs to be read again and again. Accompanying the book is a 60 minute Rapoon CD, also titled A Pale Blue Door. The compositions utilise recordings of stars, manned space missions, radio signals and emissions made available through NASA's official website. There are also field recordings made on the marshlands of the Solway Firth in Cumberland."

SOWESO (NETHERLANDS)

SWS 022EP

FINDER: Souvenirs EP 12" (SWS 022EP) 12.00
Jeroen Liebregts debuts his Finder project with the Souvenirs EP, a showcase of classy techno grooves and modular sounds woven together to make you move like never before. Liebregts is known for his Radial moniker, under which he has been releasing high-quality techno since the mid-2000s. While Radial focuses more on the tougher side of the genre, his Finder alter ego shows a direction and depth that will turn heads around the world. With great attention to detail, modulating sounds, and tight production skills, the Souvenirs EP is not to be missed. Five timeless originals, each with a unique character. Enjoy.

STROBOSCOPIC ARTEFACTS (GERMANY)

STROBO 006CD

CHEVEL: Blurse CD (STROBO 006CD) 17.00
Over the course of his career, Chevel (aka Dario Tronchin) has gained a mastery over slow melodic fades and sharp ricocheting beats, honing an ability to transport the listener. On Blurse, these elements come into play immediately; euphoric introduction "Comb" is marked by a spectral panning sequence and beats chopped with a culinary expert's sense of elegance. The drum-kit-sounds that feature throughout are used sparingly but deliver maximum impact upon the listener's nervous system. The block percussion on "The Windrunner" and "Low Roof" perfectly complements the synthetic sheen produced by fuzz distortion, radio static, and bandpass-filtered soundbites, taking the listener to a terrain where a palette of decay effects provides just as much aesthetic inspiration as the presence of technological advancement. There is more than enough humor and playfulness at work here, too, helping to once again banish the persistent stereotype of the modern techno producer as a sterile technician; the queasy melody line and the sliced-and-diced whistling, gelatinous bounce of "Loop #33" recall a child's playtime wonder more than they do the rarefied rigor of the laboratory. The less pulsating numbers like "Loop #42" and closer "A Form of Love" engage the listener as well, evoking short films of abiogenesis (the process of life arising from non-living matter). These tracks are not so much interludes or contemplative retreats from the action as they are enhancers of it, utilizing fluttering cycles of melody to engage in a kind of conversation with the more driving tracks. As to the driving tracks themselves, the places to which they drive the listener are satisfyingly beyond everyday experience. In other words, despite the consistency of Chevel's sonic toolkit and overall atmosphere, there is a rich variety in the emotional color on display here. The net effect is like a dream-state that echoes long after waking, though one can't pinpoint exactly why -- compelling the listener to dive back into the dream-pool to experience it again.

TAPETE (GERMANY)

TR 319CD

DOWNPILOT: Radio Ghost CD (TR 319CD) 17.00
Seattle-based artist Paul Hiraga on his first album since 2011's New Great Lakes (TR 221CD/LP): "I was not sure if I would release another album, but these things cannot be buried. Time heals, experience colors the narrative, desire swells and wanes and resurges. There is always movement, away from the past with a heavy-heartedness, and towards something hopeful." When recording for this album began, Downpilot's Paul Hiraga found himself inspired by a drawing his father had made for him from memory of the same mountain that he had drawn many times as a child while living in an internment camp for Japanese Americans in one of the deserts of California and Nevada during World War II. The result was the song "Day of the Long Sun," which became a touchstone for the album. This mood inspired Hiraga to go back in time to the small town in California where his father was born and imagine life on the West Coast in another era. As in the songs "Rosaline" and "My Paper Sons" (which takes its title from a term for Chinese immigrants who forged documents to become citizens after the 1906 San Francisco earthquake and resultant fires), a tone for the album was set, creating a swirling, hot, and dusty backdrop. With tinges of psychedelia and Hiraga's dominant melodic sense guiding the trip, the album travels through shadowy and haunting places, and emerges with hopeful vision and a hard-won freedom. Recorded on vintage analog gear and divided into two sides in the tradition of the best classic vinyl, Radio Ghost leads off with the title-track, with its lively syncopated beat and Farfisa organ lending a mysterious and somewhat Middle Eastern tonality, moving through the slightly sinister "Reno" to the soulful and cathartic "Hallowed Ground." The second half of the album ventures into more trippy and cinematic landscapes, culminating in the slow burn and build of epic album-closer "Suzanne (The Silence)." Much like such artists as Tame Impala's Kevin Parker and Kurt Vile, Hiraga records nearly all the instruments himself, from real vintage drums and slide guitars to analog keys, and delivers an album in the tradition of Jeff Buckley, Big Star's Alex Chilton, and Gene Clark.


TR 319LP

DOWNPILOT: Radio Ghost LP (TR 319LP) 23.00
LP version.

TELEPHONE EXPLOSION (CANADA)

TER 036LP

HAACK, BRUCE: Haackula LP (TER 036LP) 20.00
"Telephone Explosion reissues for the first time on vinyl ever Bruce Haack's cult masterpiece Haackula. The releases feature the full Haackula album along with Russell Simmons (RUN DMC) co-produced electro banger 'Party Machine.' Limited to 1,000 copies... essential in every minimal synth, experimental, outsider, electro collection."

TEMPA (UK)

TEMPA 102EP

COULTON, ALEX: Hand to Hand Combat/Concealed Weapon 12" (TEMPA 102EP) 12.50
With a slew of lauded 12"s on Hype_LTD, Black Acre, Idle Hands, Livity Sound's dnuoS ytiviL, and Bloc, Manchester-born Alex Coulton has successfully branded his own stamp on the tougher strands of UK bass music. Here, "Hand to Hand Combat" kicks things off, packed with pugnacious bass tones and dystopian drones; driven, steely toms and pellucid rimshots scatter across the mix in a high-pressure affair before "Concealed Weapon" demonstrates the adroit management of atmospherics that's propelled Coulton's production path thus far. Dense, throbbing subs form an underbelly while menacing growls intertwine with reverberated claps and snares.

TRESOR (GERMANY)

TRESOR 095EP

SURGEON: Balance Remakes 12" (TRESOR 095EP) 12.50
Tresor is fortunate enough to be sitting on a catalog of releases that no label in electronic music would turn down. Three of the finest were contributed by Surgeon; Basictonalvocabulary (TRESOR 10073LP), Balance, and Force + Form all originally came out on the Berlin institution between 1997 and 1999, and are the fullest expression of Surgeon's inimitable combination of Detroit techno and post-industrial sounds emanating from his British homeland. The Balance Remakes 12" accompanied the original 1998 release of Surgeon's second Tresor album, Balance, with additional versions as well as a remix by long-time Birmingham collaborator Mick Harris.


TRESOR 280EP

SHAO: Doppler Shift Pt.1 12" (TRESOR 280EP) 12.50
Tresor welcomes Shao Yanpeng, the first Chinese artist to enter the label's star-studded roster. Shao is based in Beijing, China, where he has been making electronic music since 2002, and pursues his career as a producer and successful sound designer. With Doppler Shift Pt.1, Shao continues to experiment with various facets of electronic music. On the A-side, "Sensi" dives straight into feverish synth-work that halts before a suspenseful ascension to the climax. On the flip, "Reflection Pt.2" takes on a more serene atmosphere, slowly building and adding textures as the track progresses into a meticulously built composition.

TROST (AUSTRIA)

TRJBX 003EP

MCPHEE & RAYMOND BONI, JOE: Jukebox-Series 003 7" (TRJBX 003EP) 11.00
Trost continues its Trost Jukebox Series of 7"s. Raymond Boni on guitar and electronics; Joe McPhee on soprano saxophone, voice, and electronics. Recorded in Birmingham, Alabama, in 1985. Both songs are based on the words of Eric Dolphy. Artwork by Lasse Marhaug.


TROST 134LP

DIKEMAN NOBLE SERRIES TRIO: Obscure Fluctuations LP (TROST 134LP) 22.00
LP version. American saxophonist John Dikeman, Belgian guitar experimentalist Dirk Serries, and legendary English drummer Steve Noble team up for an impressive improvisational record. Inventive, harsh, precise! Recorded at Sound Savers, London, in 2015. John Dikeman: saxophone; Steve Noble: drums; Dirk Serries: guitar.

VAMPISOUL (SPAIN)

VAMPI 164CD

VA: R&B Hipshakers Vol. 4: Bossa Nova and Grits CD (VAMPI 164CD) 17.50
"Hold it, hold it -- this ain't over yet! I know: The passage of three long years since we last met may have led you to worry I'd abandoned my noble endeavor to unearth all of the mind-bending rhythm and blues in the nearly bottomless King and Federal vaults. But fear not. To paraphrase the immortal words of Titus Turner in 'Hold Your Loving,' I'm gonna keep at it till the meatballs bounce! I'm delighted to report that Bossa Nova and Grits features some showstopping acts new to the R&B Hipshakers series: there's 18-year-old Little Esther Phillips and her indelibly nasal voice, which would make her a star for decades to come; her fierce, piano-pounding fellow Texan Camille Howard, pushing 40 by the time she growled 'You mole, you!'; Angelenos The Lamplighters, led by a young Thurston Harris (doin' sixty-what'd-they-say?!); the otherworldly singer's singer Jimmy Scott, just before a sad 20-year lull in his recording career that would be followed by a fresh round of well-deserved accolades in the 1990s. And then there's our first dip into the oeuvre of guitar god Jimmy Nolen, who would basically invent funk guitar playing a decade later as a member of James Brown's band but is already wielding a pretty expressive instrument in 'The Way You Do.' Some old favorites are back, too: it wouldn't be a Hipshakers, after all, without brilliant new entries from Little Willie John, The 5 Royales, Hank Ballard & The Midnighters, Johnny Watson, and Freddy King -- he in a rousing dance-floor duet with series stalwart Lula Reed. Non-bouncing meatballs? We've got 'em. Slinky mambo beats? They're here. Back-to-back odes to vino? Yep. Wailing instrumentals? But of course. Twin blast-offs to outer space? Check. Prepare to taste the sound of these boss grits" --Mr Fine Wine. Also includes tracks by Little Joe Washington, Juanita Nixon, Wynonie Harris, Roy Brown & His Mighty Mighty Men, King Syam, Gene Wilson & His Genies, Amos Milburn, Sam Anderson & The Telstars, and Clarence Paul. Tracks originally released between 1953 and 1967.

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