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Forced Exposure New Releases for 10/19/2015

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New music is due from Flanger, Duane Pitre, and Justice, while old music is due from Aaron Dilloway, Francoise Hardy, and Sunburned Hand of the Man.

FORCED EXPOSURE MAILORDER UPDATE
NEW RELEASES FOR THE WEEK OF 10/19/2015

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2DIY4 (GERMANY)

2DIY4 013EP

ABBY: Halo Remixes 12" (2DIY4 013EP) 12.00
Berlin-based band Abby's "Halo" is a stirring, deeply moody electronic cut with emotive vocals, lush guitars, floating atmospheres, and slowly tumbling beats; it glistens and glows with rich musicality. H.O.S.H.'s "Boy Mix" layers in some frazzled chords, a rising sense of tension, and big rubbery drums. The vocals remain in refracted form and edgy synth sounds really make the track sound urgent and compelling. His "Girl Mix" is another textured affair with squelching percussion and whirring machines married to lush, organic synths and pads. Thyladomid's remix takes a melancholic, low-slung style with piano chords and pads wrapped round the rubber beats.

50 WEAPONS (GERMANY)

50 041EP

PHON.O/PAULA TEMPLE: Tw33tz/Oscillate 12" (50 041EP) 14.00
180-gram vinyl. On the second 12" in 50 Weapons' 11-part finale, Phon.o's sly techno track "Tw33tz" pays homage to the label's heritage with its distorted kick drum and dubby percussion that go from foggy darkness to 10-AM-euphoria alongside a Moderat-esque bass-synth. Paula Temple's "Oscillate" is a burning techno stomper, with a gut-wrenching sub-bass introduced by the driest kick that clears space for an electro-acid synthline ready to sweep you off your feet. Club music at its finest; this is psychological warfare.

ARBITER

ARB 162CD

KABASTA/ALFRED HOEHN/OSKAR FRIED, OSWALD: Cultural Death: Music under Tyranny CD (ARB 162CD) 11.50
Three musical giants are heard keeping music alive under dictatorships: Oswald Kabasta & the Munich Philharmonic (1942-44); Alfred Hoehn & the Leipzig Radio Orchestra (1940); Oskar Fried & the USSR State Symphony Orchestra (1937-38). Oswald Kabasta's Germany prohibited degenerate music, a Nazi ban he occasionally flaunted. However, when the Nazis were defeated and Kabasta lost his post, he opted for suicide. Alfred Hoehn, always described as a poet of the piano, witnessed Germany's descent into madness and suffered a stroke which paralyzed him during a performance. His Brahms radio disc was stolen from Berlin Radio by the Russian Army, returned forty years later under perestroika. Most conductors are egomaniacs but Oskar Fried (pictured on the cover) deliberately hid his life's actions as he may have been a Russian spy. He identified with Berlioz and his violent reading was taken off a Russian film soundtrack leaked to Sweden. When Hitler took power, Fried escaped from Berlin to Moscow, where he may have been murdered in 1941 during the week when Germany and Russia became enemies.

ATAVISTIC

ALP 223CD

GLOBE UNITY ORCHESTRA: Globe Unity 67/70 CD (ALP 223CD) 14.50
2015 repress. Alexander V. Schlippenbach's historic trans-European free jazz orchestra, featuring Gunter Hampel, Kris Wanders, Gerd Dudek, Willem Breuker, Manfred Schoof, Peter Brötzmann, Albert Mangelsdorff, Peter Kowald, Jaki Liebezeit, Mani Neumeier, Sven-Ake Johansson, etc. The 2 enclosed pieces are previously unreleased German radio broadcasts. "Since the beginning of the 'free jazz era' in 1960 at that time, we played almost exclusively in small groups -- I was fascinated by the idea of playing our 'new' music with a large ensemble. The premiere performance, in November 1966 in the Berliner Philharmonic, was a sensational success, because the press outdid themselves equally in extravagant praise and hysterical vituperation. With this, the Globe Unity was founded and began its career, which lasted more than twenty years. The compositions presented on this CD originated in radio commissions for the Donaueachinger Tage für Neus Musik ('Globe Unity 67') and for the Berliner Jazztage ('Globe Unity 70'). The 67 piece is based on the systematic application and expansion of the procedures already used in Globe Unity 66. In this respect, 'Globe Unity 70' is determined more by aleatorics and by semantic information for the players." --Alexander V. Schlippenbach

BECAUSE MUSIC (FRANCE)

BEC 5161064

JUSTICE: Audio, Video, Disco 2LP+CD (BEC 5161064) 26.50
2015 repress with CD format added. Because Music presents a brand-new album from Justice, the French duo formed by Gaspard Augé and Xavier de Rosnay -- the band of a whole generation. When the two friends were still bright students in graphic design, in 2003 they made Justice a place to experiment a hybrid genre between music and image, which blends pop and electronic borders, and showcases the talents of two fascinating, passionate pop culture craftsmen, bored with hierarchy. They met Pedro Winter, who had just founded his label Ed Banger Records -- he immediately signs them after listening to "We Are Your Friends," which, with its joyful and vitamin-enriched electro beats combined with exhilarating voices, became the hymn of a whole generation and one of the most important tracks of the year 2000, celebrating a reconciliation of pop music and the dancefloor. It was awarded an MTV Video Award in 2007, bringing about the famous live TV appearance with Kanye West outraged that his million-dollar clip was outclassed by a home-made bomb. (Once the misunderstanding was cleared up, Justice, Ed Banger and So_Me became a constant source of inspiration for Kanye and his superstar rapper colleagues. Kanye even employed So-Me as director for the video for his hit song "Good Life"), Jay Z will use "D.A.N.C.E" for his next album. From now on, the duo's ascent was constant and then lightning struck: remixes for N.E.R.D., Britney Spears, Franz Ferdinand, U2, Daft Punk, Lenny Kravitz and an EP in 2006 (Waters Of Nazareth) defining the "Justice sound," this famous ultra-powerful compression of pop and baroque melodies, both dark and threatening; lightning and animative; and above all, the famous Justice image, the cross from which an earlier version figures on the first EP. 2007 was the explosion that would turn the duo into the emblem of a whole generation: their first album, anticipated like the Messiah, swept everything away as an epic soundtrack and was more than a magnificent synthesis of our time. 800,000 sales worldwide and 4 years later, the album is considered a mainstay of the 2000s -- one of the few who bridged the gap from the Pitchfork world to MTV without losing its credibility. Housed in a mindfuckingly deluxe gatefold sleeve.


BEC 5161259

BREAKBOT: By Your Side 2LP+CD (BEC 5161259) 26.50
2015 repress with CD added. Ed Banger's newest and brightest star Breakbot aka Thibaut Berland announces his debut album By Your Side. Having delighted dancefloors around the world with his infectious discoid funk of "Baby I'm Yours" and "Fantasy," and killer re-rubs for Justice and Metronomy, amongst others, "One Out of Two" is the first single to be taken from this multi-instrumentalist's debut -- crammed with soulful robo-disco and emotive ballads, By Your Side conjures up the ghosts of the Doobie Brothers, Todd Rundgren and Hall And Oates, as well as the nostalgic TV themes to Silver Spoons or Punky Brewster. Berland explains : "My elder brothers had a huge influence on me when was a kid. David, the oldest, introduced me to soul, funk and pop, making me tapes of Michael Jackson, Prince, Stevie Wonder, Madonna, Phil Collins, and many other things. I remember spending lots of time in his bedroom listening to his records." In later years the likes of Air, Alex Gopher, Mr. Oizo and of course, Daft Punk were on heavy rotation for Thibaut -- this heady mélange of all of the above helping to create the Breakbot sound. It was Berland's intention to make an album that rewards you for listening to it as a whole: "I guess you could say my album is more an album of pop songs than a Berlin techno record, with water drop sounds in it -- I wanted to make a pop journey that would have all my influences, without being a reference catalog." From the opening perfect slice of retro/future summer funk "Break of Dawn," it's clear that this has to be one of 2012's funkiest albums. "Fantasy" features the vocals of L.A.-based vocalist Ruckazoid -- an astonishing discovery whose honeyed pipes are a dead ringer for the late, lamented King Of Pop. Four tracks, including "One Out of Two" features Irfane's irresistible vocals. Björn from Pacific! sings on the glorious "By Your Side (Pt 1 & 2)."

BIRD (UK)

EGGS 019LP

WEAVER, JANE: The Silver Globe LP (EGGS 019LP) 19.50
2015 repress. LP version. Like all good parables, Jane Weaver's sixth solo album, a concept album called The Silver Globe, is as multifaceted as it is beguiling. Part coming of age/part cautionary tale and part romantic peon, this 12-track synth-ridden post-apocalyptic prog-pop opus is based on tightly embroidered, non-linear recurring themes and inspired by esoteric stories, cosmic imagery and refiltered past experiences. Written from the optimistic vantage of a long-standing female independent artist, in a desperately-evolving industry, Jane's latest set of self-penned pop abstractions combine mechanical rock/recycled European cinema/empyrean vocalizations and an arsenal of rescued vintage synths to create a futurist narrative backdrop of an allegorical post-apocalyptic landscape. Assembled from disparate studio sessions recorded sporadically since the release of the critically-acclaimed Fallen by Watchbird (BMS 022CD) LP, The Silver Globe explores new collaborative relationships featuring tracks co-produced by David Holmes, guest appearances by Australian vintage space-rockers Cybotron, a recycled chunk of an '80s Hawkwind track, an intricate Damon Gough guitar solo, some Suzanne Ciani waves and post-production/remix flourishes by Andy Votel. Enjoying her most fertile period to date, Jane's reactions to the music of Italian synth stars Daniela Casa and Doris Norton with local DIY artists like Una Baines' The Fates (released on her own Bird imprint) provide yet another launch pad for Jane's latest musical trajectories. Paying homage in title to the troublesome Andrzej Zulawski (Possession) film of the same title, and combining influences from a wide range of lost pop and cinematic obscurities, Jane's new album uses the motif of a distant, mythical, impenetrable silver planet which eventually reveals itself to be a simple reflection of the beholder's own souls. Loosely metaphorical in its content, The Silver Globe witnesses Jane's commitment to self-pressed, conceptual pop music reach its next logical progression without compromising her natural skills as a talented, melodic song-writer preserving pop vaudeville over pre-packed vacuity.

BOYSNOIZE RECORDS (GERMANY)

BNR 142EP

SCNTST: 4FRIENDZ 12" (BNR 142EP) 12.00
With 4FRIENDZ, the production style of SCNTST again continues to grow in stature. With vibrating bass kicks creating a thrilling rhythm full of emotion, the sound of 4FRIENDZ displays an excursion into danceable beats. A new sound produced with perceptible blood, sweat, and tears.

CASTLE FACE

CF 058LP

SPACE LADY & BURNT ONES, THE: Split LP (CF 058LP) 19.00
"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."

CHAPTER MUSIC (AUSTRALIA)

CH 079LP

SMOKEY: How Far Will You Go? The S&M Recordings 1973-81 LP (CH 079LP) 17.00
Repressed; LP version. Includes download code.

CLOCKTOWER (CANADA)

CTLP 081LP

CLARKE, JOHNNY: Sings In Fine Style LP (CTLP 081LP) 11.00
1975 album from Johnny Clarke. His dread conscious/love song-style graces such tunes as "None Shall Escape the Judgement," "Enter the Gates," "Walk Away," and "You Are My Woman."


CTLP 082LP

CLARKE, JOHNNY: Rock With Me Baby LP (CTLP 082LP) 11.00
Backed by the Agrovators, mixed by King Tubby. Originally released in 1975 also. "Johnny Clarke ruled the Dancehall in the mid '70s, using the clever `Flyers Rhythms' that gave some of his tunes an edge with the sound systems. But his voice was always bigger than this and his versatility to sing a wide range of vocal styles has seen him cut through the decades as one of reggae's best voices." Tracks: "No Hiding Place," "Stop Them Jah," "I'm The One Who Loves You," "My Darling," "Since I Met You Baby," "Massachusetts," "Rock with me Baby," "I Don't Want to be a Rude Boy," "Close To Me," "The Tide Is High" and "Since I Fell For You."

CLR (GERMANY)

CLR 090EP

ROD: HKH/GHT 12" (CLR 090EP) 14.00
ROD's second EP on CLR following 2012's HGB/DTC (CLR 059EP) features two tracks that displays a style and approach unprecedented in his career. "HKH" touches the more peak-time side of things, but by infusing some deep pads it creates a slightly more Detroit edge overall. "Usually, I try to build my tracks around the minimum sounds possible, but in this case all these lead sounds just made sense to me," says ROD. "GHT" sees ROD experimenting with a late, trippy night and just flowing. "This might be one of the weirdest tracks I have made so far."

COLD SPRING RECORDS (UK)

CSR 203CD

COIL: Backwards CD (CSR 203CD) 16.50
After the groundbreaking release of 1990's Love's Secret Domain album, Coil were not dormant; their main project was Backwards, which was started in 1992, updated considerably between 1993 and 1995, and transferred in 1996 to New Orleans, where it was finished in the magic of the Nothing Studios of Trent Reznor (Nine Inch Nails). The album saw the fruition of Jhonn Balance's recent vocal-coaching, which produced haunting, passionate vocals while reaching new heights. Now, in 2015, 23 years after its initiation, these tracks have been beautifully preserved by Danny Hyde and are finally available in highest quality audio. Differing substantially from the later, remixed incarnation, The New Backwards (2008), Backwards contains the original versions of Coil's much-loved tracks "A Cold Cell" and "Fire of the Mind," which have appeared on various compilations over the years, and are now presented as originally intended. This album is the essential bridge between LSD and the later Musick to Play in the Dark series; an essential conduit to understand the journey that Coil took. CD in digipak.

CONTORT (UK)

CNTRT 005EP

WSR: Stainless 12" (CNTRT 005EP) 16.50
Electroacoustic musician WSR is focused on the contrast between acoustic music and synthetic rhythms, and the manipulation of the source via tape and electronic means. Emanuele Porcinai's research and experimentation mainly concerns aural architecture and natural reverberation, and the creative use of these in compositional practice. Following his performance on the main stage at the 2015 Berlin Atonal festival, Porcinai presents his debut for Sam and Hayley Kerridge's Contort label, marking the label's fifth release with four pieces of truly original work that crosses boundaries between industrial, techno, classical, and more. Mastered and cut by Matt Colton. Artwork by Anthony Gerace. Edition of 500.

CULTURES OF SOUL RECORDS

COS 015CD

VA: The Brasileiro Treasure Box of Funk & Soul CD (COS 015CD) 16.00
"Greg Caz and Deano Sounds have teamed up once again to bring you another fine package of vintage Brazilian music. This one stretches across the scope of funk, soul, and psychedelic music from Brazil. Some highlights include: the extremely rare and funky 'Labirinto' by 2001 & Beto, the blistering psychedelic funk of Antônio Carlos & Jocafi's 'Quem Vem Lá,' the essential rare groove track 'Bananeira' by Emilio Santiago, Osmar Milito E Quarteto Forma's rare 'América Latina' sampled by Madlib, Tom Zé's unstoppable riff on 'Jimmy, Renda-Se,' and many others. Here are some words on the project from co-compiler and Brazilian music aficionado, Greg Caz: 'Without necessarily having a central theme other than funky nuggets from the first half of the 70s, we believe this compilation displays its own particular sense of logic, and that these songs ultimately all sound fantastic together. Regardless of one's familiarity, or lack thereof, with artists like Antonio Carlos & Jocafi, Os Incríveis, Toni Tornado or Celia, the material speaks its own truth and justifies their inclusion here. Many of these were originally available as singles, while others were taken from albums, but all are guaranteed to find their way into many DJ boxes and playlists.'"


COS 015EP

VA: The Brasileiro Treasure Box of Funk & Soul 7x7" Box (COS 015EP) 56.00
"The 45 box set version comes in a durable glossy case with 7 x 45s, a poster containing the original artwork for the album, a booklet filled with imagery from the original artists and releases and liner notes by Greg Caz, the 'Mad Scientist of Brazilian Beats.'"

DAGORED (ITALY)

RED 222C-LP

DE LUCA, PEPPINO: La Ragazza con la Pistola LP (RED 222C-LP) 25.50
Incredible psych-groove soundtrack by Peppino de Luca (known for his collaboration with the library music band I Marc 4 (SME 006LP)) for the Italian cult movie La ragazza con la pistola (The Girl with the Pistol) (1968), directed by the legendary Mario Monicelli and starring Monica Vitti. The film was nominated for the Academy Award for Best Foreign Language Film in 1969. This is the first vinyl reissue of the complete soundtrack. Pink and black vinyl; edition of 1000.

DEAD-CERT (UK)

VCR 009LP

MECANICA POPULAR: Que Sucede con el Tiempo? LP (VCR 009LP) 22.00
Behold, a cultishly coveted slab of freeform new wave dance/tape music from 1984 Madrid, Spain, reissued by Andy Votel, Sean Canty, and Doug Shipton's Dead-Cert label. Notable not only for including Beppe Loda's Typhoon favorite, "La Edad del Bronce" -- which sounds uncannily like a cut from Craig Leon's Nommos (1981) -- this album also features the beguiling concrète funk of "Galilea: Centro de Datos," which, by any measure, bears a striking, prototypical resemblance to Photek's "Ni - Ten - Ichi - Ryu" and has become something of an oft-asked-about staple in Dead-Cert's polysemous, polymetric DJ sets. Founded in 1978, Mecánica Popular was the brainchild of Luis Delgado (also a member of Finis Africae) and Eugenio Muñoz, conceived and nurtured during after-hours sessions in Madrid's Estudios RCA using exclusively tape loops -- no samples involved. They did, however, use an innovative set-up including a Polaroid 600 camera, an Eventide H910 Harmonizer, and an ARP Odyssey, all fed thru a matrix of FX to make a wonky, clanking sound that could be happily compared with the output of Conrad Schnitzler, Chris Carter, Jon Hassell, or Kerry Leimer during that fertile early-'80s era. For the DJs and post-punk fanatics, this one way is just too good to miss out on. Edition of 500. Cut at Dubplates & Mastering, Berlin.

DOXY (RUSSIAN FEDERATION)

DOC 123LP

DUNING/NED WASHINGTON, GEORGE: The Naked City LP (DOC 123LP) 20.00
The 1959 Naked City album is the musical portrait of a city. It's a bold portrait told in striking, vivid tone colors, bringing to life the throbbing intensity of a great metropolis and its people. It's a musical portrait with the pulse-pounding rhythm of the city's heartbeat and melodies drawn from the dreams, the triumphs, the tragedies of the people. Naked City was a police drama TV series that aired from 1958 to 1963 on the ABC television network. Filmed on location in New York City, it was inspired by the 1948 motion picture The Naked City and mimics its dramatic "semi-documentary" format. Ned Washington, author of the lyrics and narrative for the Naked City album, is one of the best known and most honored musical collaborators on the Hollywood scene. Limited first press of 500 copies.


DOC 124LP

RIDDLE, NELSON: The Untouchables LP (DOC 124LP) 20.00
"Nelson Riddle's score does a great deal to create the undercurrent of excitement that characterizes our show. It is music with a heartbeat that captures perfectly the suspense and impending violence of the action" --original liner notes by Robert Stack, winner of an Emmy Award for his fine portrayal of Chicago gangbuster and prohibition agent Eliot Ness in The Untouchables, the legendary American crime drama TV series that ran from 1959 to 1963 on the ABC television network. Nelson Riddle was one of the great composers of the '50s, working with such legends as Frank Sinatra, Ella Fitzgerald, and Nat King Cole. Limited first press of 500 copies.

DRUMPOET COMMUNITY (SWITZERLAND)

DPC 057EP

LOOK LIKE: B.A.B.E. 12" (DPC 057EP) 12.00
When Lexx approached the Drumpoet Community label with these tracks by Look Like, the label didn't know much about the gifted young man from Zürich. After listening to his music, they had no choice but to release it. Look Like's work is influenced by the classic sounds of Chicago and Detroit but also draws upon the forward-thinking bass scene from the UK and carries the open-mindedness of someone who's perpetually digging. Four rocking gems for your dancing and listening pleasure.

DUST-TO-DIGITAL

DTD 047CD

BUSSARD, JOE: Joe Bussard Presents: The Year of Jubilo - 78 RPM Recordings of Songs from the Civil War CD (DTD 047CD) 12.00
Legendary collector Joe Bussard is putting records out once again! After running the last 78-RPM label in the US (RIP Fonotone Records, 1956-1974), Bussard had relegated his efforts to promoting old-time music by making cassette tapes for people hungry to hear his rare treasures and producing his Country Classics radio show for stations in Georgia, North Carolina, Tennessee, and West Virginia. But in 2014, Bussard and his daughter Susannah Anderson had the idea to produce a compilation of Civil War tunes; they rang the office of Dust-to-Digital to gauge interest in distributing such a compilation. It was an easy decision for DTD. CD in digipak with 36-page booklet. Includes introductory essay by Kevin Fontenot and liner notes by Tony Russell. Includes tracks by Ernest Stoneman, Blue Ridge Mountain Singers, Grant Brothers & Their Music, Red Mountain Trio, Buell Kazee, G. B. Grayson - Henry Whitter, Ward & Winfield, Chubby Parker & His Littleold-Time Banjo, Da Costa Woltz's Southern Broadcasters, Capt. M. J. Bonner (The Texas Fiddler), Cherry Lane Express, Henry C. Gilliland and A. C. (Eck) Robertson, The Foreman Family, Asa Martin & James Roberts, McGee Brothers & Todd, and Fiddlin' John Carson & His Virginia Reelers.

ED BANGER RECORDS (FRANCE)

BEC 5772823

SEBASTIAN: Total 2LP+CD (BEC 5772823) 26.50
2015 repress. Deluxe gatefold double LP version with a free CD of the entire album. SebastiAn has followed such an impressive path, that it's hard to believe that he's only now releasing his long-awaited debut album. But the facts are clear: here it is, after several EPs (H.A.L, Smoking Kills, Ross Ross Ross, Motor), a record compiling his many remixes for Daft Punk, Kelis and The Kills among others and a co-production of the soundtrack for the film Steak with Sebastien Tellier and Mr. Oizo, in which he also played one of the leading roles. Ever-elusive, he unveiled yet another side of his creativity in composing a philharmonic score for Notre Jour Viendra, Romain Gavras' first film. One of the creators, along with Justice, of the Ed Banger sound, he is without a doubt the label's most unusual figure. An iconoclast maverick, he readily defies the rules to deliver a dirty and violent kind of techno that coughs and spits; music to his image: human and visceral. Super prolific and constantly effervescent, this musician has managed, in the space of a few years, to redefine electronic music and is ready to astound everyone once again with Total, a definitive and meteoric first album. Featuring contributions from M.I.A and Mayer Hawthorne.

EM RECORDS (JAPAN)

EM 1142CD

DAO-UDON, HONGTHONG: Bump Lam Phloen: Essential Hongthong Dao-udon CD (EM 1142CD) 18.00
How can we explain the power of music? How can songs delivered in a language that we don't understand move us so? This collection contains the very best songs from Hongthong Dao-udon, one of the great Thai singers of the "third generation" of Molam singers and one of the artists who succeeded in fusing Molam with Luk Thung, thus triggering a new generation of singers; in fact, she was the first to sing both genres from the beginning of her career, considering herself to be situated happily between the two styles. But none of this matters, finally, to the listener. This is music, not musicology, and Hongthong Dao-udon sings to us, not the pedants. Her career was brief, and these songs from the late '70s and early '80s are her very best, showcasing her rich vibrato, her masterful control, and the undeniable emotional power of her voice, and carrying us from joy and whimsy to melancholy and desolation. Produced mainly by Doi Inthanon, a legendary independent producer, these songs were very popular in Thailand, and it is easy to hear why, with strong melodies, impeccable swing, interesting arrangements, and, of course, Dao-udon's thrilling voice. With two songs previously unavailable on CD, as well as her first recording and her biggest hits, this is essential. Includes 20-page booklet. Selection, liner notes, and cover art by Soi 48.

ESKIMO (BELGIUM)

ESK 507275

PRINS THOMAS: Paradise Goulash 3CD (ESK 507275) 23.00
Prins Thomas tips his cap to Paradise Garage, the original New York nightclub, with this three-disc compendium, a marathon adventure into his ingenious and groundbreaking style mischievously titled Paradise Goulash. One of Norway's most renowned musical exports, Prins Thomas has fashioned a fresh direction for dance music. As with his peers Todd Terje, Hans-Peter Lindstrøm, and some of Oslo's legendary characters like the mysterious DJ Strangefruit, he has created an ongoing global fascination with retro-futurism and cosmic oddities. He indulges heavily in his unending eclecticism on Paradise Goulash, each disc gently wandering through his musical mind with tracks from Robert Hood, Actress, Marcellus Pittman, Young Marco, I:Cube, Hieroglyphic Being, and many more, as well as wholly obscure material unlikely to have been heard before. Also includes tracks by Turns, Gábor Szabó, Brian Bennett Band, Aqua Bassino, Claude Speeed, Sun Araw, Richard Schneider Jr., Mistral, The Durian Brothers, Zazou Bikaye & CY1, Berliner Ring, C Cat Trance, A Split - Second, TM404, RVDS, Len Leise, nsi., Wally Badarou, Jan Akkerman, Bjørn Torske, Son.sine, Hakimonu, Donato Dozzy & Tin Man, Forever Sound, Odd Numbers, Dreamatic remixed by Enzo Elia, SW., Pev & Kowton, Joachim Holm & Alejandro Mosso, Abdulla Rashim, Dirty Jesus remixed by RV Cock, Marcos Cabral, Box Saga, Les Big Byrd, Ü, Petar Dundov, Louis Haiman, Evigt Mörker, Morphosis, Sebbo remixed by Moritz von Oswald, Luke Abbott, Ricardo Villalobos, Zadig, Stefan Vincent, Blacknecks, Siriusmo, Il Guardiano del Faro, Johanna Billing, Krater, and Kurt Vile.

FEEDING TUBE RECORDS

FTR 198LP

SUNBURNED HAND OF THE MAN: Mind of a Brother LP (FTR 198LP) 18.50
"Amazing archival retrieval (with extra material on the download) of the first release by long-running human zoo known as Sunburned. Forged in the heat of Kristin Anderson's Charlestown loft, the group more or less descended straight from the corpse of Shit Spangled Banner, although they did not assume the band name until 1997 (two years after the first protean jams had started). The material on the album was recorded in 1997 & '98, often deep in the grip of acid flashes, and it really shows. Over the course of their nearly two-decade lifetime, Sunburned has been many things, but it's easy to forget how spacily jazzoid and proggily psyched-out their initial gushes were. The music here is wildly explorative and crazily inventive, sharing a clear affinity with fellow travelers No Neck Blues Band. Indeed, the second edition of the CDR of this album was created to be sold on a 1999 tour which was No Neck, John Fahey, and Sunburned. One can only shudder at the mere thought. Anyway, this may well be one of the best Sunburned albums. It has a bizarre sweetness I never noticed in the band back then, because they always seemed like thugs underneath everything else. But you can really sense it here. And Rob Thomas's excellent liner notes attest to the benign flow of their early visions. How nice to hear where this weird trip started." --Byron Coley, 2015


FTR 203LP

PENSADO, ANDREA: Without Knowing Why LP (FTR 203LP) 18.50
"Exceptional solo LP from this Argentinian ex-pat, who has been based for the last decade-plus in Eastern Massachusetts. Feeding Tube previously issued the Yeppers LP with Andrea's sometimes trio, Los Condenados (FTR 126LP, 2013), but this is a sample of her latest work -- insane solo sound creations that are accompanied in live performance by some very crafty puppet work. The spectacle of this live show is astounding and disorienting, but the same is true for the music shorn of the visuals. Ms. Pensado's primary instrument is the computer, and her early work was created in academic settings in both Argentina and Poland. But since moving to the States, one senses the arc of her work is tending toward the Dionysian, and the sounds on Without Knowing Why are state-of-the-art noise inventions for laptop and voice. The electronics and soundscrapes share a certain tonal quality with some recent work in subliminal noise explorations by folks like Matt Krefting, Jason Lescalleet, and Aaron Dilloway. But her attitude ultimately emerges as somehow more aggressive than those boys. And the mix of post-glottal vocalese and the distended muzzy textures of her music create a very unstable base. We would suggest that listeners grab their ankles before the album starts to play, but that would spoil aspects of the record's gestalt. Prepare to be MOVED." --Byron Coley, 2015. Limited edition of 300.

FLANNELGRAPH RECORDS

FGR 054LP

VA: Still on the Line: A Tribute to Jimmy Webb LP (FGR 054LP) 19.00
"For the last 50 years, American popular music has been filled with the timeless songs of Jimmy Webb and we are thrilled to help continue that legacy with Still on the Line: A Tribute to Jimmy Webb. These are 12 new recordings by artists who share our passion for his songs, which we consider to be some of the most emotionally moving and skillfully crafted of all time. Part of Webb's unique talent lies in the versatility of his songs. While 'Where's the Playground Susie' and 'Galveston' were hits for Glen Campbell, they find a fresh new home in the voices of Bonnie 'Prince' Billy & Elephant Micah. 'By the Time I Get to Phoenix', considered by Frank Sinatra to be 'the greatest torch song ever written', sounds as heartbreaking as ever when performed here by Mike Adams At His Honest Weight. While none of these songs are meant to replace any of their previously recorded versions, they demonstrate their strength to grab our hearts no matter the genre, voice or decade where they find themselves."

FULL MOON FEATURES

FR 010LP

BAND, RICHARD: Puppet Master: The Music Collection LP (FR 010LP) 27.00
"Deluxe LP housed in a gatefold jacket. Limited to 1,000 copies. There are but a handful of composers toiling in terror that fully understand how to manipulate an image. Max Steiner, Bernard Hermann, Ennio Morricone, Jerry Goldsmith, Riz Ortalani, Danny Elfman, Christopher Young; all of these visionary artists helped define not only how we watch horror and dark fantasy films, but how we listen to them as well. We can easily add Richard Band to that list of heavy sonic hitters. The veteran music man has sculpted dozens upon dozens of rapturous scores for films ranging from the classic (Re-Animator) to the curious (Mutant) to the questionable (Laserblast). But perhaps no other work defines Band's genius than the haunting soundtrack he created for his Brother Charles Band's immortal 1989 thriller Puppet Master and its many sequels. The tale of a mystical puppeteer named Andre Toulon and his troupe of living, lethal marionettes who are dispatched through the ages to commit all manner of mischief and murder, the Puppet Master films are the Band brothers' calling cards, revered B movies that exemplify craft and have over, the past quarter century, have etched a fascinating cinematic mythology. Outside of the presence of the now iconic dolls themselves, at the center of the Puppet Master voodoo is that haunting Band music and of course the gently malevolent theme itself. Taking tinkling found sounds, electronic and symphonic elements and weaving them into a majestic death waltz, the Puppet Master theme speaks of magic, mystery and the unknown. Along with the other marvelous themes, cues and stings you'll find here from many of the Puppet Master sequels, this music is a testament to Richard Band's talent and ability to turn even the most modestly budgeted effort into rich, fully immersive and grandiose cinematic experiences."

FURTHER RECORDS

FUR 050LP

MOUFANG/CZAMANSKI: Live in Seattle LP (FUR 050LP) 23.00
LP version. Includes insert with liner notes. In May 2013, at a nondescript Seattle space called 1927 Events, two-thirds of Magic Mountain High -- Germany's David Moufang aka Move D and the Netherlands' Jordan Czamanski of Juju & Jordash -- teamed up for the kind of live performance during which you say to yourself, "I hope to hell somebody's recording this." Thankfully, somebody was doing just that, and the 99-minute Live in Seattle is the sterling result. People throw around the word "deep" to describe electronic music with cavalier frequency, but in the case of Moufang and Czamanski (who also records as Jordan GCZ), that adjective barely encapsulates the kind of fathomless sound they create. Live in Seattle captures them working at the zenith of their improvisational powers for a rabid crowd. The show begins with anticipatory cymbal taps and a beautifully morose melodica motif that wouldn't sound out of place in an Ennio Morricone soundtrack. A few minutes in, faint pulses enter earshot and a minute later the clap-enhanced beats and synth-bass burst into the forefront to form a strutting mid-tempo rhythm with a subliminal drone swirling beneath it. Masters of dynamics, Moufang and Czamanski incrementally intensify and ingeniously arrange the elements, especially that underlying keyboard drone, until you're in a state of panic and ecstasy. Over the course of the set, the two producers flaunt their expertise for pacing. They avoid the obvious and subvert expectations throughout the performance, sporadically letting the beats drop out in order to luxuriate on a particularly alien organ oscillation, a sinister bass rumble, an ominously pulsating synth, an unsettling thumb-piano motif, or a mind-warping 303 acid ripple, to name just a handful of examples. Of course, Moufang and Czamanski also keep things danceable for stretches of time, and about 78 minutes in, they even shift out of their foundation of oddity and into heavenly techno mode with a gloriously ascendant melody. For their well-deserved encore, Moufang and Czamanski reprise the intro's mournful melodica reverie and then infiltrate it with a series of percolating and disorienting bleeps and a celestial drone worthy of new age legend Laraaji. This stellar ambient coda reflects Moufang and Czamanski's exceptional, eccentric musicality. Techno is not known for its live albums, but Live in Seattle sets the standard for the format, with its abundant, sublime tunefulness, textural richness, and enchantingly enigmatic tangents. Mastered by Rashad Becker at Dubplates & Mastering.

FUTURE CLASSIC (AUSTRALIA)

FCL 155EP

KENTON SLASH DEMON: Harpe/Syko 12" (FCL 155EP) 14.00
Danish production duo Kenton Slash Demon debut on the Australian Future Classic label with Harpe/Syko. Silas Moldenhawer and Jonas Kenton debuted as Kenton Slash Demon with their critically acclaimed Khattabi EP on Tartelet Records in 2009; their fans over the years include DJ Koze, Dixon, Claude VonStroke, Brodinski, Luciano, Hot Chip, John Talabot, Gold Panda, and Michael Mayer. Organic and futuristic, their sound goes further than the typical frame and dramaturgy of a club track. They create soundtracks for clubs as well as music that one can listen to on a home stereo, thus blurring the space between the public and private experience.

FUTURE DAYS RECORDINGS

FDR 614CD

HARDY, FRANCOISE: Tous les Garcons et les Filles CD (FDR 614CD) 15.00
"Between 1962 and 1966, Françoise Hardy released one French-language album per year. Each, strictly speaking, was eponymously titled and each was collected from a series of contemporary four-track, seven-inch, picture-sleeve EPs -- pop music's main format in France, known as le super 45. In them, we see the maturing of one of the decade's most singular talents -- a pop singer with the heart of a chanteuse, a singer-songwriter in an age before such a thing was known, and a style icon who valued privacy and modesty. Remastered from the original tapes, we present the first five Françoise Hardy albums in their original French format. Raised by her mother in Paris, Hardy's upbringing was strict, and she was, she notes today, 'a very, very shy person.' Records and Radio Luxembourg provided escape and inspiration -- her two loves were Chanson Française, the Gallic style of Edith Piaf and Charles Aznavour, and rock'n'roll. The Everly Brothers, she says, were a 'lightning bolt.' Sent to The Sorbonne to study political sciences, Hardy instead pursued a career as a singer, auditioning for a number of labels before Johnny Hallyday's Disques Vogue snapped her up, intending to market her as a female rocker -- the track 'Oh Oh Chéri' here gives you a window into their vision. Hardy had other ideas and was determined to record her own songs, written in French, too. The runaway success of one of her own tracks, the iconic 'Tous Les Garçons Et Les Filles,' proved Hardy right. Hardy soon captivated the rest of the world -- she was immortalized in 1964 in a poem by Bob Dylan, she associated with The Stones, and dined with Beatles Paul McCartney and George Harrison. She also soon gained more creative control over her music, and she now distances herself from these early recordings where this was not the case. 'Even if I had been able to say something about the production,' she says now, 'maybe I would have been listened to, but I didn't know anything.' In the album's title track, Hardy sang about being a soul in torment, and this is the Hardy that emerged -- a complicated, pensive outsider, part pop singer, part chanteuse, and utterly unique. And she will forever personify a particularly French brand of cool.Includes exclusive interview with Françoise Hardy and liner notes by Kieron Tyler."


FDR 615CD

HARDY, FRANCOISE: Le Premier Bonheur du Jour CD (FDR 615CD) 15.00
"Like her 1962 debut, the cover of the following year's Le Premier Bonheur Du Jour had Hardy staring enigmatically at the listener. On the album itself, the sound had changed in line with Hardy's solidifying vision and voice; where Tous Les Garçons Et Les Filles was produced by a series of collaborators who struggled to understand her style, Le Premier Bonheur Du Jour gave fans the most significant insight so far into the identity of Françoise Hardy. In 1963, at a time when Serge Gainsbourg was tentatively dipping a toe into pop and the term yé-yé was only just being coined, Hardy was a rare thing: a singer-songwriter with heaps of her own material but not a folk singer in any sense. Hers was pop music that took the weight of chanson on its shoulders. Here, 'Comme Tant D'Autres' says, 'I know well that life is short, and I've been around' -- hardly 'She loves you, yeah yeah yeah.' For the tracks on Le Premier Bonheur Du Jour, Hardy was produced by arranger Marcel Hendrix. As well as her own compositions, 'L'Amour D'Un Garçon' saw Hardy adapt Burt Bacharach and Hal David's 'The Love Of A Boy.' In a contemporary interview, she said she would not perform songs where there was no sense of the words touching her intimately. 'A song -- it is your own story, or it is nothing,' she said. It was another year before Hardy's records were issued in Britain and another year before she started to brush up against the likes of Bob Dylan, The Beatles, and The Stones, but life was changing for the 19-year-old. Her unique sound would take her far, despite admitting now that she 'had no ambition. At the beginning, my ambition was to record something. I thought anything outside France was an impossible dream, but I did what I could to make it come true. It was like a current that carried me.' Includes exclusive interview with Françoise Hardy and liner notes by Kieron Tyler."


FDR 617CD

HARDY, FRANCOISE: L'Amitie CD (FDR 617CD) 15.00
"By 1965, Françoise Hardy was truly international. She'd hung out with The Beatles and The Stones, played high-profile shows in London, established a working relationship with British producer Charles Blackwell, and appeared in the film What's New Pussycat? She was also a fashion icon seen in the pages of Marie Claire and Vogue and on the cover of Elle, and her first US album was issued that year. In France, Hardy was to release album number four, the second album to be recorded in London, where her celebrity was rapidly growing -- at odds with her natural shyness. 'In London, it was the first time I'd been made to think I had a certain charm or charisma,' she says now. 'Thanks to the time in England, I became aware I could be seductive.' L'Amitié, with its evocative, close-up album cover and late-night sound, is the result. Produced by Jacques Wolfsohn alongside arranger Charles Blackwell, the sessions were notable for some distracting visitors. 'Mick Jagger was there a few times with various entourages of his at Pye [Studios],' recalls Blackwell. 'There was a long seat in front of the mixing desk where they used to sit.' Hardy was, however, not the epitome of the swinging '60s idyll; she was an intellectual, into yoga and Buddhism and astrology, and she still noted French chanson singers George Brassens and Jacques Brel as favorites alongside Elvis, Dionne Warwick, and The Rolling Stones. Despite her new links to the world of fashion, the tentative steps into film, the growing international awareness, and the attention she brought sheerly through her presence, music remained Françoise's focus, and her fourth album more than demonstrated this. A mix of Hardy's own songs, Blackwell's songs, and tracks from writers including Jean-Max Rivière and Gérard Bourgeois (who wrote the title track), the sound focused on stirring, heavy pop, not least in the yearning 'L'Amitié.' 'I'm still very proud of "L'Amitié,"' says Françoise, who's wont to undervalue her own work. 'The French lyrics are so very moving.' Includes exclusive interview with Françoise Hardy and liner notes by Kieron Tyler."

GET ON DOWN

GET 56028CS

JUNGLE BROTHERS: Straight Out the Jungle 2xCASSETTE BOX (GET 56028CS) 21.00
"De La Soul and A Tribe Called Quest may have been more commercially successful, but the afrocentric, jazz political rap movement and unfadeable Native Tounge Massive started with the Jungle Brothers and their 1988 debut. Straight Out the Jungle opened up many doors that are walked through by artists like Mos Def, Common and even Kanye West. Their taste for jazzy horn samples helped kick-start the entire jazz-rap movement, and their James Brown fixation was one of the first. Plus, the group's groundbreaking collaboration with legendary house producer Todd Terry, 'I'll House You,' paved the way for numerous hip-house hybrids that shot up the dance and pop charts over the next few years. For Cassette Store Day, this legendary debut is presented by Get On Down as a double cassette issue -- one cassette is red and the second (containing the full instrumentals from the album) is green. Both cassettes are housed in an attractive full color slipcase emblazoned with graphics from the original cover art."


GET 731EP

MOBB DEEP: Shook Ones (Parts I & II) 7" (GET 731EP) 11.00
"'Shook Ones Part II' might be one of the biggest records to come out of New York in the mid 90's. From the moment you hear the bare hi-hat and the infamous line 'to all the killers and the hundred dollar billas' it is an immediate adrenaline rush. The beat alone is a work of art, Havoc constructed what would go on for years as 'how did he actually come up with that beat?!' amongst DJ's and Producers alike. The infectious piano, cinematic sirens, it was no doubt that it was one of (famed New York nightclub) The Tunnel's most signature records. As Cipha Sounds put it - 'How could it not rip in The Tunnel? Just classic. "Shook Ones Part I" was actually pretty big in the Tunnel, but "Part II" ripped everything.' When 'Shook Ones Part II' came you couldn't help but nod your head and get lost in Havoc and Prodigy trading verses breaking down the meaning of a crook... making you shook son."


GET 732EP

PRODIGY: Keep It Thoro 7" (GET 732EP) 11.00
"Those first four lines, backed by that ridiculously ill beat, slugged you in the sternum when you heard them, fifteen years ago. And they still cause involuntary, heavy head-nodding episodes to this day. When it comes to authentic, ride-or-die hip-hop from the latter days of rap's Golden Age, few crews have as much modern resonance as Mobb Deep. Featuring two double-threat MCs who also produced -- Havoc and Prodigy -- the crew changed the hardcore rap game in 1995 with their sophomore classic The Infamous, and went on to rule the dark corners of hip-hop's over- and underground for the second half of the 90s and well into the 2000s. With a stomping, piano-freaked backdrop laced by producer The Alchemist, Prodigy entered the 2000s with force as he debuted solo on 'Keep It Thoro.' It was the first single off his H.N.I.C. album, and it proved to be an anthemic classic that the streets and clubs respect to this day. Flaunting a smooth-but-menacing flow, Prodigy's no nonsense lyricism on 'Keep It Thoro' is prototypical modern age brag rap. Countless MCs have followed his flow, from Fabolous to Joey Bada$$. And beyond the influence he knew would follow in the song's wake, he even astutely brags about his flaunting of conventional song structure."

HI HAT (UK)

HH 019CD

PONTY, JEAN LUC: Waving Memories - Live in Chicago 1975 CD (HH 019CD) 17.00
Having trained as a classical musician before finding fame with Frank Zappa's Mothers and John McLaughlin's Mahavishnu Orchestra, by 1975 the French virtuoso Jean-Luc Ponty was firmly established as rock's foremost violinist. Taped for broadcast on Chicago's WXRT-FM, this superb set at Amazing Grace, Evanston, Illinois, on April 11, 1975, just preceded the May 1975 release of his landmark Upon the Wings of Music LP, and finds him backed by Daryl Stuermer (guitar), Mike Wolf (keyboards), Tom Fowler (bass), and Norman Fearrington (drums). The complete broadcast is presented here in digitally remastered sound with background notes and images.

HOHENREGLER (GERMANY)

BASTI 003CD

BASTI GRUB: Neu CD (BASTI 003CD) 17.00
Basti Grub presents his third long-player, confirming once again his outstanding talent when it comes to deep, sensual (tech) house with a Latin twist. The title means "new" in German, underlining his approach to settle down in this genre for good. All tracks breathe a sweet air of easy beats, enriched by highly addictive rhythmic elements, sweet synths, groovy basslines, and great vocals.

HOTSPUR (UK)

HS 1023CD

SILOS, THE: Tennessee Fire Live CD (HS 1023CD) 17.00
On April 18, 1990, shortly after the release of their self-titled third album, The Silos performed about 75 minutes of music for the SNAP alternative music radio program. Broadcast on KCRW in Santa Monica, California, near Los Angeles, it features versions of all but one song from that third album, as well as selections from their earlier pair of records. Both of the singer-songwriter-guitarists from the band's early days, Walter Salas-Humara and Bob Rupe, were in the lineup for this broadcast. The complete broadcast is presented here in digitally remastered sound with background liners.


HS 1024CD

LOVETT & HIS LARGE BAND, LYLE: The Waltzing Fool 2CD (HS 1024CD) 23.00
In the late 1980s, Lyle Lovett's first two albums established him as one of country music's brightest new stars. With his Large Band, he sings most of the songs from those records on this March 22, 1988, broadcast on KBCO-FM in Boulder, Colorado, performed at the local Boulder's Coast Club. Highlights include versions of his hits "Cowboy Man" (with a guest appearance by bluegrass stars Hot Rize) and "She's No Lady," as well as preview of a couple songs from his third album, 1989's Lyle Lovett and His Large Band. The complete broadcast is presented here in digitally remastered sound.


HS 1026CD

BROMBERG, DAVID: Live in Utica '77 2CD (HS 1026CD) 23.00
In early 1977, David Bromberg, already established as one of the most entertaining performers on the US concert circuit, had just released his most successful album, How Late'll Ya Play 'Til, in 1976. This FM broadcast of a show at Utica, New York's Stanley Theater features songs from most of his 1970s albums, blending rock, blues, bluegrass, Celtic folk, and more, and punctuated by his trademark comic raps. Included is a 12-minute version of his showstopping signature tune, "Will Not Be Your Fool." The complete broadcast is presented here in digitally remastered sound with background liners.

HOUNDSTOOTH (UK)

HTH 047CD

DEVI, AISHA: Of Matter and Spirit CD (HTH 047CD) 15.00
Following her highly praised Conscious Cunt EP (HTH 043EP, 2015), Aïsha Devi's debut album Of Matter and Spirit sees the Swiss-Nepalese producer, vocalist, and label-owner resume her dark and intricate self-journey and investigation of the disconnection between matter and spirit in society, commenting upon media, consumerism, and collective mental and spiritual resistance, and finding inner peace. The album is a moving landscape of interconnected themes and experimental techniques. Using sound and vibrations to create a sense of healing and awareness, Devi's production dilutes and skews traditional formats. Crafting vortices of haunting sounds from her vocals and production, her work is deeply self-reflective, yet simultaneously taps into the collective consciousness in order to awaken our senses. Mastered by 2013 MPG Mastering Engineer of the Year Matt Colton at Alchemy. Strictly limited to 500 copies worldwide.

IMPORTANT RECORDS

IMPREC 421CD

PITRE, DUANE: Bayou Electric CD (IMPREC 421CD) 14.00
Bayou Electric is the final installment in an unplanned trilogy, with Feel Free (IMPREC 349CD, 2012) and Bridges (IMPREC 390CD/LP, 2013) making up the first and second installments in the series, respectively. All three works share similar characteristics, compositional processes, alternate tuning schemes, instrumentation, and a certain ethos that the composer views as cohesive whole. There is a progression toward refinement over the course of this trilogy, in the overall sound of the albums and in their dependence on other musicians to realize them (each less dependent than its predecessor). Bayou Electric, which contains a single, calming, and cathartic composition (of the same title), brings this cycle to a gentle and unhurried finale. Pitre captured the field recording utilized in Bayou Electric on a late night in August, 2010, at the edge of Four Mile Bayou, Louisiana, which has been in Pitre's family since January 14, 1922. Upon listening to what he'd captured, Pitre became enthralled by the fabric of sound that the wildlife on this waterway had created. It evoked many feelings, reminded him that his ancestors had lived among these same sounds and walked the same land, and created a powerful connection and a sense of timelessness. Pitre was set on finding a way to use this field recording in his music, but wanted to do so without simply adding it to a composition as just another layer of sound or by molding it (via processing) into something easier to work with. Instead, Pitre decided to start with the unaltered field recording and build the instrumentation around it, in a highly sympathetic manner, with the musical portion becoming accompaniment to the sounds of this remote land. This was the catalyst of Bayou Electric and of primary importance to him, as a way to artistically connect to his Cajun heritage. For synthesizers; sine tones; amplified violin, viola, and cello; field recording; and custom software. Written, recorded, reconfigured, and mixed from July through October of 2014 in New Orleans.

IT'S (GERMANY)

ITS 013EP

KUBIN, FELIX: Taucher 12" (ITS 013EP) 14.00
Felix Kubin delivers three masterpieces: "I Can't Sleep," an ode to insomnia; "Polarisation," two poles of Kubinski Dadaism; and "Taucher," which starts deep under the sea and struggles with full pressure and energy to the surface. "I Can't Sleep" features vocals by Giada Pesce. Mastered by Rashad Becker. Vinyl only.

JACQUES CANETTI PRODUCTIONS (FRANCE)

BEC 5156099

HIGELIN, JACQUES: Chante Vian et Higelin LP+CD (BEC 5156099) 23.50
Gatefold LP version. Includes CD. Legendary French record executive, talent agent, and producer Jacques Canetti recorded French singer Jacques Higelin's first disc in 1965, though their meeting dates back to 1954, when Higelin was 14 years old and was already singing Trenet -- at the time, Canetti refused to work with teenagers, whatever their talent. To celebrate the 2015 50-year anniversary of his career, the release of his 2013 album Beau Repaire, and a 2015 residency at the Philharmonie de Paris, Jacques Canetti Productions reissues his first album, with two bonus duets with French poet and vocalist Brigitte Fontaine.

JAMAICAN RECORDINGS (UK)

JRCD 058CD

SCIENTIST: Watch This! Dubbing at Tuff Gong CD (JRCD 058CD) 14.00
Most people associate Tuff Gong with Bob Marley, and rightly so, as he was often called Tuff Gong and his early releases came out on the Tuff Gong label. But Tuff Gong was also the name of a recording complex named after Bob Marley that included a top-level recording studio, pressing plant, and distribution center. Marley had taken over the former residence of Island Records boss Chris Blackwell -- Island House, 56 Hope Road -- around 1974. Two days before the Smile Jamaica Concert, on December 3, 1976, the house was ambushed by gunmen. Marley's manager, Don Taylor was hit five times, Marley was shot in the arm, and his wife Rita was hit in the head by a stray bullet -- but none of the injuries were fatal. Immediately after the concert Marley started his self-imposed exile from Jamaica, settling in London, England. This would lead to the aptly named Exodus album being recorded there in the summer of 1977. It would not be until the One Love Peace Concert in Kingston's National Stadium on the April 22, 1978, that Marley would return to the island. Marley felt it was important to show his commitment to the people of Jamaica, and upon his return to 56 Hope Road, he began the construction of his own recording studio with the help of music mogul Tommy Cowan. Unfortunately, Marley's short life would end on the May 11, 1981, from cancer. His passing would lead to 56 Hope Road being turned into a museum. A new location would have to be found to carry on Marley's work; this turned out to be 220 Marcus Garvey Drive, Kingston 11. Rita Marley and Tuff Gong International bought the facility, and hired engineers including Errol Brown (Treasure Isle Studios) and Hopeton Brown aka Scientist, so named for his groundbreaking style by the great producer Bunny "Striker" Lee, who had worked with him previously at King Tubby's studio and Channel One Studios. Watch This! Dubbing at Tuff Gong focuses on the work carried out by the great Scientist on the songs of the Black Solidarity label (run by Ossie Thomas aka Joe the Boss), at Tuff Gong, one of the foremost recording, pressing, and distribution facilities on the Jamaican island, set up from the work of Bob Marley to carry forward reggae music. CD includes four bonus tracks.

JAMBALAYA (ITALY)

JAM 13002LP

DYLAN, BOB: Gaslight, NYC, Sept. 6th, 1961 LP (JAM 13002LP) 20.00
Repressed. This document of a performance at The Gaslight Cafe, NYC, on September 6, 1961, is historic in many ways; it is one of the first known live recordings of the great Robert Zimmerman and, more importantly, the first known live recording to feature original songs ("Man On the Street," "Talkin' Bear Mountain Picnic Massacre Blues," and "Song to Woody"). Known among collectors as the First Gaslight Tape, the sound quality on these recordings is fantastic, and the set holds up as one of the best early Dylan live recordings in both sound quality and performance. Essential!

KAPVT MVNDI (UK)

KPT 002EP

DEVIANZA: Tabvla Rasa 12" (KPT 002EP) 12.50
London-based label Kapvt Mvndi, a Blackwater Label techno-focused imprint, presents its second release, an experimental post-techno EP based on the events of World War II. "CXIX" is about the 1940-'41 period of bombing in London; experimental and dark, with a raw lead and a psychedelic synth-loop. "CMXI" focuses on the connection between the Indian swastika and the Nazis' esoteric symbolism; it's a post-techno track more suitable for the dancefloor. Both tracks were created using the same delay- and reverb-effects and the same machines, and both clock in at 99 BPM. Single-sided 45 RPM 12" with black labels, no inner sleeves, and a booklet with credits and artwork.

KLIK RECORDS (GREECE)

KL 017LP

BABY GURU: Sunshine Special LP (KL 017LP) 23.00
Greek band Baby Guru's fourth album, Sunshine Special, finds the band experimenting with different styles, moods, and languages and welcoming its fourth official member. "Marmalade Skies (Part I)" is a short a cappella song; "Marmalade Skies (Part II)" is its Moog-tinted reprise. "Sto Nisi Tis Afroditis" and "Ithela Na Sou Po" are homages to the Greek pop-rock scene of the past. "Bedouin's Spiral" is an improvisational piece, performed live in the studio, while "Monday Generation" is an outtake from Baby Guru's 2011 debut album. "Sunshine Special" is a Brazilian-influenced la-la-la sensation; lead single "Glance" is Baby Guru's take on modern pop. All in all, Sunshine Special is a daring, polymorphic album that demands attention and an abstract dedication to the shades of summer. Formed in 2009, Baby Guru is an ever-evolving musical organism conceived by three childhood friends in a basement. Three studio albums later, they're considered a leading band in the booming Greek rock music scene.


KLTMP 004CD

GIASIRANIS, TASOS: Rhodes Inspirational: From East to West CD (KLTMP 004CD) 17.00
The best seas are those that have yet to be sailed. The most interesting people are those one hasn't yet met. The most fascinating sunsets are those that haven't yet emerged on the horizon. How can one stare at the world from an aircraft 20,000 feet high and not feel like a small god -- all it takes is to close your eyes for a while and the island of Rhodes will appear. Celebrated DJ and radio producer Tasos Giasiranis, inspired by the Louvre's exhibition "Rhodes, a Greek Island and Gateway to the East," presents the fifth installment of the island's official compilation series, Rhodes Inspirational: From East to West. Twelve chilled-out, atmospheric, deep, electronic tracks, many previously unreleased, with 12 breathtaking postcards included, photographed by Stelios Kalisperis and Nikos Brouzakis. Includes tracks by Allone, Billa Qause, Tokkoi, Cayetano, Chris Coco remixed by Synkro, Faultnaut, Starclash, Alex Dimou, Savvas, Ralph Myerz, Energy Deejays feat. The Mode, and V I v I d.

KOMPAKT (GERMANY)

KOMP 126CD

COMA: This Side of Paradise CD (KOMP 126CD) 15.50
Tackling the challenge of a second album head-on, Coma return to the fore with This Side of Paradise, a comprehensive and meticulously-arranged collection that never strays far from the duo's well-established modus operandi. This Side of Paradise is truly refined pop music that takes its cues from both sides of the musical fence. A further exploration and expansion of the territory initially explored on Coma's first full-length, In Technicolor (KOMP 106CD/KOM 279LP, 2013), This Side of Paradise shows the artists commanding their craft with confidence and style -- a sonic treat for seasoned connoisseurs and recent scholars alike. Sometimes described as songwriters who don't actually write songs, Coma tend to nudge the genre-boundaries without making this their central artistic statement -- they're not in the game to search and destroy, but to meet and seduce, in a constant effort to make music that is as innovative and multilayered as it is accessible. It's an endless process of reevaluating their own tropes that leads the duo to the unconventional but immensely catchy hooks on tracks like "Borderline," "Pinguin Power," and "Happiness," half-sung and half-synthesized. Coma don't want to settle on whether they actually are a dance act or a pop outfit: "We always try to rethink what we're doing. At one point we even thought about dropping the melodies altogether, because melodic techno has become kinda prevalent. But that wouldn't be us either -- we love a good melody as much as the next person." The receptiveness for cognition glitches and happy accidents might be behind Coma's obvious penchant for cooperation; This Side of Paradise's most classic songwriting appears on "The Wind," a dreamy, melancholic, downbeat gem featuring vocals from frequent collaborator Dillon. Meanwhile, another old friend has switched roles: Mit's lead singer Edi Winarni returns after his cameo on In Technicolor, but this time he's responsible for the cover art, based on his own sculptural work and created from archetypes of bird beaks in front of a heavily processed white screen. It asks basically the same question that the band does: how much beak do you need to recognize the bird? How much melody do you need to be pop? How many beats until you're part of the club continuum? Coma's true achievement might be in asking themselves these kinds of critical, potentially thwarting questions, but still remaining able to produce beautiful music that speaks to both the body and the soul.

LADY SOMETIMES RECORDS (ITALY)

LS 002CD

LILIES ON MARS: AGO CD (LS 002CD) 18.00
Following the 2015 lead single "Dancing Star" (co-produced with Tom Furse of The Horrors), which Thump called "the Perfect Cosmic Pop Jam," Lilies on Mars present their full-length album ?GO. Born and raised on the Mediterranean island of Sardinia, a place that recalls mystical legends and the strength of a population that has fought throughout history to keep traditions alive, Lisa Masia and Marina Cristofalo moved to London in 2002. Sometime later, Lilies on Mars emerged, the result of many long nights spent listening to music at their home studio in Hackney and jamming with every imaginable instrument, from guitars to vintage organs, synthesizers, effects, and drum machines. The contrast of living between these two places has had a profound effect on Lilies on Mars's music. It became a way to navigate their experience, gently incorporating all the information that inspired them to become notes and melodies, and, more precisely, a sound. Delicate, surreal, and sometimes disturbing, like a lily growing on a red planet. This is the imagery within which they are suspended, where time does not exist. Collaborations with Italian pop experimentalist Franco Battiato also dramatically influenced and inspired the project in its early stages. Masia and Cristofalo began writing ?GO immediately after returning from an extensive tour of Europe and America. Filled with inspiration and excitement and with overwhelming changes in their lives post-tour, they searched for shelter at Masia's beach house in Sardinia. Here they set up a studio and found the perfect space and freedom needed to create and experiment with new sounds. All songs on ?GO were written from edited improvisations and immediately recorded, while post-production is also a key element in the whole creative process. Retro-futurist, psychedelic, and cosmic pop elements are accentuated on this album. At times uplifting, at times drone- and kraut-like. They are strongly influenced by electronic experimentalists and pioneers such as Delia Derbyshire and Daphne Oram of the BBC Radiophonic Workshop. The ambiguity of the title ("ago" translates to "needle" in Italian) parallels the retro-futurism represented by the duo's distorted silhouettes on the album cover, inspired by the Rutt-Etra-Izer video synthesizer.

LIGHT IN THE ATTIC

LITA 136LP

CITY, THE: Now That Everything's Been Said LP (LITA 136LP) 22.00
Gatefold LP version in deluxe Stoughton tip-on jacket. First official vinyl reissue. "24 bit / 96 kHz remaster from the original tapes. New notes by Steve Hochman featuring interviews with band members and album producer Lou Adler. We all know the Carole King who wrote some of the biggest hits of the '60s, from 'Will You Love Me Tomorrow' to 'Pleasant Valley Sunday,' via 'The Locomotion' and '(You Make Me Feel Like) A Natural Woman.' We also know the singer-songwriter behind Tapestry, the album that launched King as a solo singer in her own right. But in between -- and not nearly as well known -- is King's band, The City, and their album, Now That Everything's Been Said. By the mid-'60s, King's marriage to Gerry Goffin, with whom she'd written many of those wonderful hits, had hit the rocks. A divorce loomed, and King all but retired to raise their two daughters. She headed west to Laurel Canyon in '67, taking the children with her, and made the previously unlikely move of joining a progressive folk-rock band. King formed The City with future husband Charles Larkey on bass and Danny Kortchmar on guitar and vocals. With King on piano and vocals, they created a folk rock sound that pre-empted the singer-songwriter boom of the '70s. Produced by Lou Adler and featuring Jimmy Gordon on drums, The City's sound is deep and soulful, imperfect but passionate. And the songs, with King writing or co-writing all but one, are as exceptional as you'd expect and as widely covered as her factory work. 'Now That Everything's Been Said' was a hit for American Spring, 'A Man Without A Dream' was tackled by The Monkees, and 'Hi-De-Ho (That Old Sweet Roll)' was a hit for Blood, Sweat & Tears. Central to the album's appeal is King's own stirring reading of her track 'Wasn't Born To Follow,' covered masterfully by The Byrds for the Easy Rider soundtrack. King had been used to a life on the sidelines, and her stage fright left the trio unable to tour the LP which adversely affected their fortunes. That, plus some behind-the-scenes distribution problems, meant the album was quickly deleted, and it remained so for the next thirty years -- partly at King's request."

LINEAR LABS

LLBOX 002-7

GHOSTFACE KILLAH: Twelve Reasons to Die II: Serato Picture Disc Double Pack 2X7" (LLBOX 002-7) 52.00
"The Serato Picture Disc Double Pack is exactly what you'd think -- two full color picture discs, both in full color jackets, both with Serato control tones for the DJ. 12 Reasons To Die II is vividly brought to life with the help of Younge's never-endingly evocative and unique brand of cinematic, psychedelic soul. The music -- on which Younge himself plays upwards of 10 instruments -- was recorded strictly on analog tape, to bring out the true grit of the '70s era that provides the Twelve Reasons backdrop. Younge's work of course sounds great -- as presented here, it looks as good as it sounds with the Italian horror inspired graphics splattered all over the full color sleeves and the vinyl itself."

LIVITY SOUND RECORDINGS (UK)

LIVITY 399EP

HODGE/BRUCE: Amor Fati (Peverelist Remix)/Tilikum (Hodge Remix) 12" (LIVITY 399EP) 12.50
Peverelist and Hodge remix tracks from the catalog of Livity Sound's dnuoS ytiviL label, preceding the 2015 dnuoS ytiviL compilation Reverse Vol 1. A pioneer of his own vision of the UK sound, Peverelist transforms Hodge's "Amor Fati" into a signature writhing mesmeric groove; on the flip, Hodge irons out Bruce's "Tilikum" into a booming, epic late-night tool. The Livity Sound label has been at the forefront of UK electronic music since its inception in 2011, pushing its distinct take on techno with sound system frequencies. dnuoS ytiviL has run concurrently, releasing music complementing and reflecting the core artists' output.

LOST GIRL RECORDS

LGR 001CD

COCOROSIE: Heartache City CD (LGR 001CD) 15.50
CocoRosie, the duo of sisters Bianca and Sierra Casady, present Heartache City on their own Lost Girl Records. "This will be our sixth record! Like many of our past records, we wrote and gathered much of the material at our farm studio in the south of France with minimal equipment, vintage toys and antique instruments. Going back to a '4-track' style approach, we limited ourselves to essential, acoustic accompaniment, played by us, and select percussion, toys from our old suit cases dating back to the La Maison days. Unlike our more psychedelic/electronic explorations of the last two records, our latest songs have a dusty southern feel with old-timey poetry. We ended up in Argentina where we finished the recordings and mixed the record with engineer Nicolas Kalwill with whom we've worked on two previous records. The spirit of Buenos Aires added to our already teen-romance-nostalgic-mood where we spontaneously shot a music video casting over 30 local girls."

METAMATIC (UK)

META 042CD

FOXX & HAROLD BUDD, JOHN: Translucence/Drift Music 2CD (META 042CD) 19.50
2015 reissue; originally released in 2003. The luminous piano playing of Translucence and the stunning extended reverbs of Drift Music (both originally released in 2003) form a double CD with new artwork by John Foxx. The music of Translucence has an intelligence, purity, and reserve, but it's also sensual and dream-like, a feeling that is stretched even further by the gorgeous Drift Music. "Really I'm Harold's apprentice," says John Foxx. "Along with Satie, he taught me almost everything I know about this kind of music. What you really look for -- that instant when something magical and mysterious crystallizes in the air. I always think of one moment working with Harold as the epitome of this. There's this track on Translucence called 'Spoken Roses.' I still play it and think -- I recorded that. It's Harold's music and I was lucky enough to be there to catch it from the air. It's a truly splendid piece, a direct and beautiful interplay between sound and performance. True minimalism is concerned with isolating something dignified and beautiful, presenting it without unnecessary additions, so you can fully appreciate it." Both artists are keen to do more work together, but, as Budd says, "I have no idea about what's coming up next. I suppose I should be concerned about that. I don't like counselling people to be blasé, because if nothing was happening for a long time it would be maddening, but I'm not there yet, so I don't know."


META 055CD

FOXX/HAROLD BUDD/RUBEN GARCIA, JOHN: Nighthawks CD (META 055CD) 16.50
2015 reissue; originally released in 2011. "I was at art school. A girl I was in class with played Gymnopedies on the lecture piano one afternoon, June 1966. I remember the scene exactly -- old Victorian art school, doors open to a long avenue of trees. River beyond. Summer glistening outside. I was very young and everything seemed magical and infinitely promising. Completely captivated in a moment of stillness and wonder. It was also a first exposure to successful minimalism -- the music was so simple, yet profoundly elusive and subtle. Never forgot it. Everything else followed from that single moment" --John Foxx. The Nighthawks album is dedicated to Ruben Garcia, who, sadly, died in 2013. John Foxx: "Harold Budd recommended Ruben Garcia's music to me -- and that alone is a significant achievement for any musician. His album Room Full of Easels illustrates why Harold was so intrigued. It's inventive, tranquil and joyful music from a pure spirit -- a truly independent and idiosyncratic artist. I count myself very fortunate to have been involved with a small part of the recorded music Ruben left behind." Nighthawks was originally released in 2011 and is now part of the Metamatic label's catalog for the first time. It's a moody, cinematic album, very noir and New York, still full of wonder but with a sense of unease and a colder atmosphere blowing through the late-night piano strikes. John Foxx and Budd are keen to do more work together, but, as Budd says, "I have no idea about what's coming up next. I suppose I should be concerned about that. I don't like counselling people to be blasé, because if nothing was happening for a long time it would be maddening, but I'm not there yet, so I don't know."


META 058CD

FOXX, JOHN: London Overgrown CD (META 058CD) 16.50
London Overgrown is a project that John Foxx has been working on for years, inspired by his own experiences of London -- including an abandoned, overgrown Shoreditch in the early 1980s -- futuristic visions of a derelict city dating back to the sci-fi of the Quatermass TV series (which he watched as a child), and a strong desire to propose "an actual city," as John Foxx puts it. "A plan for London. A beautiful new overgrown city. Perhaps this may be initiated gradually, by obtaining permission to allow a street or two to become overgrown, them it may come to be seen as a Post Carbon City, a way of greening London. Let's practice vertical gardening all over buildings everywhere. Create the Hanging Gardens of Shoreditch, The Glades of Soho, encourage London to become a truly green city. Let's resurrect Vauxhall Pleasure Gardens. Allow Hyde Park to spread through Soho to the river. Encourage Hampstead Heath to meet Richmond Park at its borders, via all the squares and gardens and rooftops, right across London..." The ambient electronic music forms immersive soundscapes for an empty, overgrown city; a wordless relative of John Foxx's Cathedral Oceans CD (1997).

MIE (UK)

MIE 029LP

O'DWYER, AINE: Music for Church Cleaners Vol. I and II 2LP (MIE 029LP) 27.50
2015 repress. "Over the course of several months, Áine O'Dwyer was given access to the pipe organ in St Mark's Church, Islington, while the cleaners were at work. Primarily a harpist, this was a rare opportunity to grapple with the 'king of instruments' and apply her sense of melodic, structured improvisation in a new context. Since it's impossible to exert complete control over such a recording environment, she entered into the sessions with a Cagean mindset, embracing extra-musical sounds. This gave the recordings a unique character and concept. With the door left open to serendipity, it can seem that the sonic environment coalesces in sympathetic harmony. Here, the synth-like whoosh of the vacuum cleaner, a child's laughter, various echoed clatters and chatter become part of the music. Improvised music is inevitably influenced by the presence and expectations of an audience... Áine capitulates to the 'request from the ladies' by not staying 'on one note for a long time,' but already did 'bring music' -- that is, the graphic score reproduced in the gatefold. At the end, we can hear that even the recording device itself is subjected to the relentless advance of church cleaning. The album is multifaceted and conceptually satisfying in many ways. It's simultaneously a series of solo improvisations, a site-specific piece of performance art, rich in chance elements, and even qualifies as a field recording, where the transcendent and menial meet. Despite the absence of cheers and applause, it's also a live album. In this new extended incarnation, it becomes almost a kind of minimalist opera, with a subtle plot of polite contention softening amid curiosity about the trumpet that takes us out of this most concrete of recordings with a single psychedelicized blast. Metaphysical themes are hard to avoid using an imposing instrument traditionally intended to inspire them. The titles hint at Áine's meditative concerns while playing. Here is an Irish lapsed Catholic mind (as Cranley told Dedalus) 'supersaturated' with the religion it rejects: the double meaning implicit in 'church cleaning,' the forbidden 'deep sounds,' the pensive, often brooding hue of the music itself, heavy in every sense. Throughout I hear the dark depths of thoughtfulness, warmth, and mischievous wit that is quintessentially Áine. Originally released as a cassette on Fort Evil Fruit [in 2012], this expanded vinyl edition features new artwork and doubles the album's length, making for a truly immersive experience" --Paul Condon. Includes download code; housed in a gatefold sleeve.


MIE 030LP

UNITED BIBLE STUDIES: The Ale's What Cures Ye: Traditional Songs from the British Isles Vol. 1 LP (MIE 030LP) 22.00
The Ale's What Cures Ye by United Bible Studies is a compendium of traditional and modern folk songs as interpreted by the band and inspired by Folkways. United Bible Studies in The Ale's What Cures Ye are David Colohan (Raising Holy Sparks), Michael Tanner (Plinth), Áine O'Dwyer, Nicholas Palmer, Alison Cotton, Richard Moult, Louise McGrath, and Sharron Kraus. Mixed by Michael Tanner; mastered by Patrick Klem; sleeve by Lucy Duncombe. Edition of 300; includes download code. The record also comes with a booklet of words by the band members. Here are three extracts:"Titled after the Black Sands of 'Sweet Streams of Nancy' and pieced together from the relative geographies of melodies found elsewhere on the album, 'Blacksands' represents, to my mind, the band as a whole -- waxing and waning between various members offerings and sewn together with a shared understanding of something more unified and ancient. Recorded in various parts of the English countryside and the Irish midlands.""Dave brought the Litany to the table, and I was only faintly familiar with it from the Hart/Prior version. F.W. Moorman's paean to itinerant labouring hardships, the piece always conjured images of the families left behind in the search for pit work -- A concept which lead to the creation of a kind of coda, The Burning Sea -- with Alison Cotton's vocals from Ten Thousand Miles echoed here in an altogether different form... that of a distressed wife abandoned overseas, set against a scree of gradually deconstructed/decaying viola lines.""Many's the tip Johnny Moynihan offered me regarding the songs I was singing whilst touring with him one Summer. Singing 'The Recruited Collier' exactly as Anne Briggs had done was one of them. However, on this recording, Nature intervened. The tide was fast approaching & in our haste, I sang 'take my heart' rather than 'break my heart'. Not only that, but I sang it twice, perhaps recalling Pavement's advice to repeat any mistakes you made so as to make them seem deliberate. With no room for second takes, we made good our escape from the smugglers cave & I swore to never haul a harmonium up & down a cliff face ever again."

MISTRY (UK)

MISTY 005EP

BATU: Dekalb/Collate 12" (MISTY 005EP) 16.50
Beneath's Mistry label draws the best out of Batu in this quaking two-headed beast. With each release Batu seems to step further into his own sound, while also remaining true to a shared aesthetic and tempo with peers such as Beneath, Pinch, Lurka, and L.Sae on his home-brewed Timedance label. For this headstrong mission he comes with the noisy, technoid mutation of "Dakalb" up top, alloying radioactive subs with rusted snare-crack and floor-scanning sirens to murder the dance. "Collate" runs industrialized roto-toms and scooping bass with the ruddiest junglist swagger crowbarred into a 130-BPM template.

MUSICA AUTONOMICA (GERMANY)

MAUT 005EP

VA: Adversario 12" (MAUT 005EP) 12.00
The Munich-based Musica Autonomica label presents its fifth release, Adversario, a compilation showcasing various tracks by young and talented producers from Italy, France, and Germany. Italian producers Marius & David (Life and Death, Circle Music) deliver "Nur," a deep and dark techno affair. Julian Zaruba, a live musician and producer from Munich, debuts with "Phalanx," driven by classic analog sound aesthetics. French duo Julien Piacentino & Philip Piogé deliver quality techno with "Twisted Mind." Christian Prommer's "Ambivalent Sequences" is a weird analog sequencer line with some minimal drum beats.

MUSIK KRAUSE (GERMANY)

MKR 006CD

FEINDREHSTAR: Love & Hoppiness CD (MKR 006CD) 17.00
Imagine there is a seven-headed rhythmic beast with a percussionist, drummer, bassist, keyboardist, two horn players, and a DJ up on the stage embracing the musical totality of the world without any folklore kitsch, its subtlety and urban club grooves crossing various genre-divisions. That beast is Feindrehstar. This unique band, based in Jena, Germany, has long been known for its ability to capture that live energy in studio recordings. Feindrehstar now present their second album, Love & Hoppiness, following their 2010 debut album Vulgarian Knights (MKR 004CD/LP). A lot has happened in the meantime: countless club and festival gigs, an inspiring African tour, and countless hours spent working in the studio. Love & Hoppiness matured over three years; the first recordings developed in the fall of 2012 with Michel Baumann (Soulphiction, Jackmate) and Nik Reiff in Stuttgart. Further overdubs with trombone, cello, guitar, and vocals followed at various home studios and conservatories. That's right -- vocals have been introduced to this otherwise instrumental band. Owing to these vocal tracks with Dave Aju, Ebo Taylor, and Tina Keserovic, Feindrehstar's sound continues to develop. Jazz, soul, and funk vibes shine through on tracks like "Antelope," a track featuring the vocals and guitar of legendary Ghanaian musician Ebo Taylor. It was clear right from the start that everything clicked with Dave Aju; the smooth, soul-soaked hip hop of "From Bob to Stevie" is a standout track. Feindrehstar call their music "krautclub," and the reason for this becomes clear on "Caje Sukarije," with a classic Balkan funk sound taken over by wild synth loops fused together in a haze of electro-funk. It is in fact a Roma anthem sung by Keserovic. The completely acoustic ballad "Love & Hoppiness Int." anchors the album in a captivating calm with cello and clarinet. Despite the many new directions, the genre-defying yet danceable club sound of Feindrehstar remains. "Love & Hoppiness," "Deep Horse," "Shake That," and "Night Rainer Diskodub" show once again that after 15 years of rocking dance floors, Feindrehstar's energy hasn't diminished.

NONPLACE (GERMANY)

NON 041CD

FLANGER: Lollopy Dripper CD (NON 041CD) 15.50
Flanger is back! Ten years after their 2005 Spirituals album (NON 018CD/LP), Atom TM and Burnt Friedman have composed and produced their fifth album. Ignoring genre-limits, both artists have progressed from the considerable skills shown on their 1999 debut album as a duo, Templates -- a work of intangible, mutating, jazzy electronic sound beyond the constraints of time and space. They've since returned to Burnt Friedman's Berlin studio several times to release new energies in the form of Spirituals and Outer Space/Inner Space (2001), which incorporate decomposed jazz instrumentation and midi-fied electronic processing. Apart from Hayden Chisholm's saxophone contributions on two tracks, this is how it works again on Lollopy Dripper: 50/50-duo-mode composition with in-house, boosted equipment -- similar to the set-up in 1997, when the duo produced their first tracks over one week in Santiago, Chile -- but with a naturalistic jazz-trio sound.


NON 041LP

FLANGER: Lollopy Dripper 2LP+CD (NON 041LP) 23.00
Double LP version. Includes CD. Ten years after their 2005 Spirituals album (NON 018CD/LP), Atom TM and Burnt Friedman have composed and produced their fifth album. Ignoring genre-limits, both artists have progressed from the considerable skills shown on their 1999 debut album as a duo, Templates -- a work of intangible, mutating, jazzy electronic sound beyond the constraints of time and space. They've since returned to Burnt Friedman's Berlin studio several times to release new energies in the form of Spirituals and Outer Space/Inner Space (2001), which incorporate decomposed jazz instrumentation and midi-fied electronic processing. Apart from Hayden Chisholm's saxophone contributions on two tracks, this is how it works again on Lollopy Dripper: 50/50-duo-mode composition with in-house, boosted equipment -- similar to the set-up in 1997, when the duo produced their first tracks over one week in Santiago, Chile -- but with a naturalistic jazz-trio sound.

NOW-AGAIN

NA 5124CD

4TH COMING: Strange Things: The Complete Works 1970-1974 CD (NA 5124CD) 18.00
"They had a catchy, but inappropriate name: there is nothing forthcoming about Los Angeles' 4th Coming, unless one counts a copious amount of releases -- on rare 7" singles -- that didn't sell farther than vocalist/principal Henry 'Hank' Porter's Datsun 1200 could take him. When 4th Coming records surfaced in the '90s, they were often disregarded as novelty. And some of their records were so rare that it took until the late '00s for them to reemerge, after the sinking of their initial pressing runs. Assembling a complete set of 4th Coming recordings was nearly impossible, until the issue of this, the lost 4th Coming album. At its core, the 4th Coming was a songwriting duo -- Porter and Jechonias 'Jack' S. Williams -- and a rotating cast of musicians -- including members of lauded LA funk ensemble the Watts 103rd St. Rhythm Band -- that Williams assembled at Artist Recording Studio to realize the pair's ideas. They existed only from the latter half of 1969 until 1974; during that time they issued eight singles as 4th Coming and one as Impact! on Al Firth's Alpha imprint. And now, Strange Things, a thrilling listen, a mysterious trove of recordings made possible by an open minded and well-funded indie impresario, which document a very real and very weird Los Angeles of the past. It's a city we'll never know again, and one that might never again produce an ensemble like the 4th Coming. If Firth's faith only rolled snake-eyes in terms of commercial success, in terms of documenting Los Angeles' vibrant soul and funk underground, he rolled boxcars. This, the album Williams and Firth always hoped would bring them real success, now sees its complete release and allows us to ponder the might-have and the would-have beens -- had a 4th Coming album come together in the mid-'70s."


NA 5124LP

4TH COMING: Strange Things: The Complete Works 1970-1974 2LP (NA 5124LP) 25.00
Double LP version. Includes download code.

OPEN MOUTH

OM 044LP

CAMPBELL/GREG KELLEY/BILL NACE/WALLY SHOUP, GREG: One End to the Other LP (OM 044LP) 18.00
"Recorded during a recent trek to the Pacific Northwest, this session is very damaged by the post-tongue explosive devices packed by each of the quartet's members. Skittering along the most devious edge of improvisational madness, Greg, Greg, Bill and Mr. Shoup bring four chunks of deep underground moisture into the air for the first time. Let us make to examine them. 'Morning' greets the listener beneath a raucous grackle filled tree, mounting to a commuters' rage. Then along comes a mage with mushrooms, and the growl and rasp spreads out into what one must imagine a stoned rabbit's brain records from a dawn. In 'Separating a door from a window', Mr. Shoup's sax limns the wall of sound into permeable spaces. The horns and percussion throw up bramble hollers of humorous squawk, but in the end, Wally is triumphant. Like smoke snaking over the door, 'Transom' is a very present and seductive piece. If you are a programmer, this is an excellent sound experience to loop, as it is both loving and bossy. Horn and reed lead you into 'Nothing is deprived of its warmth,' and then gleefully pierce your eardrums with needles. Once the path has been cleared to your brain, molten notes are poured in and, like a Dead Head prostrate with his pipe, you become one with the universe. A warm universe. At first I thought it was weird they named this album after the lost book of Tolkien's Silmarillion. Now I'm not so sure." -- Lili Dwight/Byron Coley, Deerfield MA 2015

OTOROKU (UK)

ROKU 012LP

PARKER/JOHN EDWARDS/CHRIS CORSANO, EVAN: The Hurrah LP (ROKU 012LP) 25.50
The Hurrah is the second recorded outing from the universe-shifting free jazz trio of Evan Parker, John Edwards, and Chris Corsano. This trio has been playing together since 2006, sometimes expanding into quartets with the likes of Noah Howard, John Russell, Joe McPhee, John Coxon, and Paul Dunmall. The material on this LP was recorded by James Dunn at Cafe OTO in London on August 22, 2014, during Corsano's four-night residency. All material recorded live; no editing or post-production. As raw and liberating as it was on the evening. Evan Parker: tenor saxophone; John Edwards: double bass; Chris Corsano: drums. All compositions by Evan Parker/John Edwards/Chris Corsano. Artwork by Dennis Tyfus. Mixed by Rupert Clervaux at Grays Inn Road, London. Mastered by Andreas "Lupo" Lubich at Calyx, Berlin.

PACIFIC RHYTHM (CANADA)

ROTP 002EP

VA: Rhythms of the Pacific Volume 2 12" (ROTP 002EP) 16.00
"Another critical sampling of Vancouver's evergreen dance music community. The A-side unearths two Canadian classics-in-waiting from Neo Image, with some dreamily broken garage and sparkling, heady ambience. Florist and D Tiffany split the flip -- low-key, breakadawn shufflers. Both sides are guaranteed to kick up dust on the dancefloor, and once again 100% CANCON certified!"

PALILALIA

PAL 039CD

ORCUTT & JACOB FELIX HEULE, BILL: Colonial Donuts CD (PAL 039CD) 13.50
Guitarist Bill Orcutt and drummer Jacob Felix Heule (Ettrick, Fred Frith, Sult) have been performing regularly around the San Francisco Bay Area since 2012, but this is their first release together. Recorded in Orcutt's living room in the early months of 2015 and named after a chain of Oakland coffee shops, Colonial Donuts collects 13 compact, stylistically diverse duets for electric guitar and drums, ranging from hushed, socially anxious folk to sprung electric blues to dense, pummeling free improvisation. Mixed by Frank Falestra at Dan Hosker Studios in Miami Beach; mastered by James Plotkin; designed by Bill Orcutt.

PAN (UK)

PAN 067CD

VISIONIST: Safe CD (PAN 067CD) 16.50
Having partnered with Bill Kouligas in 2015 to relaunch his Lost Codes imprint as Codes, Visionist takes a defining step forward with the release of his debut album, Safe. The South London artist born Louis Carnell broke during a period of experimentation in UK music when, with the disintegration of the dubstep scene, emerging producers began looking to juke and Chicago house for inspiration. A pair of EPs on Lit City Trax (and a collaboration with Fatima Al Qadiri) in 2013 and '14 introduced Visionist's minimalist take on fractured R&B and liquid grime, establishing him as a leading voice in new wave UK soundsystem culture. On Safe, Visionist sculpts and extends that signature into new terrain and makes his most personal statement yet. Distilling his influences down to a sparse palette of manipulated folk, pop, and R&B a cappellas; icy synths; and metallic drum samples, he plays off ever-present anxiety and his own battle not to let it overwhelm him. "Comfort, protection, salvation -- this is what we search for," he says. "We are taught that a life of no worries is better for us, and therefore we try to create one that is 'Safe.'" But while safe as a musical concept implies conformity, Safe as an artistic statement is anything but. At a moment when the UK scene, once known for innovation, has settled into rehashing old tropes, Visionist continues to propel his sound into more experimental territory. The album traces the arc of an anxiety attack, from its onset through to recovery. Following the stately discord of brief opener "You Stayed," the grimy, ballistic assault of "Victim" sends its targets diving into mirrored corners. "I've Said" is a brutal, almost militant advance, its sound cutting in and out as though transmitted via shortwave radio. "Too Careful to Care" trades in skittering paranoia, with the soporific "Sleep Luxury" closing out affairs. Since 2012, Visionist has toured extensively throughout Europe, The Unites States, and Asia, appearing at industry standard clubs and festivals like Fabric, Berghain, Sonar, and Unsound as well as various underground venues. He has scored music for Kenzo, Liam Hodges, and Roxanne Farahmand in the world of fashion, and remixed Kelis, Ghostpoet, and Glasser. In 2014, he supported FKA Twigs on her first-ever UK tour. Photography and artwork by Daniel Sannwald; layout by Bill Kouligas.

PARACHUTE (ITALY)

PAR 006CD

CW/A: Words Unspoken, Acts Undone CD (PAR 006CD) 17.00
The passing of time... what has been spoken is now unspoken. All that has been has been undone. CW/A present their remarkable debut album, Words Unspoken, Acts Undone. Since their inception CW/A have forged a path through the murky world of electronic music with a number of releases on Vakant, M_REC, and their own Parachute Records. Previously accomplished musicians in their own right, Thomas Feriero (Avatism) and Francesco Leali (Clockwork) joined forces in 2013 to begin a live project that took the act of performance into the club. Shying away from typical setups so prevalent nowadays, CW/A bring to the club a level of live performance that they've now translated into their first full-length. Weighing in at 11 tracks, the album demonstrates the duo's musical heritage of early Warp-style bass but also UK jungle and Downwards-influenced dub techno. This isn't an album that looks back with any misty-eyed nostalgia, though; it respectfully brings its '90s influences straight into 2015, seamlessly weaving from genre to genre with an up-to-date element to the production. If you're expecting an album of rave breaks or straight-up 4/4, you won't find it here, but if you're ready to leave behind what you've heard already, Words Unspoken, Acts Undone is for you.

PENULTIMATE PRESS (UK)

PP 013LP

ETANT DONNES: Aurore LP (PP 013LP) 25.50
First vinyl reissue; originally released on CD in 1990 by Touch. "Through them, it is the volume of each word that becomes an 'objectsculpture.' The word, the voice, the volume take shape with each other, unveiling a theatre that theatre usually ignores. In the power of voices and semantics, as well as in the severe body/mind combination, inseparable from each other, I find in Aurore a song of the bodies, indispensable to any sound values" --Henri Chopin. Penultimate Press presents the first release in a three-part series based around the four field-recording-based works made between 1990 and 1994 by the legendary French act Étant Donnés (brothers Eric and Marc Hurtado, born 1959 and 1962 respectively in Rabat, Morocco). Aurore opens the triptych and is made from ambient sounds collected like dew from nature. The gathered sounds were then used as a sound texture for the poems strewn among the field resulting in a single entity of arresting sound and text. Aurore is focused around an alchemical fire/water battle, this water which does not wet the hands. Aurore shares some convulsive movements that establish a link with Étant Donnés's earlier works, for instance that exuding scream, worthy of the one Artaud uttered in his legendary 1947 radio program Pour en finir avec le jugement de Dieu. Eric and Marc Hurtado succeed in achieving what many sages consider to be the very purpose of magical art: to create one's own ritual and, being one's own referent, to become a vibrating point in the cosmos and be receptacle for natural energy, in the heat of the sun in an attempt to merge with the Whole. Aurore comes remastered and repackaged in a high-gloss sleeve with fully printed high-gloss inner sleeve, in a limited edition of 500 copies. It remains an extreme and beautiful sonic journey sitting outside of time. "Listening to Aurore, our two actors' record, undoubtedly owing to the influence of the Mediterranean cradle, single umbilical cord of two great religions, the influence of both Latin and Arab worlds -- Gaelic short and long sounds can sometimes be perceived -- since their dictions are such a synthesis of several origins. Any true sound poetry is shattering, the really oral one is there in space, with the plus of the media machines, of the voices that slip through them, overwhelming them with the splendor of the bodies." --Henri Chopin

PERMANENT VACATION (GERMANY)

PERMVAC 141EP

LORD OF THE ISLES: Clearness of Love 12" (PERMVAC 141EP) 12.00
After some high-profile remixes for the likes of Little Dragon, Jon Hopkins, and Shit Robot as well as releases on Phonica, Mule Musiq, Firecracker Recordings (his amazing contributions to the 2015 Mac-Talla Nan Creag compilation), and his own Little Strong imprint, Lord of the Isles picks up where 2014's 301C Symphony left off with Clearness of Love. Gentle club tracks fusing acid house and '90s techno with wildly cinematic soundscapes sit alongside ambient and balearic burners. All of them reveal Neil McDonald's early influences from sci-fi soundtracks and Detroit to classics by the likes of The Orb and New Order.

PETS RECORDINGS (POLAND)

PETS 058CD

CATZ 'N DOGZ: Basic Colour Theory CD (PETS 058CD) 17.00
Polish DJs, producers, and Pets Recordings label owners Catz 'n Dogz, known for their electrifying performances and catchy cuts, present their third album, Basic Colour Theory, a fruitful collection of evocative melodies and gorgeous vocals. The album marks a pivotal moment in the house outfit's career. Taking the lead in the Eastern European electronic music revolution, the pair, who have graced the cover of both Mixmag and DJ Mag España, add Basic Colour Theory to their list of acclaimed work, including their 2013 BBC Radio 1 Essential Mix and weighty remixes for Basement Jaxx, Kings of Leon, Thomas Schumacher, Friendly Fires, and Kim Ann Foxman, not to mention their two previous albums. On Basic Colour Theory traditional songwriting meets Catz 'n Dogz' signature infectious basslines in a natural result of extensive sonic exploration and the osmotic process of years of DJing worldwide. With a knack for reading a crowd just right, they've appeared at the most coveted festivals across the globe, including South West Four, Parklife, Bestival, Snowbombing, Electric Daisy Carnival, and The BPM Festival; this release appears in advance of appearances at Detroit's iconic Movement Electronic Music Festival (2015) and Serbia's Exit Festival (2016). Here, their live talent translates to a collection of inviting tracks, as they showcase their on-point production skills. "We did a lot of research, preparation, reading, watching documentaries about the music scene, people and looking for inspirations everywhere. We were talking a lot about people who inspire us, art, creative process, philosophy and meaning of work and music in our life." Opening cut "Good Touch" exemplifies the album's game-changing nature, kicking off a 15-track voyage through experimental sounds. Although a rewarding listening experience from start to finish, this is an album on which each track stands alone for its own musical purpose, dancing through the listener's mind long after listening. Tracks such as "Czas Poczeka (Chyba)" express the heart and soul that both producers have put into this body of work, all the while keeping things up-tempo with rhythmic cuts like "Nobody Cares." "Killing with Kindness" is a soul-drenched groover, with its warm chords and atmospherics straddling a subtly clipped garage-like shuffle. Tracks such as "From Your Heart" and "Coming Back" are filled with emotion, from the beguiling vocals to the moving chord progressions. Includes contributions from Egl? Sirvydyt?, Phat Kat, Peter Bjorn and John, Javeon, Green Velvet, Tanika, Cloud Boat, and Jono McCleery.

POKER FLAT (GERMANY)

PFR 167EP

VA: Forward to the Past 3 (EP 1) 12" (PFR 167EP) 14.00
180-gram vinyl. Poker Flat's Forward to the Past returns in its third iteration, paying homage to the golden years (1985-1992) of Chicago house and acid, New York house, and Detroit techno. LA-based M A N I K contributes a rolling, no-frills jam that sticks to the tried and tested production values of early acid; Wouter de Moor serves up a simmering analog acid jam infused with that blue-tinged Detroit vibe; Pavel Iudin adds jazzy Rhodes inflections and whistling birdsong to a similarly bubbling groove; veteran DJ Aakmael adopts the classic Juno bass sound to pay homage to the godfather of deep, Larry Heard.

PROG TEMPLE (UK)

PT 8045CD

BADGER: White Lady CD (PT 8045CD) 17.00
By 1973, Badger, originally formed in 1971 by Yes keyboardist Tony Kaye and drummer Roy Dyke, had released a live debut LP and then regrouped with the addition of former Beatles protégé Jackie Lomax, Stealers Wheel guitarist Paul Pilnick and renowned bassist Kim Gardner. White Lady, originally released in 1973, was recorded in New Orleans (with arrangements by Allen Toussaint), and features guest appearances by Jeff Beck, Bryn Haworth, and others. It makes a long-overdue return to CD here, together with background notes and images.


PT 8046CD

J.S.D. BAND: Country of the Blind CD (PT 8046CD) 17.00
Named after founding members Jim Divers, Sean O'Rourke, and Des Coffield, this outstanding Scottish folk-rock quintet also featured Colin Finn and Chuck Fleming. Their debut album originally appeared in late 1971, and is reissued here for the first time, together with background notes and images.


PT 8047CD

BOXER: Absolutely CD (PT 8047CD) 17.00
In 1976, legendary vocalist Mike Patto (Timebox, Patto) put together a new lineup of Boxer featuring keyboardist Chris Stainton (Joe Cocker's Grease Band), guitarist Adrian Fisher (Sparks), bassist Tim Bogert (Vanilla Fudge), and drummer Eddie Tuduri (The Beach Boys). The lineup proved volatile and short-lived, but they did tape this lost classic of melodic hard rock in 1977, with producer Jeff Glixman, red-hot from his association with Kansas. It makes its long-awaited debut on CD here, complete with background notes and images.

PUBLIC POSSESSION (GERMANY)

PP 012EP

TMO: Insomniac 12" (PP 012EP) 14.00
Moscow-based TMO aka Leonid Lipelis won over Public Possession with "Melodic Jam," which perfectly merges a raw acid sound with beautiful atmospheric synth pads and an almost naïve melody -- powerful and emotional stuff. For his TMO project, Lipelis records one-take jams with his studio hardware and makes only the slightest subsequent adjustments; the sound has a lot of grit and spontaneity. "Jam IV" is shorter and a bit slower than "Melodic Jam"; it gets to the point quickly and leaves no questions unanswered.

RINSE (UK)

RINSE 033CD

FAZE MIYAKE: Faze Miyake CD (RINSE 033CD) 12.50
London producer Faze Miyake presents his full-length debut, four years after the fiery swagger of his 2011 debut single "Take Off" and its 2012 follow-up, the Second Six EP, exploded onto dancefloors. Faze Miyake is a definitive and thrilling realization of his signature sound; a sharp, vividly rendered club record, it casts his characteristic sonic traits in shocking hi-def, with disorienting hi-hat whirls and string stabs steeped in ever-present, body-shuddering sub-bass -- a dazzling, dreamlike vision of 21st-century sound system music. Faze Miyake's immersive and powerfully psychoactive tracks evoke a soundclash of styles; an explosive meeting of bass-heavy genres from across both sides of the Atlantic. His debut album epitomizes modern dance music's global ear while still remaining deeply connected to its local geographical roots. It mutates and reshapes his influences like sonic putty, with Atlanta rap's elemental bass ooze forming a backbone for drums that recall both jungle and grime in the way they hammer, spin, and clatter through space -- and in turn send dancers ricocheting across the floor. Chicago rapper Sasha Go Hard shares sonic space with the Dizzee Rascal-affiliated Family Tree, while London MC Little Simz is furiously intense on "The Nest." The neon melodies of "Yung Sneyga" and "Ocean Drive" evoke sun-soaked CGI cityscapes, but the moody "Ice Cold," led by Dean Blunt collaborator Inga Copeland's half-sung, half-spoken vocals, plunges you equally far into the deep freeze. Indeed, the album remains grounded in Faze Miyake's home city, both in its intrinsic connection to his own grime history and its freewheeling, gleefully hybrid aesthetic. While growing up in East London he was surrounded by music, with jungle, reggae, garage, and then grime forming the background fabric to his life. Those genres' rhythmic ingenuity and taste for sonic experimentation have in turn infused his own music, with his beats blending temperatures, textures, and tempos with almost scientific precision. "Snow Leopard" is tense and wickedly predatory, packing the infectious flex of two-step, while the elementally huge buzzsaw impact of "Fusion" reimagines his anthemic debut "Take Off" as a sharp, fleet-footed club monster. Somehow both brusque and hallucinatory, they're among the highlights of an album that both boldly expands upon Faze Miyake's music to date and marks the maturing of a unique voice in mutant UK dance music. Also features Izzy Brooks.

ROCKET RECORDINGS (UK)

LAUNCH 083CD

HEY COLOSSUS: Radio Static High CD (LAUNCH 083CD) 16.50
Initially lurching from the UK noise underground in 2003 like a bedraggled audial creature rendered from toxic waste in a VHS horror movie, Hey Colossus has since grown at a rate spectacular to observe. Yet from the nightmarish murk of early driller-killer works such as 2004's debut Hey Colossus Hates You and 2008's Happy Birthday (REPOSE 018CD) to later nuggets of perversity like 2013's Cuckoo Live Life Like Cuckoo (MIE 018LP), this beast has mutated and evolved into something uncommonly alluring. The six-piece London-via-Somerset troupe began 2015 with the release of In Black and Gold (LAUNCH 077CD/LP), on which the brawny repetition-driven raunch upon which they built their sound was furnished and burnished by dub-derived spatial awareness and cinematic drama, making it both a bold reinvention and an uncommonly compulsive avant-rock document. Still not content, the band immediately set about following it up with their second album of the year, and one that further ups the ante on their savagely graceful assault. Radio Static High is the sound of a confident outfit honing their attack to become a veritable force of nature. With the band citing -- tongue presumably in cheek -- inspirations as diverse as Jane's Addiction, Fleetwood Mac (Tango in the Night-era), and Cypress Hill, they constructed songs a fierce rate, yet with a focus and intensity partly instilled by band members living hundreds of miles apart, and partly by the relentless passage of time. Songs took shape from demos, exchanged riffs, and drunken text messages alike -- one such of the latter from guitarist Bob Davis to guitarist Jonathan Richards demanding an homage to Neil Young's "Cortez the Killer" resulted in a demo to that effect a mere 20 minutes later, which eventually became album centerpiece "Memories of Wonder." Elsewhere, "Hop the Railings" takes the powerfully propulsive groove of Can and cross-pollinates it with Beefheartian interweaving triple-guitar skronk to make a heat-haze-dwelling juggernaut of intimidating proportions. With all the bulldozing primal drive of heavy AmRep-style rock and none of the clichés, and a sound infused with leftfield sleight-of-hand yet hitting home like hammer to anvil, Hey Colossus prove themselves as potent as they are prolific. What's more, Radio Static High, in all its sun-kissed widescreen glory, is set to leave most all their contemporaries eating their dust.

ROOM40 (AUSTRALIA)

RM 467LP

HECKER, TIM: Norberg/Apondalifa LP (RM 467LP) 23.00
In 2015, Room40 celebrates 15 years of editions and events; as part of the celebrations, the label is reissuing a number of editions in various formats that are out of print. One of these editions brings together two of the pieces the label had the pleasure to publish by Tim Hecker. These two works were both created in conjunction with Hecker's visits to Australia and were released in limited quantities. The 2010 7" edition of Apondalifa basically vanished upon release. It was also originally split across both sides of the record. On this edition, cut by the wondrous Lupo at Calyx, the piece is available on vinyl for the first time in its extended format. Norberg was originally released in 2007 as a 3" CD; Room40's original description reads, "Recorded at the Norberg Festival (Sweden) amidst the mineshafts and cluttered buildings strewn throughout parts of the city, this 21 minute live piece summarises much of what makes Tim Hecker's music so vital and compelling. Adept at counter-pointing the most ferocious of distorted platters with smooth beds of ambient sound and potent melodic overtones, Tim Hecker creates music with a vast depth. On Norberg, this depth seems almost endless, as layer upon layer of sound are compiled into a swelling and altogether visceral oceanic sound wave."


RMV 403LP

FROST, BEN: Steel Wound LP (RMV 403LP) 22.00
2015 repress. Room40 presents the vinyl edition of this classic Ben Frost album from 2007. Since his earliest days, Ben Frost has been fascinated by the cinematic qualities of the guitar. His output to this point has hinted at this, but with Steel Wound, he makes a bold statement of intent. Finding his way to a deserted stretch of Johanna Beach along the Great Ocean Road (Victoria, Australia) in early 2003, Frost set up a remote studio at a derelict cabin overlooking the icy waters of Bass Strait. With a constant wind flowing off the sea his only companion, Frost started work on a series of improvisations that would eventually become Steel Wound. A few months go by and Frost has made his way back to civilization. He begins editing the masses of treated guitar from the Johanna Beach improvisations and before long a theme takes hold -- one that very much reflects the isolation of the environment where the tracks were created. Each of the pieces on Steel Wound is an epic journey, colored with a deep sense of filmic narrative and suggested dialogues. The textural quality of the works, laced with field recordings and lost vocal fragments, sketches out the emotional soundscapes Frost had unwittingly gathered during his time at Johanna Beach. Each piece is a splintered fragment in time -- a forgotten memory beautifully rediscovered in a moment of introspection. Vinyl cut by Lupo at Dubplates & Mastering, Berlin. Second Edition of 500 copies, comes in a gorgeous matte cello-glazed sleeve.

ROX VOX (UK)

RV 1024CD

VAUGHAN & DOUBLE TROUBLE, STEVIE RAY: Live... Texas '87 2CD (RV 1024CD) 23.00
Having finally conquered his addiction to alcohol and cocaine, in November 1986 Stevie Ray Vaughan embarked on his legendary Live Alive tour, generally reckoned to boast some of the finest performances of his career. Backed by Reese Wynans (keyboards), Tommy Shannon (bass), and Chris Layton (drums), the incendiary set at the Majestic Theatre in San Antonio, Texas, on February 1, 1987, was taped for broadcast on San Antonio's KZEP-FM, and is presented in digitally remastered sound with background notes and images.

RUBBLE (UK)

RUBBOX 005CD

VA: The Ultimate Acid Dreams Collection: US Psychedelic Punk 5CD BOX (RUBBOX 005CD) 57.00
In 1979, a Berlin record store issued Acid Dreams, a compilation of American psychedelic garage punk in a simple op-art sleeve, pressed in an edition of only 77 copies. It was inspired by the Nuggets compilation that appeared on Elektra in 1972, but dug much deeper into US '60s pop culture than even that brilliant double LP set had dared to venture. Its emergence was only slightly predated by the first Pebbles compilation, which had appeared in Australia the year before. Acid Dreams was an instant classic. It defined the perfect garage psych compilation and went on to spawn sequels over the following decades. These include Acid Dreams Testament, Acid Dreams Epitaph (both on compact disc), The Return of Acid Dreams, the triple LP set Acid Dreams, and the last vinyl installments, Acid Dreams Volume Two and Acid Dreams Volume Three. Confusingly, these albums not only bore similar album titles, but also often duplicated tracks from other discs in the series. Now, in 2015, 36 years after that first volume, every recording that has ever been issued under the Acid Dreams banner (over 90 tracks, including many from 45s that go for upwards of a thousand dollars) has been brought together as The Ultimate Acid Dreams Collection, a five-CD collection that captures the sound of frustrated '60s American youth in its rebellious glory, either revved upon on teenage angst, tripping, stoned, or all three at once -- enjoy. Remastered sound; includes deluxe 32-page full-color booklet with background notes, detailed biographies, full discographies, and rarely seen pictures. An essential addition to any psych connoisseur's collection. Includes tracks by The Balloon Farm, The Music Machine, The Painted Faces, Velvet Illusions, The Unrelated Segments, The Outcasts, Murphy & The Mob, The Sparkles, The Painted Ship, Mouse & The Traps, Macabre, The Calico Wall, White Lightning, The Zakary Thaks, The Swamp Rats, The Shy Guys, The Bourbons, The Mind's Eye, The Stereo Shoestrings, The Caretakers of Deception, The Remaining Few, Teddy & His Patches, Indian Puddin' & Pipe, The Rogues, The Shag, The Fabs, The Crystal Chandelier, Larry & The Blue Notes, Phil & The Frantics, Richard Alvey & The Green Fuz, The Electric Prunes, The Regiment, Godfrey & Friends, The Keggs, Beaux Gens, The Elite, Soul Inc., The Driving Stupid, The Journey Men, The Tree, The Satyrs, The Alarm Clocks, Yesterday's Children, The Grodes, The Spades, The Avengers, The Dearly Beloved, The Preachers, The Sweet Acids, The Wilde Knights, The Split Ends, The Beautiful Daze, Faine Jade, The Little Bits, Kandy Kolored Konspiracy, The Red Crayola, Cellars, The Undertakers, Astral Projection, Owen B, The Invicta Way, The Humane Society, Majority One, The Survivors, The Muffetts, Tomorrow's Keepsake, Twas Brillig, Black River Circus, Lemon Fog, Kindred Spirit, Los Belmonts, Charlie Brown's Generation, The Regents, The Skunks, The Flower Power, The Stained Glass, The Purple Haze, The Growing Society, A Little Bit of Sound, The New Life, John Does, The New Arrivals, Fox & The Roadrunners, The King Biscuit Entertainers, and The Vejtables.

RUNNING BACK (GERMANY)

RB 057EP

JEX: Good Timin' EP 12" (RB 057EP) 14.00
Transmitting from New York (via Toronto), Jex aka Jex Opolis is mostly known as the man behind and in front of the Good Timin' label. "Studio E" is named after an after-hours spot in Edmonton that where Jex partied in the early 2000s; also sounds like something Ivan Smagghe would have enjoyed at that point in time. "Laxmi Tool" references classic tribal house and a street in Pune, India, where Jex's wife's grandma bought the drum used in this track. "Harpa" brags and boasts with its trampoline bassline, while "La Casa" surfs some timpani waves.

SAHELSOUNDS

SS 000LP

VA: Uchronia: Field Recordings from Alternate Realities LP (SS 000LP) 22.00
"Ethnographic documentation of a fictional Bamako where Abubakari II discovered America. Musical recordings of future manding, bamako nu-wave, hip hop visionaries, and the sounds of an imagined geography. Includes 60 page booklet of photographs. Collaboration between photographer Maciek Pozoga and musicologist Christopher Kirkley, and a number of Bamako's artists, ethnologists, musicians, and designers. Soundtrack for the exhibition 'Uchronia : The Unequivocal Interpretation of Reality.'"


SS 029LP

GARGANDO, ABBA: Abba Gargando LP (SS 029LP) 19.00
"Low-fi Tuareg guitar from renowned Timbouctou musician Abba Gargando. Original compositions and folklore classics from hypnotic electrified weddings to quiet fireside recordings in the refugee camps. Collected and recorded on cellphones, sparse recordings in the medium where he is best known. Limited edition of 500 with handmade covers."


SSC 014CS

DJ SANDJI: 100% Balani Show Cassette (SSC 014CS) 7.00
"Mixtape from Bamako's Balani Show innovator, DJ Sandji. Bassy balafon cutups and decale rhythms from Mali's street party scene, with added drums from the on the fly remixes with sampler."

SECOND STATE AUDIO (GERMANY)

SNDST 014EP

HINZ, STEPHAN: Unsentimental 12" (SNDST 014EP) 12.00
Stephan Hinz is back on Second State Audio with an absolutely massive three-track EP titled Unsentimental . "Unsentimental" is Hinz at his finest -- full-on pedal-to-the-metal techno brimming with intensity and swirling atmospheres perfectly suited for flashing strobes and sweaty ceilings. On "Hypostasis," Hinz expertly combines the vibes of "Unsentimental" and "Cave" for a jam that could be blasted under the club lights or in open-air sunshine, with lucid brass bursts and relentless jolts of percussion. "Cave," a masterful blend of Hinz's signature big room techno with lush backdrops and hints of classic house, is a vast, dynamic club anthem.

STAUBGOLD (GERMANY)

STAUB 140CD

FAMILY FODDER: Sunday Girls (Director's Cut) CD (STAUB 140CD) 17.00
The legendary first 12" EP by UK underground heroes Family Fodder, originally released in 1979, is now reissued for the first time. Sunday Girls (Director's Cut) is a lovingly assembled full-length album compilation featuring the complete Sunday Girls EP, the debut Family Fodder 7" Playing Golf (With My Flesh Crawling)/My Baby Takes Valium (1979), the Debbie Harrry/A 'Version' 7" from 1980, the 7" A-side "Warm" (1980), and two tracks from the rare Te Deum 12" (1979) by Alig Fodder's pre-Fodder project Frank Sumatra. Family Fodder was originally formed in 1979 by Alig Pearce, with a cast of thousands joining over the ensuing three decades. They emerged from the melting-pot of '70s/'80s London alongside This Heat, The Flying Lizards, The Pop Group, The Slits, and many others. The original formula consisted of psychedelic and new wave influences, incisive songwriting, improvisation, experimentation, and far-out dub mixing. They always managed to evade major exposure, but influenced generations of bands on five continents. Family Fodder was often more at home in the studio than on stage, but completed several European tours as well as cherished performances in their native London. The group released a series of compelling (now collectable) singles and albums between 1979 and 1983. Described as "entertaining idiosyncratic experimentalism with pop sensibilities," Family Fodder appear on the famous Nurse With Wound list, and were best known for indie-chart hits such as "Debbie Harry," "Playing Golf (With My Flesh Crawling)," and "Savoir Faire." More recently, Family Fodder songs have been covered by Zion Train and Unrest, and they've been hailed as "unsung heroes" in The Wire.

STERNS AFRICA (UK)

STCD 1026CD

PAPA WEMBA: Papa Wemba CD (STCD 1026CD) 14.50
1989 release. Almost two decades into a career that had brought him super-stardom in Zaire, Papa Wemba made his international debut. He worked with the French producer Martin Meissonnier, who had helmed King Sunny Adé's first international releases with great success. Meissonnier put both African artists and their bands in first-class European studios, convinced them to tighten up their long songs, and filled out their sound with discreet synthesizers, but otherwise let them do what they knew best. In Papa Wemba's case, that was soukous with high-energy beats, hypnotic guitars and, of course, his distinctive tenor voice. With this album's release in 1989, Papa Wemba embarked on tours of Europe, North America, and Japan that made him one of the top stars of the new "world music" craze. He was soon signed by Warner Bros., but that would not have happened without this now-classic Sterns album.


STCD 1100CD

SECK, THIONE: Orientation CD (STCD 1100CD) 16.50
2005 release. Esteemed by many Senegalese as their country's most poetic songwriter and greatest living singer, Thione Seck achieved his most celebrated work with Orientation. Recorded in Dakar, Cairo, Madras, and Paris over a span of three years that involved an intercontinental cast of 11 singers and 24 instrumentalists, this album is an exploration of the diverse musical paths that have transported Seck, starting with the Wolof griot tradition into which he was born and the Sufi muezzin's call to prayer he has heard all his life, and proceeding to the Arabic pop music picked up by radio from across the Sahara, the movie soundtracks of Bollywood musicals, and the urban Senegalese mbalax style that he helped invent. It's a wonder that they all come together so splendidly, but -- as the Senegalese say -- wow!


STCD 1126CD

KOUYATE, KANDIA: Renascence CD (STCD 1126CD) 16.50
The Mandé art of jeliya carries a long and complex tradition of fine distinctions and endless debates about the qualities that earn its hereditary poets, musicians, and soothsayers the highest accolades and honorifics. But on the subject of the great jelimusolu (female singers) of our time, there is near-unanimity regarding Kandia Kouyaté: she is a ngara, perhaps the only one of her generation. More than a skilled singer, a ngara is an extraordinary artist who possesses what many would say is a paranormal aura of majesty. Born and raised in Kita, an ancient city in southwestern Mali that has bred many important musicians, Kandia began performing professionally in Bamako while still a teenager, and quickly became quite successful; she saw no reason to make records. But among her most ardent fans was record producer Ibrahima Sylla, who implored her to give him the opportunity to make an album with her. She resisted, he persisted, and nine years later Kita Kan (Sterns, 1999) was released to international acclaim; the beautiful Biriko (Sterns, 2002) followed. In 2004 Kandia Kouyaté suffered a stroke. Her recovery was slow and difficult, and for seven years she hardly spoke and did not sing at all. Even after regaining her strength she considered herself retired. By that time Ibrahima Sylla was in failing health, but he had not lost his ardor for her voice or his awe of her aura, and in 2011 he visited her home in Bamako and convinced her to return to the recording studio. Sadly, he did not live to complete the album. He died in 2013, and François Bréant, who had worked with him on such recording landmarks as Salif Keïta's Soro (Sterns, 1987) and Thione Seck's Orientation (STCD 1100CD, 2005), finished the project. "This new album was made only because of Sylla," says Kandia. "I had been ill and Sylla was gravely ill, but he was always there [in the studio], encouraging me. He asked me to sing everything I knew, everything that that was in my head. I said 'I know nothing. I've forgotten everything.' But he insisted. 'Tomorrow it will come back,' he said." And it did. Her voice, darker and richer than when it first carried her to fame decades ago, has an authority that arises from a very deep well and cannot be faked. It is the voice of a true ngara. Renascence is her resounding declaration of personal and artistic rebirth.


STCD 4001CD

ACHOURI, KAD: Liberté CD (STCD 4001CD) 16.50
2002 release. Born in France to an Algerian Berber mother and a Spanish father, Kad Achouri grew up speaking four languages, studied piano at the conservatory in Toulouse, and played jazz in Barcelona before moving to London, where he fit right into the city's multicultural music scenes. He wrote and arranged music for Arabic pop star Natacha Atlas, and that led to recording Liberté in Athens with members of the Atlas band and some of the best jazz musicians in Greece. In addition to his piano, Achouri played flute and drums, programmed the electronics, and sang in French, Arabic, Spanish, and English. Billboard compared Achouri to Manu Chao -- with "a jazzier approach" -- and French critics likened him to Serge Gainsbourg (they would, wouldn't they?), while others were reminded of Caetano Veloso, David Byrne, or Ryuichi Sakamoto. The BBC called Liberté "absolutely superb."

STERNS BRASIL (UK)

STCD 2014CD

VA: Baião de Viramundo: Tribute to Luiz Gonzaga CD (STCD 2014CD) 16.50
2000 release. Luiz Gonzaga, a singer and accordionist born in 1912 in the boondocks of northeastern Brazil, might seem an odd honoree of a tribute from such a diverse array of 21st-century vanguardists as funk-punks Nação Zumbi, jazz sophisticates Nouvelle, world percussionist Nana Vasconcelos, laptop wizard DJ Dolores, chic chanteuse Andrea Marquee, and protest singer Otto, but listen to this surprising and very enjoyable album, and it all makes sense. Like Gonzaga, who was an outsider and boundary-crosser too, these artists are deeply rooted in Brazilian folk traditions but not at all restrained by them. Also includes tracks by Black Alien, Speed Freaks, Rica Amabis; Mestre Ambrósio; Eddie; Sheik Tosado; Stela Campos; Chão e Chinelo; João Carlos; Comadre Florzinha; Cascabulho; Mundo Livre S/A; and Anvil FX & Lex Lilith.

STERNS MUSIC (UK)

STCD 4002CD

MIYAZAWA: Deeper Than Oceans CD (STCD 4002CD) 16.50
2003 release. Identifying Kazufumi Miyazawa as a Japanese rock star is true enough but not even the half of it. Yes, he formed The Boom with a bunch of school friends in Kofu, Japan, in 1989, and before long the band's post-punk, neo-ska rock attracted a cult following and a major record deal. And yes, "Shima Uta," The Boom's rock update of an Okinawan folksong, sold over one-and-a-half million copies and won the Japanese Record of the Year award in 1993. But since then, while sustaining The Boom, Miyazawa has followed his fascinations with Indonesian degung, Argentine tango, Brazilian samba, and other adventurous styles via a solo career and projects with a very different band, Ganga Zumba. His most celebrated solo album to date is Deeper Than Oceans, released internationally by Sterns Music in 2003. Produced by Arto Lindsay and recorded in Tokyo, Okinawa, Rio de Janeiro, and Salvador with some 40 musicians, including Takashi Hirayasu and Moreno Veloso, Deeper Than Oceans is a musical exploration that covers wide expanses without ever losing Miyazawa's personality. Includes remixes by Chris Franck, Trüby Trio, and Ryukyu Underground.

STIL VOR TALENT (GERMANY)

SVT 159EP

KOLETZKI, OLIVER: Iyéwaye Remixed 12" (SVT 159EP) 12.50
Iyéwaye (SVT 149EP, 2015), Oliver Koletzki's first release after the autobiographical I Am OK album (SVT 131LP, 2014), introduced a new facet of his sound. The EP catered to a darker, rawer aesthetic, a direction now followed and deepened by four remixes. Hatzler turns "Iyéwaye" into a lengthy tech-infused introspection. Loco & Jam's makeover of the same track, loosely centered on the vocals, explores its captivating narrative. Hidden Empire's remix of the more rhythm-focused "Ipuza" dials up the percussion's aggression. Zakari & Blange downplay the same track's exotic elements, focusing on the rattling synths in a late-night dancefloor rework.

SUB ROSA (BELGIUM)

SR 409CD

KNIZAK/OPENING PERFORMANCE ORCHESTRA, MILAN: Broken Re/Broken CD (SR 409CD) 15.50
Milan Knízák and Opening Performance Orchestra revisit Knízák's 1979 Broken Music (SR 400LP) in Berlin, 2014. "In 2008-9 we transferred the original recording from vinyl records into digital form. As we did so, we weren't interested in the precise, clean fidelity offered by the digital world, which fundamentally causes the fine structure of natural sound to be lost. Instead we were seeking the opposite: the world of errors and distortion, which remains hidden when digital audio is manipulated to be maximally accommodating for the listener. The transferred audio recording was digitally destroyed, shattered and uncompromisingly freed from all its original attributes. No melody, no rhythm, no harmony -- this is fraction music." Part one, "Broken Music," features Knízák with Phaerentz performing with turntables and broken records, CD players and CDs, cassette players and cassettes, and keyboard. Part two, "Re:Broken Music," features Opening Performance Orchestra performing with five laptops and "fraction music (broken section, re:broken section, fraction section)." Digipak with 20-page booklet.

SUPERIOR VIADUCT

SV 083LP

VOAG, L.: The Way Out LP + 7" (SV 083LP) 24.00
"The first-time vinyl reissue of the 1979 solo debut from The Homosexuals bassist Jim Welton (a.k.a. L. Voag) includes a bonus 7-inch of the rare Move EP. The Way Out is recommended for fans of Desperate Bicycles, This Heat and Mark Perry. 'The start of recording The Way Out crossed over with the last days of my involvement with the Homosexuals. Lovely as they were, the guys were demanding unswerving, vanilla rock 'n' roll fealty from me -- something I just couldn't provide given my need to taste eight thousand musical ideas at once. The gravity around which The Way Out took shape issued from a decidedly asinine idea: what if we lived in a world where the music of the avant-gardists (Stockhausen, Oliveros, Henry) provided the best-selling, chart-topping pabulum of the day, while pop music (as we know it) was an obscure, nigh impenetrable, elitist niche product? L. Voag is a fiction used to describe a character from the pop milieu who, desperate for a hit, attempts to knock out a crossover album combining both worlds. Not surprisingly, he fails miserably.' --L. Voag"


SV 084LP

MILK FROM CHELTENHAM: Triptych of Poisoners LP (SV 084LP) 20.00
"The first-time vinyl reissue of the sole album from UK DIY legends Milk From Cheltenham, originally released in 1983 on famed It's War Boys imprint, is recommended for fans of Swell Maps, The Faust Tapes and LAFMS. 'Flashback to no-when (1978) in a musty cellar beneath a record store in Brixton, later to become the humble 8-track recording studio of It's War Boys. Milk From Cheltenham would regularly jam and invite friends / enemies to participate with whatever weapons / instruments they chose to deploy, making live recordings on an odd triple microphone input cassette player. By the time of the recordings at Surrey Sound in 1981-82, we had reduced in size from a hive of toxicity to a triptych of poisoners: Victorr Lounge, Salamander and myself. Like rabid quantum monkeys with broken typewriters, we were allowed to run loose in the studio, under the supervision of tonmeister Chris Grey and head zookeeper L. Voag. There was always a cornucopia of exotic instruments including kettle drums, synthesizers and electric sitar. To make some of the basement tapes sound bigger, Chris would play them through vast speakers and re-record the results. The footsteps you hear is our mate strolling around in cowboy boots on top of one of the speakers. Milk were hot -- like a triplet mega-brain generously juiced on creative steroids -- and this was before our special splice-and-be-damned bricolage of the tapes, interpolating into the jams a pastiche of Morricone lock grooves, early Sparks, radio fragments, a JFK speech and samples from our most cherished record, Christmas Carols With Breezy (a creepy singing rabbit). One track mined a session at Cold Storage (home studio of This Heat) where everyone played in different parts of the building, separated according to instruments and without much idea of what anyone else would be doing. The record was released to spectacular indifference and just 500 copies made their way into an unsuspecting world.' --Lepke B"


SV 085LP

FULLMAN, ELLEN: The Long String Instrument LP (SV 085LP) 20.00
"Ellen Fullman began developing her installation The Long String Instrument in 1981, in search of tonalities that could not be achieved with traditional instruments. This largescale work consists of 70-foot-long metallic wires, anchored by a wooden resonator, across which the performer moves backwards and forwards with rosin-covered fingers. The overall effect has been rightfully compared to the experience of standing inside an enormous grand piano. Recorded during Fullman's 1985 residency at Het Apollohuis in Eindhoven, Holland, The Long String Instrument album is the first document of her acoustic explorations. 'Woven Processional,' which features Fullman alongside artist Arnold Dreyblatt, conjures an enchanting drone from the elongated strings and dissolves into organ-like overtones and otherworldly textures. Several tracks bring to life another Fullman invention, The Water Drip Drum, constructed from water dripping into an amplified aluminum pan and manipulated by foot pedal. Thirty years since its initial release, Ellen Fullman's debut LP remains a major contribution to the histories of sound sculpture and minimalist composition. This firsttime reissue is mastered from the original analog tapes and recommended for fans of Pauline Oliveros, Charlemagne Palestine and Harry Bertoia."


SV 095LP

DEPARTMENTSTORE SANTAS: At the Medieval Castle Nineteen 100-Year Lifetimes Since LP (SV 095LP) 20.00
"The Departmentstore Santas' LP is a underground rock classic of the highest order -- from its carnivalesque front cover to the sixteen home-schooled tracks contained inside. Information about this mysterious band has been as scarce as original copies of their self-released album, yet purveyors of lo-fi pop esoterica have whispered about the Santas' raison d'etre for the better part of the past three decades. Recorded in the early '80s in La Mesa, California, At the Medieval Castle Nineteen 100-Year Lifetimes Since features quirky sing-alongs, wide-eyed lyrics, echoey instrumentals and outsider folk-punk à la Daniel Johnston. While bandleader Joseph D'Angelo's unique charm may not fit comfortably in any one style, his preternatural world is united by the warmth and grit of these bedroom recordings. Out of step with other music of its era, Departmentstore Santas uncannily anticipated the 4-track movement of the '90s. This first-time reissue is recommended for fans of Television Personalities, Guided By Voices and Cleaners From Venus."

TARDIS (GERMANY)

TAR 005EP

PERSUADER, THE: Vårblommor 12" (TAR 005EP) 14.00
Quintessential Swedish techno veteran Jesper Dahlbäck has arguably had his finest club moments under his The Persuader moniker. An ode to the floral beauty of his Nordic homeland, the three cuts on Vårblommor tread his hypnotic path between techno and house, with a unique, subtle quirkiness and authentic grit. "Vitsippa" is a dancefloor healer with an irresistible drive and intermittent crackly vocals. "Blåklocka" is more laid-back, recalling the early Persuader production for Svek with a deep sub-bass, ambient textures, and fluttering melodies fused into a deep, majestic groove. "Snödroppar" blends vivacious synths with delayed patterns, awash in a kind of sentimental lucidity.

THE TRILOGY TAPES (UK)

TRILOGY 022LP

DILLOWAY, AARON: Psychic Driving Tapes LP (TRILOGY 022LP) 26.00
"Coruscating cut-ups yanked still dripping and yowling from the belly of the beast. Dazzling and invigorating, scary and discombobulating. 'Psychic driving was a psychiatric procedure in which patients were subjected to a continuously repeated audio message on a looped tape, in order to alter their behavior... often hundreds of thousands of repetitions of a single statement over the course of their treatment. They were also concurrently administered muscular paralytic drugs such as curare... The psychic driving procedure was a chronological precursor to Cameron's depatterning, involving massive doses of ECT combined with similarly large doses of psychedelic drugs like LSD. The intent was to break down the subject's personality -- theoretically psychic driving could then be used with some efficacy in establishing a new personality' (Hanson Records)." Originally released on cassette by Medusa in 2010.

THRESHOLD ARCHIVES (UK)

TARCH 004CD

COIL: The Angelic Conversation CD (TARCH 004CD) 9.50
This is music that formed the soundtrack to Derek Jarman's long-form Super 8 film The Angelic Conversation (1985). This version is completely dame-free and features no Shakespearean sonnets. Many of these pieces exist here together and un-indexed as separate tracks. Eight tracks, 74 minutes.Threshold Archives began as a project by Peter Christopherson in 2006. At the time, Peter was involved in many projects that consumed much of his time including Soisong, a re-launched Throbbing Gristle, and The Threshold HouseBoys Choir, in addition to assembling the final Coil album, The New Backwards, and the massive Colour Sound Oblivion box. With the passage of time, intercontinental moves, and record label bankruptcies, many master recordings and artworks were lost, damaged, or degrading. At the time of his passing in 2010, Peter had only begun to assemble artwork for Threshold Archives releases, but no project was completed. The music was scattered across numerous sources, including DATs, cassettes, Betamax masters, reels, and old computer hard disks with long-outdated and incompatible operating systems. Peter didn't have time to sort through and identify it all, so he sought help. Discussions and agreements were reached and the blueprints of Threshold Archives were made. Through the efforts of former Coil members, friends, and family, these collections are finally materializing. The quality of these recordings varies greatly, as does the artwork that was available. Additionally, many previously unreleased songs have no titles available. Coil was Geff (John Balance) and Peter (Sleazy), who presented Coil as a complete experience; song choices, mix, order, cover artwork, layout, live visuals, costumes, guests, etc. Without Balance and Sleaz, there is no official Coil release nor will there ever be again. Nothing that bears the word "Coil" is authorized, official, or sanctioned by Coil as Coil has ceased to exist.


TARCH 005CD

COIL: Panic CD (TARCH 005CD) 9.50
The original tracks from Coil's 1985 Panic single plus compilation tracks from 1985, previously unreleased instrumental remixes, some demos, and Sleazy's vocal performance on the classic cover everybody knows and loves. Thirteen tracks, 56 minutes.Threshold Archives began as a project by Peter Christopherson in 2006. At the time, Peter was involved in many projects that consumed much of his time including Soisong, a re-launched Throbbing Gristle, and The Threshold HouseBoys Choir, in addition to assembling the final Coil album, The New Backwards, and the massive Colour Sound Oblivion box. With the passage of time, intercontinental moves, and record label bankruptcies, many master recordings and artworks were lost, damaged, or degrading. At the time of his passing in 2010, Peter had only begun to assemble artwork for Threshold Archives releases, but no project was completed. The music was scattered across numerous sources, including DATs, cassettes, Betamax masters, reels, and old computer hard disks with long-outdated and incompatible operating systems. Peter didn't have time to sort through and identify it all, so he sought help. Discussions and agreements were reached and the blueprints of Threshold Archives were made. Through the efforts of former Coil members, friends, and family, these collections are finally materializing. The quality of these recordings varies greatly, as does the artwork that was available. Additionally, many previously unreleased songs have no titles available. Coil was Geff (John Balance) and Peter (Sleazy), who presented Coil as a complete experience; song choices, mix, order, cover artwork, layout, live visuals, costumes, guests, etc. Without Balance and Sleaz, there is no official Coil release nor will there ever be again. Nothing that bears the word "Coil" is authorized, official, or sanctioned by Coil as Coil has ceased to exist.


TARCH 006CD

COIL: The Wheel CD (TARCH 006CD) 9.50
Available on CD for the first time, this features restored classics such as "Keelhauler" (straight from DAT, originally released on 7" in 1990 following the 1987 The Wheel 7"); many unnamed, previously unreleased tunes; and another batch of demos. Fifteen tracks, 60 minutes.Threshold Archives began as a project by Peter Christopherson in 2006. At the time, Peter was involved in many projects that consumed much of his time including Soisong, a re-launched Throbbing Gristle, and The Threshold HouseBoys Choir, in addition to assembling the final Coil album, The New Backwards, and the massive Colour Sound Oblivion box. With the passage of time, intercontinental moves, and record label bankruptcies, many master recordings and artworks were lost, damaged, or degrading. At the time of his passing in 2010, Peter had only begun to assemble artwork for Threshold Archives releases, but no project was completed. The music was scattered across numerous sources, including DATs, cassettes, Betamax masters, reels, and old computer hard disks with long-outdated and incompatible operating systems. Peter didn't have time to sort through and identify it all, so he sought help. Discussions and agreements were reached and the blueprints of Threshold Archives were made. Through the efforts of former Coil members, friends, and family, these collections are finally materializing. The quality of these recordings varies greatly, as does the artwork that was available. Additionally, many previously unreleased songs have no titles available. Coil was Geff (John Balance) and Peter (Sleazy), who presented Coil as a complete experience; song choices, mix, order, cover artwork, layout, live visuals, costumes, guests, etc. Without Balance and Sleaz, there is no official Coil release nor will there ever be again. Nothing that bears the word "Coil" is authorized, official, or sanctioned by Coil as Coil has ceased to exist.


TARCH 007CD

COIL: The Anal Staircase CD (TARCH 007CD) 9.50
Available on CD for the first time, this features the remixes of "The Anal Staircase" from the original 1986 Anal Staircase 12" and 1991 Total compilation, along with tracks from the original release, other compilation tracks, and another batch of demos. Seventeen tracks, 66 minutes.Threshold Archives began as a project by Peter Christopherson in 2006. At the time, Peter was involved in many projects that consumed much of his time including Soisong, a re-launched Throbbing Gristle, and The Threshold HouseBoys Choir, in addition to assembling the final Coil album, The New Backwards, and the massive Colour Sound Oblivion box. With the passage of time, intercontinental moves, and record label bankruptcies, many master recordings and artworks were lost, damaged, or degrading. At the time of his passing in 2010, Peter had only begun to assemble artwork for Threshold Archives releases, but no project was completed. The music was scattered across numerous sources, including DATs, cassettes, Betamax masters, reels, and old computer hard disks with long-outdated and incompatible operating systems. Peter didn't have time to sort through and identify it all, so he sought help. Discussions and agreements were reached and the blueprints of Threshold Archives were made. Through the efforts of former Coil members, friends, and family, these collections are finally materializing. The quality of these recordings varies greatly, as does the artwork that was available. Additionally, many previously unreleased songs have no titles available. Coil was Geff (John Balance) and Peter (Sleazy), who presented Coil as a complete experience; song choices, mix, order, cover artwork, layout, live visuals, costumes, guests, etc. Without Balance and Sleaz, there is no official Coil release nor will there ever be again. Nothing that bears the word "Coil" is authorized, official, or sanctioned by Coil as Coil has ceased to exist.


TARCH 008CD

COIL: The Consequences of Raising Hell CD (TARCH 008CD) 9.50
Together again are the music from the 1987 Hellraiser single, additional tracks that first appeared on Unnatural History II (1995), and music for commercials. Demos on this will be recognizable from Gold Is the Metal (1987). Twenty-five tracks, 56 minutes.Threshold Archives began as a project by Peter Christopherson in 2006. At the time, Peter was involved in many projects that consumed much of his time including Soisong, a re-launched Throbbing Gristle, and The Threshold HouseBoys Choir, in addition to assembling the final Coil album, The New Backwards, and the massive Colour Sound Oblivion box. With the passage of time, intercontinental moves, and record label bankruptcies, many master recordings and artworks were lost, damaged, or degrading. At the time of his passing in 2010, Peter had only begun to assemble artwork for Threshold Archives releases, but no project was completed. The music was scattered across numerous sources, including DATs, cassettes, Betamax masters, reels, and old computer hard disks with long-outdated and incompatible operating systems. Peter didn't have time to sort through and identify it all, so he sought help. Discussions and agreements were reached and the blueprints of Threshold Archives were made. Through the efforts of former Coil members, friends, and family, these collections are finally materializing. The quality of these recordings varies greatly, as does the artwork that was available. Additionally, many previously unreleased songs have no titles available. Coil was Geff (John Balance) and Peter (Sleazy), who presented Coil as a complete experience; song choices, mix, order, cover artwork, layout, live visuals, costumes, guests, etc. Without Balance and Sleaz, there is no official Coil release nor will there ever be again. Nothing that bears the word "Coil" is authorized, official, or sanctioned by Coil as Coil has ceased to exist.


TARCH 009CD

COIL: Wrong Eye CD (TARCH 009CD) 9.50
Music from Coil's 1990 Wrong Eye/Scope single, compilation tracks, and more previously unreleased demos from 1989. Nine tracks, 60 minutes.Threshold Archives began as a project by Peter Christopherson in 2006. At the time, Peter was involved in many projects that consumed much of his time including Soisong, a re-launched Throbbing Gristle, and The Threshold HouseBoys Choir, in addition to assembling the final Coil album, The New Backwards, and the massive Colour Sound Oblivion box. With the passage of time, intercontinental moves, and record label bankruptcies, many master recordings and artworks were lost, damaged, or degrading. At the time of his passing in 2010, Peter had only begun to assemble artwork for Threshold Archives releases, but no project was completed. The music was scattered across numerous sources, including DATs, cassettes, Betamax masters, reels, and old computer hard disks with long-outdated and incompatible operating systems. Peter didn't have time to sort through and identify it all, so he sought help. Discussions and agreements were reached and the blueprints of Threshold Archives were made. Through the efforts of former Coil members, friends, and family, these collections are finally materializing. The quality of these recordings varies greatly, as does the artwork that was available. Additionally, many previously unreleased songs have no titles available. Coil was Geff (John Balance) and Peter (Sleazy), who presented Coil as a complete experience; song choices, mix, order, cover artwork, layout, live visuals, costumes, guests, etc. Without Balance and Sleaz, there is no official Coil release nor will there ever be again. Nothing that bears the word "Coil" is authorized, official, or sanctioned by Coil as Coil has ceased to exist.


TARCH 010CD

COIL: Windowpane CD (TARCH 010CD) 9.50
Music from the original 1990 Windowpane single plus more demos, many of which appeared on the 1989 Side Effects of Life cassette (in edited/crossfaded forms). Twelve tracks, 60 minutes.Threshold Archives began as a project by Peter Christopherson in 2006. At the time, Peter was involved in many projects that consumed much of his time including Soisong, a re-launched Throbbing Gristle, and The Threshold HouseBoys Choir, in addition to assembling the final Coil album, The New Backwards, and the massive Colour Sound Oblivion box. With the passage of time, intercontinental moves, and record label bankruptcies, many master recordings and artworks were lost, damaged, or degrading. At the time of his passing in 2010, Peter had only begun to assemble artwork for Threshold Archives releases, but no project was completed. The music was scattered across numerous sources, including DATs, cassettes, Betamax masters, reels, and old computer hard disks with long-outdated and incompatible operating systems. Peter didn't have time to sort through and identify it all, so he sought help. Discussions and agreements were reached and the blueprints of Threshold Archives were made. Through the efforts of former Coil members, friends, and family, these collections are finally materializing. The quality of these recordings varies greatly, as does the artwork that was available. Additionally, many previously unreleased songs have no titles available. Coil was Geff (John Balance) and Peter (Sleazy), who presented Coil as a complete experience; song choices, mix, order, cover artwork, layout, live visuals, costumes, guests, etc. Without Balance and Sleaz, there is no official Coil release nor will there ever be again. Nothing that bears the word "Coil" is authorized, official, or sanctioned by Coil as Coil has ceased to exist.


TARCH 011CD

COIL: The Snow CD (TARCH 011CD) 9.50
Music from the original 1991 The Snow single plus more demos, including the much-sought uncompressed full-fidelity version of "Pre-Original Chaostrophy." Thirteen tracks, 68 minutes.Threshold Archives began as a project by Peter Christopherson in 2006. At the time, Peter was involved in many projects that consumed much of his time including Soisong, a re-launched Throbbing Gristle, and The Threshold HouseBoys Choir, in addition to assembling the final Coil album, The New Backwards, and the massive Colour Sound Oblivion box. With the passage of time, intercontinental moves, and record label bankruptcies, many master recordings and artworks were lost, damaged, or degrading. At the time of his passing in 2010, Peter had only begun to assemble artwork for Threshold Archives releases, but no project was completed. The music was scattered across numerous sources, including DATs, cassettes, Betamax masters, reels, and old computer hard disks with long-outdated and incompatible operating systems. Peter didn't have time to sort through and identify it all, so he sought help. Discussions and agreements were reached and the blueprints of Threshold Archives were made. Through the efforts of former Coil members, friends, and family, these collections are finally materializing. The quality of these recordings varies greatly, as does the artwork that was available. Additionally, many previously unreleased songs have no titles available. Coil was Geff (John Balance) and Peter (Sleazy), who presented Coil as a complete experience; song choices, mix, order, cover artwork, layout, live visuals, costumes, guests, etc. Without Balance and Sleaz, there is no official Coil release nor will there ever be again. Nothing that bears the word "Coil" is authorized, official, or sanctioned by Coil as Coil has ceased to exist.

THUD RUMBLE

EXTRA 001CD

DJ QBERT: Extraterrestria/GalaXXXian 2CD (EXTRA 001CD) 110.00
"Extraterrestria is DJ QBert's much-anticipated follow up to his groundbreaking debut album and feature film, Wave Twisters. Several years in the making, Extraterrestria is a wide collection of various types of music from other planets and dimensions from around the galaxy. The compilation of sounds were collected by the Galactic Skratch Federation, which is similar to the Grammy committee here on (Gaia) Earth. Featuring DJ QBert's signature skratching, the album is accompanied by several well-known musicians to boost the sonic soundscape; from world-acclaimed cellist and trombonist Dana Leong to super producer Chad Hugo of The Neptunes / N*E*R*D fame to the eclectic instrumental exotica sounds of Tipsy. Extraterrestria transcends what turntablism is and what skratch music sounds like in the future. GalaXXXian is an imported album from Earth (Gaia) to the Galac Skratch Federation's compilation of music. It features DJ QBert's skratching with a host of talented MC's: Kool Keith, Del The Funkyhomosapien, Bambu, Soul Khan, Mr.Lif , El-P, Madchild, DZK, Roscoe Umali, Tassho Pearce, The FMD & Z-Man. With DJ QBert's partnership with Algoriddim's DJay app and Novalia's capacitive touch technology collaboration, Thud Rumble was able to conceptualize and develop the WORLD'S FIRST INTERACTIVE ALBUM PACKAGING. With this innovation, the album's gatefold cover is transformed into an actual DJ controller. By accessing DJ QBert's album (or any MP3) through the DJay app, you're able to manipulate and effect the songs with the use of the built-in controller. Includes 2 CDs in custom vinyl-style holders and the Extraterrestria Interactive DJay Controller."

TROST (AUSTRIA)

TROST 134CD

DIKEMAN NOBLE SERRIES TRIO: Obscure Fluctuations CD (TROST 134CD) 17.00
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.

UPON YOU (GERMANY)

UY 098EP

QUENUM: Trouble 12" (UY 098EP) 12.50
Geneva-based artist, DJ, and producer Quenum follows his 2013 Upon.You debut, Rhyme (UY 073EP), with Trouble. "Colour Pulp" fuses an uncompressing yet minimalistic, hard-pumping tech-house foundation, tripping vocal bits, and a highly percussive build-up, perfect for late-night abuse. "Trouble" also relies on Quenum's trademark rolling minimalism and obscured, morphing, ethereal voices, but adds quirky synths and a steamy, feverish feel. "Geneve Never Sleeps" speeds up things on a darker, more technoid level; muffled bass drums meet scattered, futuristic percussion before shrieking stabs and ghostly sounds take over and the unstoppable techno engine starts to run. Proper machine music; pure energy.

WORLD ARBITER

WA 2016CD

VA: Bali 1928, Vol. IV: Music for Temple Festivals and Death Rituals CD (WA 2016CD) 11.50
Vol. IV of the Bali 1928 recordings includes kebyar with sung poetry, gambuh dance-drama, ancient ritual angklung, and solo flute. All lyrics receive English translations in the liner notes, with an extensive text by Edward Herbst included as a PDF (accessed by computer) and hosted online by World Arbiter. Performances by Gamelan Gong Kebyar Belaluan, Denpasar; Gambuh of Sésétan, Denpasar; Gamelan Angklung Kléntangan of Sidan, Gianyar; Gamelan Angklung of Pemogan, Denpasar; Gamelan Angklung of Banjar Bun, Denpasar; and Suling of Ubud, Gianyar (I Klingéng Buta and Ida Bagus Pegug).

Z RECORDS (UK)

ZEDD 037LP

NEGRO, JOEY: Le Freak: Music Inspired by Chic 2LP (ZEDD 037LP) 31.00
Gatefold double LP version. The Z Records label, run by Dave Lee aka Joey Negro, is arguably the contemporary go-to disco label, and it was only a matter of time before Lee would delve into his vinyl vaults and pull out a selection of tracks inspired by the late-'70s Chic sound. "Back when I was listening to commercial radio as a music-mad teenager in 1979/80, their records were omnipresent on the airwaves... when one of their own songs just dropped out of the hit parade, it was replaced by a production for another act -- be it Diana Ross, Sheila & B. Devotion, or Sister Sledge -- it was a constant stream of hits. When I heard songs like Norma Jean's 'High Society' (a solo release from one of Chic's singers) blasting out my transistor radio, I knew straight away it was an Edwards & Rogers production... the playing and sound of both the guitar and bass was a giveaway, along with the precise vocal phrasing, rippling piano, and discreet string parts. If it was the 12" mix then the bass breakdown and slow instrumental build up in the second half of the record was also part of the blueprint. Generally, Chic songs eschewed ad-libs or long solos; the style is more defined with each instrument having an exact placing -- including the vocals. Records like 'Good Times' and 'We Are Family' weren't just big club hits -- yes, they were massive on dance floors but they were also pop crossovers all around the world... even the rock guys I was friendly with (who generally despised disco) quietly liked Chic and admired their rock solid playing and grooves. I guess the best music has this universal appeal... The only track on here Edwards and Rogers were behind is Odyssey's 'Together,' which is one of their more obscure productions... The only actual cover is from Charanga 76 who released an album in 1979 which featured several raw, Latin disco-style Chic reworks, of which their 'Good Times' was perhaps the best -- otherwise, the likes of Delegation's, Van Jones's, and Michael Zager's are original songs, not pastiches -- just simply great music inspired by Chic's blueprint. Hope you enjoy" --Dave Lee aka Joey Negro, August 2015.

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