brainwashed

  • Increase font size
  • Default font size
  • Decrease font size

Forced Exposure New Releases for 11/23/2015

E-mail Print PDF

New music is due from Julia Kent, Kristoffer Bolander, and Hey Colossus, while old music is due from Einstürzende Neubauten, I Roy, and Todd Terje.

FORCED EXPOSURE MAILORDER UPDATE
NEW RELEASES FOR THE WEEK OF 11/23/2015

we also accept orders via FAX at 781 321 0321.

and via mail:
FORCED EXPOSURE / 60 Lowell Street / Arlington, MA 02476 / USA

for more information about shipping or ordering
please refer to our FAQ: http://www.forcedexposure.com/faq.aspx

direct any questions to This e-mail address is being protected from spambots. You need JavaScript enabled to view it

1432 R

1432R 006EP

ETHIOPIAN RECORDS: Letu Sinega 12" (1432R 006EP) 16.00
"'Expanding on his signature mix of traditional Ethiopian music and modern hardware, with subtle nods to hip-hop and UK garage, all worked into something wholly different. Hand drumming, vocal ribbons and rugged basslines run wild through Letu Sinega's shifting polyrhythms, with vibes that range from meditative to mad...' 'After all the wind and fuss, and empty or beautiful words,' avers ER, 'what matters is the music. Forget about all your preconceptions when you listen to a piece. Forget about all the labels ... forget about where you found it. Close your eyes and absorb yourself in the moment. Listen, truly listen, and try to feel what the music is doing to you.'"


1432R 007EP

EKLUND, DAWIT: Ouroborous EP 12" (1432R 007EP) 16.00
"With production credits for PAN, PPU, and Future Times, it's been a busy year for Dawit Eklund, winding up to this fully-fledged debut on the label he co-founded. Litchi Juice is funk-laced 'gully club music', channelling inspiration from Theo and Pepe. On the flip, the psychedelic menace of Lies Are Chic is influenced heavily by Herbie Hancock and Tony Allen records. Ace; warmly recommended."

50 WEAPONS (GERMANY)

50 046EP

ANSTAM/MONOLAKE: Dolores/VT-100 12" (50 046EP) 14.00
180-gram vinyl. Two masters of sound-design join forces for the seventh 12" in 50Weapons' 11-part finale. Anstam presents his wonderful "Dolores," and Monolake delivers his experimental techno track "VT-100," made solely with a LinnDrum. 50Weapons has been following the work of Robert Henke aka Monolake for a long time. Both tracks tap into the experimental side of 50Weapons, but this is obvious, considering the two names on the record.

A RECORDINGS (UK)

AUK 120LP

PARKS & ANTON NEWCOMBE, TESS: I Declare Nothing LP (AUK 120LP) 20.00
Repressed; LP version. Pressed on amber 180-gram vinyl and housed in a gatefold sleeve. Born in Berlin in early 2014 and nurtured over the following summer, I Declare Nothing is the spine-tingling collaboration between Tess Parks and Anton Newcombe (The Brian Jonestown Massacre), co-written and co-played by the duo and released to coincide with their 2015 European tour, following their Record Store Day 2015 Cocaine Cat single (AUK 118EP). A native of Toronto, Tess Parks moved to London, England, at the age of 17, where she briefly studied photography before deciding to focus on music. Parks made an impression on industry legend Alan McGee, founder of Creation Records, though the timing of their meeting could hardly have been less ideal; McGee was no longer involved in music and Parks was due to move back to Toronto. After moving back to her hometown in 2012, Parks formed a band on the advice of McGee and less than a year after their meeting, he returned to music with his label 359 Music. Parks became one of his first signings and released her debut record, Blood Hot, in November 2013 to excellent reviews. One reviewer described her as "Patti Smith on Quaaludes." Others have mentioned her "gauzy psychedelic sound" and "smouldering voice." Alan McGee himself said, "She's only 24 and is already an amazing songwriter... she just doesn't quite know she is yet -- her most beautiful quality is her lack of ego. Tess is an amazing lady." Anton Newcombe is the leader of The Brian Jonestown Massacre, who returned in May 2014 with their 14th full-length album, Revelation (AUK 030CD/LP), to critical acclaim, and released Musique de film imaginé (AUK 032CD/LP) in 2015. The band's first album to be fully recorded and produced at Newcombe's recording studio in Berlin, it was supported by a successful European tour. Named in tribute to the legendary Rolling Stones guitarist and his influence in introducing Eastern culture and music into the world of Western rock 'n' roll, The Brian Jonestown Massacre formed in San Francisco, California in 1990. Through two dozen band members and numerous "ups and downs" (some of which have been famously sensationalized in the media), the one thing that has always remained consistent for this psychedelic collective is frontman Mr. Anton Alfred Newcombe.

ABRAHAM (CANADA)

AA 021LP

ELLIS, ALTON: Changes LP (AA 021LP) 11.00
2015 repress. Alton Ellis is undoubtedly the greatest soul singer of the '60s Jamaican invasion. Tracks: "Reason In The Sky," "Black Man's Pride," "Darling It's True," "Day Dreaming," "Earth Needs Love," "Sinners Gonna Weep," "Changes," and "Stronger Than Before."

ARBITER

ARB 152CD

VA: From Mozart to Messiaen (with John Ranck) 2CD (ARB 152CD) 22.00
2007 release. "A stunning performance, like being submerged in a bath of beauty" --organist André Marchal on Irén Marik and John Ranck's Messiaen. Arbiter's third and final volume of Marik's art comprises essential works in her repertoire. Liner notes include a rare interview made when the label located her just east of the Sierra Nevada mountains in California. Irén Marik and John Ranck performed as a duo for several decades, with an early interest in Messiaen's Visions de l'Amen; they were among the first to perform the cycle. Marik had an empathy for Liszt and aristocratically played his Sonata in B Minor as a radical musical experiment, off the path of its function as a virtuosic challenge commonly used by most players to exhibit mindless technique. Her Debussy evokes a unique sound-world, with her touch and innuendo transforming her instrument. All of these recordings came to light when Arbiter inherited a box from Marik's estate that had gone unnoticed in a garage redolent of the wild ceremonial sagebrush surrounding her house. Also includes performances of compositions by Bartók (with whom Marik studied), Mozart, Beethoven, Schubert, Brahms, and Schumann.


ARB 153CD

VA: Oskar Fried: Mahler's Disciple - Live & Studio Recordings CD (ARB 153CD) 11.50
2007 release. Most orchestra conductors have egos bigger than all their musicians combined. Oskar Fried deliberately kept his inner life out of any limelight. A mysterious conductor, he appeared out of nowhere to start at the very top, with the Berlin Philharmonic, claiming that his previous experience had been as a trainer for dogs and circus animals. Any time a new figure emerged on the scene, Fried was the first to seek them out and conduct their music before anyone else had a chance. His way of interpreting reveals a penetrating spirit within his native Berliner gallows humor, always on the move in sound as he was in life, deliberately skirting any permanent engagement. As the first foreign artist to play in Russia after the Revolution, Fried's overnight train from Berlin was met at the Moscow station by Lenin in person. A secondary career was probably in espionage and one hears him unearthing secrets in everything he recorded. Our disc includes the rarest example of Mahler's music led by an initiate. The awful fetish that Mahler has become gets a makeover through Fried's close acquaintance with the neurotic composer as he exposes inner conflicts that other disciples chose to sweep under the sonic rug. One is also devastated by his grasp of Stravinsky's Firebird ballet, transitioning from an infernal dance to a nirvana-like plateau state. Informative notes reveal the doings of a genius who had to elude anyone probing his actions too closely. Orchestras include the USSR Radio Orchestra, the Berlin State Opera Orchestra, the Berlin Charlottenburg Orchestra, the BBC Symphony Orchestra, and the Berlin Philharmonic, with musicians Astra Desmond and Josef Wolfsthal. Compositions also include works of Mozart, Rossini, Carl Maria von Weber, Wagner, and Saint-Saëns.


ARB 154CD

BEETHOVEN/FELIX MENDELSSOHN/JOHANNES BRAHMS, LUDWIG VAN: Beethoven & Mendelssohn: Piano Concertos CD (ARB 154CD) 11.50
2007 release. How close can we connect with the radical composer Beethoven (1770-1827)? On a timeline we find that pianist Mieczyslaw Horszowski's (1892-1993) teacher was Theodor Leschetizky (1830-1915), who had been a pupil of Beethoven's assistant Carl Czerny (1791-1857). Horszowski plays Beethoven's first piano concerto here, a work he knew for nearly 60 years by the time he offered it on this newly unearthed performance from 1958. It impresses one as definitive. Mendelssohn's concerto was written at age 13, played only for one season by Horszowski. The concluding Brahms works were Brazilian discoveries that were otherwise unrecorded by this profound artist who lived for over a century. Able to project Beethoven's language, the music goes beyond its limits as printed notes.


ARB 156CD

TOURNEMIRE/CESAR FRANCK, CHARLES: Complete Recordings CD (ARB 156CD) 11.50
2008 release. Charles Tournemire's revelatory organ improvisations and interpretations link to his master César Franck and his pupil Olivier Messiaen. A profound and volatile mystic, his avant-garde experimentation emerges from plainchant and modes. These rare recordings document the only surviving sounds of the organ Franck played on for 31 years before it was rebuilt in 1933. Tournemire's performances of Franck's and his own music transport late 19th century French decadence into a mystical visionary realm.


ARB 158CD

VA: Masters of Chopin: Friedman, Tiegerman, Eisenberger 4CD (ARB 158CD) 32.50
2010 release. Chopin rarely appears in his true glory, as a visionary who created cutting-edge music. Although everyone with a piano tries to channel him, only a few attained the insight of Ignaz Friedman, Ignace Tiegerman, and Severin Eisenberger, who get as close to him as anyone ever could. Chopin was half-French but also half-Polish, and as these three were Polish who spoke fluent French, they understood his reaction to Polish dance music. The others still remain unaware of this Slavic backdoor and can't refrain from unintentionally caging Chopin in as a tamed salon idol. After extensive audio restoration, these classic performances live on with greater clarity through uncompressed sound. Heard here are previously unissued and unknown performances by these three masters, a further illumination of their profound musicianship. With them, Henri Barda, their musical heir, performs a work by his teacher Tiegerman, a tiny Polish Jew based in Cairo who also taught the postcolonial theorist Edward Said. Arbiter searched over 40 countries to prepare a biography of Friedman and went to Egypt to find the last remaining recordings and people by the Nile from Tiegerman's circle. Barda carries on their grand tradition. The fourth CD contains interviews, scans of Friedman's Chopin Études (instructive edition), photos, and more documentation accessible via computer. Also includes performances of compositions by Mendelssohn, Niccolò Paganini & Franz Liszt, Josef Suk, Brahms, César Franck, Saint-Saëns, John Field, Gabriel Fauré, Beethoven, Ravel, and Zoltán Kodály.


ARB 159CD

VA: The Art of Roman Totenberg: From Bach to Webern - Recordings from 1943-1996 2CD (ARB 159CD) 22.00
2011 release. The violinist Roman Totenberg (1911-2012) knew every leading composer of the 20th century. His first appearance at age seven was during the Russian Revolution. Totenberg's art spanned the entire violin literature and he was a master teacher who continued to impart wisdom to younger musicians even on his deathbed at age 101. His Stradivarius violin was stolen in 1980 and was not recovered until 2015. Totenberg's daughter Nina is the renowned NPR reporter on legal affairs. With his own collaboration at age 99, Arbiter searched his archives to come up with the first set in a series of previously unreleased live recordings made from 1943-1987. Includes performances by Totenberg with Dean Sanders, the WQXR String Quartet, Soulima Stravinsky, and Shizue Sano of compositions by Johannes Brahms, Claude Debussy, Johann Sebastian Bach, Niccolò Paganini, Ludwig van Beethoven, Aaron Copland, Luigi Dallapiccola, Anton Webern, Arnold Schönberg, Igor Stravinsky, and Maurice Ravel.


ARB 160CD

BRAHMS/JOSEPH JOACHIM, JOHANNES: Behind the Notes: Brahms Performed by Colleagues & Pupils CD (ARB 160CD) 11.50
2012 release. When Brahms is played by those who knew him, we hear an approach unlike the way he is typically presented. The artistry of these masters, recorded from 1903-1952, brings unique insights into realms his scores barely suggest. Nearly all are published here for the first time, as they are playing Brahms as new music, freely as if improvised. A first foray into Arbiter's Occupy Brahms project. Includes performances by Alfred Hoehn, Max Fiedler, and the Berlin Radio Orchestra; Etelka Freund; Carl Friedberg; Ilona Eibenschütz; and Joseph Joachim.


ARB 161CD

CHOPIN, FREDERIC: Chopin by Horszowski: Through Text and Sound 2CD (ARB 161CD) 22.00
2013 release. A pianist who scaled the Matterhorn three times, was four feet 10 inches tall, and studied with a pupil of Beethoven's assistant, Mieczyslaw Horszowski (1892-1993) lived almost to age 101. Arbiter has been searching for his live recordings for over 40 years, and publishes here the pianist's finest Chopin. Guru to many of today's leading artists, Horszowski was considered the most profound and poetic musician to continue the core of the classical tradition. While overlooked by major labels, Arbiter discovered that in concert, Horszowski abandoned himself more than a studio permitted. As he was introverted, few interviews survive, yet his copy of a Chopin biography bore finely traced lines alongside text that caught his attention. This set's liner notes have him guiding us through all the selected excerpts, translated from the French. First publication of live recordings from 1958-1990.

BLKRTZ (CANADA)

BLKRTZ 014LP

DEADBEAT: Walls & Dimensions 3LP (BLKRTZ 014LP) 23.50
Deluxe gatefold triple LP version. Scott Monteith's tenth Deadbeat album, Walls & Dimensions, sees Monteith showcasing his wide-ranging musical interests with a striking sense of gravity and cutting lyricism not heard in his previous works. The album features vocal contributions from a diverse range of Berlin-based artists, and, for the first time, vocals from Deadbeat himself. "A wise old curmudgeon once said that all great art is born of great suffering, and if that sentiment holds true this album has had plenty of fuel for its proverbial fire," says Monteith of the writing process. "The last month of 2014 and first half of this year were not kind to me and my family to say the least. Thankfully I was able to turn to music and writing to work through those feelings over the last year, and found some absolutely lovely people to voice them when I wasn't up to the task of expressing them myself." Featuring guest vocal contributions from Fink, Delhia de France, and Elif Biçer, as well as cello performances by Maarten Vos, Walls & Dimensions sees Monteith exploring all facets of his musical interests with deadly focus and passion, from pure ambient drones to heartfelt reggae blues and dubbed-out late-night club bangers.

BUREAU B (GERMANY)

BB 037LP

MOEBIUS PLANK NEUMEIER: Zero Set LP (BB 037LP) 25.00
2015 repress; LP version on 180 gram vinyl. In 1983, Dieter Moebius (Cluster) and legendary producer Conny Plank teamed up for the third time, resulting in the Zero Set project, originally released on Sky Records. On this occasion, they were backed up by one of the best drummers on the German rock scene: Mani Neumeier of Guru Guru. Plank, usually more of a background figure as producer, takes an equal share of the limelight alongside the musicians. His supermodern studio is brought into play like an instrument in its own right; Plank explores the full range of audio editing, pushing recording techniques to the limit to achieve maximum brilliance and plasticity. Neumeier uses all of his many years of experience as a drummer, demonstrating the precision and stamina of a drum machine, just infinitely livelier and more inventive. And finally, to Moebius: always one of the patriarchs of German electronic music, a creator of the most bizarre sound happenings, yet never sounding forced or arbitrary. On the contrary, he consistently worked within the context of the tracks themselves and their relationship to each other. The music on Zero Set flows both smoothly and energetically. An important and mystifying chapter in the legacy of Krautrock/Kosmische Musik and a historic moment in German electronic music.

BURNING SOUNDS (UK)

BSR 992CD

GAD, PABLO: Hard Times: The Best of Pablo Gad CD (BSR 992CD) 16.00
"Reggae mainstay Pablo Gad's best tracks from the late 70s and early 80s from the massive Burning Sounds label. Includes the hit Hard Times as well as Trafalgar Square and more."


BSR 997CD

DILLINGER VERSES TRINITY: Clash CD (BSR 997CD) 16.00
"1977 reggae album re-issued on CD in its original cover."


BSR 998LP

MICHAEL PROPHET: Certify LP (BSR 998LP) 21.00
"1983's Certify album re-issued on 180 gram vinyl in its original cover. Long out of print, this amazing roots reggae album features righteous vocal takes from Michael Prophet and gorgeous production help from Scientist."


BSR 999CD

ISAACS, GREGORY: Slum in Dub CD (BSR 999CD) 16.00
"1978's Slum in Dub album re-issued on CD in its original cover. A brilliant mix of Isaacs' soulful vocals and Prince Jammy's dubbed out production."

CLOCKTOWER (CANADA)

CT 036LP

KING TUBBY: Dub From The Roots LP (CT 036LP) 11.00
2015 repress. "There are very few individuals who command the respect of dub aficionados greater than 'The Dubmaster' himself, King Tubby. On Tubby's venerable 1974 release Dub from the Roots, he introduces us to the 'Shalom Dub', a method of mixing flying cymbals with horns in what he describes as 'going in and out in a dub way'. Borrowing from the forty fives of Johnny Clarke, Jackie Edwards, Cornell Campbell, John Holt, and Horace Andy, King Tubby takes the listener on a journey through a vast array of different emotions, rhythms and soundscapes. One of the standout cuts, 'Iyahta' explores Tubby's use of deep electric basslines to evoke a melodic calmness in the listener, while 'Mine Field' and 'Hijack the Barber' bring you back with the cavernous echoes of stabbing guitars, horns, and cymbals. Though previously released by different labels on a variety of dusty pressings and formats, Clocktower's reissue of Dub From The Roots is the definitive edition of this 'Dubmaster' classic, featuring audio mastered from the original analog tapes."

COCOON (GERMANY)

COR 132EP

KIERAN, PHIL: PKRMXD 12" (COR 132EP) 14.00
This remix package of tech-house maestro Phil Kieran's work opens with a remix of "Wasps Under a Toy Boat" by Luke Slater aka Planetary Assault Systems, who delivers a mental techno-monster. Cocoon cofounder Sven Väth had the pleasure of testing the remix and smashed the floors to pieces every time he dropped it. Tom Demac's remix of "Missp" breathes cool '80s air with its bassline and almost industrial beat programming. One hears early Detroit club hymns and the sound of Berlin in the '90s as Demac merges rough beats and stop-and-go effects with the new-wave feeling of bands like Liaisons Dangereuses or Propaganda.

DESOLAT (GERMANY)

DESOLAT 030X-EP

TRIPMASTAZ: Wax Mania 12" (DESOLAT 030X-EP) 14.00
Loco Dice's Desolat label serves up a huge package from Russia's finest underground house and techno export, Tripmastaz. "Wax Mania" is a bulky techno roller with monstrous kicks, raved-up synth stabs, knocking percussion, and jazzy chords. "Taped Chrome," written and recorded in one session straight to tape, is an angst-ridden, edgy peak-time cut. The pinging rubber kicks of "Till Melted" sway beneath all sorts of withering and whirring synth lines -- a perfect freak-out tune. "F What You Heard" is a deeper house cut with a synth line that sucks you in as blocky drums stomp out a thick groove.

DIAL (GERMANY)

DIAL 034LP

DAWN MOK: Eternal Love LP (DIAL 034LP) 21.00
LP version. In the wake of the release of Dial's 2015 15th-anniversary compilation All (DIAL 032CD), one track seemed to be praised above all others: Dawn Mok's "Like Thought or Moments We'll Fall." It's an intensely touching piece produced by Berlin-based artist Felix Mura. Dial is honored to present the artist's full-length debut, Eternal Love, a journey into deep, dark shades of future RnB. Over a year of production and sound design, Dawn Mok has created a wonderful, surprising milestone of contemporary dance music and beyond. Mixed by Finland's Ville Haimala (Renaissance Man) and mastered by Rashad Becker (PAN). Artwork by Dan DeNorch.

DISKO B (GERMANY)

DB 173EP

POLLYESTER: Catrina Remixes 12" (DB 173EP) 12.00
Pollyester, whose fans include James Murphy and Alex Kapranos, follow their 2015 album City of O. (DB 170CD/LP) with three remixes of album track "Catrina." On Abe Duque's remix shadowy flakes of Polly's voice echo through the background and a 303 finds its way to the surface where classic disco strings are waiting to merge in pollyphonic beatitude. Disco edit and cosmic dub priest Hugo Capablanca adds rattling percussion and a mumbling bassline to drive his more melodic remix forward. The most sinister version comes from The Emperor Machine, who turns in a work of functional Detroit techno pervaded with classic electro patterns.

ECHOCORD COLOUR (GERMANY)

ECHOCOL 033EP

CLEMENTI, ROBERTO: Mobilhome EP 12" (ECHOCOL 033EP) 12.50
Italian electronic musician Roberto Clementi is one of the most inventive and creative figures currently on the underground scene. Mostly known for his EPs and 2014 album (SOMA 106CD) on Soma, he has also released on Brendon Moeller's Steadfast label and labels like Baum and Kontra-Musik. Both tracks here are super powerful techno tracks, full of deepness, heavy stabs, and dubby elements -- perfect for the dancefloor. Colored vinyl.

EM RECORDS (JAPAN)

EM 1136CD

HAKU: Na Mele A Ka Haku (Music of Haku) CD (EM 1136CD) 16.50
Synthesizers and the human voice. Hawaii. The 1970s. Haku, aka Frank Tavares, a writer and musician, had a deep respect for the multiethnic character of his native Hawaii, and composed a number of theater pieces and songs to highlight this culture. However, he avoided many of the standard musical tropes, choosing to build his own studio and make all the music on synthesizers, a first for Hawaii. New age musical elements, traditional Hawaiian music, and unclassifiable madness, all played on glorious analog synths, are the foundation for songs and stories delivered in Hawaiian, Japanese, and English, reflecting Hawaii's multiethnic nature. Developed and recorded over several years, released in 1975 on vinyl, and woefully hard to find, it is now reissued for the first time.

FANTASTIC VOYAGE (UK)

FVLP 231LP

BARRY, JOHN: Zulu LP (FVLP 231LP) 22.00
Originally released in 1964, Zulu is among the most popular of John Barry's early soundtracks, and the main theme is still frequently heard on radio, conjuring up images of the British Army's defense of (and the Zulus' fearless assault on) Rorke's Drift during the Anglo-Zulu War of 1879, as depicted in Cy Endfield's BAFTA-nominated 1964 film starring Stanley Baker, Michael Caine, and Jack Hawkins. John Barry (1933-2011) was one of the best-known composers of film music in the world. His early career found him working as in-house arranger for EMI, leader of hit instrumental combo the John Barry Seven, and composer, arranger, and conductor on the first UK soundtrack LP (the 1960 Adam Faith vehicle Beat Girl). After Barry's involvement as arranger on the first James Bond film, Dr. No, in 1962, he was appointed as primary composer for the film franchise. In 2002 he received the GoldenEye award, courtesy of the Ian Fleming Foundation. Originally released in 1964 on the British indie label Ember Records, the LP comprises soundtrack music (with two of the tracks incorporating narration by Richard Burton) and "A Selection of Zulu Stamps," which are essentially beat instrumentals flavored with southern-African influences performed by the John Barry Seven. Ember initially pressed the album in mono, switching to stereo for a 1972 reissue (same catalog number), although a stereo pressing had previously surfaced in the USA. Long unavailable on vinyl, Zulu is now reissued by Fantastic Voyage as a 180-gram pressing, mastered from original stereo tapes. The vinyl is housed in the original Ember sleeve artwork, and bears the label design prevalent at the time of the stereo pressing. John Barry went on to score many notable soundtracks, including the award-winning Born Free (1966), The Lion in Winter (1968), Midnight Cowboy (1969), The Cotton Club (1984), Out of Africa (1985), and Dances with Wolves (1990). In 1999 Barry was appointed OBE for services to music.

FINDERS KEEPERS (UK)

FKR 001X-LP

VANNIER, JEAN-CLAUDE: L'Enfant Assassin des Mouches (FKR 10th Anniversary Edition) LP (FKR 001X-LP) 26.50
To mark its 2015 ten-year anniversary, the Finders Keepers label presents an improved, remastered repress, with updated liner notes in a gatefold sleeve, of its first release, a reissue of Jean-Claude Vannier's 1972 album L'Enfant Assassin des Mouches. At the time of the 2005 reissue the resurgence of '60s Gallic pop, once known as yé-yé music, had escalated beyond an interstellar height. Without a shadow of doubt, the flagship LP with the best odds on becoming a discerning household object was Histoire de Melody Nelson (1971) by one Serge Gainsbourg, an inimitable 45-minute concept LP handcrafted by a bass-driven psychedelic rock group and a heaven-sent 1001-piece orchestral and choral symphony. The album left hip hop producers and progressive rock aficionados crying out for more and more for years to come. This LP was in a league of its very own... or was it? The seldom-sung musical arranger for Melody Nelson, Jean-Claude Vannier, is the lesser-spotted tell-tale seal of sample-friendly quality when it comes to crate-digging "en Français." Suitably, rumors among French record dealers claiming "the band who played Melody Nelson recorded a follow-up LP" became a legend of psychedelic folklore. Another unconfirmed rumor about JCV taking the remaining outtakes of the beloved Melody Nelson to create a promo-only experimental rock LP left sample-hungry producers and DJs in turmoil... The answers to these mysteries lay between the gatefold sleeve of an undiscovered conceptual album bizarrely titled L'Enfant Assassin des Mouches by a custom-built avant-rock entourage called Insolitudes. So here we have it. For record-collectors looking for that special something, this LP contains the extra-special everything. Peruse the following genres: psychedelic, classical, soundtrack, jazz, hip hop, samples, avant-garde, funk. Then place a copy of L'Enfant Assassin des Mouches in each section. History notes that when M. Gainsbourg first heard the initial bones of this LP he took his poetic pencil to paper and composed bizarre liner notes, thus consummating the most extraordinary concept album of all time. The story "The Child Assassin of the Flies" was to be included as the only information to grace the LP's highly collectible concertina-gatefold sleeve. The story in full is reproduced in its native tongue on this very special re-release package. DJs and producers such as Jim O'Rourke, Stereolab's Tim Gane, and David Holmes have spent sleepless nights in perusal of original copies of this perfect release and now regard it as "One of the Best."


FKR 028CD

SPENCE, SAM: Sam Spence Sounds CD (FKR 028CD) 17.00
2015 repress; originally released in 2010. The psychedelic synthesized world of Kuckuck label stalwart Sam Spence. Born in San Francisco in 1927, Samuel Lloyd Spence is a peculiar piece in the komplicated krautrock puzzle. As an American expat working in a community of German rock musicians in the early '70s, Spence shared his alien status with the likes of David Johnson and Malcolm Mooney (Can), Carole Muriel (Brainticket), Maria Archer (Embryo), Bill Barone (Wallenstein), and the band Sweet Smoke, but in Spence's case it wasn't the free love and communal living that attracted him to Germanic pastures -- Spence's European travel plan was academic. Over a decade earlier, Spence had travelled from California to Paris to study "serious music" composition at the École Normale de Musique with the great composers Arthur Honegger and Francis Poulenc, where he conducted alongside Jean Fournier. His original roots playing clarinet and sax in Californian swing bands had led to paid work as a composer for commercial Hollywood groups, which led in turn to a part-time interest in electronic instruments and the development of the synthesizer. Spence was able to use his Hollywood credentials to score German TV commissions making dozens of groovy symphonic scores with electronic flourishes; toward the end of the decade, with the help of a long-term contract for composing motivational music for the National Football League, Spence had raised enough capital to bring one of the very first Moog synthesizers to Germany. While in Munich Spence met Kuckuck label owner Eckart Rahn, and the pair discussed the idea of recording an LP of electronic music that would appeal to ambient and experimental enthusiasts who were searching for cosmic sounds after the rise of bands like Kraftwerk and Tangerine Dream. After the release of two Moog-fueled singles, including a cover version of Focus's 1972 hit single "Sylvia," Rahn agreed to release Spence's debut LP of synthesizer based pop music, which would sit among his eclectic Kuckuck roster that included the minimal electronic pulses of Deuter, the experimental field recordings of Ernst Schultz, and the avant-garde releases of Peter Michael Hamel and Terry Riley. Having continued to expand his successful career in symphonic music, Spence would, by the end of the 1970s, return to orchestral film music, seizing further opportunities to work as a composer and recording over 500 cues for films made by the NFL back in his native USA.


FKR 028LP

SPENCE, SAM: Sam Spence Sounds LP (FKR 028LP) 25.00
LP version.


FKR 081LP

KROZIER & THE GENERATOR: Tranceformer 2LP (FKR 081LP) 26.50
"Finders Keepers really hit the crackpot, erm I mean jackpot this time! This is most excellent and a must have gem -- I promise you won't regret owning this glimpse of Krozier's weird and wonderful world... It took me two seconds to love this record" --Anton Newcombe (The Brian Jonestown Massacre). Imagine a coven of Jodorowsky, Daevid Allen, Mr. Crowley, Rameses, and Arthur Brown, then combine them into a one-man mutant magician and add the finest Australian synth duo since Cybotron. Behold... Geoff Krozier and The Generator. This faithful reproduction of one of Australia's rarest synth-post-prog vinyl artifacts bequeaths the only recorded fruits of their precious magick, recorded months before Geoff Krozier's untimely death in 1981. Combining shamanic spoken-word with nodding kosmische instrumentation, this album is fueled by ARP, Roland, and Australian ETI synth technology and leaves fans of synthetic soundtracks, electronic experimentalism, and stubborn synthpop salivating for more (and more there is). Meet Geoff Krozier, collaborator with NY punk band Kongress, Sydney's official 1980 Magician of the Year, and "the high priest of exorcism-rock," and watch him and his trusty studio wizards provide fans of Bruce Haack and Doris White with one of the most absurd electronic private-press LPs to come from either end of the pointed planet, faithfully reproduced here. Welcome to the house of the sun.

GLISTENING EXAMPLES

GLEX 1503LP

BARON, MARC: Carnets LP (GLEX 1503LP) 23.50
Just as 2014's widely lauded Hidden Tapes marked a turn from saxophone improvisation to an embrace of what the Potlatch label referred to as "music for speakers" or, more elegantly, "sound diffusion," Carnets is not only another leap forward, but could easily be considered Marc Baron's masterpiece. Carnets is a dynamic interplay of degraded magnetic tape and unsettlingly normal everyday recordings dating back to Baron's childhood, showcasing Baron's deftness in crafting compositions that leave the listener with more questions than answers. Attempts to pin down his methods are forestalled at every turn by the abstract yet suggestive nature of the pieces. Personal memories become a platform for a series of inscrutable, elegantly arranged compositions. Baron's misused tapes carry evocative resonances that linger hauntingly in the mind of the listener, begging to be heard again. This record is the analog debut for Marc Baron, and his hand-constructed audio works sound completely alive on this vinyl pressing mastered by Jason Lescalleet. Each slab of 150-gram vinyl comes in a special black poly-lined dust sleeve inside a 300-gsm white-on-white art board, all lovingly protected by a polyvinyl bag. The front cover bears a striking photograph of a sculpture by French artist Loïc Blairon, something very intimate and personal for Marc Baron. This album is truly something very special.

GOLDFISH RECORDS (UK)

GOLF 009CD

ZAPPA, FRANK: Puttin' on the Ritz: The Classic N.Y.C. Broadcast 1981 2CD (GOLF 009CD) 19.00
"By the closing months of 1981 Frank Zappa had already released five albums during that productive year. Three of these records were his instrumental guitar collections - Shut Up 'n Play Yer Guitar, Shut Up 'n Play Yer Guitar Some More, and The Return of the Son of Shut up 'n Play Yer Guitar - initially sold via mail order but later released through CBS. There was also the live double Tinseltown Rebellion and the 2-LP studio set You Are What You Is, released in September. Zappa also hit the road in September '81, performing a largely domestic tour that criss-crossed the US and took in a couple of shows in Canada between September and Christmas. On board for the tour were Frank's latest touring band, comprising Chad Wackerman on drums, Ed Mann on percussion, Tommy Mars on keyboards, Scott Thunes on bass, with Steve Vai and Ray White on guitar. In November the group travelled to New York State, played a couple of shows up north before hitting the city and unloading at the infamous Ritz venue in the East Village on the 17th. The show that night was captured by WLIR FM Radio and broadcast across the East Coast to the delight of Zappa fans who hadn't been lucky enough to secure a ticket. Playing for more than two and a half hours, with special guests Al Di Meola and Brian Peters joining on a couple of numbers, this double CD features the complete gig as broadcast, available here on CD for the first time."

HOLY MOUNTAIN

HOLY 1165LP

SIX ORGANS OF ADMITTANCE: Dust and Chimes LP (HOLY 1165LP) 19.00
"Ben Chasny was on a holy roll when he laid down the eleven tracks on Dust and Chimes. It was 1998 and y'all were floating on that Bill Clinton peace-and-prosperity bubble. Meanwhile, Chasny had dropped his self-titled debut LP earlier that year, and the cognoscenti and illuminati were pricking up their ears. Dust and Chimes announced the arrival of a brow-furrowed troubadour whose complex, morosely beautiful guitar playing didn't Basho you over the head with Fahey-isms. The three solo guitar tracks here contain quicksilver skeins of glinting acoustic work, recorded over a decade before the American Primitive style of playing would be of any interest to the indie world. Brilliant darkness and somber ecstasy abound, as Chasny ragas against the machine with a bold inventiveness. Elsewhere one may hear hints of Tyrannosaurus Rex's impish arboreal-folk charm and feathery Donovan-esque incantations -- reverent but not lightweight in the least. Now newly remastered, Dust and Chimes sounds like the work of a young sage wise beyond his tears."

HOME

HOME 003EP

HENRIKSSON, MARCUS: A Matter of the Heart 12" (HOME 003EP) 14.00
Home Records is the musical platform for the work of Marcus Henriksson (Nobody Home, Minilogue, Son Kite). Genre: techno. Mastered by Marcus Henriksson. No limiting. No digital plugins. Little compression and some analog EQing to keep the original space and dynamics in the music.

HONEST JON'S RECORDS (UK)

HJR 020CD

ALLEN, TONY: Lagos No Shaking CD (HJR 020CD) 12.50
2015 repress. The Honest Jon's label reissues this 2006 classic from Afrobeat co-creator and master drummer Tony Allen. The much-lauded Lagos No Shaking pays tribute to the powerful sounds and rhythms of Allen's homeland of Lagos, Nigeria, marking a return to the classic percussive stylings which harken back to his seminal contribution to Fela Kuti's Africa 70 and Egypt 80. This is the real thing -- raw and uncut, recorded in Lagos over 10 nights with a 20-piece band, including the finest musicians in the city, not least deep horn-blasting from Lekan Animashaun (Baba Ani) and Show Boy from the killer Fela line-ups, and the palm-wine veteran Fatai Rolling Dollar, who adds his throaty, commanding tones and throbbing agidigbo thumb piano to four tracks. There are the R&B sensibilities of Yinka Davies and Omololu Ogunleye; and Muritala Adisa adds touches of ewe, a form of spoken praise-singing rooted in ancient Yoruba tradition. But the key element is, of course, Allen's powerful, yet magnificently relaxed drumming, which keeps everything in perpetual rocking motion, tempering the hard funk edges of classic Afrobeat with earthier Lagosian flavors. Indeed, while the album's observations on Lagos life are aptly tough and sardonic, this is a warmer, more down-home, perhaps more humane album than anything Fela ever produced. Afro-funk, stone-classic dance music in 6-minute chunks. The 2LP version includes an extra track.


HJR 071LP

VA: Christians Catch Hell: Gospel Roots, 1976-79 2LP (HJR 071LP) 27.50
Gatefold double LP version. Includes full-size 16-page booklet. In 1977 Henry Stone invited Thomas Spann down to Florida. Spann was founder and leader of The Brooklyn All Stars, one of the most celebrated gospel quartets in the US; Stone headed T.K. Records, the biggest independent record company in the world. The All Stars' contract with Jewel Records just happened to be ending. "He called me and asked me would I meet him in Miami," recalls Spann. "And I flew down to Miami, and I met him and we went to this place that sold all these motor homes. He said, 'Pick out one, pick you out one that you want.' And I did so. I drove it off the lot that same day. I didn't take a plane back. I drove that motor home back to North Carolina."Christians Catch Hell is a scorching, sublimely soulful survey of the Gospel Roots label, subsidiary of the mighty T.K. Records, at the height of the Miami Sound -- 1976-'79. Includes tracks by The Brooklyn All Stars, Pastor T. L. Barrett, Camille Doughty, The Howard Lemon Singers, The Fantastic Family Aires, Jean Austin & Company, The Jordan Singers, The Phillipians, The Fabulous Luckett Brothers, Bright Clouds, The O'Neal Twins, The Original Sunset Travelers, Reverend Edna Isaac and the Greene Sisters, and The Fountain of Life Joy Choir. Mastered at Abbey Road.

IMPORTANT RECORDS

IMPREC 374LP

CORTINI, ALESSANDRO: Forse 2 2LP (IMPREC 374LP) 32.50
Super limited 2015 repress. "Alessandro Cortini's second release in his Forse trilogy is full of thick analog brightness and deep analog warmpth. Despite also being fully composed on a Buchla Music Easel, the feeling of Forse 2 is quite different from Forse 1 and this deluxe double vinyl release is the ultimate way to experience this engaging work. Pressed in an edition of 500. 'All pieces were written and performed live on a Buchla Music Easel, in the span of one month. I found that the limited array of modules that the instrument offers sparked my creativity. Most pieces consist of a repeating chord progression, where the real change happens at a spectral/dynamic level, as opposed to the harmonic/chordal one. I believe that the former are just as effective as the latter, in the sense that the sonic presentation (distortion, filtering, wave shaping, etc) are just as expressive as a chord change or chord type, and often reinforce said chord progressions. Of all the years with Nine Inch Nails the period spent writing and recording the instrumental record Ghosts I-IV is probably the one which changed my approach to music making the most. After that record I started getting more into instrumental composition, although I tried to approach it in a different way. While we had a vast array of tools and instruments at our disposal then, I decided to approach my pieces limiting myself to one instrument only, as I found myself being more decisive when faced with a limited creative environment.'"

INDUSTRIAL RECORDS (UK)

IRL 001LP

THROBBING GRISTLE: The Second Annual Report Of Throbbing Gristle LP (IRL 001LP) 23.00
2015 repress. LP version. The newly cut 180-gram vinyl editions include painstakingly restored cover artworks, using original source material from the Industrial Records visual archive. Includes an exclusive large format 8-page color booklet featuring an abundance of Throbbing Gristle archival material, including some previously-unpublished photos of the band. Originally released in 1977, TG's Second Annual Report features various recordings of "Slug Bait" and "Maggot Death," plus the 20-minute soundtrack to After Cease To Exist, a short film featuring a castration sequence. A scathing debut from these avant-garde legends.


IRL 002LP

THROBBING GRISTLE: D.O.A.: The Third And Final Report Of Throbbing Gristle LP (IRL 002LP) 23.00
2015 repress. LP version. Throbbing Gristle's second full-length, originally released in 1978, captures alienation in its purest form. The line-up of Chris Carter, Peter Christopherson, Genesis P-Orridge and Cosey Fanni Tutti was a vehicle for everything bizarre, extreme and controversial. From the ravaged live track "Blood On The Floor" to the hostile phone recording on "Death Threats," TG lobotomized convention, whether musical or ideological. The lingering "Hamburger Lady" pulses with a story of a burn victim, and the band's restraint and careful composition makes it one of their best creations of all time, something absolutely terrifying. Full of tape-manipulation, computer noise and feedback, D.O.A epitomizes Throbbing Gristle's unparalleled anti-music, cementing their status as "wreckers of civilization." The newly cut 180-gram vinyl editions include painstakingly restored cover artworks, using original source material from the Industrial Records visual archive. In addition, each of the vinyl releases includes an exclusive large format 8-page color booklet featuring an abundance of Throbbing Gristle archival material, including some previously-unpublished photos of the band.


IRL 003LP

THROBBING GRISTLE: Throbbing Gristle Bring You... 20 Jazz Funk Greats LP (IRL 003LP) 23.00
2015 repress. LP version. Originally released in 1979, 20 Jazz Funk Greats is Throbbing Gristle's pop-influenced masterwork. It's hard to believe the beautiful, conventionally-attractive Cosey Fanni Tutti on this album's front cover previously gave herself milk and blood enemas in front of a live audience. Additionally, the song "Hot On The Heels Of Love" is far removed from the dissonant nihilism of the previous TG albums. It's a sleek, minimal synth-pop song that foreshadows Tutti's later work as Chris & Cosey. Still, 20 Jazz Funk Greats is underpinned by a profound distance from accessibility. The breezy luminosity of "Persuasion" and "Six Six Sixties" is still marked with casual bits of distortion and absurdism. Preceding dark synth-pop (and everything else), TG's third album is far ahead of its time and still sounds as relevant as ever. The newly cut 180-gram vinyl editions include painstakingly restored cover artworks, using original source material from the Industrial Records visual archive. In addition, each of the vinyl releases includes an exclusive large format 8-page color booklet featuring an abundance of Throbbing Gristle archival material, including some previously-unpublished photos of the band.


IRL 005LP

THROBBING GRISTLE: Throbbing Gristle's Greatest Hits LP (IRL 005LP) 23.00
2015 repress. LP version. It's impossible to deny Throbbing Gristle's working methods and innovation are so deeply ingrained in the collective consciousness of... everything. TG's subversive dismantling of the apparatus of social control casts such a long shadow, and as impossible as it may seem, this collection actually provides an exceptional summation of their best work. The first real industrial group, the founders of Industrial Records and one of the most important electronic music innovators of all time, TG redefined music and laid a large part of the groundwork for all electronic music that followed. The newly cut 180-gram vinyl editions include painstakingly restored cover artworks, using original source material from the Industrial Records visual archive. In addition, each of the vinyl releases includes an exclusive large format 8-page color booklet featuring an abundance of Throbbing Gristle archival material, including some previously-unpublished photos of the band.

KOMPAKT (GERMANY)

KOM 343EP

REX THE DOG: You Are a Blade 12" (KOM 343EP) 12.50
Following his triumphant return to Kompakt with 2015's Sicko, Rex the Dog digs deeper into the circuits of his custom-built modular synth to deliver a powerful trio of sharply contoured jams. A true master of expressive might within a limited set of sounds, the acclaimed producer introduces the title-track with breezy, shimmering arpeggios that are soon joined by a weighty, throbbing bass drum. The raw, pounding synth stabs of muscular acid-fest "Musik Hypnotises" precede "Wasp Factory," which pairs raspy synths with kinetic drum rolls and boldly cut-up vocal samples in another deceptively simple arrangement trimmed to perfection for maximum effect.


KOM 348EP

SONNS: Teacher 12" (KOM 348EP) 12.50
Now a household name in the Los Angeles underground dance milieu, Alexandre Mouracade's DJ sets as Sonns carry the influences of a life lived with the sounds of NEU!, Tones on Tail, and Arthur Russell -- a genre-bending bricolage ranging from punk-infused club serenades to multi-colored synth riffs -- and his studio sessions routinely fuse vintage analog equipment with digital synths, guitar pedals, and field recordings. This expertise heavily informs the tightly woven "Teacher," which comes in a propelling "Danse Version" and as pop-indebted original, and also features the rich and silky vocals of "Tobias Buch" (The Late Great Fitzcarraldos).

KRANKY

KRANK 199LP

VANTZOU, CHRISTINA: No. 3 2LP (KRANK 199LP) 20.00
Gatefold double LP version. "Album No. 3 from Christina Vantzou is the result of a two-year process of composing, arranging, rearranging, experimenting, and melding classical instruments with synths and electronics. Recorded in Belgium with a 15-piece ensemble of strings, horns, woodwinds and micro-choir, the tracks vacillate between orchestral, ambient soundscapes and more structured works that the composer refers to as 'pillars.' The internal core of the record, however, is unwavering. All tracks head in the direction of otherworldly drones surrounded by soft, subtle and sometimes intense veils or points. The structured tracks mark a new direction for Vantzou. Whereas 100% of the music on No. 1 and No. 2 was composed without time structure or steady click, the pillars on No. 3 adhere to a solid mathematical scheme. Perhaps Vantzou's day job as a math teacher is starting to have an influence. No. 3's virtual instruments and voice samples hearken back to Vantzou's time with The Dead Texan, specifically tracks like 'Aegina Airlines' and 'When I see scissors I cannot help but think of you'. The synths on No. 3 were given special attention and were recorded over a 2 week period using a DX7, Yamaha CS20, Roland Juno-6, and a selection of eurorack modular synths, making No. 3 very much a hybrid record, both symphonic and synth-based. To complete the album, Vantzou made 2 slow motion videos using a phantom high-speed camera and a 16mm short film."

KYNANT RECORDS (GERMANY)

KYN 001EP

DURANTE, MAX: Black Light 12" (KYN 001EP) 16.50
180-gram vinyl. Techno veteran Max Durante has been active since the late '80s and is regarded as one of the pioneers of Italian techno and electro. Black Light is a four-track EP of deep, physical, avant-garde techno. The swung drums, drone, and perc of "Black Light" precede the distorted, broken-beat theme of "Solar Request." With his remix of "Biocentrism," Donato Dozzy loops the feedback into a powerful groove for the DJs. Mastered by Neel (EnissLab Studio, Rome). Pressed at Optimal Media, Germany. Artwork by Christopher Honeywell. Kynant Records (based in Berlin with a UK background) explores and inverts rhythm in techno.

LEAF (UK)

BAY 092CD

KENT, JULIA: Asperities CD (BAY 092CD) 16.00
"Vancouver-born and New York-based, acclaimed cellist Julia Kent rose to prominence with Rasputina and Antony & The Johnsons. Her extensive résumé includes recent work with Swans, Aidan Baker, Rachel Grimes, Rutger Zuydervelt, Barbara Morgenstern, Library Tapes and Khan of Finland. Asperities is the artist's fourth solo album. As the title suggests, this is a record born of conflict: internal, personal and global. Universal themes. The build of pressure and the threat of violent release. Modern guilt. Modern fears. Kent draws from a rich well of emotion, the pieces deceptively rendered, each feeling like a miniature dramatic epic in its own right -- sculpted and self-contained. Her work on recent film scores is very much in evidence. While cinematic in scope, there is no trite Hollywood ending here. There is tension and darkness, the edges cracked and frayed. Asperities was recorded, produced and mixed in its entirety by the artist in her New York studio. Looped cello, electronics and found sounds create a world where the technological and the organic merge in perfect symbiosis, the layers of sound peeling back to reveal a beating, bloody human heart at its center. Throughout the plaintive strains of opener 'Hellebore,' the prowling grace of 'The Leopard,' the elegant restraint of 'Heavy Eyes' and the immersive closer 'Tramontana,' Kent's cello evokes romance and loss, a yearning for simplicity. This is the soundtrack to the transitory nature of life and the inevitability of death."

LES POINTS (FRANCE)

LESPOINTS 666LP

LES POINTS: Youknowwhatminimalisch 2LP (LESPOINTS 666LP) 25.50
Songs for eternal emptiness/happiness in gatefold sleeve from the Swiss Les Points collective. Avant-garde microhouse Anubis minimal 137-BPM house suprematisten hardcore minimal underground clicks 133 tempo glitch-house occult house nonrepresentational techno future-Satan-house acid minimal gabber clicks micro minimal club sounds pflotsch loops Crowley house fraktal minimal progressive redudanz repetitions loop minimal rave out-of-body techno micro suprematism minimal objective 666 pflotsch acid bleep suprematistic.

MANNEQUIN RECORDS (GERMANY)

MNQ 068EP

EFFETTO JOULE: Robespierre 12" (MNQ 068EP) 14.50
The rare dark Italo 12'' Robespierre by Italo wave trio Effetto Joule was originally released in 1989 on Top Sound Record; this reissue comes with extra demo tape material from their Ultraviolet tapes and a killer Flemming Dalum remix of the title-track. Effetto Joule formed in Modena during the second part of the '80s. Deeply influenced by British synthpop heroes like Tubeway Army and Depeche Mode, brothers Flavio and Valerio Biagi, along with Valerio Tassinari, were able to merge those kind of epic sounds with the more romantic Italian vision of the electronic dark wave. White vinyl; edition of 300.


MNQ 074LP

MOVE: Move LP (MNQ 074LP) 20.00
Long sought after by collectors and originally released in 1986 by a small independent label, this stellar full-length is driven by sharp post-punk guitars, tribal rhythms, and ghostly synthesizers, following the UK coldwave and post-punk tradition. Reflecting the realities of life in a city like Rome in the political landscape of the early '80s in Italy, Move also released a couple of tapes and a split 12'' with Gronge before dissolving into obscurity. The history of Italian post-punk begins around 1979, in some specific areas of the country. The productions come out of Pordenone and Bologna, with The Great Complotto (SPITTLE 048LP, SPITTLE 060LP) and Italian Records influencing the surrounding area. In a less organic way, something began to arise in other parts of Italy, especially in the center-north where Florence, Turin, Milan, and Rome played a crucial role. Move is a forgotten classic, reissued here for the first time and highly recommended for fans of Joy Division, New Order, Section 25, Killing Joke, Bauhaus, Gang of Four.

MARTIN HOSSBACH (GERMANY)

12BACH 004LP

JEMEK JEMOWIT: Jemek Jemowit Is Doktor Dres LP (12BACH 004LP) 19.50
Jemek Jemowit has never been easy to read -- is he serious or is it all a joke? With Jemek Jemowit Is Doktor Dres, the one-man band, DJ, and conceptual artist that is Jemek Jemowit moves between old-school rap, Southern trap, and EBM, skillfully mixed by hardcore techno legend Marc Acardipane. With anarchistic-Dadaistic and often quite explicit, the self-described "post-patriotic" artist sings in Polish, the language of his parents, and in German, the language of the country in which he grew up and studied and where he lives at the time of this release. On his "hyper-patriotic" (Jemek Jemowit's words again) EP Tekkno Polo, released on the Polish Oficyna Biedota label in 2012, Jemek Jemowit focused on Polish culture in Poland. The spectacle of a Pole with a German passport presenting music recorded in Italy and inspired by Polish sub-genre "disco Polo" was exotic, and Jemek Jemowit touched on subjects including national dishes like bigos and bizarre figures of Polish pop culture. Was he serious or was it all a joke? On Jemek Jemowit Is Doktor Dres, released on the Berlin-based label Martin Hossbach, Jemek Jemowitz embraces the role of the Pole in Berlin. In Polish peppered with neologisms and grammatical mistakes, he states that his alter ego, Doktor Dres (which translates roughly to "Doctor Tracksuit") leads a better live in Berlin than he did in Poland. He often switches into the German language, too. In an interview with Martin Hossbach label founder Martin Hossbach, Jemek Jemowit explains, "I'm the perfect Pole in Germany who goes shopping at the most expensive warehouse in West-Berlin, the KaDeWe, without reproach and my German is pretty good, too!" He has now become the person that Tekkno Polo reacted against with its "hyper-patriotic" approach. Germany is now the sacred land, and on track "Oryginalne Adidasy," he invites his fellow Poles to come and visit him -- he who "grew up between The Wall and Moschino" -- in Berlin and have pierogi made by Gucci at the KaDeWe. "Endlessly bragging / Style without class / Deutsche Mark / Oryginalne Adidasy" -- this is Doktor Dres's slogan.

MINDTRIP MUSIC (GERMANY)

MINDTRIP 011EP

VA: Contortions 12" (MINDTRIP 011EP) 14.00
This EP brings together four of the most challenging and interesting artists of the current techno scene. Dutch DJ and producer Tripeo aka Darko Esser opens with "Ovadoca," a dark, meandering, and trippy track incorporating rich analog sounds into a deep, rolling groove. Finnish DJ and producer Juho Kusti's remix of "Ovadoca" is a club-friendly roller with eerie tones, additional percussion, and a new arrangement. Swedish DJ and producer Simon Haydo's "Contortions" is a bass-heavy, mesmerizing track, remixed into a tough, driving chunk of techno by Argentine DJ and producer Jonas Kopp.


MINDTRIP 012EP

ALDERAAN & MENTAL RESONANCE: Man from Earth 12" (MINDTRIP 012EP) 14.00
Two young Argentine techno producers, Alderaan and Mental Resonance, join forces for Man from Earth, which brims with menace and intent right from opener "Man from Earth 1," an unabated, single-minded experiment in contrasting restfulness with forcefulness. "Man from Earth 2" is a fathomless, enigmatic exploration of the trippiest of techno. Pfirter reworks "Man from Earth 3," tweaking the original (unreleased at the time of this release) with the dancefloor squarely in mind. "Man from Earth 4" is an undulating exercise in messing with the listener's mind -- unfaltering and unapologetic in its quest to pull you into its void.

MISFIT MELODIES (GERMANY)

MFM 001EP

LD NERO: Third Eye Sunglasses 12" (MFM 001EP) 14.00
Underground hero LD Nero delivers the first release on the anything-goes Misfit Melodies label. Tried and tested Nero deepness melds with his rave alter ego and beloved nonconformity. Gerd Janson and Lopazz's remix of "Third Eye Sunglasses" takes a more traditional deep house approach, while Bad Cop Bad Cop deliver a blue-eyed dub reggae take on the same track.

NORTON RECORDS

45 032EP

VA: Wild Wild Wild 7" (45 032EP) 7.00
"Trio of the most frantic early 60's frat bashes ever waxed! Dig the barely containable insanity of Gentrys' Wild (less than 5 known orig. copies!), the buzz-saw mayhem of Renegade V's Wine Wine Wine + Twiliters' Rollerland! Demented!"


45 033EP

SCREAMIN' JOE NEAL: Rock & Roll Deacon 7" (45 033EP) 7.00
"Wail baby wail with ultra rare deranged '59 St. Loo Little Richard style screamer! Killer sound puts you right in Screamin' Joe's larynx! A must for Little Richard/Kid Thomas/Esquerita nuts."


45 036EP

JACKIE & THE CEDRICS: Scalping Party 7" (45 036EP) 7.00
"From the land of the rising reverb comes Japan's coolest surf instrumental sensations! Dick Dale meets Godzilla as Tokyo's Tycoons of Teen ride Fujiyama's wild lava on 3 furious blowouts."


45 126EP

MAYER, NATHANIEL: Ride In My 225 7" (45 126EP) 7.00
"Motor City studio chopper b/w boss in person holiday hoot, 'Hey Mr Santa'."


45 874EP

THEE MIDNITERS: Jump, Jive And Harmonize 7" (45 874EP) 7.00
"Dig all the killer sounds from the East LA kings of krunch."

OCCULTATION (UK)

LOGOS7DF 043LP

REVOLUTIONARY ARMY OF THE INFANT JESUS: The Gift of Tears LP (LOGOS7DF 043LP) 22.00
Following the 2015 release of the first album by Revolutionary Army of the Infant Jesus since 1990 (Beauty Will Save the World (LOGOS7DF 042LP)), the band's 1987 debut, The Gift of Tears, is now available for the first time since its original release. One of the most overlooked releases to come out of the experimental music scene in mid-'80s England, The Gift of Tears has remained largely unknown, albeit highly sought-after in collectors' circles. Originally released on the Probe Plus label in 1987, it remains an undeniably essential archetype of performance art set to music. The Liverpool outfit built their reputation on their extraordinary immersive multimedia performances, which combined multiple layers of visual imagery with elements of ritual, enigmatic samples, field recordings, and mesmeric live music, later drawing comparisons to the apocalyptic folk of Current 93. RAIJ have mainly avoided interviews or media attention, which has elevated the mystery surrounding the band, its origin, and subsequent cult following. To this day, RAIJ have continued to let their music do the talking. There is something to be said for a band that created an album so enigmatic yet familiar that, with time, still proves that beauty truly never fades. Revised artwork, includes insert; limited edition of 1000 copies.

OLSEN (NORWAY)

OLS 001EP

TERJE, TODD: It's the Arps EP 12" (OLS 001EP) 12.50
2015 repress. Please welcome: It's the Arps! Oslo's magic music-maker Todd Terje has already gained a wunderkind-like reputation on top of being one of the best remixers money can buy. The first release on his own label was created from scratch and solely on the mythical synthesizer ARP 2600. Towering over the assortment is the laser crime scene called "Inspector Norse," which is the finest goosebumps dance music. "Myggsommer" gives away Terje's secret love for quirky exotika, whereas "Swing Star Pt. 1" and its brother have a (Balearic) brilliance and witchery to them. Housed in a beautiful sleeve courtesy of Bendik Kaltenborn.


OLS 002EP

LINDSTROM & TODD TERJE: Lanzarote 12" (OLS 002EP) 12.50
2015 repress. "Lanzarote" is (pronounthed with a lithp and a finger thnap. The working-title for this was "Cowley," let's see if any of you can figure out why). The B-side remix by DJ-turned-mathematician diskJokke turns down the gayness, but keeps most of the elements for a version even the most serious of the deep house mafia can play.


OLS 003EP

TERJE, TODD: Strandbar 12" (OLS 003EP) 12.50
2015 repress. Todd von Terje dives into summer with a new single entitled "Strandbar," following '90s tradition by featuring three versions of the same piano-based idea, bringing in both a "samba," "disco" and a "bonus" mix. The samba mix is a percussion cacophony with a busy beat tailored to make your limbs loose, the disco mix is what Terje would've played IF he'd been asked to program the music at the Virgin space shuttle, and the bonus mix is... a bonus mix.


OLS 005EP

TERJE, TODD: Leisure Suit Preben 7" (OLS 005EP) 12.50
Special 7" related to Todd Terje's recent It's Album Time CD/2LP.

OSTGUT TON (GERMANY)

OSTGUT 091EP

KOBOSIL: 91 12" (OSTGUT 091EP) 12.50
Kobosil follows his 2015 remix of Terence Fixmer's "Aktion Mekanik Theme" (OSTGUT 088EP) with his first EP on Ostgut Ton, presenting tracks with a similar vibe and muscular impression rather than a varied selection of aesthetics. The hypnotic synth pulse and bewitching strings of "Avernian" sit atop a ripped, dark four-to-the-floor beat; "Konvergent" features a double kick drum all the way with lush claps and a vocal bent beyond recognition; and "Per" comes with an overall unfussy feel and a dry steam hammer drum. Only the interlude, "Athtar," takes a different direction, with drone sounds, noise speckles, and heavily processed vocal samples.

POLYTONE (GERMANY)

PLTR 013EP

YNK: High on Endorphin, Low on Gasoline 12" (PLTR 013EP) 14.00
YNK's second EP for Polytone is much more than a continuation of his earlier releases on Polytone and Tenderpark. It's an autonomous work, drawing on a multitude of materials to create a fluid texture of samples, synths, and drum machines and a detailed, cohesive structure. The compelling theme of opener "One-Oh-One" reemerges as a reprise on the B-side; between these moments sits Benedikt Frey's remix of "One-Oh-One," which creates a form of deepness rarely heard in his productions in a kind of introverted free electronica defying the boundaries of house and techno. Artwork by Lithuanian-born artist Kristina Suvorova.

POTOMAK (GERMANY)

POTOMAK 819901

EINSTURZENDE NEUBAUTEN: Zeichnungen Des Patienten O.T./Drawings Of O.T. LP (POTOMAK 819901) 28.50
2015 repress; 2002 release. LP version. Originally released in 1983, Einstürzende Neubauten's second album marks a radical progression in the band's sound as well as a revolutionary step forward in the realms of industrial and experimental music. Bassist Marc Chung (ex-Abwärts) and electronics engineer Alexander Hacke (later a member of Crime And The City Solution) joined the band during this time, and singer Blixa Bargeld also became a full-time member of Nick Cave And The Bad Seeds. Despite each members' background, Einstürzende Neubauten's ethos -- "Destruction is not negative, you must destroy to build" -- treaded on ground that was explicitly anti-music. Through their intuitive compositional approach and application of found, industrial objects into song forms, the band's sonic trajectory was intent on generating entirely alternate modes of music-making. In contrast to the all-out destructive barrage of their debut, however, Zeichnungen Des Patienten O.T. reveals an astonishing maturity in its varied and dynamic range of textures while still being no less uncompromising.


POTOMAK 820001

EINSTURZENDE NEUBAUTEN: Haus Der Lüge LP (POTOMAK 820001) 28.50
2015 repress; 2002 release. Gatefold LP version. This is the fifth album by Einstürzende Neubauten, originally released in 1989, now remastered. Highly energetic and possessed of a certain level of danceability, Haus Der Lüge was perhaps the most accessible for the band so far in terms of straightforward industrial-rock, with less grinding experimentation. However, this album is far from any sort of mainstream convention, with some of the most convincing alchemy of the best of the group's sonic clang, combined with some of the most captivating singing by Blixa Bargeld yet. This album showcases all the best aspects of the band's musique concrète experimentation reigned in by impressive song-structure that doesn't diminish any of Einstürzende Neubauten's conceptual or ear-bashing impact.


POTOMAK 825171

EINSTURZENDE NEUBAUTEN: Kollaps LP (POTOMAK 825171) 27.50
2015 repress. Includes a large format 12-page booklet. Originally released in 1981, Kollaps is the seminal, form-destroying debut album by German industrial pioneers Einstürzende Neubauten (trans. "Collapsing New Buildings"). The band's use of junk metal, power drills, jackhammers and other surprising instrumentation would come to define their challenging and continually inventive career, making them not only one of the originators of industrial music, but one of the world's most influential and far-reaching forces at the intersection between avant-garde and rock music. Formed in 1980 in the wave of the Dadaist movement Die Geniale Dilletanten, after a series of devastating live performances and personnel changes (one of which briefly involving electronic musician Gudrun Gut), the band's line-up cemented itself with core members Blixa Bargeld, F.M. Einheit (previously of Hamburg-based post-punk band Abwärts) and N.U. Unruh. On Kollaps, a violent collision of urban primitivism and punk sensibilities, the trio declared war on every conventional way of listening, combining an intense mess of atonal guitar drones with brutal scrap metal percussion. At a time in Germany in which the wall encircling West Berlin transformed the city into a state-subsidized, near-paradisiacal freak-enclave for artists, Einstürzende Neubauten offered cathartic cascades of noise, employing steel parts, tin drums, drills, hammers, saws and untuned electric guitars, all crowned by Bargeld's bloodcurdling screams and feverish, apocalyptic texts. Kollaps, with its atonal essence, embodied exactly what the title suggested: decay and destruction, illness, doom and death. Years later, with the fall of the Berlin wall behind it, Kollaps still sounds as radical and extreme an artistic statement as ever.


POTOMAK 826141

EINSTURZENDE NEUBAUTEN: 1/2 Mensch LP (POTOMAK 826141) 28.50
2015 repress; 2002 release. LP version. This is the third album by Einstürzende Neubauten, also known as Halber Mensch, originally released in 1985. The album opens with the startlingly oppressive, almost fully a cappella title track, with contrapuntal, atonal, en masse chanting. The album progresses to include quite a repertoire of electronically-generated sounds, finding the band developing their mishmash of industrial experimentation matched by terrifying clangs, stomps, and of course, the theatrical, poetic vocal delivery of Blixa Bargeld. An incredibly aggressive album, with insistent, pounding rhythms and razors on metal, and Bargeld's voice dominating your dreams for a month after listening.


POTOMAK 826501

EINSTURZENDE NEUBAUTEN: Fünf Auf Der Nach Oben Offenen Richterskala LP (POTOMAK 826501) 28.50
2015 repress; LP version. Digitally-remastered 2002 release. This is the fourth album by German avant-garde industrial band Einstürzende Neubauten, originally released in 1987. The bonus track "Adler Kommt Spaeter" is an early version of "Zerstörte Zelle." Considerably lower-key than all their previous releases, Fünf Auf Der Nach Oben Offenen Richterskala (trans. "Five On The Open-Ended Richter Scale"), with especially puzzling, almost country-rock track "Morning Dew," sung in English, but with moments of whip-cracking and atomic explosions. There's the same attention to rhythmic assault on this record as on the others, but there's a quieter, more sinister, darker, lower-key ambience at work here, with Blixa Bargeld's vocals right at the center-front of the mix, as he experiments with breath, lower pitches, whispers, and barely-audible squeals. There's a barely-restrained, beautiful tension here that never gets resolved, sounding as if the band is holding itself back from complete annihilation.


POTOMAK 919781

EINSTURZENDE NEUBAUTEN: The Jewels LP (POTOMAK 919781) 25.50
2015 repress. Originally released between 2006-2007 digitally track-by-track at a time, and only available to web site subscribers of the "Phase III Supporter Project," Einstürzende Neubauten's The Jewels was assembled piece-by-piece and was contextually drawn from singer Blixa Bargeld's dreams. Eventually officially released on Potomak in 2008, The Jewels is now available on vinyl. The Jewels album is the result of an experiment to search for a navigation system, which led the band back into hidden niches of the Einstürzende Neubauten universe that have not been especially brightly illuminated before now; into those corners, which have remained in the dark or have been forgotten despite two decades of restless movement. This visualization of their musical cosmos began at the same time as work on Alles Wieder Offen (POTOMAK 904431). Initially, these miniatures were conceived only as download presents for the supporters of "Phase 3" of www.neubauten.org. Consequently, the time that could be spent on jewel-cutting was limited; two days had to suffice to go from the first inspiration to a finished song. The result is a concept album with miniatures -- small jewels, 2-3 minutes in length, about which Neubauten say: "At first we considered this process a gigantic digression, but after a while we noticed that the excursions that led us away from the normal album work were justified by the results, because they allowed us to deliver some of our most ego-free compositions up to now." Deluxe gatefold packaging, including a 20-page booklet with full-color photos, a text by Blixa Bargeld and lyrics in German and English.


POTOMAK 957051

EINSTURZENDE NEUBAUTEN: Silence Is Sexy 2LP (POTOMAK 957051) 36.50
2015 repress; Gatefold vinyl reissue of Einstürzende Neubauten's Silence Is Sexy, originally released in 2000. This vinyl double album contains the track "Pelikanol," first available as a bonus track with the 2000 release of the album and now for the first time available on vinyl. Silence Is Sexy finally receives a long-awaited reissue on the band's own label Potomak. The element of surprise was and continues to be routine for Einstürzende Neubauten. On Silence Is Sexy they masterfully celebrate the unexpected in the exploration of silence. It is a wonderful album in the classical Neubauten sense; lyrical and melancholy. It's a musical coming-of-age from metal-defying scrap iron sound to constructed melodiousness, with a familiar rhythmic undertow -- playful, arrogant, poetic, subversive, dandified and mature. From its first release in 2000 (marking the 20-year existence of the band) to date, it has doubtlessly remained the group's most complex work and the most fascinating in its evolution. It shows the Neubauten universe from both a known, emotionally moving side, as well as one that is deliberately constructive. It clearly breathes the inimitably rough Neubauten handwriting, while Blixa's voice cuts through intellectual and cryptic texts. It is carried by metal sounds, from which individual instruments can almost no longer be extracted -- and by silence. Ultimately, nearly inaudible tones or laughter in the right place can seem more destructive than the most enduring rage. This is an album that won't be ignored; a unique appearance in the history of German rock music. 180 gram audiophile pressing.

PUBLIC POSSESSION (GERMANY)

PP 013EP

WEHRMEISTER, KONRAD: Nutty Dubs 10" (PP 013EP) 14.00
Public Possession's first dub release arrives courtesy of Konrad Wehrmeister, whose past wrok focuses more on his technoid musical tastes, with releases under his own name or as part of formations such as Günther Lause and Twoman on labels like SVS Records and Paradise Now. Nutty Dubs focuses on his efforts as a producer of the more mellow and laid-back audio treatments, creating a dense atmosphere that instantly sucks you in to cherish the moment and explore its sound cosmos. Dive in and get carried away (no expectations necessary).

RADICH

RAD 001LP

BEAT OF THE EARTH: This Record Is an Artistic Statement LP (RAD 001LP) 22.00
Two foundational documents of American private-press psychedelic rock emerge from decades-long shadows, deeply illuminated chapters authored by prototypical "terminally unique" Southern California artist/seeker Phil Pearlman and two of his early, briefly extant bands.From 1967, Phil Pearlman (The Electronic Hole (RAD 002LP) and the majestic Relatively Clean Rivers (ASH 3007CD)) leads a free assemblage of local Southern California acid-heads through loping Velvetica tribal incantations. The Beat of the Earth earns its name in two side-length jams brimming with eastern-tinged luminosity. It is the sun-dappled mirror of The Velvet Underground's "Sister Ray." Instead of the urban decay and black and white pop art of the Warhol scene, The Beat of the Earth represents the same idea, looking west across the Pacific. This comes from the same yet intrinsically polar opposite frame of mind from the VU noise marathons of their epic live shows. Mind-expanding psychedelia done by sun-gobbed hippies that were totally out of step with everything else happening in Southern California of the pop-psych '60s. This record stands as much an outsider statement as ESP-Disk's Cromagnon record (ESPDISK 2001CD/LP), or any of the Swedish bands of the Silence stable. It is a truly zonked masterpiece of tribal hippy culture dosed to the gills! Limited edition of 300.


RAD 002LP

ELECTRONIC HOLE, THE: The Electronic Hole LP (RAD 002LP) 22.00
Two foundational documents of American private-press psychedelic rock emerge from decades-long shadows, deeply illuminated chapters authored by prototypical "terminally unique" Southern California artist/seeker Phil Pearlman and two of his early, briefly extant bands.The Electronic Hole (1970) is a raw, noisy, droning, and completely mesmerizing album recorded by Phil Pearlman between the first Beat of the Earth album (RAD 001LP) and Relatively Clean Rivers (ASH 3007CD). Pearlman assembled The Electronic Hole in 1969. Recorded in local studios during off-hours, the album is entirely different from Beat of the Earth, as it abandons a free-form improvisational approach in favor of "compositions," including a wild cover of Frank Zappa's "Trouble Every Day." Pearlman plays sitar to great effect on the album, and another track has the thickest wall of fuzz guitars imaginable. It stands as the closest approximation of the West Coast version of what The Velvet Underground were doing with their first two albums. This is deep, brain-frying psychedelia in its purest definition. Limited edition of 300 copies.

ROBELLION FILMS (UK)

ROB 002DVD

ROBEL, ERIC: The Color of Noise: A Film About the Artist Haze XXL and His Notorious Record Label, Amphetamine Reptile Records DVD/BLU-RAY (ROB 002DVD) 19.00
"The Color of Noise is a full length documentary about the Artist Haze XXL (Tom Hazelmyer) and his notorious record label, Amphetamine Reptile Records. Throughout the 80's and 90's the label would achieve almost cult-like status for being adventurous and daring in the midst of a time where 'safe' punk rock would rule the airwaves with a newly accepted style of music by the mainstream college goers, Grunge. Though with AmRep, not only a roster of the most outrageous performers would find a home, but also a legion of poster artists who broke all of the rules. Armed with a computer and an aesthetic of bold imagery, an artist would emerge in Hazelmyer. This is an American mid-west story about a man who created his own path, far from the norm and how he brought along with him countless others who would achieve greatness by sheer proximity and participation. This is the true American underground. Featuring over 50 interviews from across the globe, unearthed live footage of the bands and stunning visuals masterfully edited together resulting in one of the years' best music documentaries. Premiered at Jack White's Third Man Records and taken on a US tour shortly afterwards, The Color of Noise has gained the reputation as one of the most important films about the Noise Rock era."

ROCKET RECORDINGS (UK)

LAUNCH 082LP

GNOOMES: Ngan! LP (LAUNCH 082LP) 25.50
LP version. The Russian city of Perm takes its name from the Finno-Ugric word "para ma," which translates to "faraway land." Indeed, despite being a center of both culture and industry for the Ural region, at 700 miles from Moscow it was far enough away from the heart of the Russian empire to be used as a place of exile in the 19th century for those who fell out of favor with Alexander I. The three musicians who form Gnoomes hail from Perm, and have a deep connection with their home; indeed, their drummer, Pacha, is descended from the Komis, the indigenous pagan people of the area who lived there before Russian culture and orthodox religion overtook it in the late 15th century. Yet rather than being confined or frustrated by their surroundings, the three-piece outfit have used their origins as a springboard to the unknown, via the skysurfing radiance of their debut album for Rocket Recordings, Ngan!, an album suffused with a potent sense of wonder. It's bookended by the enormous twin psychic monoliths of "Roadhouse" and "My Son," which form dreamlike aural travelogues, clocking in at about 15 minutes each, and take influences as diverse as the fiery avant-six-string scree of Atlas Sound, the classic motorik of NEU!, and Kompakt techno, and sculpt them into a wide-eyed, kaleidoscopic sweep of sound that the band themselves, keen to break free of generic convention, dub "stargaze." It's a style that nods to the melodic sweetness of The Flaming Lips or Tame Impala as much as the synapse-shifting dynamics of Animal Collective or My Bloody Valentine. "Myriads" is a sweet, slightly dazed pop song, distantly related to the muse of Syd Barrett, yet filtered through the band's ambitiously hallucinogenic soundworld and propulsive rhythmic drive. Elsewhere, on "Moognes," the collision of melancholy vocal harmonies, luminous guitar melody, and in-the-red intensity makes for a sound as bracing as it is beatific. Ngan! is the sound of a band looking above and beyond modern archetypes of guitar-fueled noise in search of a strange and beguiling personal vision, and dissolving barriers of distance, cultural context, and geographical inconvenience with a confident and warm-hearted flourish. "For us this is the main mechanism of psychedelic music," the band explain. "To connect things, to join this particular experience into a global one." With Ngan!, Gnoomes seem to be on the verge of doing just that.


LAUNCH 083LP

HEY COLOSSUS: Radio Static High LP (LAUNCH 083LP) 25.50
LP version. 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.

ROOSTER (UK)

ROOSTER 022LP

HEADS, THE: Time in Space 2LP (ROOSTER 022LP) 25.00
"Originally pressed in a limited edition for sale at Liverpool Psych Fest, The Heads' Time in Space compiles twentytwo tracks from their highly collectable tour CDR series. Cut by Shawn Joseph and showcasing Sam Giles artwork, this collection of studio outtakes, rehearsal sessions and live tracks is the ticket to some serious cosmic adventures. This one-time pressing of 600 copies comes on translucent vinyl with orange and blue splatters."

RUNNING BACK (GERMANY)

RB 058EP

RING, BRIAN: Movements EP 12" (RB 058EP) 14.00
Debut release from Brian Ring. Raised in Cork on a diet of US house music and disco oscillating between Sylvester and Glenn Underground while sneaking into clubs, Ring was baptized by David Mancuso and Theo Parrish in London while his record collection grew and grew. An epiphany in some remote part of Australia resulted in him following his own path in making music. The Movements EP brings together Mike Dunn (sample has been cleared, folks), Timothy Leary, and Tee Scott, puts disco roller skates on heavy-legged deep house, and, most of all, is as fun as it is sincere.

SCISSOR & THREAD

SAT 024CD

ARIS KINDT: Floods CD (SAT 024CD) 17.00
Through dense layers of noise, brittle beats, found sounds, and a general haze, Francis Harris returns to his own Scissor & Thread imprint with the aid of frequent collaborator, and long-time friend, guitarist Gabe Hedrick, under the guise of Aris Kindt. Following Harris's 2014 sophomore solo album, Minutes of Sleep, (number-one in MOJO magazine's list of the 10 Best Electronica Albums of 2014), the duo's debut album, Floods, takes as its focus the late author W. G. Sebald's profound interpretation of Rembrandt's 1632 masterwork The Anatomy Lesson of Dr. Nicolaes Tulp in Sebald's acclaimed 1995 novel Die Ringe des Saturn: Eine englische Wallfahrt (The Rings of Saturn). Floods is a sonic journey into the heart of the body, a bold rejuvenation of the corpse of Adriaan Adriaanszoon (Aris Kindt), the figure in Rembrandt's painting. Written during span of over a year using an 808, a modular Eurorack, and two guitars, Floods was mixed at Key Club Recording Company in late August 2015 with engineer Bill Skibbe. The album charts new territory for both Harris and Hedrick, melding a long history with electronic music and youthful love for indie noise and weaving in and out of near-silence and sheer walls of sound with a gentle and constant heartbeat at its core. The dream-like murk of opener "Now Grey" sets the tone with thick pads, distant ghostly guitar work, and fragmented drums. On the title-track, dubby chords set the tone as subdued toms amble forward with a crackle of fire nearby; dense sounds echo and swirl around into a climactic frenzy. "Blue Sky Shoes" hypnotizes with its submerged strings and subaquatic patterning, as synths rain down. "Snowbird" builds into a repressed fury as a blizzard of toms bounces around a heavy layer of noise while a morose, longing string arrangement emerges from despair into an ethereal moment. "Every New Thing" dives deep again into murky waters with entrancing drums and warped guitar lines swirling around like sirens. "Embers," with its quiet demeanor, slowly builds to an enlightened peak, while the closing track, "Braids," generates a shoegaze fog of churning guitar work and dense noise as the sound of children swinging drifts in and out, as if trying desperately to recover a fragmented memory of lost time.

SECRET RECORDS

SUNSP 021LP

I ROY: Gussie Presenting I Roy LP + 10" (SUNSP 021LP) 26.00
"Classic 1973 reggae album re-issued on vinyl with a bonus 4 song 10 inch. This album follows on from where Gussie and Big Youth produced the first of the new groundbreaking deejay albums Screaming Target. These albums revolutionized the reggae genre. This album stands out with it's articulate, caustic social commentary and witty observations. LP Comes with a double sided insert featuring track by track breakdown and 3,000+ word biography and bonus 4 track 10"."

STAG-O-LEE (GERMANY)

STAGO 073LP

VA: Jungle Jive: Voodoo Exotica Jungle Swing Vol. 1 - From Swingin' Dick's Collection of Shellac Shakin' Hot Jazz 78s! 10" (STAGO 073LP) 14.50
Inspired by the call of the wild and the primitive beat, this collection of voodoo exotica comes from the vaults of the Swingin' Dick's 78 Social event series, renowned the world over as "The Original Gramophone Operative." The event's collection of shellac 78rpm records is shared here for the listener's edification. Join the enigmatic Swingin' Dick as he spins his unique brand of jungle swing and tribal rhythms, ten inches at a time! Many of these sides are either previously unissued promo pressings or see their first inclusion on compilation here. Recorded directly from their battered 78 platters and remastered for your aural satisfaction, it's time to embrace the hiss and crackle of authentic swing records from the '30s and '40s. With jazz hotter than the tropics, packed with the essence of both the rhythm and the blues, these tunes will have you swingin' and swayin' till you start sweatin'! The sleeve is inspired by vintage shellac covers. Includes tracks by Joe Loss & His Orchestra, Duke Ellington and His Cotton Club Orch., The Bobby True Trio, Juan Tizol & His Orchestra, Bob Crosby's Bob Cats, The Mills Brothers, Sidney Bechet, Miff Ferrie & His Ferrymen, Charlie Barnet & His Orchestra, and Ambrose & His Orchestra.


STAGO 074LP

VA: Slow Grind Fever Volume 5 LP (STAGO 074LP) 18.00
Welcome once more to Slow Grind Fever, the soundtrack to Melbourne's smokiest slow dance party, where the DJs play moody mid-century slow-burners for the indolent and the aroused on the last Saturday of the month. Listening to the albums is nice, but when you're up there all wrapped up in the smoke and the smells and the sizzle of the records, there's nothing quite like it. Slow Grind Fever Volume 5 was compiled by SGF mastermind Richie1250 from Melbourne. Expect the best in slow dance! Includes tracks by The Hollywood Flames, Rose Hardaway, The Marquis, Hillard Street with Jack Marshall's Music, Steve King & The Echelons, Johnny Burnette, Dee Clark, The Night Caps, Birdie Green, The Shields, Nappy Brown with Teacho Wiltshire's Orch., Singin' Sammy Ward, King Coleman, and April Stevens.

STEP RECORDINGS (POLAND)

STEP 007EP

PIERS, CHRISTIAN: Sambos Sub 12" (STEP 007EP) 14.00
Spell "PETS" backward to get "STEP." Spell "STEP" forward to find PETS going back to basics. STEP is the vinyl-only label from the founders of PETS, Catz 'n Dogz, that highlights the rawest forms and root functions of quality club music. STEP finds the fundamental groove with under-the-radar house and techno that is isn't afraid to be rough around the edges. STEP is limited promo and all about the music.

SUDIPHONE (FRANCE)

NASS 001LP

NASS EL GHIWANE: Nass El Ghiwane LP (NASS 001LP) 17.50
Formed in 1971, Nass El Ghiwane's five members first performed in the avant-garde of Morocco's underground theater scene. Following their debut performance as a band in Rabat at Tayeb Seddiki's Mohammed V Theatre, their songs became the 1970s anthems of Moroccan youth -- nationalist, rebellious, experimental, and bygone all at once. They are Morocco's most enduring musical legacy. They modernized the way music was transmitted to the disenchanted and rebellious youth of their country. Their concerts would turn into riots as their music and lyrics incited deep affection from their virulent fan base. Their music echoes medieval Moroccan oral traditions; coming from the Gnawa trance music of their ancestors, they sang tales of Sufi mystics and wrote lyrics that criticized the conservative monarchy of Mohammed V. They were the first to introduce the banjo, guembri, and colloquial Moroccan Arabic in their version of the shaabi genre. Nass El Ghiwane were a huge influence on Algeria's modern Raï movement, as Cheb Khaled started his career covering Nass El Ghiwane's songs. This is exemplary trance music and the foundation of the modern era in Moroccan music. Martin Scorsese has called them "The Rolling Stones of Morocco." It could be argued that Scorese's claim would be more accurate if the Stones were fronted by Bob Dylan. This is the first ever vinyl reissue of their third album from 1976, one of the most desired LPs in their legendary discography. Fully remastered sound. Limited edition of 500 copies.

TAPETE (GERMANY)

TR 325LP

BOLANDER, KRISTOFFER: I Forgive Nothing LP+CD (TR 325LP) 23.00
LP version. Includes CD. Kristoffer Bolander, the Swede with the heavenly voice, has been touring from Gothenburg to Italy for since the mid-2000s as the head of the alternative folk band Holmes. Bolander now presents his first solo album, I Forgive Nothing. The opening bars of the album immediately immerse the listener in Bolander's sound -- his gentle and wisely thoughtful songwriting carried by a voice that evokes comparison to Neil Young. The whole thing is supported by a pulsating bed of sound that sporadically swells and retreats to just an organ and Bolander's delicate voice over the course of the album. The deliberate setting of these counterpoints creates the album's most stirring moments. The reduction of the sound is the key factor on I Forgive Nothing and is what differentiates this album from Bolander's previous work. It was a deliberate decision not to produce all songs with a full band lineup, to create new space within the compositions and bring the fundamental elements of the songs -- the poetic lyrics and vocals -- to the fore. With that in mind, Bolander worked for two years to write the songs on I Forgive Nothing. He also decided to work in a different studio for this production; in cooperation with producer Anders Lagerfors, he recorded the entire album mostly live in just six days at Nacksving Studios in Gothenburg. This approach preserved the intimacy of the pieces and can especially be appreciated during the album's quieter moments, when Bolander's voice is accompanied only by an acoustic guitar ("The Rings Above") or an organ ("Something Wrong"). For the songs that were arranged with full-band accompaniment, such as the epic "I Forgive Nothing," Bolander called upon old companions and friends, all of whom hail from his hometown of Vänersborg. As a result, not only does the greatest lap steel guitarist on that side of the Atlantic appear on the album -- Johan Björklund of Holmes -- but so does his brother, drummer Michael Björklund, best known from the Swedish punk band Affordable Hybrid. "I forgive nothing" is a paraphrase from Samuel Beckett's 1951 novel Malone Dies, a book that serves as a major inspiration for Kristoffer Bolander. Beckett's lyrical tone runs through the 12 tracks on the album like a red thread. In combination with the musical setting it brings an extraordinary depth and overwhelming atmosphere that is truly unparalleled.

THE PRESS GROUP (GERMANY)

TPG 001EP

MARNIE, RUPERT: Masala EP 12" (TPG 001EP) 14.00
180-gram vinyl. Hamburg-based label The Press Group spreads 300 copies of fine, raw, and modern house cuts. The Masala EP is not only the label's first release, but also the debut of label cofounder Rupert Marnie. The record brings three tracks for the dancefloor. Starting with some dubbed-out 115-BPM followed by more peak-time-friendly material and a melodious track for after hours.

TOKEN (BELGIUM)

TOKEN 058EP

KENNEDY, INIGO: Clarion Call 12" (TOKEN 058EP) 14.00
Inigo Kennedy, who has been releasing on Token since the label's inception in 2007, follows his 2014 album Vaudeville (TOKEN 043CD/LP) with Clarion Call. The EP opens with pads that swell to euphoric heights before crashing into a jittering hyper-sequenced groove. "The Fold" lumbers forward in an off-center rhythmic direction, wrong-footing the beat at every turn. The kicks of "Kepler" climax in a percussive workout before the fragments recede into the surroundings. Kennedy has a special talent for marrying earth-shattering dynamics with rapturous atmospheres. Clarion Call is an EP with sorrowful depth and technical power in equal measures.

UGLY THINGS

UT 040

UGLY THINGS: #40 MAG (UT 040) 9.95
"This issue has cover stories on the Flamin' Groovies, the Dictators and the Human Expression. Cyril Jordan recounts the making of the Groovies' seminal Teenage Head album. The Human Expression released a pair of mind-blowing garage-psych singles in 1966 and 1967 that are today regarded as among the most exciting and original of the era. In this issue the band members tell their full story for the first time. Stu Boy King was the drummer for The Dictators' classic debut album Go Girl Crazy! He talks here in-depth for the first time since his ejection from the group in 1975. We also have fabulous exclusive interviews with the late Dave Hassinger (studio engineer for the 1964-66 Rolling Stones 1964-66, Jefferson Airplane, and the Electric Prunes, Steve Katz (Blues Project; Blood, Sweat & Tears), and Denny Tedesco, director of The Wrecking Crew. We also have eye-opening stories on San Francisco's demented proto-punks Psycotic Pineapple, a drug-scarred Santa Barbara '60s saga starring Turquoise, UK '70s punks Red Lights ('Never Wanna Leave'), Michigan garage greatness with Joe Doll, The Beau Biens and the aftermath, plus Hamilton & the Movement, Phoenix, Los Free Minds, Mickey Finn & the Blue Men & more. As always there's also our instructive review sections covering all the latest reissues and rock'n'roll-related books."

VIN DU SELECT QUALITITE

VDSQ 012LP

LICHT, ALAN: Currents LP (VDSQ 012LP) 18.00
"Minimal acoustic melodicism from this NYC mainstay."


VDSQ 014LP

PASQUAROSA, ANTHONY: Morning Meditations LP (VDSQ 014LP) 18.00
"Transcendental acoustic guitar mysticism from the VDSQ shaman of Western MA."

VINYL ON DEMAND (GERMANY)

VOD 139AP-LP

ANODE PRODUCTIONS: Tape-Recordings 1974-1979 2LP (VOD 139AP-LP) 34.00
Limited edition of 500. Anode has been the professional alias of Robert Carlberg since 1972. The Seattle-based musician has dabbled in musique concrète, minimalist tape music, drones, manipulations, and other non-keyboard-based electronics. Through founding a newsletter for electronic musicians in 1979 called SYNEX (together with Charles Larrieu), establishing one of the first DIY tape labels (Anode Productions, which released works by Anode and Kerry Leimer), and writing a monthly column for Electronic Musician magazine (1979-1989) and Polyphony, Carlberg was one of the very first active cassette-producing artists, label-runners, editors, networkers, and catalysts for the worldwide DIY electronic music exchange, and one of the most important persons and influential artists in what has come to be known as "cassette culture." This double LP includes tracks from Anode (1979), Trips North Trips South (1979), Kinetic Experiments (rec. 1974-'79, rel. 1981), Early Tapeworm (1975), Floyd Cramer's Hall of Gold (1975), and Year of The Taperecorder.


VOD 139DS-LP

SLEPIAN, DON: Recordings 1971-1983 LP (VOD 139DS-LP) 21.00
Limited edition of 500. Don Slepian is a true pioneer of electronic music. He started composing in 1969 and released his first compilation cassette in September of 1978. He left Hawaii and came to Bell Laboratories in Murray Hill, NJ, where he was "Artist in Residence" in computer music for the next two years. In 1980 he released three more cassette tapes on the Hawaiian record label Plumeria Productions: The Sea of Bliss, New Dawn, and Open Spaces. In 1981 he self-released his first LP, Computer Don't Breakdown. In 1982 he signed to Fortuna Records, who brought his music to a much wider audience with several releases throughout the '80s. The same year he released a collaborative tape with Lauri Paisley as Synarios called Uncontrolled Voltage in a classic electronica style. Slepian combines unique skills in music and electronics with a lifetime of improvised keyboard music performance. Born into a scientific family, Slepian showed both musical and technical talent early in life. In 1968, he programmed computers and built electronic music circuitry, sculpting sound with classic electronic music studio tape techniques. Starting in 1972, he was a tester on the early internet as a member of the Defense Advanced Research Projects Agency (DARPA). He was also a synthesizer soloist with the Honolulu Symphony Orchestra, Music Director of Honolulu Theatre for Youth, and ARP Synthesizer Sales Rep for Hawaii. His CV could go on for another page. This LP contains all the tracks from his extremely rare debut tape Electronic Music from the Rainbow Isle (1978), plus two tracks from Uncontrolled Voltage (his 1982 release with Paisley) and one track from 1982's Rhythm of Life tape, a Fortuna Records release.


VOD 139GH-LP

GALEN: Modular Electronics: Recordings 1979-1982 4LP BOX/7" (VOD 139GH-LP) 127.00
Limited edition of 300. Galen Herod is one of the pioneering synthesis artists of American cassette culture. From 1979 to 1982 he produced several outstanding and creative electronic tape releases which he distributed either via Eurock or by himself in the Phoenix, Arizona area. His very early tape works are dominated by abstract, austere, experimental electronics in the vein of Conrad Schnitzler, using tape loops and completely homemade synth-equipment includes oscillators, filters, and sequencers designed and built by his friend Gary Dukarich. This box set includes four LPs with music from Xom (1979), Gulag (1979), and Limacon (1979) (all recorded 1979-'80), and Patterns for the Outside Surface of a Cube (1980), The Trouble with Bill (1982), Meditationes Algebraicae, and Life on this Earth (all recorded 1980-'82), plus a 7" of bonus material.


VOD 139GH12-LP

GALEN: Recordings 1979-1980 2LP +7" (VOD 139GH12-LP) 37.50
Limited edition of 500. Galen Herod is one of the pioneering synthesis artists of American cassette culture. From 1979 to 1982 he produced several outstanding and creative electronic tape releases which he distributed either via Eurock or by himself in the Phoenix, Arizona area. His very early tape works are dominated by abstract, austere, experimental electronics in the vein of Conrad Schnitzler, using tape loops and completely homemade synth-equipment includes oscillators, filters, and sequencers designed and built by his friend Gary Dukarich. In late 1981 he met Greg Horn and formed the successful minimal synthpop band Tone Set. This set includes a double LP with selections from his first three official self-released tapes from 1979 and 1980: called Xom (1979), Gulag (1979), and Limacon (1979), as well as a 7" with bonus material.


VOD 139GH34-LP

GALEN: Recordings 1980-1982 2LP (VOD 139GH34-LP) 34.00
Limited edition of 500. Galen Herod is one of the pioneering synthesis artists of American cassette culture. From 1979 to 1982 he produced several outstanding and creative electronic tape releases which he distributed either via Eurock or by himself in the Phoenix, Arizona area. His very early tape works are dominated by abstract, austere, experimental electronics in the vein of Conrad Schnitzler, using tape loops and completely homemade synth-equipment includes oscillators, filters, and sequencers designed and built by his friend Gary Dukarich. In late 1981 he met Greg Horn and formed the successful minimal synthpop band Tone Set. This double LP set compiles recordings released between 1980 and 1982 on Patterns for the Outside Surface of a Cube (1980), The Trouble with Bill (1982), Meditationes Algebraicae, and Life on this Earth.


VOD 139KM-LP

MOORE, KEN: Anvil Creations: Recordings 1972-1983 5LP BOX/7" (VOD 139KM-LP) 102.00
Limited edition of 300. Ken Moore (from Baltimore, Maryland) is one of the very early American DIY synthesists and multi-instrumental talents. Moore started to explore electronic music in the mid '70s while working in various (progressive) rock formations. In 1980 he established his own label, Anvil Creations, and in the following four years released approximately 20 tapes of solo and collaborative works he had recorded between 1973 and 1983. His solo work of that era bridges abstract electronic music with synthesizers and Mellotron and more psychedelic rock-based material he had primarily produced in the early to mid '70s. He also collaborated with Stuart Rosenzweig and founded the progressive rock duo Moore/Myers with David Wayne Myers. Moore was also very active in James Finch's International Electronic Music Association (IEMA), which started in 1979. Besides newsletters with contact-lists for subscribing musicians or reviews of cassettes, IEMA also organized festivals for musicians and released a series of seven IEMA collective/group compilation tapes containing musicians of the IEMA. Ken Moore was the man behind those tape compilations and their distribution. This box set contains five LPs and one 7" with tracks from Tempus Fugit (1980), To Come Into Being (1981), Loubi Stem (1981), To No Avail (1980), and The Jupiter Effect (1984) (all recorded 1976-'84), Frame of Reference (written 1972, rec. 1977-'79, rel. 1980), In a Pound of Logic (1983), Sense of Recreation (rec. 1972-'75, rel. 1981), Elixir (rec. 1974-'78, rel. 1981) by Moore & Larry Jeter, and Our Own Universe and Eccentric Projections, Volume 1 (both rec. 1976-'81, rel. 1981) by Moore & Rosenzweig.


VOD 139KM12-LP

MOORE, KEN: Tape-Recordings 1976-1983 2LP +7" (VOD 139KM12-LP) 37.50
Limited edition of 500. Ken Moore (from Baltimore, Maryland) is one of the very early American DIY synthesists and multi-instrumental talents. Moore started to explore electronic music in the mid '70s while working in various (progressive) rock formations. In 1980 he established his own label, Anvil Creations, and in the following four years released approximately 20 tapes of solo and collaborative works he had recorded between 1973 and 1983. His solo work of that era bridges abstract electronic music with synthesizers and Mellotron and more psychedelic rock-based material he had primarily produced in the early to mid '70s. He also collaborated with Stuart Rosenzweig and founded the progressive rock duo Moore/Myers with David Wayne Myers. Moore was also very active in James Finch's International Electronic Music Association (IEMA), which started in 1979. Besides newsletters with contact-lists for subscribing musicians or reviews of cassettes, IEMA also organized festivals for musicians and released a series of seven IEMA collective/group compilation tapes containing musicians of the IEMA. Ken Moore was the man behind those tape compilations and their distribution. This set includes tracks from Tempus Fugit (1980), To Come Into Being (1981), Loubi Stem (1981), To No Avail (1980), and The Jupiter Effect (1984) (all recorded 1976-'84), Frame of Reference (written 1972, rec. 1977-'79, rel. 1980), and In a Pound of Logic (1983).


VOD 139KM3-LP

MOORE, KEN: Recordings 1972-1975 LP (VOD 139KM3-LP) 21.00
Limited edition of 500. Ken Moore (from Baltimore, Maryland) is one of the very early American DIY synthesists and multi-instrumental talents. Moore started to explore electronic music in the mid '70s while working in various (progressive) rock formations. In 1980 he established his own label, Anvil Creations, and in the following four years released approximately 20 tapes of solo and collaborative works he had recorded between 1973 and 1983. His solo work of that era bridges abstract electronic music with synthesizers and Mellotron and more psychedelic rock-based material he had primarily produced in the early to mid '70s. He also collaborated with Stuart Rosenzweig and founded the progressive rock duo Moore/Myers with David Wayne Myers. Moore was also very active in James Finch's International Electronic Music Association (IEMA), which started in 1979. Besides newsletters with contact-lists for subscribing musicians or reviews of cassettes, IEMA also organized festivals for musicians and released a series of seven IEMA collective/group compilation tapes containing musicians of the IEMA. Ken Moore was the man behind those tape compilations and their distribution. This LP focuses on his very early and more progressive works composed between 1972 and '75 and recorded between 1977 and '79, which he also released on Anvil Creations: Frame of Reference (1980) and Sense of Recreation (1981).


VOD 139KM4-LP

MOORE & LARRY JETER, KEN: Recordings 1972-1975 LP (VOD 139KM4-LP) 21.00
Limited edition of 500. Ken Moore (from Baltimore, Maryland) is one of the very early American DIY synthesists and multi-instrumental talents. Moore started to explore electronic music in the mid '70s while working in various (progressive) rock formations. In 1980 he established his own label, Anvil Creations, and in the following four years released approximately 20 tapes of solo and collaborative works he had recorded between 1973 and 1983. His solo work of that era bridges abstract electronic music with synthesizers and Mellotron and more psychedelic rock-based material he had primarily produced in the early to mid '70s. He also collaborated with Stuart Rosenzweig and founded the progressive rock duo Moore/Myers with David Wayne Myers. Moore was also very active in James Finch's International Electronic Music Association (IEMA), which started in 1979. Besides newsletters with contact-lists for subscribing musicians or reviews of cassettes, IEMA also organized festivals for musicians and released a series of seven IEMA collective/group compilation tapes containing musicians of the IEMA. Ken Moore was the man behind those tape compilations and their distribution. This LP includes tracks from Moore's 1981 collaboration with Larry Jeter, Elixir, plus "Excuse for the War" from Moore's 1981 solo release Sense of Recreation. Elixir features Moore on Hammond organ, Moog synthesizer, Lowrey organ, ARP String Ensemble and Fender Rhodes electric piano and Jeter on Premiere drums, custom chimes, cymbals, and percussion, with the support of Mark Chance on electric bass guitar. It's primarily a groove-session percussion album with keyboards. Putting three musicians together from different backgrounds was an experiment all its own. Mark Chance was a rock bass guitarist who was integrating his own style of playing with what was a cohesion of jazz and electronic music. Sort of a free-form improvisational jam session with the drummer honed in to every lick the keyboard player emitted. This is really a collaboration between Jeter and Moore, who came from two different backgrounds, yet were willing to try something different. Originally released on cassette in 1981 on Moore's Anvil Creations label.


VOD 139KM5-LP

MOORE & STUART ROSENZWEIG, KEN: Recordings 1976-1981 LP (VOD 139KM5-LP) 21.00
Limited edition of 500. Ken Moore (from Baltimore, Maryland) is one of the very early American DIY synthesists and multi-instrumental talents. Moore started to explore electronic music in the mid '70s while working in various (progressive) rock formations. In 1980 he established his own label, Anvil Creations, and in the following four years released approximately 20 tapes of solo and collaborative works he had recorded between 1973 and 1983. His solo work of that era bridges abstract electronic music with synthesizers and Mellotron and more psychedelic rock-based material he had primarily produced in the early to mid '70s. He also collaborated with Baltimore synthesist Stuart Rosenzweig (who played in a Tangerine Dream-style band called Tangent that also released a number of cassettes in the very early 1980s on Rosenzweig's Baltimore-based label Tangent Tapes) and founded the progressive rock duo Moore/Myers with David Wayne Myers. Moore was also very active in James Finch's International Electronic Music Association (IEMA), which started in 1979. Besides newsletters with contact-lists for subscribing musicians or reviews of cassettes, IEMA also organized festivals for musicians and released a series of seven IEMA collective/group compilation tapes containing musicians of the IEMA. Ken Moore was the man behind those tape compilations and their distribution. This A-side of this LP covers the first sessions between Rosenzweig and Moore, with guest bassist Mark Chance, recorded in 1976 at Anvil Creations Studio. Using analog monophonic synthesizers, Rosenzweig (MicroMoog synth, electric piano, and Mellotron) and Moore (MiniMoog synth, ARP String Ensemble, and Lowrey organ) created what would become Our Own Universe. This was cutting-edge stuff in the late 1970s, and the material here proudly stands the test of time. The B-side covers the pair's second meeting, without a bassist, from about five years later. They spent an entire month recording a series of avant-garde sessions of totally improvised music that they called Eccentric Projections. Some are synthesizer works, while some were created with guitar, violin, drums, bells, cymbals, and harp -- but it's all experimental in nature. Rosenzweig used MicroMoog synthesizer, ARP Omni II, electric guitar, piano, violin, and various percussion of all sorts; Moore used MiniMoog synthesizer, ARP Odyssey, ARP String Ensemble, piano, balafon, floor drums, open piano harp, and percussion of all sorts. Moore released both sessions on his Anvil Creations label as cassettes in 1981.


VOD 139MB-LP

BARRECA, MARC: Tape-Recordings 1977-1983 LP (VOD 139MB-LP) 21.00
Limited edition of 500. Marc Barreca is an American synthesist and multi-instrumentalist and one of the pioneers of American cassette culture. Inspired by Brian Eno and the ambient school, he began recording his own music in the mid-'70s. By 1980 he already recorded three tapes: In a Foreign Land (1977), Raw Fish and Green Tea (1979/'80), and Currents (1979/'80) -- all three only released and distributed via Eurock in an extremely low quantity. In 1980 he released his first LP, Twilight, on K. Leimer's Palace of Lights label; a tape called Music Works for Industry would follow three years later on Palace of Lights, and another, The Sleeper Wakes, three years later on Jeff Greinke's Intrepid label. Besides performing together with James Husted and Roland Barker as the Seattle-based electronic music group Young Scientist in the late 1970s and early 1980s, he was also a member of K. Leimer's studio group Savant. Barreca uses digital and analog synthesizers, digital samplers, environmental field recordings, and computer-processed audio loops to create multi-layered audio compositions. He employs similar techniques to those used in his audio recordings to create multilayered abstract visual compositions from digital photos and video source material. This LP includes tracks from Raw Fish and Green Tea (1979/'80), Currents (1979/'80), Music Works for Industry (1983), and In a Foreign Land (1977).


VOD 139SR-LP

ROACH, STEVE: Tape-Recordings - Now (Extended) LP (VOD 139SR-LP) 21.00
Limited edition of 500. Composer and multi-instrumentalist Steve Roach (born in 1955 in California) is a longstanding leader in contemporary electronic music, drawing on the beauty and power of the earth's landscapes to create lush, meditative soundscapes influential on the emergence of ambient and trance. At the age of 20, inspired by the music of Tangerine Dream, Klaus Schulze, and Vangelis, he taught himself to play synthesizer. After being a member of Doug Lynner's Moebius in the late '70s and early '80s, he began recording as a solo artist in 1982, and self-released his classic album Now that year, with distribution by Eurock. One year later Roach released another classic recording on Domino Records called Traveler. As with Don Slepian, Roach then signed to Fortuna Records and released several LPs and tapes. With Structures from Silence (1984) his music began taking enormous strides; the album's expansive and mysterious atmosphere was inspired directly by the natural beauty of the southwestern U.S. With subsequent works, including 1986's three-volume Quiet Music series, Roach honed his approach, developing his dense, swirling textures and hypnotic rhythms akin to environmental sound sculptures. In 1988, inspired by Peter Weir's 1977 film The Last Wave, Roach journeyed to the Australian outback and gathered field recordings of aboriginal life for what would become his widely acknowledged masterpiece, the double album Dreamtime Return (1988). A year later, he teamed up with percussionist Michael Shrieve and guitarist David Torn for The Leaving Time, an experiment in ambient jazz. After relocating to the desert outskirts of Tucson, Arizona, Roach established his own recording studio, Timeroom, and in the years to follow grew increasingly prolific, creating both as a solo artist and in tandem with artists including Robert Rich, Michael Stearns, Jorge Reyes, and Kevin Braheny -- in all, close to two dozen major works in the 1990s alone, all of them located at different points on the space-time continuum separating modern technology and primitive music. Since 2000 his enormous creative output, live concerts, and sonic innovations remain at a high level. This LP includes all the tracks from the legendary debut tape Now, plus the previously unreleased "Emotion Revealed."


VOD 139YS-LP

YOUNG SCIENTIST: Tape-Recordings 1979-1981 LP (VOD 139YS-LP) 21.00
Limited edition of 500. Young Scientist was been a Seattle-based improvisational electronic trio consisting of Marc Barreca, James Husted, and Roland Barker. Husted and Barker also recorded as the duo Sequencer People, and released a tape on Engram Records in 1982. Between 1979 and '80, the trio recorded four cassettes of prime electronic music: Life Sciences, Results Not Answers, Over Low Trees..., and Electron Music. All of these tapes were made available via Eurock and extracts of these tapes plus previously unreleased archive material can be heard on this solid compilation LP. Roland Barker also recorded a solo cassette, Vortexes, in 1979, and released The Eternal Optimist in 1982, and James Husted appeared as a member of Audio Letter (with Sharon Gannon and Sue Ann Harkey), and released as K7SS with Danny Eskenazi (one of the founders of Engram Records), who also released many tapes. Barker and Husted also appeared on the Engram's 1981 compilation Seattle Syndrome Volume One, on a Body Falling Downstairs (Husted also appeared with K7SS). Roland Barker was also a member of the highly acclaimed Seattle band The Blackouts and later joined and toured as part of Al Jourgensen's Ministry.


VOD 140-12LP

LOWMAN, LEON: Syntheseas: Recordings 1980-1982 2LP (VOD 140-12LP) 34.00
Limited edition of 500. Multi-talented autodidact musician and devoted painter Leon Lowman became interested in synthesizers when he heard ELP's "Lucky Man" in 1970. At that time Lowman was working for various recording studios and sound companies in California and with his first paycheck he made a down-payment on an ARP 2600-Synthesizer (as well as a Mediamix Joystick for pitch bending), which he still uses at the time of this release. From that point on he used whatever money he could spare to acquire music gear with which to develop and reflect his unique melodic wanderings and his beautiful, mellow, cosmic, classic club-lounge, almost easy listening and lo-fi surf synth music. Lowman wrote much of his music based on life experiences, trying to musically convey particular events, experiences, or feelings through both the music and the added natural sounds he had incorporated, such as waves, wind, or bird calls. Between 1980 and 1987 he released several tapes and a highly sought-after LP called Syntheseas. Many of his works are highly influential and ahead of their time. One can hear his ideas and sounds in later commercially successful recordings such as AIR's Moon Safari (1997). This is a must-have for fans of cosmic chilling club-lounge styles in vein of Sun Palace and Alex Cima. This double LP focuses on Lowman's early recordings produced and released between 1980 and 82, including tracks from Syntheseas (1980) and Sound Horizon (1982), plus bonus material from 1980-'82.


VOD 140-34LP

LOWMAN, LEON: Waves of Perfect Timbre: Recordings 1982-1987 2LP (VOD 140-34LP) 34.00
Limited edition of 500. Multi-talented autodidact musician and devoted painter Leon Lowman became interested in synthesizers when he heard ELP's "Lucky Man" in 1970. At that time Lowman was working for various recording studios and sound companies in California and with his first paycheck he made a down-payment on an ARP 2600-Synthesizer (as well as a Mediamix Joystick for pitch bending), which he still uses at the time of this release. From that point on he used whatever money he could spare to acquire music gear with which to develop and reflect his unique melodic wanderings and his beautiful, mellow, cosmic, classic club-lounge, almost easy listening and lo-fi surf synth music. Lowman wrote much of his music based on life experiences, trying to musically convey particular events, experiences, or feelings through both the music and the added natural sounds he had incorporated, such as waves, wind, or bird calls. Between 1980 and 1987 he released several tapes and a highly sought-after LP called Syntheseas. Many of his works are highly influential and ahead of their time. One can hear his ideas and sounds in later commercially successful recordings such as AIR's Moon Safari (1997). This is a must-have for fans of cosmic chilling club-lounge styles in vein of Sun Palace and Alex Cima. This double LP focuses on Lowman's self-released tapes Waves of Perfect Timbre (1982) and Passage to China Bay (1987), as well as bonus tracks from the period, including a track from Water Dreams (1985).


VOD 140LP

LOWMAN, LEON: Recordings 1980-1987 4LP BOX (VOD 140LP) 88.00
Limited edition of 300. Multi-talented autodidact musician and devoted painter Leon Lowman became interested in synthesizers when he heard ELP's "Lucky Man" in 1970. At that time Lowman was working for various recording studios and sound companies in California and with his first paycheck he made a down-payment on an ARP 2600-Synthesizer (as well as a Mediamix Joystick for pitch bending), which he still uses at the time of this release. From that point on he used whatever money he could spare to acquire music gear with which to develop and reflect his unique melodic wanderings and his beautiful, mellow, cosmic, classic club-lounge, almost easy listening and lo-fi surf synth music. Lowman wrote much of his music based on life experiences, trying to musically convey particular events, experiences, or feelings through both the music and the added natural sounds he had incorporated, such as waves, wind, or bird calls. Between 1980 and 1987 he released several tapes and a highly sought-after LP called Syntheseas. Many of his works are highly influential and ahead of their time. One can hear his ideas and sounds in later commercially successful recordings such as AIR's Moon Safari (1997). This is a must-have for fans of cosmic chilling club-lounge styles in vein of Sun Palace and Alex Cima. Recordings 1980-1987 is a comprehensive four-LP box set including tracks from Syntheseas (1980), Sound Horizon (1982), Waves of Perfect Timbre (1982), Water Dreams (1985), and Passage to China Bay (1987), plus bonus material.

WHITE MATERIAL

WM 007EP

ARONSON, ALVIN: Aevus 12" (WM 007EP) 17.00
"The long-awaited debut of Alvin Aronson, scientist-in-residence at White Material. Warm, sub-heavy grooves, with pristine, expert synth-work; and two subtly atmospheric interludes."

WORLD ARBITER

WA 2008CD

VA: Lifting The Veil: The First Bluesmen CD (WA 2008CD) 12.00
2015 repress. Subtitled: Rev. Gary Davis & Peers. Another exceptional archival release from Allan Evans' World Arbiter label. After years of preparation, World Arbiter offers new vivid restorations of discs from Harry Smith's Archive. Pioneering legendary artists are heard in a variety of genres which were essential in creating the blues. The accompanying text contains selections from an astonishing discovery: an unknown 1951 oral history of Rev. Gary Davis, providing a candid, unparalleled insight into his life. Includes two previously-unpublished recordings (Rev. Gary Davis from 1956/1957 and Leadbelly from 1941), plus various obscure 78 tracks from Harry Smith's collection (all recorded circa 1926-1929). The liner notes also include an excerpt from an unknown, unpublished oral history of Davis compiled in 1951 by Elizabeth Lyttleton Harold, the wife of Alan Lomax. Other artists include Big Bill Broonzy, Leola B. Wilson, Buddy Boy Hawkins, William Moore, Gus Cannon and Blind Blake, Ramblin' Thomas, Charley Patton, Rube Lacy, and Edward Thompson.

WYN & M RECORDS (FRANCE)

WYNM 002LP

CLARISTIDGE, ANDREW: Danser ou Mourir LP (WYNM 002LP) 23.50
Andrew Claristidge's journey started with the story of the Dancing Plague of 1518, in which hundreds of people were seized by an irresistible urge to dance in the streets until exhaustion and death. Claristidge's favorite song, 1981's "Etre Assis Ou Danser" by Berlin-based band Liaisons Dangereuses, had an even stronger creative meaning after he read about this case. For his first solo album, Claristidge (member of the Parisian duo Acid Washed (Record Makers)) decided to fly to Ubu Noir's studio in Lyon, France, where he knew he could find one EMS synthesizer to start recording a few sounds he wanted to include. The experience was highly stimulating, and, back at his studio in Berlin, he had assembled almost all the ideas for his album, with a conceptual basis in the idea that one can dance to every kind of music. At the same time Claristidge developed a production method involving less thinking and more acting. He called it "Pragmatic Composing." During this composing period he was also touring, and stopped in Nantes, France, to record a track with another friend and music connoisseur, Leendder. Claristidge then exchanged files with his Mexican friend Theus Mago to create "Dancing Plague." A dancefloor monster was born. Back to Berlin, where a meeting with The Claydermans at Rodion's insane studio brought to life "And Now You Dance!" Claristidge then locked himself in the studio for two weeks to finish the album... but something was still missing. This album is also about friendship, so he met Henning Specht, member of the French band Hypnolove, to record the song "Modulated Choir," an intense dancefloor piece. Yellow LP with insert. Limited edition of 150 copies. Support from Laurent Garnier, Pedro Winter, Horse Meat Disco, Ewan Pearson, Khan, Rodion, etc.

FORCED EXPOSURE MAILORDER EMAIL UPDATES
new releases are also viewable at http://www.forcedexposure.com/new/newindx.html

to subscribe to this list, send a blank email to This e-mail address is being protected from spambots. You need JavaScript enabled to view it

Last Updated on Saturday, 21 November 2015 20:14  


http://soundcloud.combrainwashedcom


Donate towards our web hosting bill!
Shop
		at the iTunes store