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Forced Exposure New Releases for 1/25/2016

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New music is due from Andrew Liles, The Orb, and Kalipo, while old music is due from This Heat, Muslimgauze, and Stud.

FORCED EXPOSURE MAILORDER UPDATE
NEW RELEASES FOR THE WEEK OF 01/25/2016

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8MM MUSIK (GERMANY)

8MM 002CD

SINGAPORE SLING: The Curse The Life The Blood CD (8MM 002CD) 11.00
Singapore Sling is a darkly psychedelic band from Reykjavík, Iceland. They are inexplicable and elusive but remind one of drugged-out soul power bands like The Jesus and Mary Chain and My Bloody Valentine. Their debut album, The Curse of Singapore Sling, came out in 2002. Their leader is singer-songwriter and guitarist Henrik Björnsson, who is also known from the band Dead Skeletons. The Curse The Life The Blood contains a selection of tracks from their first three albums, The Curse of Singapore Sling, Life Is Killing My Rock 'n' Roll (2004), and Taste the Blood of Singapore Sling (2005). "When nobody was making the music I wanted to hear, I decided to make it myself, instead of complaining and doing nothing. It was born out of love and hate. Love of various music from the past, mainly rock'n'roll, and hatred of the majority of the music around me. I had been making music for some years when I decided to form a band to play it live. That was for similar reasons. I named the band Singapore Sling (after the film by Nikolai Nikolaidis) shortly before our first show in the fall of 2000, which is officially when the band started. The first proper record, The Curse of Singapore Sling, we released in 2002. We named it 'The Curse of' because of bad luck and freaky incidents that surrounded the recording of the record. The curse went on and so did we. We've played all over the place and released a bunch of records with a bunch of different labels. . . . The love and the hatred goes on, so we go on. And on and on." --Björnsson


8MM 008CD

SINGAPORE SLING: Perversity, Desperation and Death CD (8MM 008CD) 11.00
Singapore Sling is a darkly psychedelic band from Reykjavík, Iceland. They are inexplicable and elusive but remind one of drugged-out soul power bands like The Jesus and Mary Chain and My Bloody Valentine. Their debut album, The Curse of Singapore Sling, came out in 2002. Their leader is singer-songwriter and guitarist Henrik Björnsson, who is also known from the band Dead Skeletons. Perversity, Desperation and Death is their fourth album, originally released in 2009. "When nobody was making the music I wanted to hear, I decided to make it myself, instead of complaining and doing nothing. It was born out of love and hate. Love of various music from the past, mainly rock'n'roll, and hatred of the majority of the music around me. I had been making music for some years when I decided to form a band to play it live. That was for similar reasons. I named the band Singapore Sling (after the film by Nikolai Nikolaidis) shortly before our first show in the fall of 2000, which is officially when the band started. The first proper record, The Curse of Singapore Sling, we released in 2002. We named it 'The Curse of' because of bad luck and freaky incidents that surrounded the recording of the record. The curse went on and so did we. We've played all over the place and released a bunch of records with a bunch of different labels. . . . The love and the hatred goes on, so we go on. And on and on." --Björnsson

A RECORDINGS (UK)

AUK 005LP

BRIAN JONESTOWN MASSACRE, THE: Take It from the Man 2LP (AUK 005LP) 25.50
2016 repress. Originally released on CD in 1996, now reissued on A Recordings, Anton Newcombe's own record label. Released on 180 gram vinyl -- one blue LP & one red LP. The Brian Jonestown Massacre's obsession with the Rolling Stones continues unabated on the brilliant Take It from the Man!; where the group resurrected psychedelic-era excesses on the previous Their Satanic Majesties' Second Request, here they jump further back in time to the Stones' mid-'60s period, with even more superlative results. From the opening "Vacuum Boots" onward, Take It from the Man! is gritty, swaggering R&B-influenced rock, delivered with remarkable assurance and attitude; singer Anton Newcombe is half-madman and half-shaman, and he commands each delirious moment with absolute mastery, emerging not so much a disciple of Mick Jagger but as a serious threat to the throne.


AUK 006LP

BRIAN JONESTOWN MASSACRE, THE: Give It Back! 2LP (AUK 006LP) 25.50
2016 repress on vinyl; 2013 release. This is the first time this release has been available on vinyl, remastered for this vinyl release. This 1997 album is seen as a classic Brian Jonestown Massacre release. The Brian Jonestown Massacre is a psychedelic rock band originally from San Francisco, California, led by guitarist/singer Anton Newcombe. Since 1995 The Brian Jonestown Massacre has released numerous albums, first for Bomp! Records, the label which gave them their start, and later for TVT, Tee Pee, and now on Anton Newcombe's own A Recordings label. BJM has been essential in the development of the modern U.S. garage scene, and many L.A. and SF musicians got their start playing with Newcombe, including Peter Hayes of The Black Rebel Motorcycle Club. Originally Newcombe was heavily influenced by The Rolling Stones' psychedelic phase -- the name comes from Stones guitarist Brian Jones combined with a reference to cult leader Jim Jones, but his work in the 2000s has expanded into aesthetic dimensions approximating the UK shoegazing genre of the 1990s, and incorporates influences from world music, especially Middle Eastern and Brazilian music.

AEON (FRANCE)

AEON 020EP

JONA: Sidetracking - Part 1: Prologue 12" (AEON 020EP) 12.50
Jona presents Sidetracking - Part 1: Prologue, preceding his 2016 Sidetracking album (AEON 001CD). "The Chase" features Usio (Studio Barnhus) for a compelling Afrobeat-influenced groove topped with mesmerizing, chiming piano and swirling, funk-fueled stabs and strings; Speaking Minds (Simone Sinatti and Marco Paladin) remix it into a futuristic technoid disco demon. For the delightfully hazy downtempo jam of "Transmission Breakdown," Jona teams up with Edinburgh-based digital composer and sound artist Dave House aka The Reverse Engineer; Manchester's Marcus Intalex aka Trevino takes the track on a magical excursion filled with subtle, hypnotic, evolving energy and anchored with an irresistible, pulsating bassline throb.

ASSOPHON

ASSO 004LP

DETROIT, EDDY: Immortal Gods LP (ASSO 004LP) 15.00
2010 LP reissue, restocked, last box. Eddy Detroit is an underground legend. He was a key fixture in the fertile Phoenix, AZ scene of the early '80s (that included such luminaries as the Meat Puppets, Sun City Girls, Maybe Mental, Feederz, JFA etc.). Immortal Gods was the first release on his Pan Records label (his second LP, Philosopher's Journey would be the only other). Both records were privately released in miniscule editions, are now and have been rather difficult to obtain for many years, ensuring them as holy grails for collectors of the exotic, cult, folk, beat, punk, and outsider rock musical canon. Immortal Gods was recorded and released in 1982. It features Alan Bishop and Charles Gocher (Sun City Girls), Dan and Mary Clark (Feederz/Victory Acres), Jesse Srgoncik (aka James Verlaine aka J. Akkari from Paris 1942, which featured the Velvet Underground's drummer Moe Tucker), and Brandon and Audrey Curtis backing Eddy and his African, voodoo, Hitchcock musical vision. It is a timeless masterpiece. The LP jacket cover is quite possibly the apex in outsider photography and demented vision. It features Eddy and a lady friend (a woman he picked up for the cover shot because she had the bone structure he was looking for) on horseback with Eddy holding his head in his outstretched hand. A perfect vision for the music contained within. Assophon Records is proud to present this album in its original format for the current generation to tango with.

AUDIOLITH (GERMANY)

AL 238CD

KALIPO: Wanderer CD (AL 238CD) 17.00
Jakob Häglsperger aka Kalipo is a busy man. Operating as one-third of German electro-punk band Frittenbude, he brought his solo alias to life in 2014 with Yaruto (ANTIME 010CD/LP). The multi-faceted producer now returns to Audiolith with Wanderer, following the 2015 release of his gorgeous "Mäusemarsch" on the label's electronic-focused Stiff Little Spinners compilation series. Wanderer is a restless album that sees Kalipo work his way through the deeper ends of four-to-the-floor with a refreshingly experimental approach to production that features defamiliarized samples and analog gear running the show. The music has changed since the Berliner's debut album, becoming more propulsive, more physical, and more geared toward the dancefloor. Composed mostly on tour or over extended periods of travelling, Wanderer contains tracks titled according to the particular story of each, referencing places Kalipo has previously played or traveled to. Monolithic opener "Donau Sunrise" sets the tone straight from the start with sanguine arpeggiators that work their way across a mystical backdrop, preceding melancholic themes that infiltrate the cracks of the album. There are also earworms of the highest order, including standout tracks "Banana Garden" (written when Kalipo was stuck in a bamboo hut in the middle of the Thai jungle with a 104-degree fever and nothing but headphones, a sampler, and penicillin for company) and the stunning "Institute of Cottonwool." Wanderer sees Kalipo right in his element. Tension builds and dissolves gracefully throughout, and the artist's audacious approach to production gives his music an authentic and very recognizable feel -- clearly Berlin-influenced but evading any set template.


AL 238LP

KALIPO: Wanderer LP (AL 238LP) 22.00
LP version. Jakob Häglsperger aka Kalipo is a busy man. Operating as one-third of German electro-punk band Frittenbude, he brought his solo alias to life in 2014 with Yaruto (ANTIME 010CD/LP). The multi-faceted producer now returns to Audiolith with Wanderer, following the 2015 release of his gorgeous "Mäusemarsch" on the label's electronic-focused Stiff Little Spinners compilation series. Wanderer is a restless album that sees Kalipo work his way through the deeper ends of four-to-the-floor with a refreshingly experimental approach to production that features defamiliarized samples and analog gear running the show. The music has changed since the Berliner's debut album, becoming more propulsive, more physical, and more geared toward the dancefloor. Composed mostly on tour or over extended periods of travelling, Wanderer contains tracks titled according to the particular story of each, referencing places Kalipo has previously played or traveled to. Monolithic opener "Donau Sunrise" sets the tone straight from the start with sanguine arpeggiators that work their way across a mystical backdrop, preceding melancholic themes that infiltrate the cracks of the album. There are also earworms of the highest order, including standout tracks "Banana Garden" (written when Kalipo was stuck in a bamboo hut in the middle of the Thai jungle with a 104-degree fever and nothing but headphones, a sampler, and penicillin for company) and the stunning "Institute of Cottonwool." Wanderer sees Kalipo right in his element. Tension builds and dissolves gracefully throughout, and the artist's audacious approach to production gives his music an authentic and very recognizable feel -- clearly Berlin-influenced but evading any set template.

BECAUSE MUSIC (FRANCE)

BEC 5161924

CERRONE: Cerrone by Bob Sinclair CD (BEC 5161924) 12.50
Originally released in 2001, this CD features the best of French disco pioneer Marc Cerrone mixed by Bob Sinclar. All classics tracks by Cerrone. Marc Cerrone's career, beginning with his first album in 1976 (BEC 5161903/4), was fueled by an exemplary sense of creativity and a free-spirited vision. Against everyone's advice, Cerrone was never reluctant to compose long, pure trance disco tracks that were not exactly radio-friendly but did incredibly well because they encapsulated the hedonism of the day. For instance, "Love in C Minor" (from his debut) and "Supernature" (BEC 5161907/8) have become unbeatable classics, featured regularly in the best pop, disco, and dance selections. This CD includes a "House Mix" of "Give Me Love" and a "Nu Soul Remix" of "Supernature" featuring She Belle. CD in digipak.

BEST WORKS (GERMANY)

BWR 015EP

LODEMANN, ANDRE: Going to the Core (Remixes) 12" (BWR 015EP) 12.50
Best Works Records returns with three remixes of "Going to the Core (feat. Nathalie Claude)" by Andre Lodemann, originally released on Lodemann's 2012 Fragments album (BWRLP 001CD). With his deep style, Dave DK's remix supports the dancefloor in a very elegant way. The UK/South Africa production team Sahin Meyer Zamalek brings a dark and melancholic twist to Nathalie Claude's vocals, while Charles Webster's remix shows a strong South African influence.

BIOPHON (NORWAY)

BIO 020LP

SLUG CHRIST: The Crucifixion of Rapper Extraordinaire, Slug Christ 2LP (BIO 020LP) 25.50
Slug Christ is a rapper-producer based in Atlanta, Georgia. "My style is very 808 heavy. I'm very trap influenced, I'd like to consider myself doing the next version of trap music, more abstract." Trap music boasts itself as some of today's most tightly sequenced hip-hop music, but Slug Christ's loose, drug-induced delivery has helped him establish his own style within the genre. If you miss the rawness that rap feels like it's missing these days, then look no further than Slug Christ. Features appearances from Father, RichPoSlim, Lord Narf, Pyramid Quince, Stalin Majesty, and GAHM and production by Slug Christ, Ethereal, KCSB, Dexter Dukarus, Jesus, Lucifer, and GAHM. Originally released digitally in 2015. Undergrind: "Weird has become a cliche in hip-hop as of late, with spacey oddballs popping up all over the place. However, with Slug Christ, weird is truly an artform. As a member of Atlanta's Awful rap collective, Slugger has become one of the hottest young hip-hop artists by opening his consciousness and releasing it onto the track for thousands to hear." Redbull.com: "As twisted as most of the members are from the diverse Atlanta crew that is Awful, Slug Christ is easily among its weirdest. And perhaps its most polarizing, too (alongside producer GAHM). His lackadaisical delivery registers close to the woozy rhyme schemes of fellow Awful member Ethereal (who produces Track 3), but Slug's more about impressionistic channelings of his 'fourth-dimensional' self, wrapped here in his own mythological crucifixion. In fact, his crucifixion ('Crucifixion Day') is produced by Lucifer himself (Jesus produces its previous track, 'Wanderer'), who together turn in one of the most epic, experimental rap tracks in recent memory. And it just gets more bizarre from there. Cameos by fellow Awful members Father, Lord Nard and Pyramid Quince top this fantastic release." The Spectrum: "In fact, it wouldn't far-fetched to state that Slug Christ is a pop artist who takes the sounds of mainstream hip-hop and reinvents them in his own unsettling, but enlightening way." Classic Entourage Magazine: "Music Heads: Slug Christ is SWAG's savior. Slug Christ is an artist booming onto the underground trap music scene. He is signed to Awful Records and performed at SXSW where he produced a killer set."

BORDER COMMUNITY (UK)

BC 040LP

HOLDEN: The Inheritors 3x12" (BC 040LP) 25.50
Repressed; triple 12" version. Comes in a gatefold sleeve and includes a download code. This is a whole new world and complete mythology in album form, which stretches way beyond the traditional confines of dance music. Holden has woven a rich aural tapestry that treads a singular path: nobody is making electronic music as explorative as what is found within The Inheritors. Bold, epic, and psychedelic, striking a delicate balance between weighty tome and transformative trip, and with a production aesthetic that is all his own, Holden is certain that this is the album that he always wanted to make. The Inheritors fully immerses you in a timeless space with abundant hidden depths.

COCOON (GERMANY)

COR 133EP

AMBIVALENT: Daylights 12" (COR 133EP) 14.00
US-born Berlin resident Kevin McHugh aka Ambivalent presents his Cocoon Recordings debut. "Daylights" is a sheer techno monster full of dark Detroit flavor, with a magic touch of vocal samples and harmonic strings. Although the massive techno bassline is the star of the track, it will surely find its way into the sets of many house DJs too. In contrast, "Swung Out" is closer to pure techno. With hypnotizing rimshots and hi-hats, Ambivalent takes it straight into the dub universe. A perfect after-hours weapon with a dark vibe.

COLUMBIA

CS 8171HLP

MINGUS, CHARLES: Mingus Ah Um LP (CS 8171HLP) 21.00
180 gram reissue. "When driving a band with the upright, or double bass, Charles Mingus looked -- and was -- gigantic, in more ways than one. He had huge creative appetites (as well as being hot tempered), creating his own combination of hard bop, blues, and avant-garde jazz. There was no one more multi-faceted than Mingus between the 1950s and 1970s and of his many albums, Mingus Ah Um (1959) is considered to be a jazz classic."

COMEME (ARGENTINA)

COMEME 031EP

BORUSIADE: Jeopardy 12" (COMEME 031EP) 14.00
Bucharest's Miruna Boruzescu aka Borusiade presents Jeopardy, following appearances on Radio Cómeme's Dreamcatcher show and at Berlin's queer landmark SchwuZ. "Spellbound (Surrender)" reveals a hallucinogenic drama of sensualities, sexualities, and emotional and physical bondage, like a score for a collaboration between Béla Tarr, John Carpenter, and Andrei Tarkovsky. "Haunted by Flashlights" incites an electronic trance before the techno epiphany of "Jeopardy"; "Rescue," a slow eruption of cosmogony and rebirth, precedes the enormous drums and synth arpeggios of "Dancer's Doom." Written and produced by Borusiade. Final touches assisted by Gregorio Gómez aka Gladkazuka and Matias Aguayo in The District Union, Berlin.

DESSOUS (GERMANY)

DES 129EP

DEXTER, JAMES: Have It Like That 12" (DES 129EP) 14.00
Sublime and slinky four-tracker from James Dexter on Dessous Recordings, Steve Bug's label for the deeper side of house. Have It Like That combines effortlessly club-ready grooves with exceptional sound design and a strong melodic sensibility. The title-track kicks things off with a chugging, hypnotic feel and crisp drums providing the basis for a cool vocal hook and thick, warm bass. "No Time" gets a shade deeper and no less funky, while "Get to This" points a little further toward the center of the dancefloor. Closer "120" goes even further into late-night vibes with a seriously infectious groove.

DIRTER PROMOTIONS (UK)

DPROM 112CD

LILES, ANDREW: Groundhogs Split-Up: A Exhumation by Andrew Liles CD (DPROM 112CD) 14.50
A reconstruction, reordering, and rearrangement by Andrew Liles of the classic Groundhogs album Split (1971). Original compositions written and arranged by Tony (T.S.) McPhee. Remix, extra instrumentation, and rearrangement by Andrew Liles. Additional guitars by Joe Hollick and Tony (T.S.) McPhee. "In 1971 when Split was originally released, there were {a few} guitar pedals, mainly wah-wah, overdrive & chorus (with a bit of phasing or 'flanging'). I had an Arbiter and a sound early octave pedal but I was keen to find 'new' sounds, like ring modulation. Some of the 70's bands have re-done their most popular albums but I never thought I could improve on Split, with Martin Birch engineering at De Lane Lea studios, it had it all! When Andrew Liles (regarded by some to be the funniest man) told me he'd like to re-do Split I thought he was having a laugh, but he has done what I would have IF I'd had the modern pedals. Andrew has done me a great service by bringing my recordings into the 21st Century." --Tony (T.S.) McPhee, 2015

DOUGLAS

SD 789LP

JOHNSON WITH MUDDY WATERS BLUES BAND, LUTHER: Come On Home LP (SD 789LP) 14.00
Exact repro reissue, originally released in 1968. Luther "Snake Boy" Johnson was guitarist in Muddy Waters' band from 1967 to 1970. Tracks include: "Top Of The Boogaloo," "Blues For Hippies," "Remember Me," "Evil," "Sad Day Uptown" and "Digging My Potatoes."

ECHO BEACH (GERMANY)

EB 112LP

DUB SPENCER & TRANCE HILL: Physical Echoes LP+CD (EB 112LP) 23.50
Swiss group Dub Spencer & Trance Hill have been releasing their musical visions and sound designs since 2006, approaching their numerous projects as pop soundtracks referencing the great names of the time, including The Clash, William S. Burroughs, Metallica, Genesis, Deep Purple, Falco, and others -- all remix projects that have created a massive stir on the dub scene. The band's never-ending passion for playing combined with an ultra-sharp instinct, independent spirit, and technical skill flows into sound-spheres that echo far beyond the Swiss Alps and across the globe. Their love of minimalist electronic dance music with epic endings reaches a climax on Physical Echoes. The album grabs electro, ambient, and dance and takes them for a ride on the horizontal axis, adding roots on the vertical. Dub Spencer & Trance Hill have opened themselves up to a comparison with Pink Floyd meeting King Tubby meeting LCD Soundsystem, and on Physical Echoes swing from electro sounds with infiltrated hypnosis to subversive basslines all the way through to washed-out blueprints and voids.

EDITION RZ (GERMANY)

RZ 10023CD

IANNOTTA, CLARA: A Failed Entertainment: Works 2009-2014 CD (RZ 10023CD) 20.00
Italian composer Clara Iannotta (born 1983) on her work: "I am particularly interested in music as an existential, physical experience -- music should be seen as well as heard. This is one of the reasons why I sometimes prefer to talk about the choreography of the sound rather than about orchestration." "Clara Iannotta's compositions are marked by a particular intrinsic 'theatricality.' Theatricality in the sense of the physicality of sound, its inner emotion, its excitement, its instrumental genesis out of the silence; the sound is not separated from the gesture that produces it, and is presented in the context of each different instrumental structure" --Dr. Barbara Barthelmes. Clara Iannotta was a guest of the Berliner Künstlerprogramm des DAAD -- Artists-in-Berlin Program in 2013. Performed by Ensemble Intercontemporain conducted by Matthias Pintscher, Ensemble Recherche with Melise Mellinger and Barbara Maurer, Talea Ensemble, Orchestre des Èlèves du Conservatoire National Supérieur de Paris conducted by Tito Ceccherini, Quatuor Diotima, Ensemble Garage with Richard Haynes, and Trio Catch. Includes booklet in German and English.


RZ 20006CD

EMDE, GABRIELE: Die Natur der Klange: Neue Musik fur Harfe CD (RZ 20006CD) 20.00
Gabriele Emde-Hauffe was born in 1953 in Darmstadt, Germany. She received a humanistic education at a local grammar school in Darmstadt and started studying the harp after her A-levels, first in Darmstadt and finishing in Cologne. Conducted by Péter Eötvös, she worked out modern chamber music and modern improvisation by J. G. Fritsch and Vinko Globokar. Passing her exams in 1980 and 1981, she continued her studies of musical science at Cologne University, based on her thesis, "The Harp between Myth and Reality." From 1981 to 1983 she was a member of Die Junge Deutsche Philharmonie and Ensemble Modern, and collaborated on productions of contemporary music with Ensemble-Köln and Ensemble 13, as well as the NDR-Sinfonieorchester Hamburg. She has performed the solo harp at various international festivals, among them many premieres and international radio, TV, and record productions. At the invitation of the Goethe-Institut, she toured North America in 1982, presenting Walter Zimmermann's works, and also performed in South Korea; her career as a performer has included performances of contemporary music by Berio, Boulez, Cage, Globokar, N. A. Huber, Schönberg, Stockhausen, Webern, I. Yun, B. A. Zimmermann, and W. Zimmermann. Until 1992 she taught harp classes in Cologne and Du?sseldorf. Since 1991 she has been teaching her private harp class in Darmstadt. This CD contains recordings from 1985-'87 of pieces by John Cage, Hans Otte, and Lou Harrison.

ERSTAEU

ERSTAEU 004CD

PARKS/VANESSA ROSSETTO, KEVIN: Severe Liberties CD (ERSTAEU 004CD) 16.00
"Parks, a former Christian Wolff student, and Rossetto, best known for her three stellar solo LPs on Kye, met for the first time to record this in July 2014. It's the fourth in the ErstAEU series, featuring adventurous young American artists working in the experimental vein. 'Severe Liberties is a title reflective of the process which formed it. The recording was entered into blindly with no preconceived plan or even knowledge of exactly what tools the other person would be employing. The method by which these recordings were assembled into their final form inspired the title.' --Vanessa Rossetto"


ERSTAEU 005CD

DISANTO/NICK HOFFMAN, DEVIN: Three Exercises CD (ERSTAEU 005CD) 16.00
"DiSanto brought his unique sensibility, combining office drone and experimental musician, to these sessions with noted noise improviser Nick Hoffman, who runs the well-respected Pilgrim Talk imprint. This was their first meeting, in a gymnasium in Hartford in August 2014, and is the fifth in the ErstAEU series, featuring adventurous young American artists working in the experimental vein. 'Three Exercises is a collaboration between Devin DiSanto and Nick Hoffman, and is a recording of three performances that took place inside an elementary school gymnasium. These performances ranged from test taking and games, communicating through the use of numbers, to measuring and marking different paths of travel through the space. They hired two writers to take notes out loud into cassette recorders as they watched the performances. The descriptions were used to structure the final version of the recording. Devin and Nick played basketball between performances.' --Devin DiSanto"

ERSTWHILE

ERST 077CD

KAWAGUCHI/UTAH KAWASAKI, TAKAHIRO: Amorphous Spores CD (ERST 077CD) 16.00
"Kawaguchi, previously on Erstwhile with Taku Unami (Teatro Assente), is captured here in his first duo meetings with longtime synth virtuoso Utah Kawasaki, making his long-awaited Erstwhile debut. The two recorded in the summer of 2015, combining a sense of 'object' performance with an improv/noise aesthetic, all impeccably documented by the aforementioned Taku Unami, and not even slowed down by a massive earthquake in the midst of their session. 'The first recording day was at Ftarri, an open live recording. Although there was a big earthquake during the recording session, we kept recording our performances while the room was shaking badly. On the second day, we recorded at pool, creating the atmosphere of an organic reverb driving through the underground drainage tank like a motorbike runs through a mountain path aggressively. The heavy bass sounds of analog synthesizer made the metal walls of the ditch sound amazing. Everything was recorded perfectly by the wonderful engineer Taku Unami. After the session, we went to eat ramen at Maruyoshi Store. I am a kind of person who listens to anything from improvisation, experimental music, hip hop to J-pop of idol singers, but I can recommend this album as something that anyone will find interesting with some strange impression.' --Takahiro Kawaguchi"


ERST 078CD

DRUMM/JASON LESCALLEET, KEVIN: Busman's Holiday CD (ERST 078CD) 16.00
"These two titans of noise/improv return for their second release, following 2014's highly acclaimed The Abyss (Erstwhile 073-2). This time they confine themselves to a single disc, making for a very focused and intense listen that will certainly please their fans as well as any fans of immersive and overwhelming dense yet thoughtful sonic explorations. 'This album is a meditation on the inner mental environments that one encounters and endures during times of work-related travel. The music contained herein should be well suited for headphone distraction in airports, bus stations, train stations, subway terminals, and in the confines of the sears related to these methods of mass transportation.' --Jason Lescalleet"

ETRURIA BEAT (ITALY)

ETB 026EP

DAST: Pangea 12" (ETB 026EP) 14.00
Italian producer Dast follows his 2014 hit "Deep Down," licensed by Sven Väth for In the Mix: The Sound of the 15th Season (CORMIX 048CD, 2014), with Pangea. The title-track features Dast's signature shuffling drums, catchy synth lines, dreamy pads, and strong melodies. With his remix of "Pangea," Etruria Beat cofounder Luca Agnelli lays down a strong techno beat under the synths for a subtle mixture of rough and soft. The melodic, captivating "Panthalassa" opens the B-side; French producer Clio (Adam Beyer's Drumcode) remixes it with a massive kick and bass.

FABRIC (UK)

FABRIC 170CD

ROSE, JESSE: FabricLive 85 CD (FABRIC 170CD) 16.00
Globe-trotting Londoner Jesse Rose is known for his A-SIDED and Play It Down labels, his prolific production schedule (both solo and in collaboration with the likes of Switch, Claude VonStroke, and Hot Chip), and his role as a mentor for such talents as Christian Nielsen and Oliver $. However, it's his formidable DJing talent that he brings to FabricLive 85, with an impeccably mixed house set packed with a blistering selection of tracky grooves and good times, including two previously unreleased tracks (one of which is a collaboration with Ninja Tune's Seven Davis Jr.). Packaged in bespoke slipcase containing die-embossed tin. Includes tracks by Jesse Rose (including a collaboration with Claude VonStroke and tracks featuring Seven Davis Jr. and Ed Weathers), Christian Nielsen, Henrik Schwarz, Sqim, Johnny D, Eric de Man remixed by Melon, Lil' Mark, Urban Soul remixed by Gerd, Ian Pooley, Shit Robot feat. Reggie Watts and remixed by Johnny Aux, Kask, Induceve, Mathias Kaden remixed by STAYGOLD, Sean Miller, 3rd Face, Brillstein, Gene Farris, Kyodai, and Steve Silk Hurley feat. Sharon Pass.

FLASHBACK (UK)

FLASH 1001CD

MIGHTY BABY: Slipstreams CD (FLASH 1001CD) 17.00
By the summer of 1971, Mighty Baby had shed their psychedelic trappings and taken a more spiritual direction. Newly signed to Mike Vernon's Blue Horizon label, they prepared their second and final album, A Jug of Love, in a basement on Harley Road, North London, ahead of sessions in Sound Techniques that July and August. This is the only known recording of them in rehearsal. Taped on Ian Whiteman's Revox with a single microphone, it's entirely instrumental and offers a remarkable insight into the workings of one of Britain's best-loved underground bands at the peak of their powers. It's presented here complete with detailed background notes and rare images.

FUN RECORDS (ARGENTINA)

FUN 002EP

CABRERA, ALEXIS: Mivi 12" (FUN 002EP) 14.00
Argentine producer, live act, and tech whiz-kid Alexis Cabrera presents a slice of stepping house laced with minimal aesthetics on his Fun label, founded with Argentine Barem. Stripped-back, acid-washed opener "Alcohpott" blends melodic lines with a funky drum pattern; its snapping beats, disorienting swing, and digital deviance make for a surefire crowd-pleaser. With its bouncing sub bass and heavily processed analog drum beats, "Los Confites" mixes snapping 4x4 house aesthetics with minimal techno groove. "Mivi" couples a steady, mid-tempo beat with a tuneful harmonic melody while slightly off-beat top-line hooks create added swing in its dynamic approach to the dancefloor.

FURTHER RECORDS

FUR 049LP

DECIMUS: Decimus 7 LP (FUR 049LP) 21.00
How does one deal with the world's nightmarish montage of bad news -- the glut of information that incites feelings of futility and insanity? One way to cope is to plunge deeper into the madness, at least temporarily, for a dip into the healing pool of catharsis. Few people in music today provide a more immersive alternate reality on record to combat our own horrible one than Decimus (former No-Neck Blues Band guitarist and synth player Pat Murano). Musical categories dissolve in the mind as one tries to ascertain what's going on in Decimus's sonic universe, realized in a series of 12 LPs dedicated to the zodiac of Roman poet and rhetorician Decimius Magnus Ausonius (c. 310-c. 395). As with some of the most advanced and individualistic musicians (Coil, Demdike Stare, Mnemonists, Nurse with Wound), Murano instinctively generates sounds that seem to bypass normal listening responses and flow directly to the subconscious. Deep immersion in Decimus 7 leads the listener to a disturbing, mind-altering realm. Each aspect of these two epic, side-long pieces feels as if it's controlled by a malevolent super-being hell-bent on subverting conventional notions of music. The A-side's untitled track sounds like an alien transmission trying to fight through static and command the listener's soul. Grossly distorted Chrome-like grumbling and icy synth motifs waft over artfully spluttering drum-machine beats, establishing a disorienting, unsettling tone. With alchemical zeal, Murano fills the stereo field with perilous atmospheres, warped and distant melodies, Doppler-effected drones, and bleating percussion. When he brings in a trudging, sludgy 4/4 beat wreathed in mysterious mumbles and aural effluvia, it's like an unlikely collaboration between :zoviet*france: and Severed Heads. Side B's untitled piece starts with distant, bludgeoning beats hitting with unpredictable tempos and force. Four minutes in, a semi-familiar, bulbous rhythm coheres into a bizarre strain of slow-motion trance music, swathed from all directions with slithery, bleepy synth tones and machine-elf utterances geared to enhance your DMT trip. Things inevitably tilt toward chaos and return to the enigmatic static that opened the album. By record's end, you have no direction home... nor even a concept of what "home" is anymore. This may be the ultimate distillation of Decimus's chthonic genius. Mastered by Rashad Becker at Dubplates & Mastering. Artwork by Chloe Harris.

FUTURE CLASSIC (AUSTRALIA)

FCL 163EP

CHROME SPARKS: Parallelism 12" (FCL 163EP) 14.00
Jeremy Malvin aka Chrome Sparks presents his third EP on Future Classic, expanding upon his affinity for synthesizers, unusual sound combinations, and sample manipulation. Lead single "Moonraker" is a constantly progressing track with a subtle groove and intricate percussion. "Give It Up" demonstrates Malvin's ability to heighten intensity and produce mind-bending music by layering synths and luscious percussion atop a solid bass groove. Finally, "Ride the White Lightning" is an intricate club weapon, taking listeners on an epic nine-minute journey that effortlessly glides through builds and breakdowns.


FCL 164EP

WORLD CHAMPION: Avocado Galaxy 12" (FCL 164EP) 14.00
World Champion (Julian Sudek and Will Champion) debut with Avocado Galaxy. The title-track premiered in 2015 on Good Nights with KLP on Australian radio station triple j. B-side opener "Shakes" premiered with esteemed musical tastemaker Zane Lowe on Apple's Beats 1 radio.

HABIBI FUNK (GERMANY)

HAB 002CD

FADOUL: Al Zman Saib CD (HAB 002CD) 16.00
"Reissue of very rare Arabic funk music with a punk attitude, for fans of labels like Now Again, Pharaway Sounds, Soundway, Analog Africa, etc. 8 tracks of raw Arabic funk music, none of these have ever been reissued before. So far Fadoul (or Fadaul, or Faddoul, the transcribtion of his name to latin letters differs)& his music had not been rediscovered, as a matter of fact most of those songs still left no trace whatsoever in the world wide web. It took us 2 years and countless trips to Morocco to find the artists family to license the release from them. Comes with liner notes, unseen live photos and lyrics translations."

HEIST RECORDINGS (NETHERLANDS)

HEIST 014EP

WENTINK, FRITS: Rising Sun, Falling Coconut EP 12" (HEIST 014EP) 14.00
180-gram 12". Frits Wentink continues to defy convention -- with his Bobby Donny label, launched in 2015, he's putting out leftfield electronic music with a big fuck-you attitude, and he's not too shy to explain why the current state of the house scene is so utterly boring to him. With the Rising Sun, Falling Coconut EP, an exploration into fuzzy synths and drunk organs drenched in his signature dusty grooves, Frits Wentink returns to Heist following his 2015 Rarely Pure, Never Simple album and releases on the Icelandic BORG LTD label and Darko Esser's Wolfskuil Ltd.

HELLO?REPEAT RECORDS (GERMANY)

HELLO 026CD

DAZE MAXIM: Rising/Falling CD (HELLO 026CD) 17.00
Multi-faceted artist Daze Maxim aka Marcus Manowski presents Rising/Falling, his second full-length work following his 2000 debut album Same Place the Bot Got Smashed. The album's title refers to meditative breathing exercises, in which Manowksi developed an interest around the same time as the album's conception. This additional balance and clarity allowed the album to develop harmoniously, and paved the way for completion. There is also a nod to reflexivity; though this discipline provided necessary solace, it also demanded greater engagement. The overall aesthetic is unquestionably true to the minimal framework Manowski has meticulously crafted since his debut in 2000. In a playground of intermittent tempo and hybrid organic electronica, harmony builds while dissonance prevails. There is maturity and guts in the selection and delivery of each part's piece in the puzzle, and a true viral beauty as it gains momentum. What is immediately striking about the album in full is its brooding space and progression. From ambient tones and warped classic synths to rigorous live instrumentation, the sonic palette enriches as the odyssey continues. Recalling a camera lens drifting in and out of focus, Manowski toys with periodic collapse and elongated movements, but always pulls the listener back through percussive punctuation. The collaborations featured on the album occurred naturally, though the sessions played out differently. Sloth's unique trumpet work on the opener is an entirely improvised workout without specific key or time signatures. In contrast, Yonatan, a classically trained jazz musician from Tel Aviv now residing in NYC, added bowed and fingered double bass to an already arranged work. Finally, the piece with Bruno Pronsato became a re-imagination of a previous live composition under their Others moniker. Each partnership subtly enriches the spectrum, though never overtaking Manowski's position at the helm. Haunting every intimate beat and phrase is a true jazz sensibility. A diligent yet self-taught student of composition and theory, Manowski's brilliance lies within his persistent tightrope-walk of texture and melody. Rising/Falling is as intrinsically musical and direct as is gets, and the outcome is elegantly unsettling.

HI HAT (UK)

HH 3022CD

COBHAM, BILLY: Ayajala Live CD (HH 3022CD) 17.00
Having made landmark recordings with Miles Davis, formed pioneering fusion bands Dreams and Mahavishnu Orchestra, and made several fine solo albums, by 1978 Billy Cobham was firmly established as one of the world's leading jazz-rock drummers. This superb set was taped for radio broadcast by WXRT-FM at Park West, Chicago, Illinois, on March 4, 1978, and finds him supported by his recently formed Magic Band, consisting of Charles Singleton (sax, reeds, guitar), Ray Mouton (guitar), Alvin Batiste (clarinet), Mark Soskin (keyboards), and Randy Jackson (bass). It's presented here in digitally remastered sound with background notes and images.


HH 3026CD

CORYELL, LARRY: Acoustic Reflections CD (HH 3026CD) 17.00
By 1976 Larry Coryell was firmly established as one of America's most accomplished and innovative electric guitarists, and a pioneer of jazz-rock and fusion. However, he was equally talented on the acoustic guitar, as this superb solo live set indicates. Taped for broadcast on the local station WCUW-FM in Worcester, MA, at Clark University's Little Center on June 23, 1976, it's presented here in digitally remastered sound with background notes and images.

HOSPITAL PRODUCTIONS

HOS 448EP

NINOS DU BRASIL: Para Araras 12" (HOS 448EP) 14.50
Two extended productions from Ninos du Brasil (Nico Vascellari and Nicolò Fortuni), who follow their much-praised 2014 album Novos Mistérios (HOS 411CD) with an oddly compelling blend of joyous theme-park music crossed with the chaos and explosive tension of mass street protests. "A Magia do Rei" is a rolling techno variant kinked with polyrhythmic shuffles, darkside synth strokes, and swooping subs, superbly rendered by Neel's mastering. "Algo ou Alguém Entre as Árvores" hits a different groove with a roiling, humid swamp of churning bass, scissoring syncopation, and layered voices, like an extended outtake from the Cannibal Holocaust soundtrack.

INTERNATIONAL ARTISTS

IALP 001CLP

13TH FLOOR ELEVATORS: The Psychedelic Sounds Of... (Red Colored Vinyl) LP (IALP 001CLP) 15.00
On red vinyl. Stereo version. Exact repro of their first album, originally released in 1966.


IALP 001LP

13TH FLOOR ELEVATORS: The Psychedelic Sounds Of... LP (IALP 001LP) 14.00
2016 repress. Stereo version. Exact repro of their first album, originally released in 1966.

JOSIE RECORDS

JOS 4012HLP

METERS, THE: Struttin' (180 Gram Vinyl) LP (JOS 4012HLP) 21.50
180 gram vinyl. Exact repro of the The Meters' third album for Josie, originally released in 1970. Funky jams like "Chicken Strut," "Same Old Thing" and "The Handclapping Song," are joined by covers of "Wichita Lineman," "Ride Your Pony" and "Darlin', Darlin'" with Art Neville taking lead vocals.


JOS 4012LP

METERS, THE: Struttin' LP (JOS 4012LP) 18.00
Exact repro of the The Meters' third album for Josie, originally released in 1970. Funky jams like "Chicken Strut," "Same Old Thing" and "The Handclapping Song," are joined by covers of "Wichita Lineman," "Ride Your Pony" and "Darlin', Darlin'" with Art Neville taking lead vocals.


JOSIE 4011CLP

METERS, THE: Look-Ka Py Py (Colored Vinyl) LP (JOSIE 4011CLP) 20.00
Red colored-vinyl version. "Reissue of the second Josie LP (#4011, January 1970), recorded out of state in Atlanta without fucking up the formula (Toussaint & Sehorn were along for the ride, natch). Features the singles 'Look-Ka Py Py' (reached #11 on Billboard's R&B charts) and 'Dry Spell' (reached #39) and a hod-load of Zigaboo bricks, grafted straight from his hip pocket to append to your ass. You can't avoid it, it's all around you." -- Hrvatski.

KATHEXIS

KTX 005CD

EHNAHRE: Douve CD (KTX 005CD) 17.50
The Boston-based ensemble Ehnahre has been pioneering an effort to rethink and redefine what metal and extreme music can be since their debut release in 2008, to a reception equal parts acclaim and condemnation for their sins against the tradition. Douve pushes things even further into the muddy perimeter, incorporating elements of contemporary classical music, serialism, free improvisation, aleatory, free meter, noise, and other experimental techniques. An 18-part cycle based on poet Yves Bonnefoy's "Theatre" from his 1953 book Du mouvement et de l'immobilité de Douve (On the Motion and Immobility of Douve), the album is a window into the distressed mind of a man as he observes the death and decay of his metaphorical beloved, the "watcher of the cold secret." Employing a dizzying variety of timbres, instruments, moods, and stylistic homages, Douve ranges from the delicate shimmer of piano overtones to full-bore metal howl, its emotional intensity only overcome by the density of its harmonies. Sometimes beautiful, frequently disgusting, Douve is not only an aural narrative, but also a display of the group's radical evolution. It is sure to shock the uninitiated, challenge the extreme music veteran, and cement Ehnahre's status as the most forward-thinking metal band on the planet. "Nothing remains except a fire in death's kingdom." On this album Ryan McGuire (bass, voice) and Ricardo Donoso (drums, percussion, electronics) return, along with with new members Richard Chowenhill (guitar) and Jared Redmond (piano), and are joined by vocalist Ken Ueno, who appears on several tracks. Artwork contributed by Matt Saunders.

KEYHOLE (UK)

KH 9015LP

BAND, THE: Carter Barron Amphitheater, Washington DC, July 17th 1976 2LP (KH 9015LP) 31.00
Double LP version, pressed on 180 gram vinyl. After more than 15 years together, by the summer of 1976 The Band was approaching its end. This superb concert, performed at a 4,000-seat arena on a warm Saturday night, captures them in terrific form as they play a cross-section of their remarkable back catalog shortly before their final appearance at the legendary "Last Waltz" on Thanksgiving weekend the same year.

KOMPAKT (GERMANY)

KOM 334EP

DAVE DK: Val Maira Remixe 12" (KOM 334EP) 12.00
Following the 2015 release of Dave DK's Val Maira album (KOMP 121CD/KOM 326LP), the Berlin-based producer offers up his intricate sonic tapestry for a remix EP. Isolée is highly regarded for his minimalist house with a catchy twist, and his rework of the bass-laden, atmospheric "We Mix at Six" is no different. Internationally acclaimed producer Ulrich Schnauss has a similar knack for transcending electronica and brings his expertise in ethereal soundscapes to a surprisingly throbbing, pop-instilled, epic version of "Kronsee." Brooklyn/LA-based housetronics wizard Portable Sunsets turns the warm, organic hum of "Nueva Cancion" into pure rythmatic poetry.


KOM 336EP

ORB, THE: Moonbuilding 2703 AD Remixes/Sin in Space Pt.1 12" (KOM 336EP) 12.50
Iconic electronic music pioneers The Orb follow the 2015 release of their Moonbuilding 2703 AD album (KOMP 124CD/KOM 330LP) with Moonbuilding 2703 AD Remixes/Sin in Space Pt.1, containing three reworks of the album's sonic thicket. Kompakt founder and veteran 4/4 anarchist Wolfgang Voigt's "AntiretroAmbientPsycholkaMix" opens with innocuous ambient trickling before sidestepping into lush pop techno minimalism at its very best; Voigt's second take, credited to his Wassermann rave alter ego, is particularly bouncy. LA-based producer Teebs, nurtured by Flying Lotus's Brainfeeder imprint, brings his rich edit-style beat tapestry to full fruition with his ingenious "Moon Grotto Mix."


KOMRSD 003LP

DETTINGER: Intershop LP+CD (KOMRSD 003LP) 21.00
Limited repress; RSD 2015 release. Presented on LP with CD included. After rereleasing the sold-out Kompakt classics Triumph by Jürgen Paape and The Field's From Here We Go Sublime (KOMRSD 002LP) for past Record Store Days, Kompakt now directs its attention to another almost mystical release from days of yore. Just like The Field's iconic debut album, Dettinger's 1999 full-length milestone Intershop has never seen a vinyl release -- a much-deplored oversight now rectified. Restored to breathtaking beauty, the newly mastered Intershop is one of the label's most renowned pre-millennium offerings, a surprise best-seller and a style-defining predecessor of the then-nascent pop ambient genre. A massive fan favorite, it was originally released on CD only and held seven masterfully crafted cuts introducing the listener to a new blueprint for electronic music. Wayfaring somewhere between field recordings, pop stylings, and dreamy textures, sonics like these were simply unheard of. The tracks latch onto early ambient experiments from artists like Wolfgang Voigt, but take a different path to pop epiphany. Dettinger carved out a niche on his own that was soon to become the breeding ground for a whole generation of ambient-minded artists. Also, Intershop has been utterly sold out for a while now -- another perfectly good reason to return to this masterpiece with a fresh set of ears. Let's lounge like it's 1999!

LE POP MUSIK (GERMANY)

LPM 034CD

MENDOZA Y LA ORKESTA, SERGIO: Sergio Mendoza Y La Orkesta CD (LPM 034CD) 15.50
Arizona's Sergio Mendoza and his band La Orkesta mix myriad Latin styles -- what Mendoza calls "indie mambo," salted with generous handfuls of cumbia, merengue, and ranchera -- and then feed all that through a psychedelic prism. They perform their songs with charm and panache, set off by the fireworks of the group's resident showman, the multi-talented Salvador Duran, who sang with Willie Nelson on "Senor" in the 2007 Bob Dylan biopic I'm Not There, and has performed alongside Neko Case, Iron and Wine, and Glen Hansard. Sergio Mendoza Y La Orkesta, the band's full-length debut, was originally released as an LP in 2012.

LET THEM EAT VINYL (UK)

LTEV 094LP

HARRIS & THE HOT BAND, EMMYLOU: Cowboy Angels: 1975 Live Radio Broadcast 2LP (LTEV 094LP) 20.00
2013 release. Live broadcast from the San Francisco's Boarding House venue, recorded November, 1975. Gatefold sleeve.

LIGHT IN THE ATTIC

LITA 126CD

ALAN VEGA/ALEX CHILTON/BEN VAUGHN: Cubist Blues CD (LITA 126CD) 14.00
"New liner notes interviewing Alan Vega & Ben Vaughn. Remastered from original tapes. Includes download card for live show at Trans Musicales, France, Dec. 7th, 1996. The unlikely union of Suicide's Alan Vega, Big Star's Alex Chilton, and singer-songwriter Ben Vaughn happened in December 1994 in a fog of cigarette smoke at two barely-lit, all-night improv sessions at Dessau Studios in New York. What transpired was the group's only release, a brilliant album called Cubist Blues. Some kind of alchemy happened. The elements are disparate -- Vega, known for Suicide's grinding, pre-industrial drone, Chilton for his ultra-melodic FM rock, and Vaughn for his outsider art. Put together, what came out was something totally unexpected, a long, mesmeric incantation built on Elvis-meets-Ian Curtis vocals, rockabilly guitar, growling synths, and metronomic drums. A jam session at heart -- albeit a very productive one -- the songs took shape as they were recorded. 'I showed up with lyrics for one song and figured we would see what happened,' says Vega, recalling the first night in the brand new liner notes. 'Little did I know, we would record for hours and hours. By the last song, my brain was burning up. I literally felt myself on fire. I was depleted. Yet, we could have gone on and on.' So-called supergroups get a bad rap for not equaling the sum of their parts. Vega, Chilton, and Vaughn add up to something from a place beyond any of them. Originally released by Henry Rollins on his 2.13.61 label via Thirsty Ear, the album failed to find any sort of audience -- remarkable, considering its players, but reflective of the lull following Kurt Cobain's death and the collapse of the all-conquering grunge sound. The group played two live shows and then promptly went their separate ways. 'At the time, I didn't fully realize how unique the Cubist Blues experience was,' says Ben Vaughn now. 'Looking back, it was magic to work with those guys.' Timeless, groundbreaking in sound even now, this is a chance to hear a woefully overlooked album that -- had it not been so -- might have re-shaped the next decade of music."


LITA 126LP

ALAN VEGA/ALEX CHILTON/BEN VAUGHN: Cubist Blues 2LP (LITA 126LP) 26.00
Double LP version. Housed in deluxe Stoughton tip-on gatefold sleeve. Includes download code for full album.


LITA 147LP

ALAN VEGA/ALEX CHILTON/BEN VAUGHN: Live at Trans Musicales, Rennes, France, 7th December 1996 2LP (LITA 147LP) 22.00
"Previously unreleased. Remastered from the original DAT tape. If a music critic could design their own supergroup, it might look something like the one that released the experimental, unique, and pulse-quickening 1996 album, Cubist Blues. The trio -- Suicide's Alan Vega, Big Star's Alex Chilton, and singer-songwriter Ben Vaughn -- are outsiders each and cult heroes in their own right. Their unlikely union happened in December 1994 in a fog of cigarette smoke at two barely-lit, all-night improv sessions at Dessau Studios in New York. After that fateful session, the three reunited to play one NYC show and promptly flew to Rennes, France to play Trans Musicales 1996. Vaughn recalls, 'the place went wild. It was a great reaction. Alan is truly famous in France, so they were going nuts. For the encore, Alex called out "I Remember," an old Suicide song. It immediately fell into place, and the vocal Alan delivered was astounding. The memory of listening to his voice through the monitors during that song still kills me. What a gift he has.' The next day, as the musicians we were being dropped off in Paris for their flight home, the driver handed them a DAT tape of their set from the festival. Vaughn states, 'I put it in my guitar case where it stayed for over ten years.' 'Looking back, it was magic to work with those guys,' continues Vaughn. 'Two nights in the studio, two live shows, and then it was over. That material was never performed again.'"

LOVELY MUSIC

LCD 5001

ASHLEY, ROBERT: Crash 2CD (LCD 5001) 26.00
"Ashley's last opera....premiered at the Whitney Biennial weeks after his death in 2014, and presented again in 2015 at Roulette, where this recoring was made. Featuring the original cast: Gelsey Bell, Amirtha Kidambi, Brian McCorkle, Paul Pinto, Dave Ruder and Aliza Simons."

MARTIN HOSSBACH (GERMANY)

CABACH 001CS

NAUJOKS, CHRISTIAN: Your Contribution Cassette (CABACH 001CS) 10.00
Piano music performed by Christian Naujoks, as both artist and composer. Plus a track of ultra-modern techno music in the guise of Physical Therapy's phantastic "Softcore Mix." Naujoks: "Did you know that Michael Nyman actually invented the term 'minimalism' in the late 1960s? I think that is amazing. I love his film scores a lot, especially the one he composed for the Michael Winterbottom film Wonderland. I watched it on television sometime in the early '00s, at night when visiting my family (they live in the countryside in northern Germany, so there's nothing else to do). I was deeply touched by the music and it simultaneously sounded so easy to play that it made me think: I could learn that! So I ordered the sheet music and practiced it on my Yamaha virtual analog synthesizer keyboard. . . . So here is my very sincere Nyman interpretation for you. 'Unsung' is another favorite of mine. I once went to a Helmet concert in the Markthalle in Hamburg, and it was one of the loudest experiences I ever had. I played this cover version during the soundcheck of my first official Christian Naujoks concert, and Dirk von Lowtzow -- of the band Phantom/Ghost, whom I was about to 'support' that night -- came to me and said he liked it. Since Martin Hossbach and I originally conceived this release as a 'Christmas cassette,' I thought it would be nice to contribute these kind of long-time Christian Naujoks classics -- although I didn't write them by myself, but have been performing them live since almost 10 years. At one point, Martin came up with the idea to also include a remix by Physical Therapy on the cassette. So, as it's really tricky in terms of copyrights to have cover versions remixed, I composed a truly original Christian Naujoks piano piece to be transformed by Dan Fisher. I wrote some chord patterns and imagined them to be really dancey when combined with a ravey '90s-style techno beat. My impression is that Daniel and I are completely on the same page here, and he did a really great job! I can't wait for DJs to play it in the clubs."

MAYBE TOMORROW (GERMANY)

MT 005EP

KOOSH: Koosh Presents Disco Dubbin' 12" (MT 005EP) 12.50
The Mole's Maybe Tomorrow label returns with its first vinyl-only release, a doozy from widely acknowledged disco guru Koosh. Koosh has been keeping Canada's West Coast edits scene strong and free for many moons. The heads should know him from his releases on cult labels such as Common Edit, Red Motorbike, and his own 7 Inches of Love. Here, he delivers two prime cuts guaranteed to bring the sunshine to any dancefloor and a bonus FX ripper to melt minds.

MODERN CLASSICS

MCR 915LP

STONE ROSES, THE: Turns Into Stone 2LP (MCR 915LP) 34.00
"Second pressing on black vinyl. Remastered from the original tapes. You can tell a lot about a band by the songs they leave off their albums. Manchester's Stone Roses released just two albums -- the self-titled 1989 debut and, five years later, the follow-up, Second Coming. But those albums tell only part of the story. The missing bits can be found on Turns Into Stone, originally released in 1992 and scooping up early singles and B-sides that didn't appear on the debut album. The album's provenance speaks nothing of its quality: here can be found some of the greatest songs the four-piece ever recorded, from their poppets single, 'Elephant Stone,' to the towering 'One Love' and the anthemic 'Fools Gold,' the track on which their hybrid of atmospheric indie and acid house found its most perfect balance. It's the track that allowed the group's rhythm section of Gary 'Mani' Mounfied (bass) and Alan 'Reni' Wren (drums) to shine and the one that gave them cred beyond the indie scene -- Run DMC sampled it on 1990's 'What's It All About?' Quite why The Stone Roses chose not to put these songs on an album is a mystery, but Turns Into Stone itself was controversial at the time. In a protracted battle with record label Silvertone, the band were unable to release any new material for several years due to an injunction against them, and Turns Into Stone was released without input from the band -- unlike the majority of their releases, it boasts no cover art from the guitarist, painter and sculptor John Squire. The title is taken from the closing line in 'One Love' -- 'What goes up must come down/Turns into dust or turns into stone.' The lyric proved prescient for The Stone Roses who split acrimoniously following the divisive Second Coming and a poorly received performance at the UK's influential Reading Festival. It took eighteen years for the group to reunite, and when they did, they played to 220,000 people in three nights at Manchester's Heaton Park. For a time, relations between the band did indeed turn to dust. The band's legacy, which lives on in those three albums, is rock solid."


MCR 916LP

THIS HEAT: This Heat LP (MCR 916LP) 24.00
"First official vinyl re-issue in collaboration with original band members Charles Bullen and Charles Hayward. 24 bit/96 kHz re-master from original analog tapes. 180 gram wax housed in an expanded gatefold tip-on jacket. Includes booklet with track notes and archival photos. Isn't it so often the case that the most innovative works of art -- the ones that break the ground where others follow -- are the ones that seem to reach only the ears of those who take those ideas and run with them? So it is with This Heat and their eponymous debut album frequently referred to as 'blue and yellow' for its ultra-minimal jacket. Within its 48 minute run time, the seeds of post-punk, avant rock, noise rock and post-rock can be found. Formed in Brixton, a multicultural, and -- at the time -- down-at-heel part of south London, This Heat were born into a music scene in rapid flux, first thanks to the punk explosion and then via new wave and its myriad offshoots into pop, rock and art-rock. But while many sought to apply punk attitude to chart-friendly sounds, This Heat were concocting some of the most experimental ideas ever committed to tape, taking influence from musique concrète, krautrock, the burgeoning industrial scene and even the dub reggae blasting out in their home borough. Their debut album had -- for the time and for the DIY scene -- an unusually long gestation, recorded in sessions between February 1976 and September 1978 in a variety of studios including their own Cold Storage, a converted cold storage room in the Acme Studios complex. Innovating throughout, they combined loops and tape manipulation with live performance and haunting vocals to a complex, dissonant whole. The band recorded everything they ever did -- including gigs -- and tracks such as 'Water' were entirely improvised in the studio. Given the difficult, abrasive, and involved nature of their sound, This Heat never found anything approaching mainstream success, but patronage by the influential Radio 1 DJ John Peel meant they reached a national audience -- whether that audience was ready for them or not. Celebrating This Heat's 40th anniversary in 2016, Modern Classics Recordings will re-issue the band's catalog -- 1979's This Heat, 1980's Health and Efficiency, and 1981's Deceit -- with full co-operation of surviving members Charles Bullen and Charles Hayward. Four decades on, the tireless efforts of This Heat's process can once again be a revelation for new audiences."


MCR 917LP

THIS HEAT: Deceit LP (MCR 917LP) 24.00
"First official vinyl re-issue in collaboration with original band members Charles Bullen and Charles Hayward. 24 bit/96 kHz re-master from original analog tapes. 80 gram wax housed in an expanded gatefold tip-on jacket. Includes booklet with track notes and archival photos. With their debut album and follow-up maxi single Health and Efficiency, This Heat sowed the seeds of post-punk, avant rock, noise rock and post-rock, placing the trio -- Charles Bullen, Charles Hayward and Gareth Williams -- at the forefront of experimental music. However, 1981's Deceit is the one that truly deserves its reputation as a classic of the post-punk era, tying up the myriad threads of their work so far and adding accessibility and melody to the still furiously forward-thinking sound. Recorded in a variety of studios including the band's own Cold Storage, the 11 tracks put a sense of social anxiety and global paranoia to the fore. Some lyrics were 'harvested' from TV commercials ('Sleep'), others described the curtain-twitching of surveillance society ('Triumph'), and some were screamed with raw, ragged abandon, like on 'Makeshift Swahili'. 'Makeshift was a big learning situation for me,' says Hayward. 'I learned to let go with my voice, to release the energy that each song required, no matter where that might lead. The song, about the collapse of language, was central to the Deceit idea.' Musical innovations abound too -- drum tracks were recycled from other recordings, albeit in manipulated and mutated form, and 'Independence' reverses the melody of earlier track 'Fall Of Saigon'. It's an album whose themes and sounds unfurl before the listener, the mood of edgy, pre-apocalyptic tension growing throughout. Says Hayward: 'I still think of this record as a dream within a dream.' This Heat split a year after the release, with Bullen and Hayward completing the final tour without Williams. Hayward went on to form Camberwell Now and Bullen recorded as Lifetones. A tentative 2001 reunion came, tragically, too late -- Williams died of cancer within a month of them meeting to rehearse."


MCR 918LP

THIS HEAT: Health and Efficiency LP (MCR 918LP) 19.00
"First official vinyl re-issue in collaboration with original band members Charles Bullen and Charles Hayward. 24 bit/96 kHz re-master from original analog tapes. 180 gram wax housed in an expanded gatefold tip-on jacket. Includes booklet with track notes and archival photos. With their self-titled debut, This Heat sowed the seeds of post-punk, avant rock, noise rock and post-rock. The album took the trio -- Charles Bullen, Charles Hayward and Gareth Williams -- two years to create, and placed them at the forefront of experimental music. The follow-up, the 20-minute Health and Efficiency, proved to be a less labored -- and more conventional -- record to make. Bridging the gap between the debut and their masterpiece, Deceit, the 1980 release found the band settling into a groove at their studio, Cold Storage. The eight-minute title track, remembers Charles Hayward, 'was improvised pretty much fully-formed,' and included the sound of the neighboring school's playground and the band rolling bottles around in the gallery space next to their studio. That's where they found the maxi-single's sleeve too -- Pete Cobb's blue and white image was on display in the same gallery. As Charles Hayward notes: 'Everything seemed to fall into place.' On the B-side, the drone for 'Graphic/Varispeed' came from the song '24 Track Loop' on the first album, albeit manipulated, slowed down and sped up. 'In the process, we realized that we liked the morphing of the sound from one state to another as the vari-speed combed the sound across the equalization, like a microscope. So we recorded the process itself, which is what you hear here,' says Hayward. The intention was for the single to be able to be played at 33, 45 or 78 RPM -- which you're welcome to do with this reissue, too."

MONO-TONE RECORDS (FRANCE)

MT 016LP

JUSTIN TROUBLE: Justin Trouble LP (MT 016LP) 18.00
Seventeen tracks, 17 hit singles! A perfect mix of New York Dolls' punkiness, psych pop ballads, Alex Chilton's twisted rock 'n' roll, Big Star's power pop, and The Byrds' jangle on this 1982 ultra-cult classic reissued on vinyl for the first time! A perfect soundtrack for urban romances.


MT 018LP

KAOS KARMA: Ritual Dance LP (MT 018LP) 18.00
Like Junior Kimbrough played by Alan Vega or Suicide on a slide guitar, this one-man project from Cannes (on the French Riviera) mixes guitar drones, weird synths, hypnotic drum machines, and narcotic vocals for a new kind of blues -- 21st-century blues.

MUNSTER RECORDS (SPAIN)

MR 360LP

LEGENDARY TIGERMAN, THE: Naked Blues LP (MR 360LP) 19.50
180-gram vinyl. "The Legendary Tiger Man is one of the several characters created in the mind of Paulo Furtado (Wraygunn, ex-Tédio Boys) to fight his natural-born hyperactivity. His trips through the Mississippi, along with the multiple US tours with Wraygunn, the legendary band from Coimbra, worked as inspiration for the creation of this project in 2002, in which Furtado, loaded with guitar, kazoo, bass drum, and hi-hat, reinvented the Delta blues tradition. The album, originally released as a 10" by Munster in 2002 and now a coveted collectors' item, was recorded live by Furtado at Clic Studio and mastered by Joe Fossard. It includes eight original tracks and two covers -- Bo Diddley's 'Mannish Boy' and Hasil Adkins's 'She Said' -- that are embers to a bonfire, dressed as tales of sex, crime, and damnation spat out from this rock 'n' roller's soul in the good old storyteller's style. "The music contained in Naked Blues exudes heat, humidity, the suffocating, maddening sensuality of the Delta. It's the perfect vehicle for the strongly sexual universe depicted in the lyrics. The rhythm, the stops, the shaking achieved by the mix of the instruments, the tone and inflexions of Paulo Furtado's voice depict in technicolor the provocative situations he sings about. And everything in Naked Blues revolves around sex: burning, desperate, one-night-only." --Raquel M. Pinheiro, Público


MR 7274EP

ALAN VEGA/ALEX CHILTON/BEN VAUGHN: Candyman/Lover of Love 7" (MR 7274EP) 8.50
In December 1994, over two all-night improv sessions at New York's Dessau Studios, Suicide's Alan Vega, Big Star's Alex Chilton, and singer-songwriter Ben Vaughn joined forces without a predetermined plan. Out of those two nights came a truly mesmerizing album, Cubist Blues. Originally released in 1996, it included the tracks "Candyman" and "Lover of Love," alternate versions of which are presented here. This 7" features a radio edit of "Candyman" and a live version of "Lover of Love" from the trio's 1996 concert at Les Rencontres Trans Musicales in France, one of only two live performances the ensemble ever did.

MUSE RECORDS

MUSE 5008LP

WATERS, MUDDY: Mud In Your Ear LP (MUSE 5008LP) 14.00
Exact repro of this 1968 release featuring the Muddy Waters blues band of guitarists Sammy Langhorne and Luther Johnson, George "Mojo" Buford on harmonica, Otis Spann on piano and Francis Clay on drums.

NEOS (GERMANY)

NEOS 11026CD

ZIMMERMANN, BERND ALOIS: Complete Works for Piano Solo CD (NEOS 11026CD) 15.50
Andreas Skouras, pianist on this recording: "Zimmermann was no genuine pianist, although his organ studies allow us to assume a certain affinity for keyboard instruments. The fact that the piano accompanied him at the beginning of his development for a good one-and-a-half decades allows us to draw certain parallels to Robert Schumann. Unlike the latter, however, Zimmermann's piano pieces were not intended for his own use as a concert artist. Rather, the piano served to provide him with a safe compositional harbour -- at a time when it was essential to find his own language in the chaos of the years prior to the outbreak of the Second World War until the late 1940s." In order to support himself financially, Zimmermann arranged entertainment and film music during the 1950s and composed contributions for school radio broadcasts. In 1956 he was elected president by the German Section of the ISCM, but gave that post up one year later. He was the first composer to receive a stipend of the Villa Massimo in Rome in 1957. Beginning in 1957 he led a composition class and the seminar for film and radio music at the Cologne Music Academy. The last years of his life were dedicated to work on the Requiem für einen jungen Dichter (Requiem for a Young Poet) which was given its premiere in 1969. Bernd Alois Zimmermann was honored with a number of prizes, including the Great Artists' Prize of North Rhine-Westphalia (1960) and the Artists' Prize of the City of Cologne (1966). In 1965 Zimmermann became a member of the Berlin Academy of the Arts. On August 10, 1970, he departed willingly from this life in Groß-Königsdorf near Cologne.


NEOS 11123CD

WUORINEN, CHARLES: Chamber Music for Violin, Piano and Harpsichord CD (NEOS 11123CD) 15.50
Charles Wuorinen, born on June 9, 1938, into a highly cultivated, culturally committed New York family of Finnish descent, began composing at the age of five and won the New York Philharmonic's Young Composer Award at age 16 in 1954. In 1962, together with Harvey Sollberger and Nicolas Roussakis, he founded the pioneering Group for Contemporary Music. He continued to work intensively as a composer, pianist, conductor, and composition professor at various universities, and his 1979 textbook Simple Composition is used by students all over the world today. In 1970 Wuorinen became the youngest composer ever to win the Pulitzer Prize for his electronic composition Time's Encomium. In the words of Andreas Skouras, who has made a name for himself as a champion of contemporary music on the harpsichord and piano in equal measure, "In Charles Wuorinen's music I am fascinated by the mixture of complexity and the musician's joy of playing. On the one hand, his roots in the masters of the past are clearly recognisable in all parameters (melody, harmony, rhythm, counterpoint), but at the same time these are placed at the service of a stringently flowing motion that reaches its climax with purpose. This is found in exemplary fashion in the piano piece Heart Shadow, based on material from his Rushdie opera Haroun and the Sea of Stories." Violinist Anna Skouras remarks, "The two works for violin solo by Charles Wuorinen resemble each other at first glance. Both pieces are true gems in the violin literature, and I am pleased to have discovered them for myself and recorded them." This CD features compositions by Wuorinen performed by Anna Skouras (violin) and Andreas Skouras (piano).


NEOS 11417CD

MAHNKOPF, CLAUS-STEFFEN: void CD (NEOS 11417CD) 15.50
Claus-Steffen Mahnkopf: "Two central themes of my artistic work are the fate of Judaism and the disasters of the 20th century. The word 'void' denotes emptiness, but also a gap. This idea has preoccupied me since 2000, when I became acquainted with the Jewish Museum in Berlin (still empty at the time), built by Daniel Libeskind; his architecture immediately captivated me, and I have repeatedly engaged with it to this day. Libeskind filled the building with vertical rooms that are simply empty and thus unusable -- for a functional building in the strict sense, they are dysfunctional. They symbolize something absent: the European Jews, who not least enriched Berlin life until the Nazi regime came to power. Libeskind is a master of absences and losses, as his recent 9/11 Memorial in New York demonstrates. Upon my first visit to the Jewish Museum in Berlin I noticed a specific acoustic, especially in the 'Holocaust Tower'. In December 2002 I visited the museum to record sounds there and in one of the 'Voids', where Menashe Kadishman's installation Fallen Leaves was located. I subsequently worked with these recordings at the Experimentalstudio des SWR in Freiburg, resulting in the spatial composition void - mal d'archive. Except for a few oboe notes, the work is a form of musique concrete. It is for 8 loudspeakers, and develops a spatial landscape in which these sounds are used to tell a story whose concretion each listener must conceive for themselves. mal d'archive is the title of a book by Jacques Derrida; in this context, it refers to something being inscribed in a gap in the memory." Performed here by Symphonieorchester des Bayerischen Rundfunks conducted by Roland Kluttig, Radio-Sinfonieorchester Stuttgart des SWR conducted by Rupert Huber, and EXPERIMENTALSTUDIO des SWR.


NEOS 11423CD

LACHENMANN, HELMUT: Musica Viva 23 CD/SACD (NEOS 11423CD) 15.50
On November 27, 2015, the musical world celebrates Helmut Lachenmann's 80th birthday. Is he a new music composer, or already a classic? For NEOS the answer is clear -- a classic. Times have changed from the days when almost all soloists and even whole orchestras refused to play his works due to anxiety about damaging their instruments. In reality they were simply not used to Lachenmann's new musical language, which asked for unusual playing techniques and a different kind of listening to one another. At that time NEOS's former label, col legno, pioneered recordings of Lachenmann, and a lot of people told them they were crazy. It was clear to the label that they had to release some of Lachenmann's orchestral works in view of the celebration of his 80th birthday. This hybrid SACD is one of two released for the occasion (alongside NEOS 11424CD) featuring the famous Bavarian Radio Symphony Orchestra (ranking number 6 in the world according to Gramophone). This edition features Ausklang, Musik für Klavier mit Orchester (1984/1985) performed by the orchestra with the outstanding pianist Pierre-Laurent Aimard, conducted by Jonathan Nott.


NEOS 11424CD

LACHENMANN, HELMUT: Musica Viva 24 CD/SACD (NEOS 11424CD) 15.50
On November 27, 2015, the musical world celebrates Helmut Lachenmann's 80th birthday. Is he a new music composer, or already a classic? For NEOS the answer is clear -- a classic. Times have changed from the days when almost all soloists and even whole orchestras refused to play his works due to anxiety about damaging their instruments. In reality they were simply not used to Lachenmann's new musical language, which asked for unusual playing techniques and a different kind of listening to one another. At that time NEOS's former label, col legno, pioneered recordings of Lachenmann, and a lot of people told them they were crazy. It was clear to the label that they had to release some of Lachenmann's orchestral works in view of the celebration of his 80th birthday. This hybrid SACD is one of two released for the occasion (alongside NEOS 11423CD) featuring the famous Bavarian Radio Symphony Orchestra (ranking number 6 in the world according to Gramophone). This edition features ... Zwei Gefühle ..., Musik mit Leonardo for speaker and ensemble (1991/1992) and a 2004 version of Schreiben, Musik für Orchester (2002/2003) performed by the orchestra with Lachenmann himself as the speaker, conducted by Péter Eötvös (... Zwei Gefühle ...) and Susanna Mälkki (Schreiben).


NEOS 11519CD

SCHLUMPF, MARTIN: The Five Points CD (NEOS 11519CD) 15.50
Martin Schlumpf, born in 1947 in Aarau, Switzerland, studied clarinet and piano with Warren Thew, conducting with Ferdinand Leitner, and theory and composition with Rudolf Kelterborn in Zürich from 1968 to 1973. In addition, he studied in Berlin with Boris Blacher in 1974. From 1977 until 2011 he was Professor of Music Theory and Improvisation at the Zurich University of the Arts. He was especially active as a composer in the area of serious music until 1980 (winning first prizes at the composition competitions of the City of Zurich in 1972 and 1979 and at the Tonhalle Competition in 1975). After that, he returned to improvised music as a saxophonist and clarinettist, especially with his own groups (Bermuda Viereck). Since the late 1980s he has been active in the interface between composition (classical) and improvisation (jazz) in a new "post-modern" environment with a strong focus on rhythmic language. His compositions, which range from solo pieces to large concertos, are performed in many countries. Schlumpf: "This CD The Five Points brings together five of my most important chamber works of recent years: a quintet, two trios and two solo pieces. In all these compositions, I tell imaginary stories. Starting from clear yet differing points of departure, I have allowed myself to be driven in an improvisatory manner whilst writing (like a jazz musician), following a thread, bringing something new into play, allowing different characters to enter into dialogues, arguing, rebelling or becoming reconciled. Time and again, however, this quality of being driven is also 'controlled', encouraged by my architectonically-formally thinking mind: the emotional aspect is formed by the rational, head and heart complement each other." Includes Spiegelbilder (Mirror Images) for viola, cello and piano (2013) performed by Michel Rouilly (viola), Thomas Grossenbacher (cello), and Petya Mihneva (piano); Push and Pull for accordion solo (2013) performed by Sergej Tchirkov (accordion); The Five Points for clarinet and string quartet (2012) performed by Matthias Müller (bass clarinet) and the Galatea Quartet; Puzzle for bass clarinet and computer (2011) performed by Matthias Müller (bass clarinet); and Pandora's Promise for alto saxophone, cello, and piano (2014) performed by Harry White (alto saxophone), Pi-Chin Chien (cello), and Edward Rushton (piano).

OUT-SIDER (SPAIN)

OSR 043CD

STUD: Stud CD (OSR 043CD) 17.00
Private hard rock ultra-rarity from Texas exhumed for the first time. With only 200 copies released in 1975, the Stud album has become a holy grail for collectors. A mystery for many years (all the band members used pseudonyms on the album credits), the band seemed impossible to track down... until now. Formed in 1974 in Houston, Stud featured the killer lead guitar of 17-year-old genius Tim Williams, the brutal Rickenbacker bass attacks of Paul Eakin, and the solid-as-a-rock drumming of George Lasher. The chemistry was born when they first starting played together, and after many rehearsals they decided they were ready to record their first album. So they entered the Barons Studios in Rosenberg, and Stud was the result. Powerful hard rock ("A Woman Like You" and "Jim/Blues"), killer boogie-rock ("Captain Boogie"), hard psychedelic jams (the 13 minutes of "Stud"), and progressive hard rock on the impressive "The War Song." File next to Morly Grey and Incredible Hog. Remastered sound. Color insert with lots of previously unseen photos and liner notes by Paul Eakin telling the band's story for the first time.

PIG SWEAT (GERMANY)

PSWEAT 001EP

ZANZIBAR CHANEL: Big Bone Bitch 12" (PSWEAT 001EP) 14.00
The previously unreleased Zanzibar Chanel classic "Big Bone Bitch," presented here with a wacked-out edit by fellow ex-Melburnian Bell Towers and "Killer," a surefire dancefloor hit for all DJs in need of a tool.

PONDEROSA (ITALY)

PONDER 131CD

NAMTCHYLAK, SAINKHO: Like a Bird or Spirit, Not a Face CD (PONDER 131CD) 22.00
"Sainkho Namtchylak is an experimental singer, born in 1957 in a secluded village in the south of Tuva. She has an exceptional voice, and is proficient in overtone singing. Her music encompasses avant-jazz, electronica, modern composition and Tuvan folk music. Audiences are astounded by the diversity of sounds Namtchylak can produce with her voice, from operatic soprano to birdlike squawks, from childlike pleas to soulful crooning, which at various moments elicits comparisons to Zap Mama, Patti Smith, Billie Holiday and Nina Hagen. Like A Bird Or Spirit, Not A Face is the latest addition to an impressive discography totaling over thirty albums in the past twenty years."

PUBLIC POSSESSION (GERMANY)

PP 014EP

MECHATOK: Gulf Area EP 10" (PP 014EP) 14.00
Mechatok, 18 years old at the time of this release, delivers on a level no one knew existed. Moving effortlessly between contemporary pop aesthetics, video game soundtrack sounds, and dubstep influences, he produces music that could work as a score to a NASA commercial but also transports local dancefloors to new spheres. This is, of course, only one interpretation -- it could also be normal music somewhere else, probably the best of all possible worlds.


PP 015EP

BABA STILTZ/SAMO DJ/TZUSING: A Slice of "Heaven" EP 12" (PP 015EP) 14.00
A steady beat, a (German?) voice, a bar fight, Hong Kong by night. The city cowboys ride through basement kitchens, collecting debts until the next board meeting. It's damn hot in the streets of Beirut, but the bazaar gives good cover. Hiding in the sandy breezes until the dark night falls and one can finally indulge in the more lustrous activities of life . . . Samo DJ, Baba Stiltz and Tzusing come together to create this four-track EP that invites listeners' minds to wander around the globe, finding themselves in places far from here and now but still so close.

QUINTESSENTIALS (UK)

QUINTESSE 046EP

CHIAVAROLI, MAT: Swan EP 12" (QUINTESSE 046EP) 12.50
Italian producer and DJ Mat Chiavaroli returns to Quintessentials following his contribution to 2013's Thank You Freaks (Part 3). The Swan EP is a rich blend of house music with lots of beautiful details. Includes a dope remix from the ever-reliable Creative Swing Alliance (Tsuba, Mule Musiq, Faces).

RECOGNITION (POLAND)

RECOG 037EP

SIENKIEWICZ, JACEK: Drifting Remixes 12" (RECOG 037EP) 14.00
Jacek Sienkiewicz's "Drifting" (RECOG 002CD, 2015) remixed by two premium electronic music producers, Roman Flügel and Ricardo Villalobos. No further words necessary. Enjoy.

REPRISE RECORDS

MS 2076CLP

METERS, THE: Cabbage Alley (Colored Vinyl) LP (MS 2076CLP) 20.00
Red colored-vinyl reissue, manufactured by Rhino. Their fourth album and their first for Reprise, originally released in 1972.

RETROGRADE (GERMANY)

RTGD 002EP

HOFFSTADT & PARIS BRIGHTLEDGE, MARLON: Smile 12" (RTGD 002EP) 14.00
135-gram 12". Berlin-based producer Marlon Hoffstadt presents his first release on his Retrograde label, founded with Natureboy Gold. Smile is a collaboration with Chicago house music icon and pioneer Paris Brightledge, who has been active since 1987 with releases on substantial labels such as D.J. International Records. "Smile" combines Hoffstadt's smooth production with Paris Brightledge's ability to hypnotize the dancefloor with his unique voice. Detroit's Kris Wadsworth remixes "Smile" with some "pretty nasty analog stuff." "Lies" is a percussion-driven, 303-based club workout. Matteo Luis remixes it into a more synth-heavy version. Cover art by Hermann Reimer.

ROX VOX (UK)

RV 2027CD

NEW RIDERS OF THE PURPLE SAGE: Jul 2 1971 Fillmore West CD (RV 2027CD) 17.00
Closely allied to the Grateful Dead, this legendary cosmic country band got together in San Francisco in 1971. Broadcast on the King Biscuit Flower Hour, this superb live set at the Fillmore West on July 2, 1971, finds them tackling a range of material from their 1971 debut album (forthcoming at the time), with prominent assistance from Jerry Garcia on pedal steel guitar. The complete broadcast is presented here with background notes and images.


RV 2033CD

VA: Havana Jam: Live in Cuba March 1979 CD (RV 2033CD) 17.00
Showcasing several of the most popular acts from the US and Cuba, 1979's groundbreaking Havana Jam festival represented a historical step toward establishing a cultural exchange between the enemy nations. Originally broadcast on KBFH-FM, the music captured in these sets by The Stephen Stills Band, Kris Kristofferson & Rita Coolidge, Weather Report, Irakere, and Fania All-Stars at the Karl Marx Theatre in Havana, Cuba, on March 3, 4, and 5, 1979, spans salsa, jazz-rock, singer-songwriter, and mainstream rock, all infused with the excitement and energy of the event itself. The complete broadcast is presented here together with background notes and images.

SOMMOR RECORDS (SPAIN)

SOMM 028CD

PROYECTO A: Proyecto A + Proyecto B CD (SOMM 028CD) 17.00
Cosmic acid-psych-soul-funk-prog extravaganza from Spain, 1971. Proyecto A was the brainchild of the great Frank Dubé from Barcelona. What can one say about him? A truly fascinating character -- a pioneer of rock and roll and twist in Spain during the late '50s and early '60s, an accomplished accordion player, a showman, comedian, a psycho-aesthetics master -- but he should also be considered one of the first psychedelic pioneers in Spain due to his groundbreaking work on the Proyecto A album. Dubé started working on Proyecto A in 1969. Impressed by the moon landing, he wanted to create a concept album about the Solar System planets using tone scales and groove music so people could dance to it at clubs. He recruited some of the best studio musicians around and the result was a delirious concept album fueled by fuzz-wah guitars, crazy vocals, bizarre electronic effects, Hammond organ, soulish horns, funky drums... Due to the limitations of recording studios in Spain at the time, Dubé had to create his own effects and sound effects for the album. He used a primitive Binson Echo unit, recorded vocals through guitar amps, used guitar effects on the keyboards, and recorded the sounds of the beach and TV sounds with a portable microphone. Proyecto A was released in 1971 housed in an amazing gatefold sleeve depicting all the musicians wearing bizarre psychedelic outfits. The project was shrouded in mystery (Dubé used pseudonyms for all of the musicians involved) and for many years the Proyecto A album was plagued with many false rumors and stories. Out-Sider sets the record straight with this, the first-ever reissue done in cooperation with Frank Dubé. This reissue also includes the previously unreleased Proyecto B recordings from 1974, which were meant to be the second Proyecto A album. Recorded at EMI studios in Barcelona but never released at the time, this features Frank Dubé backed by famous Spanish prog band Iceberg plus saxophonist and flautist Juan Mena (ex-Máquina and Eddie Lee Mattison Band). This will surprise anyone into Latin, funk, psych, and library sounds. Lots of killer flute, drum breaks, Hammond, Fender Rhodes, electric guitar -- including tracks like the cosmic "Missatge espaial d'amor", conceived by Dubé as the soundtrack to the first sexual intercourse in space. Includes booklet with previously unseen photos and detailed liner notes in Catalan, Spanish, and English. Remastered sound.

STAALPLAAT (GERMANY)

ARCHIVE 026CD

MUSLIMGAUZE: Abyssinia Selasie CD (ARCHIVE 026CD) 18.00
Limited edition of 500. Although Bryn Jones's work as Muslimgauze certainly counts dub among its influences, rarely is that influence treated as directly or centrally as it is on many of the tracks found on Abyssinia Selasie. A rarity among the material Jones left behind after his death in 1999, this release features previously unreleased material that Jones had titled, unlike many of the tapes he had submitted but hadn't gotten around to preparing for release. The opening title-track alone, with its steady bassline and dopplering, insistent beeps, is as close to an unadulterated dub track as Jones ever came, even as the separate coda "Benzedrine Wallah" starts cranking up the outbursts of percussion. Not every song on this trim, focused collection goes in that same direction, but even elements like the wobbling percussion and female vocals of "Arab" share a similar sensibility. Even the stark "Mind of a Suicide Bomber" is more coolly menacing than overtly hostile, although as always with Jones's work and his positioning of that work it's hard to know how seriously, or sympathetically, one should take him. Unfortunately Jones isn't around to ask, either to take to task or to praise, but he has left behind such a depth of material (and was so generally taciturn in life) that audiences are left with only that to evaluate. The last track here is titled "Mea Culpa," and while it starts out as a fine example of the warmer, more head-nodding sound of Abyssinia Selasie before metamorphosing into a truly out-there echo chamber, after a brief break in the middle it surges back to life with the dubbiest bassline of the album, bathed in somehow welcoming static. Jones's work as Muslimgauze remains as enigmatic and rewarding as ever.


ARCHIVE 031CD

MUSLIMGAUZE: Libya Tour Guide CD (ARCHIVE 031CD) 18.00
Limited edition of 500. Originally issued as the third LP in the limited-edition Tandoori Dog box set (1998), Libya Tour Guide is reissued here as a standalone CD following corresponding editions of the box's first two discs, Jaagheed Zarb (2008) and Tandoor Dog (ARCHIVE 013CD, 2013), and again the increased space of the CD medium has allowed for the inclusion of previously unreleased material from the original tape. Although a version of "Rebiana sand sea" originally surfaced on the 1998 Melt EP, it is restored to its proper place in this sprawling 22-track CD, along with "Tubruq sand bank" and the 12-minute "Aqua Tingktyur." As with many of Bryn Jones's longer albums as Muslimgauze, Libya Tour Guide ranges over different sounds and modes as it goes, from the near-collage of short pieces featured near the beginning to the subdued, sinister pulsing of "Great satan shadow" to the extended, sometimes digitally shredded journey of "Aqua Tingktyur." Even more than normal, here Jones's tracks comment on each other, with the already hectic squiggles of "Benzedrine, effendi" immediately answered with the fiercer distortions of the same sound on "No, benzedrine, effendi" and "East of tarabulus" taking the listener further than "Tarabulus." The result, whether it's the richly echoing hand percussion of "Kurnel" or the choking static of "Rebiana sand sea," is as intoxicating as always.

STUDIO BARNHUS (SWEDEN)

BARN 034EP

SILEX, ESTHER: Pachamama 12" (BARN 034EP) 14.00
DJ extraordinaire and Colognian woman-about-town Esther Silex debuts with three impeccable, stripped-down tracks. The gargantuan yet free-flowing bassline of "Hans," the menacing tension of "Heinrich," and the anthemic sunrise mood of "Oskar" are all testaments to Esther Silex's unquestionable status as an impassioned powerhouse with enough West German swagger to create timeless music of equal parts simplicity and beauty.

SYSTEMATIC (GERMANY)

SYST 109EP

OCH: Time Tourism 12" (SYST 109EP) 12.50
Autoreply Music founder Dicken Lean aka OCH, following two acclaimed 10"s on Systematic (including 2013's Force Mass Control Vol. 2 EP (SYST 1010EP)) and a 2012 remix of Marc Romboy & Ken Ishii's "Taiyo" for the label, presents a 12" edit of "Time Tourism," released in advance of his 2016 double CD of the same title. "Time Tourism" is a techno-influenced track in a classical deep house coat; here, Baby Ford remixes it in his trippy, repetitive way, while Marc Romboy's remix shows off his groovier shades, recalling his remixes for Terrence Parker on Planet E and for Gorge on Freerange.

THE WIRE (UK)

WIRE 384

WIRE, THE: #384 February 2016 MAG (WIRE 384) 9.50
"On the cover: Alan & Sir Richard Bishop (The Sublime Frequencies ringleader and Ranga guitarist get together to talk Sun City Girls, Islamaphobia and smoking bans). Inside this issue: 22a Records (The South London crew and label's jazz-influenced productions and loose beats share a distinctly local aesthetic); The Primer: This Heat (A user's guide to the recordings of the art rock trio and spin-off groups from Camberwell Now to Monkey Puzzle Trio); Invisible Jukebox: Puce Mary (Danish noise artist Frederikke Hoffmeier goes to extremes with The Wire's mystery record selection); Global Ear: Gran Nayar (The corridos culture soundtracking wild fiestas in Mexico's Sierra Madre mountains); Breadwoman (Folk chants from outer space from Anna Homler's loaf-faced alter ego); Za! (The Spanish duo mash up terrace-chant mayhem with... everything else)."

TROST (AUSTRIA)

TROST 135CD

CHIPPENDALE/GUSTAFSSON/PUPILLO: Melt CD (TROST 135CD) 17.00
Begun as a temporary project in 2014 by Mats Gustafsson (The Thing, Fire!), Brian Chippendale (Lightning Bolt), and Massimo Pupillo (Zu), this trio soon evolved into a band project. They're now releasing their first album on Trost Records, with a tour to follow in 2016. Mats Gustafsson: saxophone; Brian Chippendale: drums; Massimo Pupillo: bass.

UNROCK (GERMANY)

UNROCK 005LP

BISHOP/AVA MENDOZA, SIR RICHARD: Ivory Tower (Hanuman) LP (UNROCK 005LP) 25.50
The third installment in Unrock's string-related Saraswati Series features Grandseigneur Richard Bishop performing with his rough charm and maximum elegance, along with one of the hottest kick-ass avant-guitar players around, the now-Brooklyn-based Ava Mendoza. Besides her work in Unnatural Ways, she improvises constantly on NY's avant-stages along with Elliott Sharp, Jim Black, William Winant, Paul Flaherty, Tim Dahl, and others. Rumor has it that she was even in Caroliner. Recorded in full at Ivory Tower (Unrock Headquarters), the Sir opens up stepping deep into music history (as we know it), messing carefully around with the mysterious track that the New York Times focused on in their 2014 review of one of his live performances. An electric version of "Safe House," a bone-dry 2015 update on "Abyss," an eruptive outbreak from "Multiple Hallucination" into "Black Eyed Blue," and a mild and mellow reflection ("Ivory Tower"). Miss Mendoza is wild at heart and gives you the boot with what she's best at: thunderous, eruptive, twisted improvisations and perfect songs. Shadowtrapping.

VAMPISOUL (SPAIN)

VAMPI 166LP

CORTIJO: The Ansonia Years: 1969-1971 LP (VAMPI 166LP) 17.50
LP version. On May 7, 1970, Rafael Cortijo met a group of lifelong friends in New York City to embark on a musical journey back to his Afro-Caribbean roots. For the first time ever in a recording venture, the famous Puerto Rican percussionist, leading ambassador of bomba and plena music since the '50s, decided to express the raw essence of his repertoire of island rhythms, stripping them of orchestration with the idea of recreating in the studio the drumming fiestas he'd enjoyed as a boy in the Santurce neighborhood of San Juan, Puerto Rico. He was accompanied by fellow percussionist (and partner on this production) Francisco "Kako" Bastar and singers Rafael "Chivirico" Dávila (lead vocals) and Ismael Rivera (chorus), the outstanding artists of Latin music at that time, who had also grown up with Cortijo in the streets of San Juan. The result of this legendary session was the 1970 album Ritmos y Cantos Callejeros by Cortijo y Kako y Sus Tambores, an essential contribution to the sonorous vitality and sense of identity that preceded the salsa boom in New York and the Caribbean. While a new generation of immigrants of Latin origin, mostly Puerto Ricans, took their drums to Central Park and out onto the streets of the Bronx to make their way in New York, Cortijo and his friends chose to reclaim the immense wealth of their Puerto Rican drumming heritage, as well as the link between this legacy and popular music of the day. Yet Cortijo was hardly a folklorist; he always adopted an approach more pragmatic than orthodox, and on Ritmos y Cantos Callejeros, as on all of their bomba and plena recordings, Cortijo and Kako use mostly Afro-Cuban percussion instruments (congas, timbales, and bongos), which they considered more suitable than their Puerto Rican equivalents such as traditional bomba barrels and plena panderos. Cortijo recorded two more LPs between 1969 and 1971, Noche de Temporal and Volumen 2; all three were released on the Ansonia label. Noche de Temporal and Volumen 2 emphasize the dialogue between Puerto Rican and Cuban styles, with the outstanding participation of the Cuban musician Javier Vázquez, first known as the pianist for La Sonora Matancera, and then as one of the leading arrangers for the salsa produced in New York in the '70s. The Ansonia Years gathers the best recordings from this trio of albums, with most tracks reissued here for the first time.

VINILISSSIMO (SPAIN)

MRSSS 532LP

LAGHONIA: Glue LP (MRSSS 532LP) 25.00
180-gram vinyl. In 1969, after four brilliant singles, the Peruvian band The New Juggler Sound, formed by Saúl Cornejo (guitar), David Levene (lead guitar), Ernesto Samamé (bass), Carlos Salom (organ), and Manuel Cornejo (drums), changed their name to Laghonia and released their debut LP, Glue, on the MaG label. The album included tracks from their initial singles, which were heavily influenced by the British rock scene of those years, to which they added fiery guitars bursting with fuzz and wah-wah, the ever present and hypnotic Hammond organ sound, and Latin American percussion and rhythms. The result was a wonderful mix of mid-'60s British beat melodies, Jimi Hendrix's intense rock, Cream's heavy blues, and Santana's Latin rock. Glue is regarded as one of the key albums of Latin American psych and garage rock, and is an essential record for any fan of those genres.

VINYL LOVERS (ITALY)

VL 900748LP

THEE HEADCOATS: The Sound Of The Baskervilles LP (VL 900748LP) 22.00
2010 release. "The self-proclaimed 'king of garage rock' Billy Childish acted as frontman to this band from 1989 to 2000. The most prolific of Childish's musical endeavors, the band recorded 14 albums during its lifetime. Here is what Childish himself had to say about the album: 'unsophisticated balderdash from the English gentlemen of rock n' roll Thee Headcoats and their cohorts, the majorettes from hell, Thee Headcoatees. 15 raucous tracks of unabashed ineptitude from a secret London pub gig in April 1995. This gig was wasted on the audience as most probably will this record be wasted on your good self.'" 180 gram vinyl.


VL 900786LP

MORRIS, ROGER: First Album LP (VL 900786LP) 22.00
2009 release. "Originally released in 1972 on Regal Zonophone, Morris' ultra rare First Album touches down in an important British roots revival scene that later gave rise to the pub rock genre of the late 70s. An interesting and gifted performer, Morris takes a trip into folk rock and brings with him some of the finest musicians of the period: Tommy Eyre, Johnny Almond, Chris Mercer, and John Weider. This reissue features 4 bonus tracks from the CD version that have never been previously released on LP." 180 gram vinyl.


VL 900830LP

BIRMINGHAM SUNDAY: A Message From Birmingham Sunday LP (VL 900830LP) 22.00
2010 release. "Formed by some high-school friends from Carson City, Nevada, the band began playing clubs around the state in the late sixties, and soon landed a contract with Bill Holmes' (Strawberry Alarm Clock's producer) label, All American. This teenage band played mostly folk-influenced psych, with beautiful male/female vocal harmonies rising above the music (which featured Doors-influenced organ playing and some wind instruments as well). The album was originally released as a test pressing, and the impossibly-rare original copies have been known to sell for mind-boggling prices." 180 gram vinyl.


VL 901042LP

ROSWELL, STERLING: The Psychedelic Ubik LP (VL 901042LP) 22.00
2010 release. "2004's critically acclaimed debut solo album by the enigmatic drummer of Spacemen 3. Amazing songwriting that fuses atmospheric space pop with an acid-laced romp through the annals of rock & roll, reflected in the album's two covers, Alex Chilton's 'Blue Moon' and a variation on '60s garage band The Balloon Farm's 'Question Of Temperature' ('Ludic Revolution'). Out of the past of some parallel universe comes triumphantly the future of underground psych. Produced by Neil Brockbank (Nick Lowe, Bryan Ferry) and also featuring the Time Out Single of the Week 'Girl From Orbit'."


VL 901462LP

WILLIAMSON/GILLI SMYTH/DAEVID ALLEN, HARRY: Stroking the Tail of the Bird LP + 7" (VL 901462LP) 22.00
2013 release. "Compiling recordings that span the '70s through the '90s, Stroking the Tail of the Bird highlights the Gong co-founders Allen and Smyth, along with Mother Gong alumnus Williamson, at their enigmatic best. Glissando guitars and meditative synthesizers combine to make timeless and ethereal psychedelia on par with Allen's best work in Gong. Includes a bonus 7", pressed on 180 gram vinyl."

WILD PITCH RECORDS

WPL 2001LP

GANG STARR: No More Mr. Nice Guy LP (WPL 2001LP) 14.00
2000 reissue of Gang Starr's 1989 debut. Tracks include "Manifest," "Positivity," "Gotch U," "Cause and Effect" and "Jazz Music."

YAZOO

YAZ 1020HLP

PATTON, CHARLEY: Founder Of The Delta Blues 2LP (YAZ 1020HLP) 29.00
2016 repress. "Charley (a.k.a. Charlie) Patton was the most powerful blues recording artist of all time, considered by many to be the single most important figure in the history of traditional blues. He was a profound shaper and a giant figure in early Mississippi Delta music. The combined power of his vocal and guitar dynamics is unparalleled and he was the Delta's first blues celebrity." This reissue reproduces the front and back cover of Yazoo's original 1970 release. Pressed on 180 gram vinyl.


YAZ 1058HLP

JOHNSON, BLIND WILLIE: Praise God I'm Satisfied LP (YAZ 1058HLP) 17.00
2016 repress. Repro of Yazoo's 1977 collection of Blind Willie Johnson, master slide guitar player and one of the most powerful gospel blues musician of all time. Songs recorded between 1927-1930, including "Dark Was The Night," later covered by Ry Cooder. 180 gram vinyl.


YAZ 1064HLP

CARTER, BO: Banana In Your Fruit Basket: Red Hot Blues 1931-36 LP (YAZ 1064HLP) 17.00
2016 repress. 180 gram repro of Yazoo's 1979 collection of Delta bluesman Bo Carter. Recordings from 1931-1936. "Bo Carter's recorded repertoire demonstrates his unusual flair for sexual motifs. While bluesmen like Charlie Patton used sexual subjects as a performing stock-in-trade, they did not share Carter's affinity for recording them. Perhaps they balked at doing so through fear of giving offense to whites."


YAZ 1078HLP

JOHNSON, BLIND WILLIE: Sweeter As The Years Go By LP (YAZ 1078HLP) 17.00
2016 repress. 180 gram reissue, originally released in 1990. "Blind Willie Johnson (1902-1947) is one of the great gospel blues legends. Initially a preacher who gave sermons in the street, Johnson first became known for his powerful voice, but it was his masterful slide guitar playing that would soon write his name in the annals of blues."

YORE RECORDS (GERMANY)

YORE 033CD

VAZ, ANDY: House Warming CD (YORE 033CD) 17.00
Andy Vaz returns with his third full-length album on his own Yore label. Due to Vaz's half-Indian roots, he is lucky enough to own a beach house just outside of Mangaluru in the South Indian state of Karnataka. This is where most of House Warming was written, over a period of six months. In this totally isolated, hidden, entirely tourist-free spot, which had become Vaz's second home in the years before the album's creation, the artist found himself outside of the usual routines of Western life and in a position to simply sit down and create. The result is House Warming. As the title suggests, it's house, without a doubt -- but in the form of an album that's thoughtfully crafted from beginning to end. This is house music in all its aspects: the soulful, the deep, and the raw; or, if you prefer, deep house, acid house, and garage/vocal house. The joints range through downtempo, elektro, and even hip hop beats. This may sound old-school, and in spirit, it may be; it was produced entirely with analog synths and the Roland series -- from 808, 909, 505, and 606 to the original 303 -- but in a modern studio environment. Andy Vaz has been around long enough to know how to program his very personal ideas into the music, without denying influences from Detroit, Chicago, and New Jersey, to create something that goes further than a simple reflection of the past. "Deep" isn't a genre, it's a feeling. A warm feeling most of all. You're invited to find it here. Features contributions from Eva Soul and Niko Marks. CD in digipak; includes two bonus tracks.

ZEITGEIST (UK)

ZG 9102CD

FOLKAL POINT: Folkal Point CD (ZG 9102CD) 17.00
Based in Bristol, England, this teenage quartet made one of the most sought-after folk albums of all time. Originally released in 1972, it combines folk standards with contemporary material by Bob Dylan, Tom Paxton, and others, all set to precise guitar arrangements and the gorgeous, wistful vocals of Cherie Musialik. With original copies changing hands for several thousand dollars, it makes a welcome return to CD here.


ZG 9103CD

TRIP: Trip CD (ZG 9103CD) 17.00
Trip is an early-'70s Austrian "pop-opera" concerning the reception given to a black messiah in the modern age. Touching on the youth concerns of the time, it made a strong impact in Austria, where this extremely rare soundtrack album was issued in 1972. Spanning funk, pop, acid jazz, and gospel, with electric guitar, flute, organ, sitar, and more, it has been sampled since (notably for the epic breakbeat in Sunlounger's "White Sand" (2006)) and makes its CD debut here.

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