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Forced Exposure New Releases for 2/8/2016

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New music is due from Basic Rhythm, Hunter/Game, and Robert Aiki Aubrey Lowe, while old music is due from Fennesz, Dälek, and Boogie Down Productions.

FORCED EXPOSURE MAILORDER UPDATE
NEW RELEASES FOR THE WEEK OF 02/08/2016

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A RECORDINGS (UK)

AUK 003LP

BRIAN JONESTOWN MASSACRE, THE: Bravery, Repetition And Noise LP (AUK 003LP) 18.00
2016 repress. LP version, purple vinyl. Originally released in 2001. Bravery, Repetition and Noise is a dark, dreamy album, rich in atmosphere, layered in waves of sound. The album's antecedents are clear, inspired by psychedelia as they were by punk's nihilism, pulling both strands into a doom-laden, experimental sound quite distinct from anything that had come before or since. Brian Jonestown Massacre uses this as their touchstone, lovingly re-creating the moods and atmospheres of the past.


AUK 008LP

BRIAN JONESTOWN MASSACRE, THE: Methodrone 2LP (AUK 008LP) 25.50
2016 repress. Released on 180 gram blue vinyl. Deluxe gatefold with printed inner sleeves. 2007 release -- originally released in 1995. Redolent with the spirit of such high priests of effects and delay as Loop, Spaceman 3, and My Bloody Valentine, not to mention a fair dollop of the Jesus And Mary Chain, Methodrone clearly is the sum of its influences. Thankfully, BJM does a very solid job with them throughout the album's course of over 70 minutes.

ACKER RECORDS (GERMANY)

ACKER 048EP

TIMBOLETTI: Hintersee 12" (ACKER 048EP) 12.50
Every dog has that one spot -- you scratch it, and your four-legged friend loses control and starts kicking in ecstasy. Timboletti's music works pretty much like that, only he uses full-bodied basslines to stimulate his audience. Timboletti employs psychelicious sounds and melodies, enchanted sample scraps, and a pinch of acid for a sound that tickles the brain and the body. It's the essence of forward thrust and deepness, presented in five variations on Hintersee.

AIR CUTS (UK)

AC 8008CD

STILLS & MANASSAS, STEPHEN: Bananafish Gardens, NY CD (AC 8008CD) 17.00
Following the summer 1970 split of Crosby, Stills, Nash & Young, Stephen Stills quickly formed Manassas with former Byrd and Flying Burrito Brother Chris Hillman, as well as guitarist Al Perkins, fiddler Byron Berline, keyboardist Paul Harris, singer and percussionist Joe Lala, bassist Calvin "Fuzzy" Samuels, and drummer Dallas Taylor. Playing a potent blend of blues, folk, country, Latin, and rock, they were an instant success. This superb set at the Bananafish Garden in Brooklyn on April 16, 1973, took place shortly before the release of their second album, Down the Road, in May of that year, and features material from both of their LPs, as well as material by Buffalo Springfield, The Byrds, and CSNY. The complete WBCN-FM broadcast is presented here in digitally remastered sound with background notes and images.

BASIC REPLAY (GERMANY)

BRAT 1005CD

HUDSON, KEITH: Flesh Of My Skin Blood Of My Blood CD (BRAT 1005CD) 15.50
2004 release, restocked: new lower pricing. Originally released in 1974 on Mamba, Flesh Of My Skin Blood Of My Blood is the most hallowed of all those reggae albums which remain unavailable, and Keith Hudson's key achievement in a career launched when, as a fourteen-year-old, he recorded members of The Skatalites on his "Shades Of Hudson" rhythm. After a series of solid-gold productions for Ken Boothe, Delroy Wilson, John Holt, U-Roy and the rest, this album projects Hudson's removal from Jamaica to London and New York studios and transatlantic audiences, and inaugurates a sequence of albums -- classics like Pick A Dub, Brand, Playing It Cool, Playing It Right -- which show his troubled experimentalism better suited to the LP than the cardinal 7" reggae format. Anchored here by Santa Davis and George Fullwood from the Soul Syndicate -- alongside musicians like Augustus Pablo, Count Ossie and Leroy Sibbles -- Hudson's mood is tormented and dazed, as on titles like "Darkest Night," "My Nocturne" and "Testing My Faith," where he struggles for Black senses of commitment --political, existential, religious -- at its breaking point. Magnificently and deadly serious, hauntingly unique, unmissable and unforgettable.


BRAT 1005LP

HUDSON, KEITH: Flesh Of My Skin Blood Of My Blood LP (BRAT 1005LP) 19.50
2004 release, restocked. LP version. Originally released in 1974 on Mamba, Flesh Of My Skin Blood Of My Blood is the most hallowed of all those reggae albums which remain unavailable, and Keith Hudson's key achievement in a career launched when, as a fourteen-year-old, he recorded members of The Skatalites on his "Shades Of Hudson" rhythm. After a series of solid-gold productions for Ken Boothe, Delroy Wilson, John Holt, U-Roy and the rest, this album projects Hudson's removal from Jamaica to London and New York studios and transatlantic audiences, and inaugurates a sequence of albums -- classics like Pick A Dub, Brand, Playing It Cool, Playing It Right -- which show his troubled experimentalism better suited to the LP than the cardinal 7" reggae format. Anchored here by Santa Davis and George Fullwood from the Soul Syndicate -- alongside musicians like Augustus Pablo, Count Ossie and Leroy Sibbles -- Hudson's mood is tormented and dazed, as on titles like "Darkest Night," "My Nocturne" and "Testing My Faith," where he struggles for Black senses of commitment --political, existential, religious -- at its breaking point. Magnificently and deadly serious, hauntingly unique, unmissable and unforgettable.


BRWM 001CD

WHITE MICE: White Mice CD (BRWM 001CD) 12.50
2006 release, restocked: new lower pricing. Born in 1970, in Montego Bay, Jamaica, Allan Crichton aka White Mice is a graduate of three sound systems -- Sugar Minott's Youthman Promotion, Jammy's Hi Power, and his hometown Ticka Muzik. His first break came at the Sunsplash festival in 1985, when he and Little Kirk were called on stage to perform with Tenor Saw. Recording at King Jammy's and Channel One studios, with Junior Delgado at the controls, over the next few years Mice let off a series of records amongst the very deadliest of digital reggae -- nearly all on his brother Blemo's Intelitec imprint, out of Miami. This release collects cuts from White Mice's 1988 Intelitec album True Love as well as other never before reissued digital reggae classics.


BRWM 002CD

WHITE MICE: White Mice Versions CD (BRWM 002CD) 12.50
2006 release, restocked: new lower pricing. Essential instrumental dub versions of the tracks on BRWM 001CD. "More deadly digital reggae."

BLACK TRUFFLE (AUSTRALIA)

BT 018LP

AMM: AMMMusic LP (BT 018LP) 20.00
First vinyl reissue of the landmark 1967 debut album by AMM, AMMMusic. Remastered and cut by Rashad Becker at Dubplates & Mastering, Berlin. Exact replica sleeve by Stephen O'Malley. "Coinciding with the 50th anniversary of its recording in 1966, this reissue makes one of the cornerstones of the experimental music tradition available again in its original form, replete with Keith Rowe's beautiful pop art cover and the terse aphorisms by the group that served as its original liner notes. A testament to the interaction between the experimental avant-garde and the countercultural underground, the album was originally released on Elektra, recorded by Jac Holzman (the label's founder, responsible for signing The Doors, Love, and The Stooges) and produced by DNA, a group that included Pink Floyd's first manager, Peter Jenner (the title of Pink Floyd's 'Flaming' is a tribute to AMM's 'Later During a Flaming Riviera Sunset'). Formed in 1965 by three players from the emerging British jazz avant-garde -- Keith Rowe and Lou Gare had played with the great progressive big band leader Mike Westbrook and Eddie Prévost played in a post-bop group with Gare -- AMM quickly evolved from a free jazz group into something decidedly more difficult to categorise. By the time these recordings were made, two more members had joined the group: another Westbrook associate, Lawrence Sheaff, and the radical composer Cornelius Cardew. Then at work on his masterpiece of graphic notation Treatise, Cardew brought with him extensive experience of the post-serialist and Cageian currents in contemporary composition. Using a combination of conventional instruments and unconventional methods of sound production (most famously Keith Rowe's prepared tabletop guitar, but also prepared piano and transistor radio), the group performed improvised pieces often running for over two hours and ranging from extended periods of silence to terrifying cacophonies. On AMMMusic, long tones sit next to abrasive thuds, the howl of uncontrolled feedback accompanies Cardew's purposeful piano chords, radios beam in snatches of orchestral music. AMM's clearest break with jazz-based improvisation concerned the idea of individuality. Initially through an engagement with eastern philosophy and mysticism and later though a politicized communitarianism, AMM sought to develop a collective sonic identity in which individual contributions could barely be discerned. In the performances captured on AMMMusic the use of numerous auxiliary instruments and devices, including radios played by three members of the group, contribute to the sensation that the music is composed as a single monolithic object with multiple facets, rather than as an interaction between five distinct voices." --Francis Plagne

BUREAU B (GERMANY)

BB 217CD

BAUMANN/KOEK: Baumann/Koek CD (BB 217CD) 17.00
Baumann/Koek is another hitherto undiscovered treasure of German electronic music, the only album by the electronic music pairing of Wolfgang Baumann and Ata Koek, both from Kempten, Bavaria, Germany. It was mixed in Conny Plank's studio and distributed, without a label, by the duo themselves in 1978. The music owes much to the Berlin School; layered sequencer patterns, swirling chord tapestries, a computer beat here and there. Eastern elements or hints thereof add a particular charm to Baumann/Koek, reissued here for the first time. Rumors persist that Peter Baumann of Tangerine Dream is behind the Baumann/Koek project. But in actual fact, Baumann/Koek can unequivocally be identified as Wolfgang Baumann (no, not the MPS Records cover artist), born in Kempten in 1950, and his friend Ata Koek (Köktürk, to be precise), born in Istanbul in 1956. In their mid-20s, the pair made the trip from Kempten to Bonn with the singular aim of visiting the legendary Synthesizerstudio Bonn, the very same store where Kraftwerk and countless other electronic icons went shopping for their equipment. They purchased a secondhand ARP 2600, began experimenting, and realized that they needed more gear. Before long they had added an ARP sequencer, a Solina String keyboard, and an EKO Compurhythm drum computer to their arsenal. Last but not least, they acquired a four-track recorder and were ready to commit their music to tape, before going to the expense of booking Conny Plank's studio for the mix. They pressed up 1000 LPs and paid the production costs themselves. The album was well-received and the Swabian wholesaler Jaguar Records stepped in for worldwide distribution, but unfortunately went bankrupt shortly afterward. Baumann and Koek were disinclined to take on any further financial risk and decided against a follow-up record. The music clearly references the Berlin School, with a hypnotic maelstrom of sequencer patterns and swirling tapestries of mostly minor chords, underpinned at times by a computer beat. What really sets the music apart from comparable productions is the subtle influence of Arabian tonality, which saw Koek consciously introduce just a hint of Eastern flavor. If Baumann and Koek considered their "modest" equipment to be a hindrance, their music sounded all the better for it. There is a raw, unpolished quality to the tracks, a clarity that draws the listener closer, far more so than the bombastic productions of contemporaries like Tangerine Dream, Klaus Schulze, et al.

CACHE CACHE (UK)

CACHE 014LP

STABAT STABLE: Ultrissima on the Junk's Moon LP (CACHE 014LP) 25.00
The work of an incredible, idiosyncratic, and obscure early-'80s French futurist DIY project lead by Jean-Luc Aimé (Univers Zero), this feature-length album of elusive recordings from rare vinyl and cassette co-op releases (collected as the first-ever LP of the project) represents the bone fide axis point where zeuhl-skool meets synthpop, dark ambient, and early electro. A lost art-ifact from a micro-genre in which ZED, Eskaton, and Heldon share outernational tape space with Vox Populi!, The Normal, Colin Potter, and Luc Marianni, this work occupies a unique place on the shelves of fans of early DIY electro and post-punk, while ticking the boxes of '80s VHS OST enthusiasts and followers of the growing interest in European cassette zine projects. These melodic, macabre pieces fuse multi-track cassette experiments with homemade special effects from the hand of an accomplished multi-instrumentalist working on the outer reaches of disenfranchised progressive pop and reluctant techno, defining then deconstructing genres that have yet to exist. Stabat Stable were fueled by futurist gothic imagery and operated on a plane parallel to their European and American contemporaries; there are few artists like them, and virtually none more enigmatic. This benchmark record is the first signpost to a darker part of your musical want-list, as the invisible glue for fans of the aforementioned anti-genres. File under "Not Yet."

CACOPHONIC (UK)

CACK 4506EP

CHERRY & JON APPLETON, DON: Don/Jon 7" (CACK 4506EP) 14.00
Rare, previously unreleased outtakes from electroacoustic pioneer and Synclavier developer Jon Appleton and experimental jazz outrider Don Cherry's controversial electronic jazz experiments, recorded during the sessions for their 1970 Human Music LP at the Bregman Electronic Music Studio at Dartmouth College, New Hampshire. Released with the blessing and encouragement of Appleton himself, this absolutely essential record combines the creative technology that directly coincided with the dawn of Bob Moog and Don Buchla's synthesizer revolution with the homecoming of outernational free jazz -- two strains that, in tandem, spearheaded America's most radical music developments in the subsequent two decades and beyond.

CHAPTER MUSIC (AUSTRALIA)

CH 130LP

NO ZU: Afterlife LP (CH 130LP) 17.00
Unstoppable Heat Beat pioneers No Zu present their second album, Afterlife. The aptly titled sequel to 2012's Life, the album sees the eight-piece group venture into deeper, darker, more urgent territory. Chanted female vocals, pitched-down male vocals, and wild sax and horns coalesce into something uniquely antipodean, a bluestone back-alley hallucination bringing together no wave, funk, house, techno, and global percussion, which No Zu call Heat Beat. According to band leader Nicolaas Oogjes, Afterlife explores themes of human beauty, body movement, BDSM, belief systems, mortality, immortality, and the fetishisation of Australian colonial invasion and destruction of land/cultures -- all in dynamic dancefloor metaphors. No Zu have existed in various forms since 2007, but have really shifted into high gear in the 2010s. They contributed standout track "Raw Vis Vision" to Cut Copy's definitive 2014 Melbourne dance compilation Oceans Apart, and instigated an ongoing collaboration with NYC punk-funk icon Sal P (Liquid Liquid). In 2015 they played festivals like Sugar Mountain, At First Sight, and Camp Doogs and released the Greek-themed Medusa Music 12" on Home Loan Records.

CODES (UK)

CDS 003EP

LING: Attachment 12" (CDS 003EP) 16.50
Visionist's PAN sublabel Codes label presents Liverpool-based producer Ling's debut EP, Attachment. It's a data-centric collection built from field- and browser-recordings, loosely exploring the themes of habitual mental tendencies. "The idea that taking an instinctual interpretation of information potentially warps and distorts reality. If data triggers internal responses, it risks following a predetermined path that can stray from reality." The heavily processed sample material re-explores recordings collected between 2011 and 2015. Reconstructed within sound collages across the record, they strive to find an independent voice but at times back away in order to grapple with something else. Blending explorative futuristic sounds, Ling's glacial and at times glitchy constructions feature fleeting snippets of vocals or malfunctioning machines while dipping into tentative, broken melodies. Loose references to UK culture and contemporary sounds are restructured, offering moments of something teasingly familiar before withdrawing into abstraction. The EP was made in summer 2015 in Liverpool, mixed by Chris Pawlusek, and mastered and cut by Matt Colton at Alchemy. It features artwork by PWR Studio and Bill Kouligas with additional art by James Whipple.

CONNECTED (GERMANY)

CONNECTED 003EP

RE.YOU: NapLater 12" (CONNECTED 003EP) 12.00
Re.You has collaborated with Rampa and Rodriguez Jr.; remixed Tiefschwarz, David Mayer, Terranova, and &ME; and released on Saved, Souvenir, Mobilee, Keinemusik, Kompakt, and Rebirth -- and the list goes on. "NapLater" features a spellbinding groove anchored to a hypnotic synth phrase and an ever-increasing drum arsenal. "Otherside" (vinyl only) shows Re.You's capacity to create space, joining a pulsing groove with a twisted bass cycle and staggered vocal slices. "Body" features Re.You's trademark keyboard themes backed with synthetic percussion and a strident groove -- pure dancefloor, stripped back and upfront.

CORRESPONDANT (FRANCE)

CORR 040EP

GAGNON & MASSIMILIANO PAGLIARA, BENOIT: In Spirals 12" (CORR 040EP) 12.00
Benoit Gagnon and Massimiliano Pagliara met in 2012, and Gagnon initially sent these tracks to Pagliara for nothing more than feedback, but Pagliara was so inspired by the music that he felt compelled to add his personal analog touch. "In Spirals" is an unabashed ode to funked-up basslines and sparkling Italo melodies; "Agamous" takes 808 beats and 303 beeps into uncharted sensual acid territory; "Go South" adds electrified jungle drumming, making it the darkest and most intense track on the EP; and "Don't Push Me" heaps Chicago pads on grooving disco percussion before blossoming into a full-blown hands-in-the-air synth exercise.

CRYPTIC CORPORATION

MVD 8139CD

RESIDENTS, THE: Gingerbread Man CD (MVD 8139CD) 13.00
"The Gingerbread Man is the story or, maybe more accurately, one of the many journeys of an entity that visits the minds of human beings, and spies upon their thoughts. In the center of these personalities, the Gingerbread Man finds each person's individual 'brain song,' an infectious piece of pop music that floats around in their mind. The Gingerbread Man recognizes this 'brain song' as a human's unconscious attempt at creating order in the quagmire of chaos constantly confusing its mental condition. Because of his ultimately detached position, The Gingerbread Man has no real emotional stake in the lives of these people, but they do represent an ongoing sense of amusement for him. In the end he sums up his feelings toward humanity with a brief song of his own. Bonus tracks: instrumental arrangement, edited condensation."

CULTURES OF SOUL RECORDS

COS 112EP

ZE/EDUARDO ARAUJO, TOM: Jimmy, Renda-Se/Kizumbau 7" (COS 112EP) 7.50
"When Greg Caz and Deano Sounds teamed up to create The Brasileiro Treasure Box Of Funk & Soul they created a collection of vintage Brazilian music that stretches across the scope of funk, soul, and psychedelic. Co-compiler and Brazilian music aficionado, Greg Caz says: 'Without necessarily having a central theme other than funky nuggets from the first half of the 70s, we believe this compilation displays its own particular sense of logic, and that these songs ultimately all sound fantastic together. Regardless of one's familiarity, or lack thereof, with artists like Antonio Carlos & Jocafi, Os Incríveis, Toni Tornado or Celia, the material on these 45s speaks its own truth and justifies their inclusion here. Many of these were originally available as singles, while others were taken from albums, but all are guaranteed to find their way into many DJ boxes and playlists.' The stunning 45s from this set will now be available for individual sale. The series continues with Tom Zé's unstoppable riff on 'Jimmy, Renda-Se' with Eduardo Araujo sounding a bit like a Brazilian Tom Jones on the B-side, 'Kizumbau.'"


COS 113EP

CELIA/FRANCO: A Hora e Essa/El, Voce, Psui! 7" (COS 113EP) 7.50
"When Greg Caz and Deano Sounds teamed up to create The Brasileiro Treasure Box Of Funk & Soul they created a collection of vintage Brazilian music that stretches across the scope of funk, soul, and psychedelic. Co-compiler and Brazilian music aficionado, Greg Caz says: 'Without necessarily having a central theme other than funky nuggets from the first half of the 70s, we believe this compilation displays its own particular sense of logic, and that these songs ultimately all sound fantastic together. Regardless of one's familiarity, or lack thereof, with artists like Antonio Carlos & Jocafi, Os Incríveis, Toni Tornado or Celia, the material on these 45s speaks its own truth and justifies their inclusion here. Many of these were originally available as singles, while others were taken from albums, but all are guaranteed to find their way into many DJ boxes and playlists.' The stunning 45s from this set will now be available for individual sale. The series continues with the funked up deep groove 'A Hora E Essa' from Celia with Franco's jazzy funk cut 'El, Voce, Psui!' on the flip."

DAMAGED GOODS (UK)

DAMGOOD 448EP

CTMF: A Glimpse of Another Time 7" (DAMGOOD 448EP) 10.00
Billy Childish's CTMF present the 7" EP A Glimpse of Another Time. The title-track is about the scene around Slim Chance's Club at London's Wild Western Rooms venue in the 1990s. Billy Childish's group Thee Headcoats used to play there monthly; the cover of this EP bears a 1991 photo (by Paul Slattery) of Billy Childish fronting Thee Headcoats with Bruce Brand and Johnny Johnson on that tiny, legendary, wild-west-themed stage. "Ode to Citrus Heights" and "Throwback" are written and sung by JuJu, while "SQ 1" is another Billy Childish composition.


DAMGOOD 449LP

THEE HEADCOATS: Conundrum LP (DAMGOOD 449LP) 19.50
Reissue of garage rock kings Thee Headcoats' long-out-of-print 1994 classic Conundrum on white vinyl. "Ripping off the Non-Entities of Yesterday / Influencing the Stars of Tomorrow..." So it was written on the back cover of the original Conundrum release, almost a decade before The White Stripes and The Hives broke through -- how prescient they were. Thee Headcoats were mainly Billy Childish (guitar, vocals), Bruce Brand (drums), and Johnny Johnson (bass). They formed in 1989, after Billy Childish's previous band, Thee Mighty Caesars, gave up the ghost. By 1992 they had already released something like six albums and 15 singles. Conundrum was originally released on the legendary garage label Super Electro Sound Recordings (cofounded by Steve Turner of Mudhoney) in the USA, and later by Billy Childish's Hangman's Daughter label in the UK; it's been unavailable since the mid-'90s, until now. It features two of Thee Headcoats' classic singles, "Every Bit of Me" (originally a 1993 Damaged Goods 7") and "Girl from '62" (a Regal Select single from 1991). "'Every Bit of Me' alone has enough rough-voiced and snarling garage punk power to shame wannabes half the age of Childish, and that's just the first track of 14. His witty, blunt, and passionate views on life, love, and lust are as strong as ever, while the band sounds particularly great, still embracing the rough-and-ready Toerag Studio sound but cutting the musical crap and kicking out jams like nobody's business." --Ned Raggett, AllMusic


DAMGOOD 451EP

JOHNNY MOPED: Real Cool Baby/Never Never Time 7" (DAMGOOD 451EP) 9.00
English band Johnny Moped present "Real Cool Baby," taken from their 2016 album It's a Real Cool Baby (their first album since 1990's The Search for Xerxes). It's backed here with exclusive track "Never Never Time."

DAPTONE

DAP 101DVD

BRADLEY & MENAHAN STREET BAND, CHARLES: Live from the House of Soul DVD (DAP 101DVD) 16.00
"The first installment of Daptone Records' new video series, Live From The House Of Soul. Directed by Poull Brien and shot in the backyard of Daptone's House of Soul in Bushwick, Brooklyn, features Charles Bradley at his best with the Menahan Street Band. Charles Bradley's voice has evolved from a lifetime of paying dues, having nomadically labored for decades at various day jobs from Maine to Alaska - singing and performing in his spare time - before re-settling in his hometown Brooklyn and eventually finding a musical home at Dunham. In his distinctively rough-hewn timbre one hears the unmistakable voice of experience - each note and gruff inflection a reflection of his extended, sometimes rocky, personal path. It's only fitting that producer, Brenneck (also a member of The Dap-Kings and The Budos Band), would recognize in Bradley a kindred musical spirit - a singer whose performances exude both raw power and poignant beauty." Region 0, NTSC format; 30 minutes.

DEMDIKE STARE (UK)

DDS 015LP

LOWE, ROBERT AIKI AUBREY: Cognition/Observation LP (DDS 015LP) 20.00
Cognition/Observation is the very necessary follow-up to Robert Aiki Aubrey Lowe's physically modelled modular trance impulses heard on Timon Irnok Manta, which was issued to critical acclaim by Type in 2012 (TYPE 111LP). Bypassing academic practice in pursuit of fluid, instinctive progression, "Cognition (Forbes)" and "Observation (Sophrons)" unfurl two long, knotted sequences entangling intricate West African drum patterns and visual motifs in a buoyant, propulsive abstraction of techno and earthed-yet-cosmic electronics. Bass is thick as treacle and buffered by a scratchy, semi-organic flux of dancing sparks and mbira-like metallic twang in "Cognition (Forbes)," before the same elements refract and tessellate in a more nuanced echo chamber sound, distinctly recalling the shape of Dynamo's 2002 classic Außen Vor (DIN CD01) as much as Hieroglyphic Being's hypnotic improvisations. Rarified, transcendent music of the strongest order. Mastered and cut by Matt Colton at Alchemy.

DIAGONAL (UK)

DIAG 025LP

NOT WAVING: Animals 2LP (DIAG 025LP) 27.50
Double LP version. London-based Italian artist Alessio Natalizia aka Not Waving presents Animals, the project's most versatile album to date. It's an unruly yet emotive bender taking in dancefloor-mauling new beta and endearingly beery post-industrial synth music. Animals harnesses the wanderlust of Natalizia's spate of self-released albums and records for Ecstatic and Emotional Response but dials up the wildness, spitting out a careering sequence of tracks that feel as warped, deep-raved, and giddy as a night out in the city where they were forged. And make no mistake, although Animals occasionally bites hard at the business end of the dancefloor, this is Diagonal's most pop album yet, with Natalizia's songwriting sensibility conjuring moments of tenderness and beauty to offset the manic strobe lighting and dropping sweat. Opener "Believe" is one such moment, a twisting synth workout that bounces along over rock-ist live toms. The tie is loosened on "Head Body," as Not Waving unleashes a raging kosmic EBM showpiece that morphs across six sprawling minutes. Next up is "24," the album "hit" that delighted and destroyed dancefloors throughout 2015, with clear influences from Front 242 and Ancient Methods. The shunting "Gutsy" and whopping industrial stress-test "Work Talk" buckle down like mutant Powell cuts, whereas "I Know I Know I Know" and the thrashing EBM-pop of "Face Attack" run The Sound of Belgium (LMFLF 287CD/296LP, 2015) through a distinctly Diagonal filter, all smart edits and unruly arrangements. The great strength of Animals, though, lies in how Natalizia marries the clammy peaks of contemporary club music with oddly emotive runs into acidic Canterbury pop (as on "Tomorrow We Will Kill You") and cyborg despair (see "Punch") before the bittersweet "They Cannot Be Replaced." In short, this is Not Waving laying down some of his most sophisticated songwriting and finding an entirely appropriate home for his own distinctive sound. Animals is Diagonal's sixth artist album, following releases by Russell Haswell (including DIAG 024CD/LP, 2015), The Skull Defekts, Shit & Shine (DIAG 012CD, 2014), and Death Comet Crew (DIAG 006LP, 2013). Art by Diagonal whiz Guy Featherstone. Mastered and cut by Matt Colton.

DISCREPANT (UK)

CREP 023LP

SOUSA, TIAGO: Um Piano nas Barricadas LP (CREP 023LP) 27.50
Since his first release (2006's Crepúsculo), pianist and composer Tiago Sousa has been consistently developing his very own aesthetic; through his relatively large body of work, one can identify an artist on the search for his own expression and identity. Um Piano nas Barricadas ("A Piano in the Barricades") follows three largely successful endeavors, all centered on the piano: Insónia (2009), Walden Pond's Monk (2011), and Samsara (2013). In the time between those works and Um Piano nas Barricadas, Sousa composed the score for the 2013 Portuguese film Bibliografia (included here) and the large-scale theater piece O Coro das Vontades, which premiered in 2012. Um Piano nas Barricadas is another development in this unique body of work by one of the most interesting and intriguing musicians to come out of the burgeoning Portuguese music scene, cementing his place as one of the most distinct voices in piano-driven minimalism. Includes collaborations with To? Trips, Ricardo Ribeiro, Balthazar Molina, and Rebecca Roth. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin. Edition of 500.

DUG OUT (UK)

DO ADM071EP

TENOR SAW: Victory Train 12" (DO ADM071EP) 11.00
2011 release, restocked, new lower pricing. Tenor Saw gets full superstar treatment from the best in the business, with a tremendous, chunky, runaway rhythm, dominated by Bagga's roiling bass, burning horns and dubwise, lightning-clap percussion. Not to mention a full-color picture-sleeve, replicated by Dug Out.


DO INT001EP

MCLEAN, ARCHIE: The Ruler 7" (DO INT001EP) 11.00
Originally released in 1983 by the Integrity Record label in Jamaica. Legendary, killer roots. An austere, implacable, heavier-than-lead one-away, with a severe dub. Even their bass bins shall tremble and be in anguish.


DO PR001-EP

TIGER: Rap Pon Rydim 7" (DO PR001-EP) 10.00
Utterly inspired, gale-force ranting pon a flashin' TR-909 from Tiger. The head-on, 1988 collision of harder-than-hard-core dancehall and ultra-raw Detroit techno. Soundboy will soil his winceyette onesie.


DO XYZ004CD

DADAWAH: Peace And Love CD (DO XYZ004CD) 15.50
2010 release restocked: new lower pricing. Dark, hypnotic, tripping nyabinghi from 1974. Led by Jamaican Rastafarian singing hand-drummer Ras Michael over four extended excursions, the music is organic, sublime and expansive, grounation drums and bass-heavy (with no rhythm guitar; rather, Willie Lindo brilliantly improvising a kind of dazed blues). Lloyd Charmers and Federal Studios engineer George Raymond stayed up all night after the session to mix the recording, opening out the enraptured mood into echoing space, adding sparse, startling effects to the keyboards. At no cost to its deep spirituality, this is the closest reggae comes to psychedelia. Previously squandered in an incongruous 2-for-1 reissue, now lovingly returned to its original, singular glory at Abbey Road.


DO XYZ004LP

DADAWAH: Peace And Love LP (DO XYZ004LP) 18.00
LP version, repressed, lower pricing. Dark, hypnotic, tripping nyabinghi from 1974. Led by Jamaican Rastafarian singing hand-drummer Ras Michael over four extended excursions, the music is organic, sublime and expansive, grounation drums and bass-heavy (with no rhythm guitar; rather, Willie Lindo brilliantly improvising a kind of dazed blues). Lloyd Charmers and Federal Studios engineer George Raymond stayed up all night after the session to mix the recording, opening out the enraptured mood into echoing space, adding sparse, startling effects to the keyboards. At no cost to its deep spirituality, this is the closest reggae comes to psychedelia. Previously squandered in an incongruous 2-for-1 reissue, now lovingly returned to its original, singular glory at Abbey Road. Pressed on super-fly vinyl and housed in new standard-printed sleeves.

EL PARAISO RECORDS (DENMARK)

EPR 029LP

SORENSEN, NICKLAS: Solo LP (EPR 029LP) 25.00
LP version. Includes download code. Solo is the first solo album from Papir guitarist Nicklas Sørensen. While there are certain similarities with the oeuvre Sørensen has created with Papir, it quickly becomes apparent that this is something quite different. Throughout Solo, the Copenhagen native explores his primary instrument, the guitar, as a generator of otherworldly sounds, as a compositional tool, and -- perhaps most importantly -- as a transmitter of pristine, cascading melodies. There's a peaceful, savory quality to the album that indicates a musical maturity. With help from Papir's rhythm section as well as Causa Sui's Jonas Munk (who also recorded the album in El Paraiso's studio), Sørensen has created a wide, shimmering sound that seems to allude to a multitude of different styles and traditions. Considering that Sørensen is best known as a hard-rocking guitar player with a knack for improvisation, it's perhaps surprising that his inclination for pattern-based minimalism and blissed-out ambience dominates throughout this set. This is the kind of album that rewards repeated listens, constantly revealing new layers in the architecture of the sound. Solo is an affable, slow-burning album in which each component is given its own space and place to gently unfold and work its magic in the mind of the listener.

FEEDING TUBE RECORDS

FTR 230LP

MOONSICLES: Bay of Seething LP (FTR 230LP) 16.50
"Lovely, mysteriously canted debut LP by the new Austin-based quartet put together by Aaron Russell (ex-Cherry Blossoms, Weird Weeds, etc.). The music on Bay of Seething is instrumental, and rolls with a very cinematic feel, as though it were the soundtrack for some sort of rather sad, but highly psychedelic, movie. Sonically, if you need easy handles, the sounds are probably closer to Weird Weeds' than to Cherry Blossoms', perhaps because bassist Lindsey Verrill is a Weeds alum as well. But perhaps not. The blend of Aaron's guitar -- sometimes raw and heavy, sometimes more in the electro-folk mode -- with Sheila Scoville's synth, Verrill's bass, and Carolyn Cunningham's drums creates a dynamic and surging whole that's hypnotic and rapturous. Curiously, Moonsicles grab neither of the easy tropes that have lately been the stock-in-trade of instrumental units -- orientalia and spaghetti westernism. Their approach is straighter in a way, more based on proggy rock-qua-rock without nodding to either the far east or the faux west. The more the record plays, the deeper you'll sink. So grab yr duvet and prepare thyself for a solid ride" --Byron Coley, 2016. Limited edition of 300.


FTR 237LP

BURNT ENVELOPE: Alien Nation: Collected Singles Thus Far LP (FTR 237LP) 18.50
"Vinylization of the first cassette released by Tony Pasquarosa's incredible scuzz-punk project Burnt Envelope. Tony is well known for his multifarious guises (Crystalline Roses, World Domination, Gluebag, etc.) and membership of Frozen Corn, Aerosols, and whatever else might have happened this past week. Alien Nation documents the first imaginary seven singles by the 'band,' ranging from garage-spew in the proto-punk vein to brutalist groin thunder. Version Sound's Bob Moore has compared Burnt Envelope to Electric Eels at their snarliest. Regardless of labels, the music here is a brilliant mock-trio throb that ranges from neolithic suburban psych pulse of a Lazy Smoke cover right on through to blabbermouth pre-core lockjaw. Burnt Envelope's LP is a significant addition to Tony's discography, a discography that may well prove to be one of the most important blurts of New England's sub underground" --Byron Coley, 2016. Limited numbered edition of 300.

FOOL (JAPAN)

FOOL 002LP

KOSUGI & TAKASHI KAZAMAKI, TAKEHISA: Enban Live at the Strange Fruit LP (FOOL 002LP) 22.00
"Avant-primitive improv from the duo of Takehisa Kosugi (Violin, Recorder, Voice) and Takashi Kazamaki (Percussion, Harmonica). Recorded in 1983, Kosugi shows yet another side of himself, trading his drone for a more free-hillbilly style, which meshes perfectly with Kazamaki's masterful tumbling and clattering. Euro Import with paste-on covers. Limited edition of 250."

FULL PUPP (NORWAY)

FP 012CD

MAGNUS INTERNATIONAL: Echo to Echo CD (FP 012CD) 17.00
A leopard can't change its spots and Magnus International earned his spots in the hue sequence of Oslo's disco scene. "Disco is the single thread that runs through all electronic dance music." After an inconsistent hiatus from recording, the Norwegian DJ finally dons the producer cap for his debut album. Echo to Echo is the artist's magnum opus, taking on epic proportions in its album-length narrative. Prins Thomas's Full Pupp family plays hosts to Magnus's infectious disco arrangements, as it has done since Magnus International and Danny "Blackbelt" Anderson first worked together as Kalle, Magnus & Daniel in the mid-2000s. Tracing a line from those early days through his first solo work (the 2006 Kosmetisk 12"), Echo to Echo sees the producer combining the foundation of his sound with influences including Warp's early catalog, transposing it into the singular voice that is Magnus International. "I wanted to go back to Techno from my Youth." Borrowing inspiration from the likes of LFO and Aphex Twin, Magnus spent two years in the studio refining a hybrid album in which disco is deeply ingrained, but which grows its own spots with the acid-infected synth work and inventive beat-arrangements that were the signature trademarks of those early pioneers. Titles like "Big Red" and "Echo to Echo" are clear nods to these demi-gods of music, which Magnus International makes his own in the context of a disco long-player. It's an album built on the foundation of Magnus's strengths as an experienced producer, innovator, and DJ. Forged in the cauldron of techno's rich history, with Magnus's distinct style playing host, Echo to Echo takes the listener on journey that transcends time. "If I can hop into my Delorean and punch in a destination, five years from now, I want my music to have the same effect." Magnus International didn't change his spots for his debut; he merely grew into them, and Echo to Echo sees them at their most impressive.

GET ON DOWN

GET 52716LP

OL' DIRTY BASTARD: Return to the 36 Chambers: The Dirty Version 2LP (GET 52716LP) 23.00
2016 repress. "It's safe to say that hip-hop has never seen an album like Ol' Dirty Bastard's 1995 solo debut Return to the 36 Chambers. The brief glimpses of ODB's unhinged genius provided by Wu-Tang Clan's landmark Enter the Wu-Tang album two years earlier were begging to be expanded on to a larger canvas, and, with RZA guiding production, the album promised to give Dirty the creative license to make one of the most bizarre, entertaining and original LPs in hip-hop history. With his raspy, drunken flow and dark sense of humor, Dirty fearlessly attacks from all angles, throwing himself fearlessly into punchy rhyme attacks ('Damage,' with GZA), drugged-out party jams (the monster singles 'Brooklyn Zoo' and 'Shimmy Shimmy Ya') and bizarre, grimly hilarious fantasies of sex and violence ('Don't U Know' and the R&B-tinged 'Sweet Sugar Pie'). Backed by RZA's appropriately gritty, dissonant beats and appearances from the Clan, Return became an instant hit, selling over 1 million copies and earning a Grammy Award nomination for Best Rap Album in 1996. The album stands as a high water mark in the Wu Tang Clan's collective creative output and was selected as one of the Best 100 Rap Albums by The Source magazine in 1998. In honoring the legacy of one of hip-hop's most innovative releases, Get On Down is proud to present this incredible and unique special edition of Ol' Dirty Bastard's Return to the 36 Chambers as a double LP which contains the complete original album, remastered for optimal sound quality." Includes 18"x24" poster.

GO FASTER RECORDS (UK)

GFR 057CD

CAPTAIN BEEFHEART: Plastic Factory CD (GFR 057CD) 15.00
"Captain Beefheart and The Magic Band had supported Love at the Avalon Ballroom a month before, but they returned on June 17th 1966 as headliners. Then seen as a blues musician with a big voice, rather than the avant-garde experimentalist he would become, Beefheart didn't disappoint, performing no fewer than four Howlin' Wolf numbers in amongst a number of other blues covers and a smattering of originals. The Magic Band at this time were Doug Moon and Alex St. Clair on guitars, Jerry Handley on bass and Paul Blakely on drums. The Oxford Circle supported on the night, and coming from a Them/Yardbirds impulse as they did, they were well received by the blues enthusiasts in attendance. This Avalon show is augmented here by a number of bonus cuts from radio sessions and demos recorded between 1966 and 1968, all originals and all in surprisingly good quality for material of this vintage. The CD is completed with a rare radio interview (well, more of a chat really) between veteran Brit DJ John Peel and Beefheart, recorded one night in 1973 when the Good Captain joined Peel on his radio show, while touring the UK."

GOBSTOPPER RECORDS (UK)

GOB 018EP

LOOM: European Heartache 12" (GOB 018EP) 14.50
Daniel Timms aka Loom follows his 2014 debut EP, Grade (lauded by THUMP, XLR8R, DJ Mag, and The FADER), with European Heartache, further exploring his spacious, romantic take on instrumental grime. "The core theme in my EP is a struggle with identity. What's my identity when society dictates how I should present myself because of my race, sex, religion, sexual preference. . . . when the borders keep changing, when I've been displaced, fled my country because of war, what's my identity when my sex changes? . . . am i just portraying what I think is expected of me?" --Loom

GOOD SHIP FUNKE (UK)

GSF 005CD

SMITH, PATTI: Bicentenary Blues: Boarding House - San Francisco 1976 CD (GSF 005CD) 15.00
"She'd been a New Yorker since moving to the city in 1967, aged 21. She had a child that she gave up for adoption, met and started a relationship with photographer Robert Mapplethorpe - with whom she shared a room at the infamous Chelsea Hotel for some time - and she discovered the work of French symbolist poet Arthur Rimbaud. She appeared in Warhol Superstar Jackie Curtis's play Femme Fatale with Wayne County, and - for one night only - in Cowboy Mouth which she co-wrote with Sam Shepherd. She was considered for the role of lead vocalist in Blue Oyster Cult, but instead contributed lyrics to many of the band's songs, and she started a relationship with BOC keyboardist Alan Lanier. She contributed articles to rock journals Rolling Stone and Creem. By 1974 she was performing rock music herself, initially with guitarist, bassist and rock archivist Lenny Kaye, and later with a full band comprising Kaye, Ivan Kral on guitar and bass, Jay Dee Daugherty on drums and Richard Sohl on piano. The group released the self-financed single 'Hey Joe'/'Piss Factory' the same year and in 1975 recorded their debut album Horses for the label to which they were by then signed, Arista; the album was released in December '75 to near unanimous high praise. Two months later, on February 15th 1976, the group played at the Boarding House in San Francisco - a performance which was broadcast live on FM radio. This CD captures this concert in its entirety and illustrates perfectly the strange power of this pioneering band and its dynamic, talented and foresighted lead singer and main songwriter. 1976 was also the year that the United States of America celebrated 200 years of independence from the British Empire, a celebration that culminated on July 4th - the date in 1776 on which the Declaration of Independence was adopted. Whether or not this event had any impact or bearing on Patti Smith is not recorded."

GOT KINDA LOST RECORDS (SPAIN)

GKL 005LP

LIGHTDREAMS: Islands in Space LP (GKL 005LP) 25.50
LP version in tip-on sleeve with insert. ". . .we can make [enough] progress inside our heads and the heads of our friends to lay the foundations of an intergalactic life more meaningful than our earthbound condition . . ." --John Peel, International TimesFirst reissue; remastered sound. Includes full-color booklet containing informative liner notes by collector Jack D. Fleischer prepared from artist interviews, as well as full lyrics and rare photos. Mirroring the sentiment of the prescient UK radio legend in his Vibrations column for the International Times in the '70s, LightDreams leader Paul Marcano took one step beyond his intimate colleagues and chose to spread his ideals concerning peaceful outer-space colonization to all with open ears. Islands in Space, dotted with acoustic jams, backward guitars, lyrics alluding to the British progressive era, smoking-hot electric leads, synths galore, and the dreamiest of melodies, is both Marcano's love letter to the work of science-fiction author Gerard K. O'Neill and the psych-tinged folk explorers who came before him such as McDonald and Giles. Originally privately issued in 1981 in an edition of 1,000 copies, Islands in Space explores space travel and cosmic ideology in a sci-fi psych odyssey and is filled with atmospheric, lysergic creations atop a hybrid of sounds from the cosmic psych/progressive folk/new age spectrum. Home-recorded (yet hi-fi), Islands in Space carries a singular quality, defies easy categorization, and has long been savored by collectors of otherworldly joys. This singular, beatific work now has another chance to shine from Earth's surface to the outer reaches of the galaxy. RIYL: Dreamies; Donovan; Pete Fine; Robert Lester Folsom's hazy, synth-led moments; McDonald and Giles; Ramases; Simones; the out-of-time bliss of Bobb Trimble; et al.

HALCYON VEIL (UK)

HALC 003EP

IMAGINARY FORCES: And What? 12" (HALC 003EP) 16.50
Rabit's unpredictable Halycon Veil imprint presents a quartet of reticulated grime and noise mutations from London-based Anthoney J Hart aka Imaginary Forces. And What? finds Imaginary Forces at his most brutal and disciplined, continuing to draw on his British heritage with signals to the ghosts of '90s/'00s pirate radio on one hand and references to masters of early electronics and literature on the other, creating something visceral and more immediate than his previous releases. The swarming concrète jungle militancy of "And What?" sets a scorched aesthetic, steeling the body for the pavement-cracking hooves and atonal buzz of "Chat 'Bout?" before cannily conflating the atmospheres of pirate radio and J. G. Ballard with the eviscerating intensity of "High Rise." "Make Ends Meet" deals in instrumental grammar of glottal grime galvanized with glossolalic noise texture, and "Makes Ends Meet (London Something Version)" whips those same elements into a strobing vortex of UK-style footwork rufige. This is the fifth 12" by Imaginary Forces following editions for Hart's Sleep Codes label, Fang Bomb, and Bedouin Records, plus a CD on Entr'acte. Its release coincides with the release of Hart's 2016 Raw Trax LP as Basic Rhythm on Type (TYPE 128LP). RIYL Pan Sonic, DJ Rashad, DJ Scud. Mastered and cut by Matt Colton at Alchemy.

HARD WORLD (UK)

HW 010CD

ENDLESS TAPES: Brilliant Waves CD (HW 010CD) 16.50
Endless Tapes is a collaboration between bassist and composer Colin Edwin (Porcupine Tree, Metallic Taste of Blood, Twinscapes, O.R.k., etc.) and drummer and multi-instrumentalist Alessandro "Petrol" Pedretti. Following their eponymous 2013 EP, Brilliant Waves is the duo's dazzling debut album. Setting out their plan for an immersive and engaging album, Endless Tapes road tested their material in early 2014 over a series of well received live dates in Italy (with the duo expanded to a full four-piece band and working in conjunction with stunning visuals by video artist Danilo di Prizio). Building on the duo's previously released material, Brilliant Waves showcases a kaleidoscopic collection of instrumentals. Combining subtle threads of delicate ambience and warm electronica with fluid, insistent, minimalistic grooves, Endless Tapes blend dark, esoteric elements on a sparkling sonic palette to create an engrossing blend of contrasting dynamic friction. The slowly unfolding title-track that opens Brilliant Waves emphasizes the duo's notable synergy, constantly building an unhurried tension with calm precision before searching for an unexpected but welcome resolution. Likewise, "Il Guardiano" develops from its reflective beginnings to an unyielding, muscular, and mesmeric conclusion. Other highlights include the hypnotic, circular rhythmic patterns of "Saturn" and the abstract, asymmetrical "non-funk" of "Bass Collapse." A multilayered and hypnotic album, inviting repeated listens and multiple interpretations. Colin Edwin: fretted and fretless basses, E-bow, guitar, programming. Alessandro Pedretti: drums, electronics, vocals, guitar, programming. Additional acoustic guitar on "Il Guardiano" and "Private" by Nicola Panteghini. Recorded at Nightspace, UK, and Petrol Station, Italy. Mixed by Domenico Vigliotti at Taverna Studios, Provaglio d'Iseo, Italy. Mastered by Paul Mex at Mex One Recordings, UK. Packaged in a cardboard sleeve designed by Carl Clover of Aleph.

HFN (GERMANY)

HFN 053CD

BELLENS, JACOB: Polyester Skin CD (HFN 053CD) 17.00
Jacob Bellens's Polyester Skin is sure to amaze left-field pop enthusiasts and singer-songwriter fans alike. The locally celebrated and award-winning singer-songwriter's third solo album is a wonderful mix of heartfelt lyrics, crisp and modern pop production, and Bellens's signature vocals, which never fail to captivate. As a household name in his native Denmark, Bellens is no stranger to releasing albums and playing live. He has released many albums with his own bands (including Murder and I Got You on Tape), turned in guest performances for other artists, and played close to 500 shows. Polyester Skin came to life in close collaboration with acclaimed Danish producer and DJ Kasper Bjørke, and follows many collaborative endeavors between Bellens and Bjørke; Bellens has often featured on Bjørke's work, including "Young Again" from Standing on Top of Utopia (HFN 004CD, 2010) and "Lose Yourself to Jenny" from Fool (HFN 014CD/LP, 2012). While Polyester Skin's overall sonic impression is electronic, the album also boasts an impressive lineup of guest musicians including Tomas Høffding aka Bon Homme (WhoMadeWho), Jakob Høyer (The Raveonettes, Trentemøller, Darkness Falls), and Nils Gröndahl (Under Byen, Efterklang, Pinkunoizu). Opener "Tidal Wave" sets the mood with open, airy production backing Bellens's voice. The beats and synths have, as Bellens puts it, "some kind of Vangelis/Chariots of Fire thing going on" that's tough to resist. One of Jacob Bellens's distinctive features is the almost Damon Albarn-esque musical diversity of his output. The heavy groove, synth strings, and especially the vocal rhythm of "Behind the Barricades" reveal Bellens's long-held fascination with rap, while "Raining Parachutes" has a Caribbean feel to it, a musical style at which Bellens's earlier work has also hinted. Polyester Skin features quite a few tracks with shuffling grooves and synths that pay homage to a certain flavor of '80s pop, including the up-tempo "Ace of Spades" and the beautiful ballad "Untouchable." But don't let the seemingly lightweight synth-ingredients and crisp drum machines deceive you; a lyrical abundance of existential depth and intimate melancholy is omnipresent throughout Polyester Skin, alongside its groovy, catchy pop songs, including "Back to You" and "Polyester Skin." Jacob Bellens's third solo album is a playful and modern take on the artistic virtues that have made him into one of the most celebrated artists on Denmark's independent scene.

HI HAT (UK)

HH 007LP

WEATHER REPORT: The Agora, Columbus, Ohio, October 17th 1972 2LP (HH 007LP) 31.00
Two 180-gram LPs with insert. Weather Report are widely regarded as America's finest-ever jazz fusion band. Originally recorded for FM broadcast, this superb live set at The Agora in Columbus, Ohio, on October 17, 1972, was taped a few months after the release of their classic 1972 album I Sing the Body Electric, and features Joe Zawinul (keyboards), Wayne Shorter (saxophone), Miroslav Vitous (bass), Eric Gravátt (drums), and Dom Um Romão (percussion). The complete broadcast is presented here in remastered sound with background notes and images.


HH 3020LP

DAVIS, MILES: Sun Palace, Fukuoka, Japan October '81 2LP (HH 3020LP) 31.00
180-gram vinyl. Following a six-year absence from music while he rebuilt his health, Miles Davis erupted back onto the live scene in 1981 with a new, young band comprising Bill Evans (sax, flute), Mike Stern (guitar), Marcus Miller (bass), Al Foster (drums), and Mino Cinelu (percussion). This incendiary set was taped for FM radio broadcast at the Sun Palace in Fukuoka, Japan, on October 11, 1981; the complete broadcast is presented here in digitally remastered sound with background notes and images.


HH 3034CD

HANCOCK FEATURING JACO PASTORIUS, HERBIE: Live in Chicago 1977 CD (HH 3034CD) 17.00
By 1977 Herbie Hancock was firmly established as America's leading purveyor of jazz-funk. This superb performance at the Ivanhoe Theater in Chicago on February 16, 1977, finds him playing with Weather Report's legendary bassist Jaco Pastorius, as well as Bennie Maupin (tenor sax, bass clarinet) and James Levi (drums). Broadcast on the local WXRT-FM, it offers a setlist anchored in Hancock's Head Hunters (1973) era, but also includes a track from Maupin's superb Slow Traffic to the Right album (1977). It's presented here in digitally remastered sound with background notes and images.

HOGA NORD REKORDS (SWEDEN)

HNR 004PIC-LP

FONTAN: Babylon PIC. DISC (HNR 004PIC-LP) 29.00
Gothenburg-based duo Fontän (Jesper Jarold and Johan Molin) returns with a three-track picture disc EP. "Bardo" is pure bliss with a bassline that would make the Buddha twerk, but underneath the perfection and smooth melodies lies a sense of subtle disturbance. For the prepared and appropriately trained, "Bardo" offers an opportunity for liberation; transcendental insight may arise with direct experience of reality. For others it can become a place of danger; its karmically created hallucinations can impel one into a less-than-desirable rebirth.

HOUNDSTOOTH (UK)

HTH 049EP

ANDREWS, GUY: In Autumn Arms 7" (HTH 049EP) 14.00
London-based producer Guy Andrews (Hemlock, Hotflush, Pennyroyal) is renowned for creating textural electronic music that combines influences from post-rock, techno, ambient, and afrobeat. After scoring for photographer Nadav Kander and remixing Massive Attack's Robert del Naja, he delivers his Houndstooth debut with In Autumn Arms. On the title-track, a simple guitar melody falls melancholically over synth loops and a string ensemble while thundering drums and distortion heighten the tension. "Let Your Shadow Decide" opens with tremolo strings and a weighty bassline while emphatic drums build toward the climax. Mastered and cut by Matt Colton. Dinked 7" in autumnal orange. Limited edition of 300.

HYPERCOLOUR (UK)

HYPE 050EP

KERRIER DISTRICT: 4 (Remixes) 12" (HYPE 050EP) 15.50
Luke Vibert follows 2015's 4, his first album as Kerrier District since 2004, with an EP of remixes of album tracks. Ricardo Villalobos and Max Loderbauer's remix of "Sexspurt" shimmers and glistens over its 12-minute duration as the psychedelic soundscape unfurls over bubbling bass frequencies. Strahil Velchev aka KiNK, number-one in Resident Advisor's "Top 40 live acts of 2015" poll, churns out a frenzied club rework of "Techno Disco." Head High aka Shed slams down a relentless and rolling drum mix of "Come on Kerrier," irresistibly funky with its heavyweight '90s-style beats and infectious melodies.

ICI D'AILLEURS (FRANCE)

IDA 007LP

TIERSEN, YANN: Tout Est Calme LP (IDA 007LP) 14.50
LP version. 2013 remastered reissue; originally released in 1999. Yann Tiersen studied violin and piano as a child, and made a name for himself as a star pupil at his local music conservatory in Brittany, France. He eventually began training to be a conductor, but rebelled against his classical training and, inspired by the likes of Joy Division and The Stooges, played guitar with several local post-punk-influenced bands during his later teenage years. He later became known for his whimsical, melancholy soundtracks and solo work, but also released the rock-oriented Tout Est Calme in 1999, featuring French band The Married Monk.


IDA 071CD

THIRD EYE FOUNDATION, THE: The Dark CD (IDA 071CD) 11.00
2010 release. The Dark sees Matt Elliott return to his Third Eye Foundation moniker for the first time since 2000, proving once and for all the project's inimitable style. "Finds [Elliott] playing again to what I think are his strengths: slow, somewhat classical melodies overlaid with ebbing waves of noise and complex drum patterns often indebted to drum'n'bass. On The Dark, another of Third Eye's finest tricks -- a backdrop of banshee howls -- makes a welcome return. This time, though, Elliott intersperses frenzied and skittering drum'n'bass passages with sprung beats that betray a predictable interest in the dystopian possibilities of dubstep (or darkstep, I suppose). The scale of the operation, too, has increased. The Dark has five tracks, not all of them easy to name, thanks to the spidery handwriting on the sleeve. In effect, though, this is one epic piece of music in five movements. . . . by the finale -- titled, in a vintage Elliott provocation, 'If You Treat Us All Like Terrorists We Will Become Terrorists' -- the beats have gone haywire and the noise has become obliterating. Exhilarating, too." --John Mulvey, UNCUT, September 24, 2010


IDA 073LP

DALEK: Absence 2LP+CD (IDA 073LP) 17.50
2011 expanded reissue; originally released in 2005. The release of Dälek's third album, Absence, saw the New Jersey hip hop group sharing stages with such well-known artists as Kid606, Isis, Jesu, and many others, and winning over the public with their performances. Absence exposes the limits of all pre-established ideas about musical genre and removes all stylistic hostilities. Its dark, industrial world of metallic, distorted instrumentation reflects its committed, revelatory lyrics. Includes CD containing two previously unreleased bonus tracks.


IDA 088LP

ELLIOTT, MATT: The Mess We Made 2LP (IDA 088LP) 17.50
2013 reissue; originally released in 2003. First vinyl release; mastered for vinyl by Matt Colton. Features new artwork. Matt Elliott's first release under his own name, following his work as The Third Eye Foundation. "Arrangements are complex and orchestration never blends entirely for the sake of being easy to listen to; Elliott maintains a range of cacophonous identities that simply tolerate each other. The opening track, 'Let Us Break,' is in this regard as haunting as it is entirely captivating. Warped, exaggerated vocals share track space but never yield scope or priority to strings, piano, accordion -- elements stand out by virtue of their original form and within the same dimension create layers of distinct separation" --Prefix. "Elliot has pulled off a tricky feat here: stripping down his sound to more orthodox 'rock' instrumentation, without losing his edge." --Stylus


IDA 105CD

CLOUP DUO, MICHEL: Live à La Gaîté Lyrique CD (IDA 105CD) 11.00
2015 release. "When I started this project, I wanted to get back to basics -- a song, a guitar, voice and drums. And also to be able to play on my own. Which is where the idea of the duo/solo format came from. Through the duo I really discovered something different from with my previous setups -- greater musical freedom, a really powerful kind of simplicity and as my lyrics were going in that direction, it turned out in the end to be the format which best suits what I want to do these days. . . . I like collaborative projects which last some time -- both artistically and in human terms, that's very important for me. That was also reflected in the name of that series of concerts -- Nous Vieillirons Ensemble ('We'll Grow Old Together')" --Michel Cloup. This release documents the Michel Cloup Duo's performance at the La Gaîté Lyrique in Paris on February 18, 2014, bringing together seven of the best songs from the Michel Cloup Duo repertoire, plus a song by the band Mendelson interpreted with the group's leader, Pascal Bouaziz. CD includes two bonus tracks.


IDA 106CD

CHAUVEAU & ENSEMBLE NOCTURNE, SYLVAIN: Down to the Bone (An Acoustic Tribute to Depeche Mode) CD (IDA 106CD) 11.00
2015 10th-anniversary reissue with new artwork; originally released in 2005. Down to the Bone is French musician Sylvain Chauveau's acoustic tribute to Depeche Mode, create using piano, clarinet, cello, viola, and other acoustic instruments alongside Ensemble Nocturne. The album was Chauveau's return to singing after several years exploring instrumental soundscapes, and showcases an intimate and highly personal vision of Depeche Mode's music. Pop inspiration is still there, but these pieces offer a unique, contemplative experience with a meditative, even melancholic touch. An essential album for lovers of Chauveau's minimalist works (The Black Book of Capitalism (TYPE 025CD, 2000), Nocturne Impalpable (2001)) as well as Depeche Mode's hardcore fans.


IDA 106LP

CHAUVEAU & ENSEMBLE NOCTURNE, SYLVAIN: Down to the Bone (An Acoustic Tribute to Depeche Mode) LP (IDA 106LP) 14.50
LP version. First vinyl edition. Down to the Bone is French musician Sylvain Chauveau's acoustic tribute to Depeche Mode, create using piano, clarinet, cello, viola, and other acoustic instruments alongside Ensemble Nocturne. The album was Chauveau's return to singing after several years exploring instrumental soundscapes, and showcases an intimate and highly personal vision of Depeche Mode's music. Pop inspiration is still there, but these pieces offer a unique, contemplative experience with a meditative, even melancholic touch. An essential album for lovers of Chauveau's minimalist works (The Black Book of Capitalism (TYPE 025CD, 2000), Nocturne Impalpable (2001)) as well as Depeche Mode's hardcore fans.

ITINERANT DUB (UK)

IDMIND 001EP

ITINERANT DUBS: Itinerant Mind 12" (IDMIND 001EP) 17.00
"The dubwise duo moving into more intuitive terrain. Part 1 beats its wings and scurries about in the undergrowth of a chattering Jungle; 2 moves into the light with kosmische intrepidity."

JACKPOT RECORDS

JPR 031LP

OZKENT, MUSTAFA: Genclik Ile Elele LP (JPR 031LP) 21.00
"Originally released in Turkey 1973, Özkent's masterpiece (creation) of an all instrumental Turkish Psychedelic Funk album, filled with classic beats and breaks still inspires long time fans and first time listeners. The funky rhythms, hypnotic percussions, and heavy break beats makes this a holy grail amongst DJ's and music fans alike. Only a handful of copies from the original pressing are known to still exist making this reissue a welcome addition to any record collection. The concept is very complicated, futuristic and free from categorization. Traditional folk songs mixed with rock, jazz, blues, funk and psych. Özkent took traditional turkish folk songs and reconstructed them for the new 'hip' generation. It was recorded live in just one day with some of the best studio musicians in Turkey. The band was made up of 2 drummers, 2 guitarists, 2 percussionists, a bassist and a Hammond B3 organist. Özkent created his own unique guitar sound by adding extra frets and a clutch of effect pedals in order to create quarter notes and emulate turkish traditional scales. Mustafa Özkent has since made arrangements for hundreds of other artists in Turkey. But this unique album documents his most revered work. In the more than 40 years since the Mustafa Özkent Ve Orkestras? recorded Gençlik ?le Elele, it seems that the world is still just discovering this gem."

JAZZMAN RECORDS (UK)

JMAN 041LP

FOAT GROUP, THE GREG: Dark Is The Sun LP (JMAN 041LP) 25.50
2016 repress. LP version. 2nd pressing of 500, housed in a screenprinted jacket (silver & purple). The debut album from 2011 by The Greg Foat Group. Recorded in Sweden, Dark Is The Sun is a concept album based on themes and variations by British pianist/composer/arranger Greg Foat, who has created an intriguing blend of non-contemporary jazz sounds with classic scoring techniques. An exotic array of unorthodox instrumentation was utilized, including harpsichord, tubular bells and a 15-piece choir. With musical reference and influence from such luminaries as Bruno Nicolai, Michel Legrand and Serge Gainsbourg as well as a firm nod towards UK jazzmen Michael Garrick, Keith Mansfield and Alan Hawkshaw, the result is highly-listenable, enduring and fulfilling for those who like real music played with real instruments.


JMAN 045LP

VA: Jukebox Jam!: Blues And Rhythm Revue 2LP (JMAN 045LP) 23.50
2016 repress on vinyl. 2LP version. Includes a fold-out booklet inside and a free color Jukebox Jam poster. Jazzman presents a whole load of raucous, rollicking and rambunctious '50s/'60s RnB bangers, blues boppers, jukebox faves and rompin', stompin' RnB dancers. The Jukebox Jam club night began in Summer 2007 as a monthly celebration of the authentic U.S. rhythm & blues of yesteryear. Two years later, the club's founder Liam Large linked up with Jazzman to release high-quality, short-run 7" singles of the often obscure R&B music which the club continues to thrive on. Jazzman had already carved a niche for itself with the label's many soul, funk n' jazz 45s, but here was the opportunity to work a new furrow in vintage Black American music, turning an already clued-up and tuned-in client base of hipsters, diggers and full-on record nerds onto the seemingly endless charms of rockin' blues, greasy RnB, jump blues and popcorn. Just as the Jukebox Jam club itself saw a fair few copycat enterprises spring forward in its wake, the label itself has been similarly influential in shaping the tastes of those who were yet to be introduced to the vast RnB reservoir, as well as sharpening and widening the palettes of the more journeyed enthusiast. This is due largely to the careful selection and programming of releases. Not merely picking the records with the most obvious crowd potential, the Jukebox Jam releases have often traded liberally in the unexpected and the unique. This album is the first full-length volume in the series. Founder and DJ Liam Large pulls together some selections from the 45 series and adds a further 8 songs. It's a set which manages to be both diverse and yet totally coherent in spectrum.


JMAN 055LP

VA: Jukebox Mambo: Rumba & Afro-Latin Accented Rhythm & Blues 1949-1960 2LP (JMAN 055LP) 22.00
2016 repress. Double LP version in a gatefold sleeve with color insert. A stunning collection that sheds light on a pivotal yet totally overlooked area of American music -- the influence of Afro-Cuban and Latin rhythms on R&B and jazz during the mid-20th century. Following up on the success of Jazzman Records' Jukebox Jam album of vintage juke joint and bar room sounds, compiler and DJ Liam Large digs even deeper to put together a diverse set of dynamite R&B sides, all built around Afro-Cuban, Latin, and Caribbean rhythms. The blues and its populist sister rhythm and blues have been visited and revisited hundreds of times on thousands of comps, but the "Spanish Tinge" has been completely overlooked, perhaps even scorned by purists. This album stands out from the rest and the result is a set which sounds stunningly fresh and unique -- a remarkable achievement itself given that the actual songs average at around 60 years old. Jukebox Mambo showcases an experimental era which continues to inform today's music, with Afro-Latin rhythms now completely assimilated into modern pop. The overtly sensual, exotic feel of many of these songs also continues to find an echo in modern music, and Jukebox Mambo provides a thrilling, sensual listening experience. Also included are detailed, illustrated liner notes which unveil the largely untold story of how Afro-Latin influences gradually affected black American music during the 20th century, and in turn how this filtered into and transformed modern music thereafter. Lovingly compiled, expertly annotated, with music as interesting as it is stimulating and arresting, Jukebox Mambo is a new and exciting look at the era and music which changed history.

KARLRECORDS (GERMANY)

KR 027LP

FRIEDL/ZEITKRATZER, REINHOLD: Kore LP (KR 027LP) 20.00
180-gram LP version in gatefold sleeve. Includes download code. Edition of 300. Reinhold Friedl and his zeitkratzer ensemble perform Friedl's Kore, an homage to Greek-French composer Iannis Xenakis. A natural advancement of Friedl's composition Xenakis [A]Live!, released in 2007 by Asphodel, Kore was conceived for nine amplified instruments, demonstrating zeitkratzer's well-established tradition of instrumental amplification (e.g. its early collaborations with Zbigniew Karkowski and Merzbow and its 2010s collaborations with William Bennett of Whitehouse (including ZKR 017CD/KR 019LP, 2014)) in which amplification not only makes things louder but also offers a microscopic perspective on sound that situates acoustic microsounds in a completely new context. References to seminal Xenakis tape compositions like Persepolis and La Légende d'Eer are audible in the materials, textures, densities, and sound masses performed by zeitkratzer, with a physical quality that creates a huge sonic architecture. Recorded live in January 2013 during the klub katarakt festival in Hamburg, Kore adds a stunning chapter to zeitkratzer's audacious catalog and a new sort of intensity to contemporary chamber music. This zeitkratzer lineup includes Frank Gratkowski, winner of the German SWR Jazz Prize; Norwegian French horn player Hild Sofie Tafjord, also known for her noise duo with Maja Ratkje; British trombonist Hilary Jeffery, who has toured with Jimi Tenor among others; Marc Weiser, cofounder of Berlin's CTM Festival; and bassist Martin Heinze, from the Berlin Philharmonic orchestra. Rashad Becker was responsible for sound and recording. zeitkratzer, directed by Reinhold Friedl: Frank Gratkowski, clarinet; Hild Sofie Tafjord, French horn; Hilary Jeffery, trombone; Reinhold Friedl, piano; Marc Weiser, guitar; Maurice de Martin, drums and percussion; Burkhard Schlothauer, violin; Anton Lukoszevieze, violoncello; Martin Heinze, doublebass. Mixed and mastered by Ralf Meinz.

KOMPAKT (GERMANY)

KOM 337LP

HUNTER/GAME: Adaptation 2LP+CD (KOM 337LP) 23.50
Double LP version. Includes CD. Known for dramatic dance tunes that have found their way onto labels such as Innervisions, Last Night On Earth, and their global event brand and record imprint Just This, Italian duo Hunter/Game has developed a uniquely expressive yet subtly arranged variant of techno. The two producers based in Milan and New York turned in two installments for Kompakt's Speicher dance couture series in 2015, with "Hexagon" (KOM EX083EP) reaching the number-one spot on Resident Advisor's Top 50 Charted Tracks February 2015 list. For Adaptation, their full-length debut, Emmanuele Nicosia and Martino Bertola decamped to a chalet in the Dolomite Alps near a ski resort closed for the season, which, as they explain, is "precisely where we came up with the concept for Adaptation." Contemplating biological evolution and the development of contemporary society side by side, the album's track titles and sonic details refer to "the adaptation of the human being to the modern metropolis as well as the adaptation of music to a collective technological era that has become the manifesto of our generation." While that might seem like a particularly broad and abstract scope for a techno album, it evidently informs its flow, from the gauzy "Intro (Walking Unobserved)" and the slowly unfurling, string-laden "Declino" to the sweeping title-track, the brooding banger "Origins," and the lyrical "Silver." Morphing ideas, melodies, and textures with consummate ease, Hunter/Game constantly find missing links between sounds, switching from foreboding melancholy to glorious serenity in a heartbeat while keeping the arrangements clearly outlined and impactful. With a background in painting, sculpture, and architecture and a distinct interest in abstract expressionism, both Nicosia and Bertola are well equipped to deal with complex concepts in an immediately comprehensible manner, as can be seen in the artwork for their Just This imprint and Adaptation's cover; inspired by Möbius and M. C. Escher and produced in conjunction with long-standing creative partner Artiva Design, these deceptively simple forms aim to expand their two-dimensionality into a third dimension by pure imagination -- "just like the music," as the artists like to add. It is said that simplicity is the ultimate sophistication, and indeed nothing could be more applicable to Adaptation, with which the duo presents a full-length exploration of a distinct sound cosmos, at once coy and bold, and with each cut focusing on yet another artfully executed twist supplementing the no-fuss, all-impact setting of beats, bass, and synths.


KOMP 129CD

HUNTER/GAME: Adaptation CD (KOMP 129CD) 15.50
Known for dramatic dance tunes that have found their way onto labels such as Innervisions, Last Night On Earth, and their global event brand and record imprint Just This, Italian duo Hunter/Game has developed a uniquely expressive yet subtly arranged variant of techno. The two producers based in Milan and New York turned in two installments for Kompakt's Speicher dance couture series in 2015, with "Hexagon" (KOM EX083EP) reaching the number-one spot on Resident Advisor's Top 50 Charted Tracks February 2015 list. For Adaptation, their full-length debut, Emmanuele Nicosia and Martino Bertola decamped to a chalet in the Dolomite Alps near a ski resort closed for the season, which, as they explain, is "precisely where we came up with the concept for Adaptation." Contemplating biological evolution and the development of contemporary society side by side, the album's track titles and sonic details refer to "the adaptation of the human being to the modern metropolis as well as the adaptation of music to a collective technological era that has become the manifesto of our generation." While that might seem like a particularly broad and abstract scope for a techno album, it evidently informs its flow, from the gauzy "Intro (Walking Unobserved)" and the slowly unfurling, string-laden "Declino" to the sweeping title-track, the brooding banger "Origins," and the lyrical "Silver." Morphing ideas, melodies, and textures with consummate ease, Hunter/Game constantly find missing links between sounds, switching from foreboding melancholy to glorious serenity in a heartbeat while keeping the arrangements clearly outlined and impactful. With a background in painting, sculpture, and architecture and a distinct interest in abstract expressionism, both Nicosia and Bertola are well equipped to deal with complex concepts in an immediately comprehensible manner, as can be seen in the artwork for their Just This imprint and Adaptation's cover; inspired by Möbius and M. C. Escher and produced in conjunction with long-standing creative partner Artiva Design, these deceptively simple forms aim to expand their two-dimensionality into a third dimension by pure imagination -- "just like the music," as the artists like to add. It is said that simplicity is the ultimate sophistication, and indeed nothing could be more applicable to Adaptation, with which the duo presents a full-length exploration of a distinct sound cosmos, at once coy and bold, and with each cut focusing on yet another artfully executed twist supplementing the no-fuss, all-impact setting of beats, bass, and synths.

KRANKY

KRANK 176LP

GROUPER: Dragging a Dead Deer Up a Hill LP (KRANK 176LP) 14.00
2016 repress; LP version. "New reissue of Grouper's breakthrough 2008 album."


KRANK 177LP

GROUPER: The Man Who Died in His Boat LP (KRANK 177LP) 14.00
2016 repress; LP version. "The Man Who Died in His Boat is an album of unreleased songs recorded alongside the Dragging a Dead Deer Up a Hill album."

KYE

KYE 039LP

CORNER, PHILIP: OM Entering. and Once Enterd LP (KYE 039LP) 18.00
"The latest LP from veteran fluxus composer Philip Corner. OM Entering. and Once Enterd comprises four previously unreleased recordings with the Barton Workshop, taken from performances in the Netherlands, and South Korea, between 2000-2007. 'OM ENTRANCE. OM ENTERTRANCE. which one does....because the performance is a real "passage from the material to the spiritual" unless the "real" world is just as spiritual already which i like to think it is. As perhaps an everyday awareness is already to be entranced which i have been told it is, really. To the facts: musicians' coming-in already the performance of everything has to be done to get ready from unpacking to tuning and all that is done in the concentrated and exalted spirit of real music. Multiplicity moves noise to instrument possibilities with virtuosity show-offs slowing down to a perfect tuning in a quiet circle from where there is nowhere else to go but the sustaining of a quiet long tone. My old friend and colleague also great composer Jim Fulkerson is there as he has be, as he was even at the first performance way back must be almost 50 years by now joining the Creative Associates at the University of Buffalo on his initiative as likewise these performances in Holland with his group he calls The Barton Workshop and for sure he is there playing trombone too. The movement from SANG/TEH (SITUATIONS). Guard duty in a cold Korean winter. This piece was a major turning-point in my work. My life too you-could-say. "Of Ancient Times and Modern Sounds" i wrote then: a better world---much much better---than being in the American Army. The heterophonic melody-only texture learned from their "Ah Ahk" court music ("Soo Je Chun" the most beautiful music in the history of the world!) imposed on a thoroughly modern chromatic note structure. Occidental instruments absorbing the traditions of subtle sound colours so-long absent from the West. Public performance in Seoul. That must have been the Spring of 1961 just before they "shipped me out", to bring all that back home. Before that the wonderful and exceptional opportunity to "run through" some of it with the indigenous instruments of the Koog Ahk Wun (National Music Institute) thanks to the cultural open-mindedness of the classical kayageum master Byungki Hwang. And Jim has not only played the 3rd movement often, but brought if back to Korea once at the Pan Music Festival. But my long-waiting-for performance in Korea on native instruments has yet to take place. The CHOPIN PRELUDE piece is one of two, reworking passages from his D Major Prelude for piano, and a part of the "as a revelation" series which "looks into" moments from the classics which usually go by too fast. Begun with Mozart, the series has "got a lot of mileage" out of Satie, as well as including Buxtehude, Bach, Rimsky-Korsakoff, Verdi, Ives, Berlioz,, and others.' (Philip Corner, 2015)"

LADY SOMETIMES RECORDS (ITALY)

LS 002LP

LILIES ON MARS: AGO LP (LS 002LP) 25.50
LP version. Following the 2015 lead single "Dancing Star" (co-produced with Tom Furse of The Horrors), which Thump called "the Perfect Cosmic Pop Jam," Lilies on Mars present their full-length album ?GO. Born and raised on the Mediterranean island of Sardinia, a place that recalls mystical legends and the strength of a population that has fought throughout history to keep traditions alive, Lisa Masia and Marina Cristofalo moved to London in 2002. Sometime later, Lilies on Mars emerged, the result of many long nights spent listening to music at their home studio in Hackney and jamming with every imaginable instrument, from guitars to vintage organs, synthesizers, effects, and drum machines. The contrast of living between these two places has had a profound effect on Lilies on Mars's music. It became a way to navigate their experience, gently incorporating all the information that inspired them to become notes and melodies, and, more precisely, a sound. Delicate, surreal, and sometimes disturbing, like a lily growing on a red planet. This is the imagery within which they are suspended, where time does not exist. Collaborations with Italian pop experimentalist Franco Battiato also dramatically influenced and inspired the project in its early stages. Masia and Cristofalo began writing ?GO immediately after returning from an extensive tour of Europe and America. Filled with inspiration and excitement and with overwhelming changes in their lives post-tour, they searched for shelter at Masia's beach house in Sardinia. Here they set up a studio and found the perfect space and freedom needed to create and experiment with new sounds. All songs on ?GO were written from edited improvisations and immediately recorded, while post-production is also a key element in the whole creative process. Retro-futurist, psychedelic, and cosmic pop elements are accentuated on this album. At times uplifting, at times drone- and kraut-like. They are strongly influenced by electronic experimentalists and pioneers such as Delia Derbyshire and Daphne Oram of the BBC Radiophonic Workshop. The ambiguity of the title ("ago" translates to "needle" in Italian) parallels the retro-futurism represented by the duo's distorted silhouettes on the album cover, inspired by the Rutt-Etra-Izer video synthesizer.

LASER MEDIA (GERMANY)

LAM 1141832CD

VELVET UNDERGROUND, THE: Real Good Time Together: Radio Broadcast CD (LAM 1141832CD) 13.00
"Forged in the white light, white heat of the New York avant-garde scene in the mid 1960s, The Velvet Underground blazed a trail so far ahead of their contemporaries they often appear to have dropped fully formed into the history of popular music. Aside from the image and iconography, so perfectly designed by maverick manager Andy Warhol, the experiments with form and sound that worked in tandem with crucial melodies and outrageous lyrics, moved infamous music writer Lester Bangs to declare that the Velvets started modern music . This F.M. CD was recorded in 1993 and features all the greatest hits from VU."

LINEAR LABS

LL 027-7

YOUNGE PRESENTS GHOSTFACE KILLAH, ADRIAN: Death's Invitation/Let the Record Spin 7" (LL 027-7) 10.00
"In 2015 Adrian Younge provided Ghostface Killah with a sonic backdrop equal parts hip hop and Italian horror, as much Ennio Morricone as sweet boom bap. Select singles from the project will now be available, presented here 'Death's Invitation b/w Let The Record Spin' in a full color jacket. 12 Reasons To Die II is vividly brought to life with the help of Younge's never-endingly evocative and unique brand of cinematic, psychedelic soul. The music -- on which Younge himself plays upwards of 10 instruments -- was recorded strictly on analog tape, to bring out the true grit of the '70s era that provides the Twelve Reasons backdrop. Younge's work of course sounds great -- as presented here, it looks as good as it sounds with the Italian horror inspired graphics splattered all over the full color jacket."

MADE IN GERMANY (GERMANY)

MIG 1382CD

SCHULZE & PETE NAMLOOK, KLAUS: The Dark Side of the Moog Vol. 1-4 5CD BOX (MIG 1382CD) 33.00
"Complex re-release of the most remarkable and worldwide sought after series The Dark Side Of The Moog by German electronic pioneers Klaus Schulze and Pete Namlook (aka Peter Kuhlmann) in three slip lid boxsets, each with 5 CDs, incl. bonus material and new linernotes. The first box contains Vol. 1 to Vol. 4 and the Best Of-Album The Evolution Of The Dark Side Of The Moog. Their relationship between Klaus and Pete and the exchange of ideas was unorthodox from the beginning of their co-operation, in that they rarely met personally. The most remarkable contacts they had were outside of their studios, for instance their concert of April 1999 at the Jazz Festival in Hamburg , which was released as an edited version on Dark Side Of The Moog, Vol.8 (will be released in the second Boxset) - the interplay and chemistry between them is clearly evident, and it becomes even clearer on the un-edited version of the concert (which will be released as bonus CS on the third boxset). The influence Namlook had on Klaus's music in the middle of the nineties should not be taken lightly, because although Klaus dearly loved those early-analogue elements from his own music, they had become, to an extent, lost. It was Pete who fortified him to go back to the analogue charm of his early albums and it was Pete who supported him in the modification of his analogue instruments, leading finally to the epoch-making Schulze album from 1996 - Are You Sequenced? And so a legendary series of recordings was born. Dark Side Of The Moog grew more or less unplanned to a sprawling, stately-sized series of eleven volumes recorded between 1994 and 2008, only ending with the early, tragic death of Pete on November 8th 2012."


MIG 1432CD

SCHULZE, KLAUS: In Blue 3CD (MIG 1432CD) 26.00
"When In Blue was released, many fans thought that this was the most typical Schulze record for a long time. They were probably right because Klaus did the songs a little bit with the fans in mind for whom the sound of the previous album were too modern. In this respect In Blue is a more traditional Schulze record because it featured Manuel Goettsching on 'Return Of The Tempel'. However he didn't plan it. Somehow it came to his mind to ask Manuel if he won't feel like playing a bit again. When we are playing live we just have to look at eachb other, and everything flowes! Manuel is not only a great guy but also a gifted guitarist. Since the days with Ash Ra Tempel Klaus and Manuel never lost touch with each other."

MANNEQUIN RECORDS (GERMANY)

MNQ 080LP

MAZZOCCHETTI, MAOUPA: Laugh Tool LP (MNQ 080LP) 20.00
Brussels-based French producer Maoupa Mazzocchetti follows acclaimed productions on Unknown Precept, PRR! PRR!, and Mannequin Records with his full-length debut, Laugh Tool. Mazzocchetti resurrects the earlier days of electro-industrial in a mixture that recalls the late-'70s/early-'80s period of Fad Gadget, Throbbing Gristle, Portion Control, Cabaret Voltaire, and Front 242 crossed with the more fresh and innovative deep electronic experiments of Beau Wanzer and Charles Manier. Driven by a DIY ethic and a punk ideology, Mazzocchetti records his work in his bedroom without any professional equipment, using analog synths and sequencers, modified drum machines, tape loops, and lots of effects pedals. Florent Mazzocchetti (aka Maoupa Mazzocchetti) began experimenting with rhythm at an early age. He developed a passion for the drums at the age of ten but soon got into rock records and switched to guitar, which became his main instrument and shaped his perception of music. To an audience of contemporary electronic music consumers who have only closely followed techno, house, electro, and disco, the sounds of Laugh Tool will appear unearthly and entirely unexpected. It's an album of ten tracks ready to change minds. Artwork by Florent Mazzocchetti. Mastered by Rude 66. Limited edition of 500.

MIE (UK)

MIE 035LP

RHYTON: Navigating by Starlight LP (MIE 035LP) 25.00
"Navigating by Starlight is the elegantly distended fourth LP by a New York band known for its fine taste in bourbon as well as its ability to explore strangely forested nooks of space. Composed of two side-long excursions of heavily bearded improv, this is what Bruce Dern should have been listening to throughout Douglas Trumbull's Silent Running. The first side is called 'Lovejoy Vapor Trail,' after the recently discovered comet said to be releasing enough alcohol to fill 500 bottles of George T. Stagg every second. Who could fail to be staggered by such a suggestion? Not these guys. Dave Shuford's guitar vomits stars in all known directions, Jimy SeiTang's bass and synth cover the proceedings with a blanket of darkness, and Rob Smith's drums drive things along like a pulsar. The flip, 'Scylla and Charybdis,' continues Rhyton's linguistic love affair with Ancient Greece. But with Shuford on electric mandolin, and the rhythm section picking their way between the twin threats more carefully than usual, the band creates a vibe that is more space-swamp than whirlpool (at least in this writer's opinion). By which I mean its method of sucking you into its vortex is staggered rather than continuous. Of course, once you've stuck your head into Rhtyon's sound-barrel, the specifics of destruction don't matter much do they? 500 bottles of Stagg a second . . . that would sure take care of the world shortage, wouldn't it?" --Byron ColeyAfter crafting Kykeon, the most detailed and finely intermeshed recording of their output, the cosmic compatriots Rhyton decided to get back to basics and kick out the jams with both ferocity and stateliness. Navigating by Starlight features two sidelong improvised slices of molten music recorded by the redoubtable Jason Meagher at apex temperatures at his Black Dirt Studio in upstate New York. The first side, "Lovejoy Vapor Trail," follows a journey from an initial solemn invocation through areas of blinding scree toward a summit of relaxed but rough and tough guitar elevation. The second side, with its natural bifurcation, was an instant composition of two halves that balance perfectly and exhibit a subdued menace.

MISSISSIPPI RECORDS

MRP 093EP

FULLER, JESSE: Working on the Railroad 10" (MRP 093EP) 13.00
"One man band Jesse Fuller's first recordings from 1954! Jesse Fuller was a truly unique one man band who played blues, spirituals, ballads and folk songs. On these recordings we find Jesse playing guitar, harmonica, kazoo and the footdella (a bass that Jesse built which he plays with his feet). One of the greatest folk musicians of all time in his prime. Features top tunes - San Francisco Bay Blues, Railroad blues, John Henry, Lining the tracks, Hanging 'round a skin game and the Railroad work song. Comes with liner notes with two unpublished photos of Jesse. Limited edition of 1,000 copies. A co-release with our friends at Secret Seven Records."

MIXPAK

MIX 058LP

MURLO: Odyssey LP (MIX 058LP) 26.50
UK producer Murlo follows his 2015 vocal EP Jasmine with the instrumental Odyssey, his boldest artistic statement to date. Eight tracks deep, Odyssey is a winding journey through Murlo's fantastical world, where weighty bass, soaring melodies, and frenetic percussion all hold positions of power. The lead track, "Moodswung," constructs a maze of memorable melodies in a harp-laden dreamscape. "Cascade" is a club tune as intricate as a symphony, with synths running over each other with the urgency and beauty of a waterfall. With the majesty of "Lanced," the melodic freneticism of "Hunter," the other-worldliness of "High Rise," and the club delirium of "Furnace," this is signature Murlo -- instantly recognizable yet never predictable. Odyssey is a record free of genre; it's uncompromising yet accessible experimental electronica at its best, firmly establishing Murlo as a unique figure in the UK underground. Cover art by Murlo.

MPS

MPS 53161LP

CHERRY, DON: Eternal Rhythm LP (MPS 53161LP) 12.00
2016 repress; gatefold exact repro reissue of Don Cherry's classic Eternal Rhythm Group, recorded at the Berlin Jazz Festival, 1968. An amazing line up of: Cherry (cornet, gender and saron [gamelan], flutes), Albert Mangelsdorff (trombone), Eje Thelin (trombone), Bernt Rosengren (tenor sax, oboe, clarinet, flute), Sonny Sharrock (guitar), Karl Berger (vibes, piano, gender), Joachim Kühn (piano, prepared piano), Arild Andersen (bass), & Jacques Thollot (drums, saron, gong, bells, voice). Two "side-long" pieces with gamelan underlining for the perfect gush of cosmic interlude.

MVD VISUAL

MVD 8173DVD

DICKS, THE: The Dicks from Texas DVD (MVD 8173DVD) 19.00
"Gary Floyd would go around town in Austin, Texas putting up posters advertising 'The Dicks' with crazy ass pictures and promises that first 10 people with guns drink for free. It was a wild and crazy time in Austin, back when 'keeping Austin weird' got you thrown in jail. Gary was a flamboyant outwardly gay personality with a voice that still rivals the hardest heaviest bluesiest singers from Texas or anywhere else. He ran into Buxf Parrot and Glen Taylor at Raul's Bar on Guadalupe and the Dicks became a reality. Pat Deason joined the band just in time for the legendary first live performance at the Armadillo World Headquarters. The Dicks were together for nearly four years and put out Dicks Hate the Police 45 and two albums, Live at Raul's and Kill From the Heart which have lived on for coming up on four decades, inspiring other musicians and fans with songs like 'Bourgeois Fascist Pig,' 'Dead in a Motel Room,' and 'Dicks Hate the Police.' The Dicks never sold out, never budged one fraction from their militant principles at the cost of no big record deals and acclaim. What they got in return was the respect of longtime hardcore followers who still turn out at the rare live reunion shows where the Dicks still deliver." Region 0, NTSC format; 70 minutes.

NEGATIVE DAYS (UK)

NEG 002LP

TOMAGA: Familiar Obstacles LP (NEG 002LP) 23.50
Following the November 2014 release of their debut, Futura Grotesk, London-based duo Tomaga drew plaudits from musical luminaries as diverse as Tony Conrad, Nicolas Jaar, Silver Apples, and Wire, who invited the duo to join them on a European tour. If Futura Grotesk represented waking thought, then their follow-up, Familiar Obstacles, is the unconscious interzone, evoking numerous shades of the group's musical hinterlands. It fuses studio experiments, field recordings, and tonal spectra into something by turns resembling musique concrète, imaginary soundtracks, and library music. Familiar Obstacles was originally released as a limited cassette by the Blank Editions label in Spring 2015, and appears here re-edited and remastered for vinyl.

NERVMUSIC (RUSSIAN FEDERATION)

NM 016EP

FROST, LAURINE: Obsessed by an Innocent Blind Old Man 2x12" (NM 016EP) 26.50
Vinyl-only double 12" with deluxe printed art sleeve. Laurine Frost presents Obsessed by an Innocent Blind Old Man, featuring remixes by Martinez ("concealed sound treatment") and Nervmusic cofounder Denis Kaznacheev.

NEW RECORDS (SPAIN)

NRC 001LP

KHOLA COSMICA: Khola Cosmica LP (NRC 001LP) 25.50
After many years of putting out strictly vintage '60s/'70s/'80s reissues, Guerssen inaugurates its New Records imprint and (again) begins releasing albums from current bands that the label truly loves. New Records focuses on '90s-and-beyond psychedelia, hard rock, folk, progressive, etc. Listeners can expect Guerssen's usual attention to detail and nice artwork designs. The first release on New Records is the first vinyl edition, with new artwork, of Japanese band Khola Cosmica's overlooked 2011 self-titled CD. Hailing from Tokyo, Khola Cosmica are not your average "stoner rock" band. This brutal power trio plays some of the most extreme, psychedelic doom metal you can find. Long tracks featuring devastating, loud, in-your-face fuzz riffing, hypnotic drones, and dark atmospheres destined to destroy your mind. Remastered sound. Includes insert.

NEW WORLD RECORDS

NW 80777CD

POLANSKY, LARRY: Three Pieces for Two Pianos CD (NW 80777CD) 15.00
"This album exemplifies the depth to which Larry Polansky (b. 1954) explores and connects different musical ideas: In Three Pieces for Two Pianos and Old Paint, mathematical models and algorithmic processes are used to set folk songs; in k-toods, simple text scores outline complex musical processes that Polansky has theorized extensively; and the Dismissions are culminations of lifelong musicological investigations. His unique compositional style is unified through diversity and a constant reexamining, questioning, reformulating, and mixing of ideas. In Three Pieces for Two Pianos (2006-07) Polansky integrates several compositional processes, many of which are individually employed in the subsequent pieces. In Old Paint (2010), a setting of the traditional American cowboy song 'I Ride an Old Paint,' Polansky augments Ruth Crawford Seeger's piano arrangement from Twenty-two American Folk Tunes Arranged for Piano. The piece starts and ends with a haunting melody that floats above, below, and around the tune sung by the pianist. The five k-toods (2002) musically reflect personal experiences and reflections Polansky has had as a father. While loosely programmatic in that sense, they are not at all separate from deep musical investigations found throughout his work; most notably, mathematical functions of time that control the evolution of one musical shape into another, which he calls 'morphological mutations.' Through the Shakers, he first became interested in the concept of 'dismission' in American sacred music. Dismission (pianotood) (2006) expands the original hymn both harmonically, with very wide, open voicings of the chords through much of the piece, and temporally, by increasing then decreasing the lengths of the measures with the time-stretching algorithm also used in the Three Pieces for Two Pianos. Dismission (pianotood 2) (2006) does not implement the time-stretching algorithm and the voicings are generally a bit more compact. Instead, Polansky ornaments some of the chords with delicate embellishments and figurations."

NICE UP (UK)

NUP 024EP

POIRIER (FEAT. RED FOX): Jump 7" (NUP 024EP) 12.00
Montréal-based producer Poirier presents "Jump," his take on the classic dancehall sound of the '90s. Taken from his 2016 Migration album, the track features bona fide dancehall legend Red Fox. "I wanted to reference the 90's dancehall vibe, but with a modern feel of my own," says Poirier. "After I'd made the beat, Red Fox instantly came to my mind -- because he IS that sound, that voice!" Road-tested on Poirier's global DJ tours, the track is an instant dancefloor-mover with its punchy, bottom-heavy production providing the perfect setting for Red Fox to do his thing.

NO LABEL (EUROPE)

DSS 001LP

DEN SORTE SKOLE: Indians & Cowboys 2LP (DSS 001LP) 38.50
From Middle-Eastern dancehall madness, freaky jazz experiments, and heavy dub psychedelia to beautiful piano trips, dark machine raids, and spaced-out traumas. From here to there -- out there, and everywhere. This is the sound of Danish sampling duo Den Sorte Skole's 78-minute album Indians & Cowboys. Here, forgotten musicians from the communal musical treasury come together to jam in a global ghost-orchestra crossing time and space. Indians & Cowboys follows Den Sorte Skole's monumental sample-based 90-minute triple-12" Lektion III (2013), a magnum opus that earned them the Danish Critic's Composer of the Year 2014 award and won them an international following, and which Sasha Frere-Jones included as one of six titles in his "What I Missed: 2013 Albums" list for The New Yorker. Den Sorte Skole take their strictly sample-based methodology to even more extreme territories on Indians & Cowboys. With an immense amount of samples, even finer-stitched collage work, even more diverse musical energies, and a renewed complexity of composition derived from the duo's work as composers in residence with the Danish National Chamber Orchestra, this is arguably the most ambitious sample-based album ever made. Indians & Cowboys is self-released by Den Sorte Skole. None of the samples have been cleared, but all of the samples are listed on the sleeve; contemporary copyright law makes it practically impossible to clear the number of samples involved in Den Sorte Skole's work, and the duo insists on challenging a system built by big businesses to favor mainstream artists and big record companies. But by revealing their sample-sources, Den Sorte Skole hopes to pass on knowledge, spark interest, and give credit to the forgotten musicians upon whose shoulders Den Sorte Skole -- and the rest of the music business -- stand, build, and create. Includes fully illustrated 32-page booklet.

NOW-AGAIN

NA 5047LP

WHITEFIELD BROTHERS, THE: Earthology 2LP (NA 5047LP) 25.00
2016 repress. "Earthology is the long awaited follow up to The Whitefield Brothers cult-classic In The Raw. While In The Raw's hypnotic, defiantly psychedelic funk music was grounded in the great musical traditions of both America and Africa, Earthology finds the Brothers infusing their funk (or, as the Brothers prefer it, 'raw soul') with musical traditions that span the globe. To achieve the Earthology's unique sound, the Brothers employed an array of instruments and put in a dizzying amount of research: traveling the world, joining different bands and ethnic performing ensembles, amassing and absorbing field recordings, trawling used record bins for lost examples of global psychedelic-fusion, over a period spanning some fifteen years. Like In The Raw, Earthology is grounded by a 'raw soul' band's building blocks: drums, guitar, bass, keys and horns, but it is augmented by such exotic instruments as gongs and flutes from Asia, xylophones and string instruments from Africa and Central American percussion instruments. The use of African polyrhythms now seems commonplace on a funk or psych album; Arabic rhythmical structures, African pentatonic scales and Oriental modes do not. The Whitefield Brothers, and a multitude of guest ranging from vocalists Edan, Mr. Lif, Bajka, Percee P and MED to musicians from Antibalas, El Michels Affair, Quantic and the Dap- Kings, set these elements in a modern context and, over the course of thirteen dense tracks, blend them with the fierce funk their fans have grown to love."

OPTIMO TRAX (UK)

OT 019EP

FABRIZIO RAT: La Machina 12" (OT 019EP) 12.00
Fabrizio Rat presents an EP constructed entirely from acoustic piano and drum machine. His unique sound design is particularly impressive in a time when so much techno simply follows a blueprint instead of pushing boundaries. Fabrizio Rat: "I developed a personal sonic world on the acoustic piano transforming it into a synthesizer and a groove machine with DIY techniques and objects. Pianist of Cabaret Contemporain (electro-bio) and Magnetic Ensemble playing festivals and venues throughout France and Europe, Canada and USA. Other projects are La Machina (solo, with a prepared piano and a drum machine), Jukebox, Barber Mouse and Luna Maze."

OSTGUT TON (GERMANY)

OSTGUT 020-1EP

VA: Zehn / Eins 12" (OSTGUT 020-1EP) 12.00
Standalone edition of Zehn | Eins, originally included as one of ten 12"s in the 2015 Ostgut Ton | Zehn box released for the Ostgut Ton label's 2015 ten-year anniversary. Norman Nodge's exclusive "Beastmode" features stoic, trippy acid bleeps around a straight 4/4 hi-hat and striking hiss; it's stubborn and reserved yet very break-heavy. Boris's 11-minute exclusive "Lock" opens with ambient drones before the kick and elaborate synth pads come in. "The Launderette" is the first track released by S/D, the duo of Marcel Dettmann and Luke Slater; it's an abstract, pulsing, dubby track with bubbling synths and uneasy piano strokes.


OSTGUT 020-2EP

VA: Zehn / Zwei 12" (OSTGUT 020-2EP) 12.00
Standalone edition of Zehn | Zwei, originally included as one of ten 12"s in the 2015 Ostgut Ton | Zehn box released for the Ostgut Ton label's 2015 ten-year anniversary. Marcel Dettmann's "Encode II" opens the EP with a throbbing kick, shuffling and stumbling percussion, chirping synths, and meandering ambience before Efdemin's"unten links," a slender, multi-layered cut. Kobosil's full-bodied and hypnotic "Saldae," with its distinct alarm signal and robotic vocal samples, is a welcome return to his club-focused production roots drawing on industrial and EBM.

PARACHUTE (ITALY)

PAR 007EP

BOP: Music for Chairs 12" (PAR 007EP) 12.50
Music for Chairs is Luca Affatato aka Bop's first opus dedicated entirely to chairs, one of humanity's most groundbreaking inventions. Affatato has been mastering the art of sitting since 1976, and seems to understand chairs' musical preferences. Melding post-punk, minimal wave, Melvins, Mike Patton, and Boards of Canada into one big, hissy, distorted mess, Music for Chairs is sure to please sitting apparatuses worldwide. Music for Chairs comes in a package designed by Kero. Includes a vinyl-only track, "King Buzzo Fuzz."

PK RECORDS (UK)

PK 002EP

CASH/AARON CARL, GREG: Party Chat Remix 12" (PK 002EP) 11.00
2000 release. The great Aaron Carl from Wallshaker and Underground Resistance, tearing it up. All Head High posse, get flat: here it is, Detroit house music, the real thing. The original instrumental, too.


PK 006B-EP

RHYTHM & SOUND: No Partial 10" (PK 006B-EP) 12.50
Features Rhythm & Sound (Berlin producers Mark Ernestus and Moritz von Oswald) at their chilliest and most magnificent. PK Records originally released "No Partial" in 2001 on a three track split 10" with Wailers Band. Now brilliantly remastered as a one-sided reissue.


PK 009CD

VA: Glory, Dominion, Majesty, Power - Half Moon Productions CD (PK 009CD) 15.50
2003 release. The gnarliest reggae compilation in Christendom, drawn from the '70s and early-'80s heyday of the Toronto-based Half Moon label, when it played host to stars like Joe Higgs, Augustus Pablo, Johnny Osbourne, and Leroy Sibbles, and home to locals like Pluggy Satchmo and Dill Smith. Raw, twisted, compelling, time-and-again staggering productions by Oswald Creary, in the tradition of his childhood-friend Lloyd Bullwackie Barnes -- and Lee Perry and Keith Hudson -- but utterly themselves. Rough, tough, mystical roots. Brilliant mastering by Moritz von Oswald. Silk-screened sleeve (and the artwork is Will Bankhead's finest hour). Just awesome. Artists include Joe Higgs, Johnny Osbourne, Dill Smith, Pluggy Satchmo & Jah Levy, Leroy Sibbles & Otravis Band, Stranger Cole, Super 8 Corporation, Louis O'Connor, Rothadam, OJ, The Blenders, Bongo Ossie & The Moonlights, Bingi Kicks & G. Campbell, and Carl Dawkins.


PK 009LP

VA: Glory, Dominion, Majesty, Power - Half Moon Productions 2LP (PK 009LP) 23.50
2015 repress; originally released in 2003. Double LP version. The gnarliest reggae compilation in Christendom, drawn from the '70s and early-'80s heyday of the Toronto-based Half Moon label, when it played host to stars like Joe Higgs, Augustus Pablo, Johnny Osbourne, and Leroy Sibbles, and home to locals like Pluggy Satchmo and Dill Smith. Raw, twisted, compelling, time-and-again staggering productions by Oswald Creary, in the tradition of his childhood-friend Lloyd Bullwackie Barnes -- and Lee Perry and Keith Hudson -- but utterly themselves. Rough, tough, mystical roots. Brilliant mastering by Moritz von Oswald. Silk-screened sleeve (and the artwork is Will Bankhead's finest hour). Just awesome. Artists include Joe Higgs, Johnny Osbourne, Dill Smith, Pluggy Satchmo & Jah Levy, Leroy Sibbles & Otravis Band, Stranger Cole, Super 8 Corporation, Louis O'Connor, Rothadam, OJ, The Blenders, Bongo Ossie & The Moonlights, Bingi Kicks & G. Campbell, and Carl Dawkins.

POLE (GERMANY)

PL 014EP

POLE: Lurch (Version) 7" (PL 014EP) 12.00
Pole follows the 2015 release of his Wald album (PL 013CD) with a 7" release of "Lurch (Version)," previously available exclusively via a download code included with the Japanese CD release of Wald on Octave Lab. It's backed with an exceptional, stripped-to-the-bones remix by Peder Mannerfelt (Roll the Dice, The Subliminal Kid). Limited edition of 300.

PROG TEMPLE (UK)

PT 8048CD

BAIRD, EDDIE: Hard Graft CD (PT 8048CD) 17.00
Lincolnshire, England-born multi-instrumentalist Eddie Baird is best known as a member of Amazing Blondel. This solo album is, however, far removed from that band's renaissance folk style. A classy set of concise pop rock songs played entirely by Baird, it was recorded in Cornwall, England, in the summer of 1975 and released in 1976. It makes its long-overdue CD debut here.


PT 8049CD

LIGHTHOUSE: One Fine Morning CD (PT 8049CD) 17.00
Originally formed in 1968, this legendary Canadian horn-rock band spanned rock 'n' roll, jazz, and classical music. Released in June 1971, One Fine Morning is their fourth album, and its title-track became an international hit. Originally issued on the legendary Vertigo imprint in the UK, it makes its long-overdue return to CD here.

PURPLE TAPE PEDIGREE

PTP 006EP

ENDGAME: Savage 12" (PTP 006EP) 17.50
140-gram 12". London-based DJ and producer Endgame is a founding member of Bala Club (alongside Kamixlo and Uli-K) and a regular at London's Endless party. Here, opener "Savage Riddim" is a destructive reggaetón-meets-mech-suit manifesto, layering frantically plucked melodies at a mid-tempo pump. The 140 BPM stutter-step of "1 Night Riddim" is blanketed by slabs of Tangerine Dream-like synthetics and maddened voices. The nimble, precise "XOX" bears an intricate dancehall whine, while the tarraxo rhythm of "NXN" comes awash in distant sirens, laser blasts, and disembodied screams. Mastered and cut by Matt Colton at Alchemy. Art by Kyselina.

QUINTESSENTIALS (UK)

QUINTESSE 047EP

BORROWED IDENTITY: Red Light Jackers EP 12" (QUINTESSE 047EP) 12.50
Borrowed Identity makes music nonstop -- when he's not travelling the globe. He enjoys nature as much as playing house, techno, or disco. He lives in the Black Forest region of Germany, which may explain why his music is so dark. His Red Light Jackers EP follows two superb EPs on Quintessentials and features Albert Vogt on "The Spirit."

RADICH

RAD 001LP

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


RAD 002LP

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

RETT I FLETTA (NORWAY)

RIF 006EP

RUSSELL, JOSEPH: One, Six (Prins Thomas Mix) 12" (RIF 006EP) 14.00
Rett I Fletta welcomes back London-based Joseph Russell for another ruff, rugged, genre-defying release, following his 2015 Drums from Lagos EP (RIF 004EP). It pokes and scratches all the right places and features a lefthanded rework from Prins Thomas. Bleep, bloop, doink, doink. . . .

SMOKIN' (GERMANY)

SON 315CD

ZAPPA, FRANK: The Muffin Man Goes to College (featuring Captain Beefheart) 2CD (SON 315CD) 19.00
"Of all the Frank Zappa tours, the spring of 1975 is the most unusual and frustrating. The performances could range from absolutely exhilarating to rather drab with slopping renditions of composed 'core' pieces like 'Advance Romance' and 'Willie The Pimp' played in the midst of brilliant improvisations by Zappa, Captain Beefheart and the other musicians in the band. Add to this the paucity of really good recordings, and the frustration is obvious. As a radio broadcast however this is the best sounding show from the tour, it's a tight and enjoyable performance. Capturing the chaotic, eclectic turns in the set starting off with an atonal cacophony of noise in the beginning improvisation, Zappa comes on stage at about a minute and a half in, and beginnings playing at about five minutes, starting the band off with 'Camarillo Brillo.' It is performed as in other tours with the first half at normal tempo and the second slowed down. 'Pound For A Brown' is the big monster song of the tour. Stretching close to ten minutes, Fowler and Duke take solos before Zappa, all in a jazz/funk vein. It segues right into the long 'Why Doesn't Someone Give Him A Pepsi?' (a.k.a. 'The Torture Never Stops'). The long improvisations after "Montana" begin with Zappa pointing out Brock who plays the little cymbal and pretends to cry when hitting himself. During the improv they play bits of 'Chariot' and 'Moon Trek.' The strangeness continues with 'Sam With The Showing Scalp Flat Top' before the segue into 'Penguin In Bondage.' 'Poofter's Froth Wyoming Plans Ahead' speaks about the cynicism of marketing the bicentennial celebrations due the following year. The closing section of 'Echidna's Arf' segues into the final song of the set, 'Advance Romance.' 'Just like a rock and roll concert,' Zappa quips before they rip into a wild 'Willie The Pimp' with more blues jams, Denny's slide guitar, and Beefheart's Howlin' Wolf vocals."

SOMMOR RECORDS (SPAIN)

SOMM 027LP

WHITE LIGHT: Parable LP (SOMM 027LP) 25.50
LP version. First reissue; licensed from the original band members. Remastered sound. Includes liner notes and photos. Formed in Glasgow in the early '70s, White Light were not an ordinary Xian rock band; influenced by the explosive sound of The Who, the hard blues of John Mayall's Bluesbreakers, and even Black Sabbath, their live performances across the country featured heavy rock sounds, howling feedback, phased lighting effects, and commitment to the real enjoyment of rock music. They were formed not to play in churches, but to take the message to the rock generation in loud clubs, halls, and big rock venues. In 1972, they were finalists in a national rock competition organized by Melody Maker magazine. This event encouraged the band to enter the studio for the recording of their first album. The ultra-obscure Parable was originally released as a private pressing in 1974 (it's featured in Hans Pokora's 7001 Record Collector Dreams book with the maximum rarity rating). Housed in a mysterious cover, the music is Xian hard psych straight from the garage with lots of raw fuzz guitar and Vox Continental organ. Combining hard rock with heavy blues and dreamy moments, it features the monster sidelong track "Prodigal," which has to be heard to be believed.

SPE:C (GERMANY)

SPEC 015-02EP

TRANS AM: Speechless 12" (SPEC 015-02EP) 14.00
Deluxe clear PVC vinyl sleeve with neon print. Broken, bass-driven, robotic grooves. Mastered by Helmut Erler at Dubplates & Mastering, Berlin. Vinyl only.

SUB ROSA (BELGIUM)

SR 008LP

BURROUGHS, WILLIAM S.: Break Through In Grey Room LP (SR 008LP) 15.50
2016 repress; originally released in 2008. One of the most classic and in-demand titles in the Sub Rosa catalog -- mid-'60s cut-up tape machine recordings made by William S. Burroughs in hotels -- originally released on CD in 1987, reissued in 2001, released on vinyl in a gatefold sleeve. During the 1960s, Burroughs was in Europe and England. The Vietnam War, the cultural revolution, hippies and the acid gospel, the U.S. in tumult -- all these were dispatches to him. Living between Paris and London, his only excursions to America were in 1965, when he lived a year in New York at the Chelsea Hotel and 210 Centre Street, and revisited St. Louis and Palm Beach; and in 1968, when he covered the Democratic Convention in Chicago for Esquire in the company of Genet, Southern and Seaver. Burroughs had quit the States in 1953 exactly because he foresaw these police-state conditions. But now the wild boys were in the streets, in London and Paris too, and Burroughs was inspired to hope that the world could really change. In the creative world/switchboard of Paris' Beat Hotel, in London, in a house in the Arab Quarter of Tangier, he experimented with tape recordings -- under the tutelage of Brion Gysin -- hoping to cut the pre-recorded time line of present time, and, as he put it, "let the future leak out." It's impossible not to recognize the writer's sonorous voice -- a sonority also present within the silence of every text he wrote. An explosion of styles -- a blasting of borders -- the silence after a gunshot -- the overtaking of the fetishized word -- from the exploded painting, to the cut tape. Break Through In Grey Room includes various monologues, radio shortwaves, music, and countless cut-up tape from which emerges new structures of communication. Words gain power when losing the boundaries of semantics. Also included is some Joujouka music recorded by Burroughs while he was with Ornette Coleman in the hills of Morocco, circa 1973. Many of these tapes are as much Ian Sommerville's work as Burroughs, or even more so. Ian's technical background is a tribute to the early development of sound-and-light shows in London. Ian was a sorcerer's apprentice in creating recordings. This is an important sound document in the history of Burroughs as an innovator, as well as an archive of the genesis of literature in opposition during a time-period whose urgency is more relevant than ever.


SR 399LP

UNIVERS ZERO: Univers Zero 2LP (SR 399LP) 23.50
Univers Zero's 1977 debut album, reissued as a double LP with a bonus track "La Faulx" spread over sides C and D. Long-running Belgian chamber rockers and avant-garde pioneers led by drummer and composer Daniel Denis, Univers Zero formed in 1974 with co-composer and guitarist Roger Trigaux (who left the band in 1980). This is their first album, recorded between August 2 and 5, 1977. "The rhythmic energy and dissonant riffs, the distinctive sound of the bassoon and strings, and the tricky, fragmented time signatures make for a challenging and highly distinctive listening experience." --AllMusic


SR 414LP

TOOP, DAVID: Life on the Inside LP (SR 414LP) 15.50
Limited edition of 300. David Toop's environmental beauty Life on the Inside is the audio companion (created and recorded in 2015) to French sculptor Pierre Besson's 2014 exhibition D'objets noires et de Choses carrées (Black Objects and Square Things). This 34-minute ambient track was diffused inside of the sculpture and has never been published before. An excellent addition to the David Toop discography and a must for any wide-ranging ambient fan.

SUBLIME FREQUENCIES

SF 101LP

VA: Music of Xinjiang: Kazakh and Uyghur Music of Central Asia LP (SF 101LP) 17.50
Limited-edition LP with full-size insert of text and photographs by compiler Laurent Jeanneau. Xinjiang (Eastern Turkestan) is China's biggest province. The musical landscape here is one of the world's richest. The Uyghur and the Kazakh are the two main ethnicities represented on these recordings made by Laurent Jeanneau and Shi Tanding in June of 2009. The Kazakh (nomadic) and Uyghur (agricultural) have multiple linguistic ties. Much of this music shares many influences from the Arab world, Turkey, and Persia. The sound is that of the Islamic tradition stretching from Turkey to the most eastern frontier of the Chinese empire. These recordings and performances feature some of the area's greatest musicians playing instruments like the satar, tanbur, dotar, rawab, rushtar, and dongbra, among many others. These tracks represent ecstatic examples of the region's rich musical voice. Buzzing plucked strings and epic tales of the life and legacy of one of the oldest (2500 years) and richest cultural areas of central Asia. Performers include Kurban, Pa Hat, Adengr, Kali, Jaymanur Ajabek, Kurmanjiang Zaccharia, and Jaymanur Ajabek.


SF 102LP

VA: Outlier: Recordings from Madagascar LP (SF 102LP) 17.50
Limited-edition LP with full-size insert of text and photographs by compiler Charles Brooks. This collection is an impeccable and crystalline assortment of beautiful music from the deep southwestern provinces of Menabe and Tulear in Madagascar, recorded and assembled by Charles Brooks. Brooks has made many friends in these lesser-travelled regions since the 1990s. Outlier: Recordings from Madagascar represents a compilation of his encounters from 2011-2012. "Madagascar is an island that would bleed into obscurity if not for the rhythm of its name and the mysterious tailwind that follows it. Filled with natural wonder, it's a land where places, conversations, and names are spoken with a liquid tongue, where people and setting come together to create a unique array of music and culture. Sites can become extraordinarily charged with an unseen presence where heavy air, summoned spirits, and a transformative energy collapse natural constraints of place. The Malagasy call this mingling of forces 'maresaka' -- a permeating vibrational aura. Maresaka pulls you in and places you in the moment, to participate through a saturation of sounds, smells, and colors. When caught inside this kind of atmosphere, levity comes; you release your anchors of self-control. Beautiful unfettered music surfaces. Here, that is to say where I've been brought to listen, music lives and moves. The artists represented in this compilation play, and their music has many different roles -- both natural and supernatural. Music can be performed as much as it can be recorded, but here it's mostly played. These exceptional artists share within such practice" --Charles Brooks, 2015. Performers include Manatsoa, Tanka, Angeline, Tafara Justin, Justin Velonjoha, Masy Germaine, Mony, Mahavita, Leonel, Lisa, Jean-Francois, Marinette, Vincent, Alvine, Tsingezo, and Taomanana.

SUBTEXT (UK)

SUB 016LP

JEBANASAM, PAUL: Continuum LP (SUB 016LP) 21.00
LP version. Continuum emerges as a crystallized vision deploying sound to explore the spectrum of life, power, and energy present in the universe. Creating a speculative soundtrack to a timeline stretching from the primordial emergence of organic life through to the unknowable trajectory of the universe, it explores the magnitude of science's reach and the precarious role of humanity within this vast, evolving system. The compositions adopt the central premise of mirroring celestial events, algorithmic action, and cellular behavior, fusing these with a defiant tonal grandeur and an ever-present sense of chaos. The album sits at a meeting point of fiction, composition, and philosophy, considering how the past, present, and unknown future could be consolidated and perceived on both human and non-human terms. Examining whether the conditions that support life and the digital and atomic mechanisms that surround it can continue to work together as one ecology in the face of dynamic and unpredictable change.

SUPERIOR VIADUCT

SV 096CD

REICH, STEVE: Four Organs/Phase Patterns CD (SV 096CD) 19.00
"Steve Reich remains one of the most important figures in 20th century music. Though he studied at the prestigious arts institutions Julliard and Mills College, by the mid- 1960s Reich set about dismantling the very orthodoxy that he had been trained in. Forming a new musical language based on repetitive processes, Reich became established as part of the so-called 'Big Four' of New York minimalists (along with La Monte Young, Terry Riley and Philip Glass). Reich's influence can easily be seen today in both the classical world and contemporary pop music. 'Four Organs' is the ultimate minimalist composition. Performed by Reich, Glass, Art Murphy and Steve Chambers, four identical Farfisa organs strike a single chord and gradually lengthen each note to produce polyrhythms between the players. Anchored by Jon Gibson's stoicallysteady pulse on maracas, the piece deconstructs its opening burst to a sustained mass of sound -- stretching the tones to create (in Reich's words) 'slow-motion music.' Inspired by Reich's early training on drums, 'Phase Patterns' treats the keyboards like tuned percussion instruments: a basic rhythm pattern is played in unison and almost imperceptibly increases tempo to move out-of-sync. Each progressive cycle emphasizes unique figures that are not generated by an individual alone, but rather emerge from the communal expression of the group. Originally released on Shandar in 1971, Four Organs/Phase Patterns is one of most highly regarded avant-garde recordings in the past 45 years. This CD release features cover photography by artist Michael Snow and is recommended for fans of Neu!, Glenn Branca and Tim Hecker."

T&W RECORDS (GERMANY)

RBTW 003EP

TIGER & WOODS: Scoring Clubs Pt.2 EP 12" (RBTW 003EP) 14.00
The Scoring Clubs Pt.2 EP is the inaugural release on T&W Records. Brought to life by Tiger & Woods and associates, T&W Records is home to all things Tiger & Woods, from legit-sample songs and upbeat boogie beats to darker deeds. It starts with the epic and infectious disco trancer "Boca" and its counterpart, the T&W classic-sounding "No More Talking." Sampled and cleared, sliced and spiced. Powered by Running Back.

TEXT (UK)

TEXT 038EP

DESIGNER + FOUR TET: Mothers/Dark 12" (TEXT 038EP) 13.00
"Tracklist: A. Mothers B. Dark"


TEXT 039EP

CHAMPION + FOUR TET: Flip Side/Disparate 12" (TEXT 039EP) 13.00
"Tracklist: A. Flip Side B. Disparate"

THE BICYCLE MUSIC COMPANY

BIC 108LP

PHARCYDE, THE: Bizarre Ride II The Pharcyde: Instrumentals LP (BIC 108LP) 25.00
"Bizarre Ride II The Pharcyde is, simply put, one of the most perfect albums in the history of recorded music regardless of genre. From the lyrical flow of Slimkid3, Bootie Brown, Imani and Fatlip to the cover art by Fuct the project is the embodiment of excellence start to finish. Musically, the foundation of this perfection is the production work of J-Swift. His use of jazz samples, phat beats and live instrumentation had the ultimate effect of 'creating their own sonic utopia', as NME put it. As such it's more than fitting that Pharcyde's Bizarre Ride II The Pharcyde be released as an all instrumental outing. Swift's adventurous use of samples from jazz, R&B, funk, classic rock and more melded with his personal additions of live instrumentation including piano, bass, and Fender Rhodes along with drum arrangements from fellow producer JMD create a lush, jazzy soundscape that works well as a stand alone recording. Though the west coast's predominant G-Funk sound of the time or the east coast's conscious kings De La Soul may have sold more records at the time, The Pharcyde and J-Swift's work on Bizarre Ride has stood the text of time and continues to resonate with fans new and old in a way that few records have or ever will."

THESONGSAYS (GERMANY)

SONG 006LP

PRONSATO, BRUNO: Lovers Do 2LP (SONG 006LP) 23.50
First vinyl edition of Lovers Do by Bruno Pronsato, originally released as a CD in 2011 (SONG 006CD). Bruno Pronsato has always kept busy with various projects, including Others, his experimental house outfit with Daze Maxim; Public Lover, his duo with the French artist Ninca Leece; and his work with Sammy Dee as Half Hawaii, which has released on Perlon and Diamonds & Pearls. As half of the duo Ndf, he coproduced "Since We Last Met," a single that marked his debut on DFA and landed in Pitchfork's "Top 100 Tracks of 2010" staff list. But as Bruno Pronsato was juggling all of these different projects, one piece of music was slowly taking shape -- his third and most immersive album, Lovers Do. Like much of his work to date, Lovers Do is experimental without being snobby -- or, in the artist's words, "accidentally avant-garde" -- but this one takes it further than the others. It has a looseness that's truly rare in techno; scrapping formulaic verses and breaks, it winds along like an abstract sketch, guided by intuition instead of logic. Some songs are fraught with nervous tension while others are soothing and rich with detail that ranges from dappling Rhodes to orchestral swells, jazzy drum fills, and wet hand claps. Human voices swirl in and out of the mix, serving only to make things more surreal. Many of the tracks stretch well beyond ten minutes, though one bows out after less than three. Overall, the album is delicate and subtle, but it also features one of Bruno Pronsato's best club tunes, the eerie and delirious "Feel Right." Bruno Pronsato spent two years composing Lovers Do at his home studio in Prenzlauer Berg, Berlin. His muse Ninca Leece makes scattered cameos throughout. Brian Eno once described his own music as a place one occupies rather than a thing that happens; Lovers Do is such a place -- a lovely, impressionistic scene with amber tones, murky figures, dim streetlights, and dusty shadows.

TOUCH (UK)

TO 053LP

FENNESZ: Venice 2LP (TO 053LP) 20.00
Restocked; special 10th anniversary edition & first time available on vinyl. Gatefold double LP release -- 14 tracks. Artwork and photography by Jon Wozencroft. Featuring David Sylvian (vocals) and Burkhard Stangl (guitar). Venice, the fourth studio album by Christian Fennesz, finds electronic music at a crossroads between its early status as digital subculture, and the feeling that there has to be something more, an emotional quality that rises above noise and moves towards melody and rapture. It was voted No. 3 in The Top 50, The Wire, December 2004, was album of the week at BBCi on its release and remains Christian Fennesz's best-selling record to date. Prefix (USA) noted: "Although Fennesz's breakout record Endless Summer was followed by a live release and a collaboration with Jim O'Rourke and Peter Rehberg as Fenn O'Berg, Venice is the true heir to that album's ascendant pop. Venice is not as unabashedly poppy as its predecessor (the lack of Beach Boys references can attest to that), but still mines much the same vein. It was marked by critics at the time as a move away from the relatively robotic music spawned by the IDM craze of the late nineties. Instead, its melodic, emotive tracks foresaw an electronic music that could be purely human." Pitchfork Media (USA), in a lengthy review, also noted: "Venice's quality extends beyond its sound. Touch proprietor Jon Wozencroft -- through his breathtaking design and photography -- continues to fight the good fight against records-as-pure-data by making the CD a value-added prospect." and The Declaration Online (Web): "Two blue empty row boats left listless on rippling water. Red orange green riverbed foliage reflected in the water's gauzy oil slick surface. An airport enveloped in dull gray stratus and snow. Upon seeing the photography and packaging accompanying Christian Fennesz's latest recording, Venice, it is clear that the record label Touch remains intent on not simply putting out records but creating audio-visual imprints dedicated to inextricably tying sound and vision."

TRAFFIC

TEG 76549LP

BOOGIE DOWN PRODUCTIONS: Criminal Minded 2LP (TEG 76549LP) 20.00
"In listing the greatest albums in hip-hop history, one title never seems to stray from the upper echelons, no matter how many years pass: Boogie Down Productions' undisputed classic from 1986, Criminal Minded. Released amidst a battle between BDP and MC Shan that would redefine the New York rap landscape as it was then known, the album, which features the songs 'South Bronx,' 'Criminal Minded' and 'The Bridge is Over,' captures the excitement, urgency and raw power that embodies hip-hop culture as we know it, with KRS-One's aggressive yet intelligent lyricism backed by Scott La Rock's hard-hitting, stripped-down beats. A true classic, Criminal Minded has been recognized by Vibe Magazine, The Source and Rolling Stone as one of the most important albums of all time. Traffic Entertainment Group and B-Boy Records are proud to present Criminal Minded, presented in a double-LP pressing."

TRUE ROMANCE (GERMANY)

TREP 010EP

TENSNAKE: The Walk/Keep on Talking Remixes 12" (TREP 010EP) 14.00
The Walk/Keep on Talking Remixes features remixes of Tensnake's Keep on Talking/The Walk (TREP 007EP, 2015) by André Hommen and Gerd Janson. Hommen, the creative producer and label manager of Dennis Ferrer's Objektivity imprint, remixes "The Walk" with a deep, minimalistic beat and a smart breakdown that introduces the original's melody. Running Back cofounder Gerd Janson's "RAW Mix" of "Keep on Talking" features powerful drums and acid-tinged synths with a piano-led breakdown echoing the original melody. The vinyl-only "RAW Beats" version is a beats-only version of the "RAW Mix."

TYPE (UK)

TYPE 128LP

BASIC RHYTHM: Raw Trax LP (TYPE 128LP) 18.00
Anthoney J Hart is hardly a newcomer. After cutting his teeth spinning hardcore, jungle, and drum and bass at legendary pirate radio station Rude FM, Hart eventually began producing under the Imaginary Forces moniker, channeling his early influences into noisier, more abstract territory. As Imaginary Forces plumbed the depths of abstraction, Hart was keen to find an outlet for dancefloor material, and that's where Basic Rhythm comes in. Hart wanted to reference the hardcore and jungle he grew up obsessing over, but not simply as an exercise in nostalgia. Avoiding breaks altogether, he went back to the samples that littered the genre, reframing them with contemporary rhythms. Raw Trax is not an attempt to recapture the sound of jungle or hardcore, but a new twist on a familiar setting. It's also not a dull academic experiment; Basic Rhythm was always intended to be fun to listen to, fun to dance to, and fun to mix. Raw Trax delivers in spades. Mastered and cut by Matt Colton at Alchemy. Edition of 500.

UIQ (UK)

UIQ 002EP

ZULI: Bionic Ahmed E.P. 12" (UIQ 002EP) 14.50
Lee Gamble's UIQ label presents the debut EP by Cairo multi-instrumentalist, producer, and sound artist Ahmed El Ghazoly aka ZULI. "Robotic Handshake in 4D" syncs neck-snap sub knocks with shimmering gamelan tones and gremlin voices like a lost Dabrye bomb, before the creamed microtonal timbre of "Compactpact" and the Beneath-style bleep-and-bass pressure of "131001G." "Robotic Jabs in 4D" sparks its lush, fluid synth swell with desiccated 2-step jungle patterns before the decelerated thump and STL-style dub house triplets of "Ahmed ?" Closer "Dr. Beckett" convulses like a Gantz riddim during an ayahuasca ceremony. RIYL Lee Gamble, Coil, Urban Tribe, Beneath.

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