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Forced Exposure New Releases for 3/14/16

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New music is due from while Aaron Dilloway & Bill Nace, O, and Casa Sui, while old music is due from Stud, Circles, and the Flesh Eaters.

FORCED EXPOSURE MAILORDER UPDATE
NEW RELEASES FOR THE WEEK OF 03/14/2016

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A RECORDINGS (UK)

AUK 016LP

BRIAN JONESTOWN MASSACRE, THE: Smoking Acid LP (AUK 016LP) 14.50
2016 repress. 180-gram single LP version, on green vinyl, of The Brian Jonestown Massacre's Smoking Acid EP, originally released as a double 12" in 2009. Following the band's extensive tour of Europe, Australia, New Zealand, and a few select dates in New York (including at ATP supporting My Bloody Valentine et al.) in 2008, Anton Newcombe went to Berlin to focus on his next album. Four weeks before hitting the US tour in April 2009, Newcombe was bursting with ideas and went to Iceland where this five-track EP was recorded. Originally, Newcombe was heavily influenced by The Rolling Stones' psychedelic phase, but his work in the 2000s has expanded into aesthetic dimensions approximating the UK shoegaze genre of the 1990s and incorporating influences from world music, especially Middle Eastern and Brazilian music. This work mixes the traditional Brian Jonestown Massacre sound with Eastern influences and brings it up to date with the benefit of all the additional weirdness that's been discovered in the past 40 years.

ABSTRACT ARCHITECTURE (JAPAN)

AA 003EP

TOMIIE, SATOSHI: New Day Album Sampler #3 12" (AA 003EP) 14.00
Limited-edition vinyl-only sampler of New Day (AACD 001CD/AALP 001LP, 2015), the second album from house music legend Satoshi Tomiie. Features Tomiie's "re-rub" of album cut "0814" and two remixes of the track from Cab Drivers.

ACKER RECORDS (GERMANY)

ADUB 030EP

DIE VOGELPERSPEKTIVE: Funkstar 10" (ADUB 030EP) 12.00
If you want to explain to somebody what the hell you mean when talking about a "seriously fat bass line," just play these two tracks by Die Vogelperspektive. Pounding banger "Mighty Fat" takes its title from its low-frequency spectrum, but it's amazing to hear how light and uplifting the other elements are. "Noise No Girls" is full of dynamic breaks, stimulating filter sweeps, and casual synthesizer chords, clearly reminiscent of classic house music but with a very fresh and modern twist.

AEON (FRANCE)

AEON 001CD

JONA: Sidetracking CD (AEON 001CD) 17.00
Sidetracking is Jona's inventive, diverse debut album. Created over the course of two highly creative years, Sidetracking features studio collaborations with some of Jona's musician and producer friends to complement the album's solo productions. Driven by his desire to explore new sound perspectives and ideas, Jona has carefully forged his career path by consistently creating exciting and forward-thinking music. His previous outings on Alex Niggemann's Aeon label, including "Traffic" on Lost Tapes Volume 1 (2014), have seen him fine-tune his own unique sound. By incorporating a wide range of styles into his tracks, Jona strives to break down unnecessary boundaries and ignite that hallowed dancefloor flame. It is therefore no wonder that his solo and collaborative creations for Sidetracking have yielded such stimulating aural delights. "Microcosm," with its subtly mesmeric intro and snappy, swinging percussive energy, is the perfect introduction to the spiraling, glitchy ambience of "Descent into the Abyss." Rue de Plaisance label founder Varoslav, a Parisian of Czech origin, brings his heartfelt creative energy to the gentle chiming chug of "Over and Out," the album's first collaborative venture. "The Chase," a studio jam with the somewhat mysterious Usio (whose 2013 Kuwa Huru album on Studio Barnhus (BARN 012LP) deserves attention from everyone), features an utterly compelling Afrobeat-influenced percussive groove topped with swirling, funk-fueled stabs and strings; mesmerizing, melodious piano; and a large helping of pure hip-swinging goodness heavily influenced by the jazz music with which Jona was so in love during his formative years. The funk factor explodes when Bolivian percussionist Daniel Aguilar unleashes his skills on Jona's stripped-back, bass-heavy "Drive." The filmic qualities and ambient beauty of "Detachment" show yet another side to Jona's diverse compositional palette, complemented perfectly by Italian pianist Giovanni Verga's delicate touch. Jona has found a kindred spirit in David K (Cocoon, Souvenir), and their combined creative energy sparks with joyous abandon on "Space Jungle," setting the scene perfectly for Jona's bubbling solo excursion "The Temple." The dubbed-out skank of "Transmission Breakdown" sees Jona's experimental creative juices in full flow, as he teams up with Edinburgh-based digital composer and sound artist Dave House (aka The Reverse Engineer) for a delightfully hazy downtempo jam that flows perfectly into "Hidden Away," the album's stunning, melancholic finale, once again featuring Verga's keyboard wizardry.

AGUIRRE RECORDS (BELGIUM)

SSH 001LP

YOUNG/MARIAN ZAZEELA/THE THEATRE OF ETERNAL MUSIC, LA MONTE: Dream House 78'17" LP (SSH 001LP) 27.50
Sold out... This classic minimal music album is now available again on vinyl for the first time since the '70s. La Monte Young, widely acknowledged as the father of musical minimalism, is one of the most influential contemporary composers. Yet he has strictly monitored his own discography and his music is rarely heard. Born in a log cabin in rural Idaho in 1935, Young became a key figure in the New York underground art scene of the early 1960s. He made vital contributions to the Fluxus movement and initiated the use of lofts as performance venues. Most important of all, his exploration of sustained tones, unorthodox tuning, high volume, and long duration changed the course of 20th-century music and ushered in new ways of listening. This LP, initially issued on the French Shandar label in 1973, is a crucial document, preserving two manifestations of Young's pioneering creative imagination. Its sounds lift the listener out of routine temporality into a prolonged and personal here and now; an intimate kind of time that no clocks can measure. The first side contains a performance by the Theatre of Eternal Music in which the voices of Young and his partner Marian Zazeela are combined with the trombone of Garrett List and the trumpet of Jon Hassell. Although the immediate impression created by the music is that it changes little, close listening reveals intricate activity in the high harmonics where unexpected patterns and phantom melodies skitter across the surface of the music's enveloping drone. Young and Zazeela developed their vocal technique through their intensive discipleship of North Indian singing master Pandit Pran Nath, and traces of that influence can be heard in their subtle ornamentation of the sustained tones. Unadorned sine waves form the Drift Study on the second side of the LP. To a seated listener this Drift Study seems a very pure form of minimalist musical drone, but if one moves around the space in which the piece is playing, dramatic variation in the loudness of different frequencies will become apparent, while the listener's movement will itself alter the structure of air molecules in the room, affecting the way the piece is heard. It's a fascinating probe into the nature of sound, hearing, and spatial awareness. "My own feeling is that if people aren't carried away to heaven I'm failing" --La Monte Young, 1966. First reissue. Edition of 1000. Licensed from FGL Productions. Remastered by Equus. Lacquer cut by Rashad Becker. Preserves original artwork. Includes insert with new, exclusive liner notes by Julian Cowley. Layout by Jeroen Wille. Includes download code.


ZORN 007LP

MCCANN, SEAN: The Capital LP (ZORN 007LP) 23.00
Restocked; 2011 release. Second vinyl release The Capital by rising drone star Sean McCann. These recordings prove -- once again -- his ability to keep his stretched-out and richly-textured ambient drones right on track. The A-side opens with synth spirals and ecstatic sounds -- there's no going back now. The B-side is full of violin explorations and lo-fi field recordings. This is an amazing effort by one of Earth's most promising musicians.

ANTIME (GERMANY)

ANTIME 015EP

^L_: The Outsider 12" (ANTIME 015EP) 18.00
^L_ follows his 2014 debut album, Love Is Hell, released digitally by Antime, and an extensive 2015 tour of Germany with Mexican labelmate AAAA, with a more dancefloor-oriented 12" on the Berlin-based imprint. From the slamming '90s-style techno belter "She Only Loves Me Because She Doesn't Live With Me" and the eerie techno-house hybrid "Hello, I'm Richard Clayderman" to the hard-hitting breakbeats on "Phil Spector" and "Locked-In Syndrome" and the allusions to heyday 2-step on "Too Weird To Live, Too High To Die," ^L_'s sample-heavy aesthetics are as distinctive as they are cohesive. The narrative of The Outsider knits the already consistent EP even more tightly together and is expressed by the voice of none other than the late David Foster Wallace.

ATAVISTIC

ALP 144CD

FLESH EATERS, THE: A Hard Road to Follow CD (ALP 144CD) 15.00
"A complete reissue of the long out-of-print masterpiece, and 4th release by '70's L.A. punk icons, The Flesh Eaters! Atavistic's Hard Road to Follow reissue also includes 5 bonus tracks & deluxe artwork in an oversize lyric booklet. Excerpted from Byron Coley's liner notes: 'Although it was not the last album to be issued under the name of The Flesh Eaters, Hard Road to Follow occupies a unique and special place in the band's pantheon. Released in 1983, by Chris D's own Upsetter label, it was the fourth annual and final installment in the original sequence of Flesh Eaters' albums. Hard Road was also the first to have the same line-up as its predecessor, forever came today. The band's fourth corrosive masterpiece in as many years, hard road is the best evidence of a band that had achieved a still unequaled massiveness of sound. For my money, this particular version of The Flesh Eaters represents the greatest rock band ever. They were it. Their live shows (of which I missed only two or three) were uniformly mind-melting, and while the records they left cannot convey everything that The Flesh Eaters were, they remain among the best albums ever.'"

BECAUSE MUSIC (FRANCE)

BEC 5156268

MMOTHS: Luneworks LP+CD (BEC 5156268) 25.50
LP version in embossed sleeve with three-millimeter spine and sticker. Includes CD. Irish electronic musician Jack Colleran aka Mmoths created his debut album, Luneworks, during a period of personal upheaval. He headed out to a friend's tiny spare room in LA with only a laptop and a few changes of clothes for an intense month of nocturnal 12-hour writing and recording sessions. Colleran isolated himself in order to keep the songs as pure as possible; the quiet of the city at night was a real inspiration, and the constraints of an alien environment proved something of a liberation. The ancestral, ethereal spirit of Ireland is also present throughout Luneworks. Kevin Shields (of My Bloody Valentine), one of Dublin's most famous sonic outliers, is a noted influence -- another musician who has wrung sweet emotion out of chaotic noise. Luneworks is a fully immersive head-trip; an album that is at times brutal and at others unbearably beautiful, sometimes within a single track. Luneworks is a mirror for the soul -- a gorgeous, wordless expression of unedited, unfiltered emotion, heralding the arrival of one of the most important electronic artists of his generation.

BEDOUIN (UNITED ARAB EMIRATES)

BDN 009EP

BINTUS: Reincarnated Savage 12" (BDN 009EP) 17.00
"Rollicking, dirty-stinking electro bangers, as if Afrika Bambaataa spiked Arthur Baker's tea. Sporting a spiffy Zeke Clough, to boot."

BLACK ACRE (UK)

ACRE 060EP

COMMODO: Set It Straight 12" (ACRE 060EP) 12.50
This is the first single from Commodo's 2016 debut album. An artist with minimal online presence and who keeps himself to himself, Commodo is one of an increasingly rare few who make waves through the strength of their music alone. He builds bass-focused beats with soul and substance that never perpetuate a formula, distancing himself from contemporaries with ingenious sampling and sound design influenced by his long-time affinity with the vibrancy of hip hop. "Set It Straight" features Rocks FOE, Croydon's fast-rising rapper and beatmaker, and like Commodo's 2014 Jme-featuring hit "Shift," is an instant underground anthem.

BLACK TRUFFLE (AUSTRALIA)

BT 009LP

HAINO/JIM O'ROURKE/OREN AMBARCHI, KEIJI: Now While It's Still Warm Let Us Pour in All the Mystery LP (BT 009LP) 23.50
Limited repress; LP version. "Following on from 2012's acclaimed Imikizushi (BT 007CD/LP), Now While It's Still Warm Let Us Pour in All the Mystery is the fourth release from the established power trio of Keiji Haino, Jim O'Rourke, and Oren Ambarchi, recorded in January 2012 at their yearly concert at SuperDeluxe, Tokyo. While the trio's two previous double LP releases featured sprawling, side-long performances, the music here is presented in six shorter pieces, each one displaying a different side of the trio's interactions, from holy minimalism to cave-man rock. The record begins with the trio joined by special guests Charlemagne Palestine and Eiko Ishibashi, conjuring ghostly tones from wine glasses as an accompaniment to Haino's angelic vocals. This 10-minute piece, which moves from near silence and the sound of onstage footsteps to a stunning passage of clean guitar work from Haino, is steeped in the same mysterious atmospherics as Haino's great folk-drone project, Nijumu. When Haino turns to the flute on the LP's second track, a performance that clearly demonstrates the importance of the special concept of space and silence (ma) that Haino has developed from traditional Japanese aesthetics, O'Rourke and Ambarchi transform into the delicate and probing rhythm section of a classic '70s fusion side. When the trio returns to the crushing free-rock of their last two records, O'Rourke's heavily effected bass rolling alongside Ambarchi's tumbling rhythms as Haino's guitar squeals and slashes above them, their performances display a new purposefulness and concision. Now truly operating as a band after a number of years of playing together, the pieces here feel like instant rocks songs -- O'Rourke and Ambarchi instantly locking into solid riffs over which Haino alternates between jarring no-wave chords, intense soloing and his signature vocalizations. When the trio slow down and stretch out, the rhythm section plods like an abstracted Crazy Horse on the brink of collapse, and Haino elicits long, mournful solos reminiscent of the first classic Fushitsusha double live LP. Perhaps more accessible than the trio's previous recordings because of its range and concision, Now While It's Still Warm... exudes the dark, alien quality of Haino's greatest recordings and testifies to the strength of the musical bond that has developed between these three players. --Francis Plagne, Jan 2013." Limited edition LP in a lavish gatefold with a printed inner sleeve. Design by Stephen O'Malley with high quality live shots by Ujin Matsuo and stunning artwork by Shunichiro Okada.

BUREAU B (GERMANY)

BB 209LP

MOEBIUS, DIETER: Blotch LP (BB 209LP) 22.00
LP version. First-ever vinyl edition. Dieter Moebius -- half of the legendary duo Cluster and the godfather of electronic krautrock -- passed away in the summer of 2015. In 2016, Bureau B begins rereleasing his final four solo albums, starting with his 1999 album Blotch. Moebius's most famous collaboration is, of course, the "long-term project" Cluster with Hans-Joachim Roedelius, which existed from 1969 until 2010 (with some lengthy breaks). The duo existed in changing formations involving such legendary colleagues as Conny Plank, Michael Rother, and Brian Eno. Yet solo albums remained an exception. In 1983 Moebius released his first, titled Tonspuren (BB 040CD), which was followed a full 16 years later by his second solo album, Blotch. Typical for an oeuvre characterized by understatement, Moebius named his album after a mere dab of paint. Nevertheless, this record marks a turning point in his work. From this album onward, up until his death in the summer of 2015, he focused increasingly on his solo work, enabling audiences to examine his music separately and microscopically. Blotch is far removed from the ease that defines Tonspuren. Its tracks feel like loop-based sketches, which stoically delve into experimental sonic atmospheres -- seasoned with snippets of speech -- that hypnotize the listener with the smallest of variations and embellishments. The surprising 11-minute track "Kohlzug" sticks out, with a no wave saxophone that suggests a decelerated version of Ted Milton's jazz-punk. Sonically, Blotch is clearly a product of its time; Moebius used an E-mu Orbit 9090 sound module and the then-current Korg Prophecy solo synth. This pioneering digital synthesizer was among the first to provide various algorithms and modes of synthesis to mimic the sounds of analog synthesizers in detail. Moebius recorded his tracks with a Yamaha eight-track recorder. The mastering was completed by the renowned American composer and ambient veteran Tim Story at his studio in Ohio. Story, who also produced Cluster's final album, Qua, in 2009, himself contributed some atmospheric highlights using a prepared piano, a heavily processed steel guitar, and a piano miniature on closer "Balistory." Blotch is a turning point in the work of Dieter Moebius, and his late solo work holds some very exciting releases in store. While its predecessor, Tonspuren, was marked by an erratic lightness and an exhilarating sweetness in the elektrokraut style of NEU! and Harmonia, Blotch marks a late revival of the somewhat more oblique and experimental early work of Cluster.


BB 210LP

MOEBIUS, DIETER: Nurton LP (BB 210LP) 22.00
LP version. First-ever vinyl edition. On the second album of his late solo work, 2006's Nurton, krautrock legend Dieter Moebius (1944-2015) searches for flaws and uses them as a creative impulse. As usual, he blithely ignores any mainstream expectations. In science, an experiment is defined as an attempt to methodically gain information by systematically varying parameters. The results then confirm or refute the hypothesis or the model of the experiment. In art, however, confirmation is not of interest. Far more exciting are the flaws. They can lead to completely unexpected results or to new phenomena. In science, such moments are called discoveries. In this sense, Nurton is experimental music. One can observe Dieter Moebius on his quest for inspiration through flaws; rather than sonically imitating the instruments of a band lineup or following a conventional song structure, he departs from such rigid approaches. He gladly makes use of noises and otherness to create variations, examine the results, and sculpt his songs. In doing so, he allows the listener to participate in his quest to harness unexpected flaws and to share in his frequent discovery of an inspiring sonic event found off the beaten path. Many tracks on Nurton commence with noise-like loops. Moebius then adds levels of sound, layer by layer. Threatening, industrial-sounding squeaking; wheezing; and sluggish pounding are joined by playful digital lead sounds or provided with a foundation of meditative drone sounds. And almost imperceptibly, the piece lures one into a supremely comforting hypnosis. On Nurton, Moebius demonstrates his true greatness; from a seemingly arbitrary initial loop, he creates hypnotic experimental atmospheres -- linear, without escalation, stoic, with clarity, and to hypnotic effect. In doing so, Moebius uses bolder and more experimental lead sounds than on his previous solo album Blotch, from 1999 (BB 209CD/LP). The sonic impression is more diverse and feels reconciled with the sounds of digital synthesis. Only the last track of the album, fittingly titled "Das Letzte" ("The Last"), provides a preview of the musical development that would characterize Moebius's solo releases to follow.

BUREK (CROATIA)

BRK 012EP

RUDMAN, ILIJA: Higher Ground EP 12" (BRK 012EP) 14.00
Leading Croatian artist Ilija Rudman's Higher Ground EP features "Higher Ground," a solo effort, and two tracks coproduced with American producer Boyd H. Jarvis, whose credits include numerous 12"s on such classic labels as Trax Records, King Street Sounds, Movin' Records, and Dance Tracks (to mention a select few). Although releases made in a similar fashion tend to sound somewhat unfocused, the result here is exactly the opposite -- 20 minutes of some of the slickest house music out there, sounding so coherent that dissecting it track by track seems pointless. Equally at home in the club and the convertible.

CACHE CACHE (UK)

CACHE 015LP

KING, SPIDER: Shot to Pieces LP (CACHE 015LP) 25.00
"Leaving you spellbound in its androgynous vocal delivery, Spider King's Animals is a haunting children's march that paralyses me with each listen." --Cedric Bixler-Zavala (The Mars Volta, ANTEMASQUE)An unknown pleasure torn out of Manchester's lost DIY manual, this overqualified/underexposed post-punk pop pillar casts an almost invisible web across the history of Manchester's inner-city music scene, trapping appendages of The Mothmen, Martin Hannett, Gerry and the Holograms, John Cooper Clarke, Blue Orchids, Naffi Sandwich (The Naffis), and The Fates in its glue. As a central mast of Manchester's 1970s/'80s "deserted" DIY era, spanning angular jazz funk, punk, and sarcastic synthpop, Spider King also played a huge role in Manchester's honorary adoption of The Velvet Underground's Nico (as her lead guitarist), fronted Martin Hannett's first band, and inhabits a key position in the careers of Sad Café, Alberto y Lost Trios Paranoias, and Paul Young, not to mention AC/DC's Mancunian debut. With dozens of self-penned songs, unreleased demos, and two of the best collectable Manc punk-funk 45s to grace collectors' want-lists, it's almost unbelievable (even tragic) that Mike King's late-'70s/early-'80s work never saw a full-length release -- until now. Shot to Pieces represents one of the most elusive, jagged pieces of Northwest England's punk-funk puzzle, recorded sporadically between 1979 and 1983 with a cast of characters from the Rabid/Absurd label family (such as behind-the-scenes synth-wielder John Scott from Gerry and the Holograms) and producers like Laurie Latham (The Blockheads). Commonly recognized by stalwarts of the era's mutating genres as "the one that got away," Spider King is the archetypal artist's artist as well as the outsider's outsider and the hardest-working man in no-business, who is now attracting a whole new audience of champions from bloggers, vinyl nerds, and well-respected contemporary musicians, with his appearances on mixtapes and compilations. On hearing this essential release, one could argue that these lost spidergrams are more relevant in 2016 than they were when those arachnophobic A&R men shooed him away decades ago. For those who ain't afraid to get bit, say hello to the Spider King.

CACOPHONIC (UK)

CACK 007LP

LUENING/VLADIMIR USSACHEVSKY, OTTO: Tape Recorder Music LP (CACK 007LP) 25.00
2016 repress of Cacophonic's 2013 reissue; originally released in 1955. One of the very earliest and most important examples of electronic tape music to be pressed on vinyl (alongside the Radiodiffusion-Télévision Française musique concrète compilations in France and Jim Fassett's comedic 1953 Strange to Your Ears novelty record), this privately pressed 1955 10" was released on a one-off label owned by businessman Gene Bruck to document a custom-made performance at the Museum of Modern Art in New York in 1952. This facsimile edition of this important LP archives remastered versions of the first recorded unison of Otto Luening and Vladimir Ussachevsky, a partnership that founded the Columbia-Princeton Electronic Music Center at Columbia University in 1959, which would later count ?lhan Mimaro?lu, Wendy Carlos, Dariush Dolat-Shahi, and Alice Shields among its graduates. The October 28, 1952, performance showcased the debut of the seminal "Fantasy in Space," based on resampled flute recordings that were manipulated on magnetic tape to create an otherworldly melodic composition, stylistically begging comparison with the early recordings of Kraftwerk (made some 20 years later) and bringing a palatable and tuneful alternative to the stark avant-garde experiments of the pair's French counterparts. The mechanical construction of the track was even "performed" on primetime American television to celebrate this groundbreaking approach to modern music. The record's full program includes further experiments with manipulated recordings of bells and woodwind instruments subjected to mechanical "augmentation, diminution and retrograding" to create pieces that "cannot be played with conventional instruments." In the following years labels like Folkways and Desto would also plunder this important session as a milestone in electronic music. For the purposes of this release Cacophonic have also included the seldom-heard 14-minute track "Poem in Cycles and Bells" for tape recorder and orchestra, which was recorded using the same techniques with the Royal Danish Radio Orchestra in 1956 and released via the Composers Recordings Inc. label founded by Luening himself in 1954 (employing Ussachevsky in an advisory capacity). CRI operated for 49 years, releasing records by Harry Partch, Alwin Nikolais, John Cage, and Alice Shields. Also included in this edition is an expansion of the rare 10" original artwork by legendary graphic designer Ronald Clyne, an early example of his work made before he became in-house designer for Folkways Records, rivaling the likes of Blue Note's Reid Miles for some of America's most iconic record sleeves.

CLAN DESTINE (UK)

CDR 12017EP

FRIEND/L/F/D/M, THE: Fuck Sunsets/Balearic Fisting 12" (CDR 12017EP) 21.00
The Friend delivers four tracks of sludge techno straight from the source in Detroit, from the creeped-out stylings of "Room(s)" and the bleeped-out techno of "Star" to the menacing groove of "Bent" (with The Significant Other) and the pure bass of with "Stripping" (with Selande). L/F/D/M (loves flaccid disco muscle) drops four varied tracks on the B-side, from the full-on raging acid techno of "Belton" and the intricate drones of "Drome Version II" to creepy sex loops on "88" and the degraded synths of "Untruths."

COCOON (GERMANY)

COR 135EP

GREEN, TIM: Among Wolves 12" (COR 135EP) 14.00
Tim Green returns with his third release for Cocoon Recordings, completing a trilogy of ultra-deep, emotional, and perfectly programmed electronic music. "Among Wolves," one of Green's most dramatic productions yet, exemplifies his highly musical way of combining supreme beats and massive basslines with deep melodies. "Over The Water" is a bit more relaxed without losing any emotion or drama.

CRAMPS (ITALY)

CRA 141302CD

GRUPPO DI IMPROVVISAZIONE NUOVA CONSONANZA: Musica Su Schemi CD (CRA 141302CD) 6.50
2005 reissue; originally released in 1976 as number nine in the Nova Musicha series. Founded in Italy between 1964 and 1965, the world's first composers collective, Gruppo Di Improvvisazione Nuova Consonanza, sought to unhem the purposefulness of their respective instruments and the primacy of composition in order to open up a space for the emergence of free music and unintentional noise sounds. The music sways between nearly inaudible whir, clatter and scrape, and bubbling blasts of sound. Their overtures to noise, anti-musical operations, and compositional experiments on this disc, like their English brethren AMM, completely anticipated a strategic break with the standards of virtuosity. This work represents the earliest incarnation of the Gruppo and features Ennio Morricone, better known for his soundtrack work, Franco Evangelisti, Egisto Macchi, Antonello Neri, Giovanni Piazza, and Italian Instabile Orchestra member Giancarlo Schiaffini. Contains previously unpublished photos and original notes by Franco Evangelisti.


CRA 154552CD

PIO, GIUSTO: Motore Immobile CD (CRA 154552CD) 6.50
2007 reissue; originally released in 1979. Giusto Pio is an associate of Battiato's and Motore Immobile is his debut LP. On the first side, he uses a droning organ and moves from triad to triad, superimposing the next one briefly before moving on, occasionally expanding the sound with octave doubling and then just as quickly subtracting the lower tones. Intermittent humming and violin provide additional notes. On the second side, "Ananta," he uses a piano flourish to introduce each triad, landing on the tonic note each time. "Gusto Pio was the chief arranger for Italian progressive pop icon Franco Battiato during the decade, and filled his striking albums with avant-garde details. In return, Battiato himself produced this collection of modern compositions, and his ear for the extraordinary laces these two long suits. A composition for organ and violin sets the tone, which is purely avant-garde composition, and features the voice of singer Martin Kleist. The effect is a powerful study of experimental narrative, while the later piece of the two, composed for piano, organ, and violin, features the composer on violin with Danilo Lorenzini and Michele Fedrigotti's subtle accompaniment. This reissue should fill an important gap in '70s Italian music somewhere between progressive rock and avant-garde composition." --AllMusic


CRA 154562CD

TUDOR, DAVID: Microphone CD (CRA 154562CD) 6.50
2014 digitally remastered reissue; originally released on LP in 1973 as number 16 in the Nova Musicha series. This work is an exploration of space and sound through feedback; the album features two long tracks -- "Mix A" and "Mix B" -- and both appear to involve spare sounds in space, filtered through additional electronics, often with the effect of a microphone feeding back, then suddenly halted. Tudor manipulates the sounds enough to pull out some compelling waveforms, especially on "Mix B" -- and the album offers up a much darker side of his music than one might expect from the early years. Recorded at Center for Contemporary Music, Mills College, Oakland, California. Includes 12-page booklet with photographs, score, and liner notes in Italian.


CRA 154742CD

CORIA, MIGUEL ANGEL: En Rouge Et Noir CD (CRA 154742CD) 6.50
2004 reissue; originally released in 1976 as number ten in the Nova Musicha series. A breathy recording with lush piano elegies awash in a radical sonic realm that is profoundly reminiscent of Charlemagne Palestine but in a very hectic/spirited way. Truly an excellent and underrated recording that explores new piano possibilities. Beautiful digipack edition with large booklet.


CRA 154752CD

JAGODIC, MARTIN DAVORIN: Tempo Furioso CD (CRA 154752CD) 6.50
2004 reissue; originally released in 1975 as number eight in the Nova Musicha series. The extraordinary Cramps label classic. Croatian composer Martin Davorin-Jagodi?'s great (Nurse With Wound-listed) Tempo Furioso, a work of creepy, sometimes droning, electronic musique concrète. Stockhausen meets Luc Ferrari with a hint of Xenakis. This breaks all the rules and invents new cross-genre concoctions, atmospheric to wild to totally perplexing. Beautiful digipack edition with printed booklet. Should make fans of musique concrète (especially the early stuff) very happy.


CRS 059CD

FARISELLI, PATRIZIO: Antropofagia CD (CRS 059CD) 6.50
2013 reissue; originally released in 1977 as number seven in the DIVerso series. An outstanding recording, and an unjustly neglected contribution to prepared piano performance by Area member Patrizio Fariselli with an energy somewhere between John Cage and Cecil Taylor! At times, Patrizio Fariselli plays with a great sensitivity to silence -- letting it emerge with as much force as his well-placed work on the keys of the piano. But at other times, he comes off with a full, frenzied sound that's really dynamic and almost explosive -- so much so that one is left wondering about the state of the piano after he's walked away.


CRS 103CD

ASHLEY, ROBERT: In Sara, Mencken, Christ And Beethoven There Were Men And Women CD (CRS 103CD) 6.50
2002 reissue; originally released in 1974 as number three in the Nova Musicha series. Robert Ashley's minimal masterpiece centered on John Barton Wolgamot's experimental book-length poem "In Sarah, Mencken, Christ and Beethoven There Were Men and Women." It consists of one sentence repeated over and over, and the only changes from sentence to sentence are that different names are inserted -- "In their very truly great manners of Jesus Christ very heroically Geoffrey Chaucer, Rupert Brooke . . ." Ashley's fascinating liner notes to this album offer a very reasonable interpretation of the very bizarre text. And the music? It's wonderful -- Ashley and Paul DeMarinis's electronics bubble in the background, and Wolgamot's words sound beautiful when read by Ashley, who delivers the text in his usual sprechstimme-on-downers style.


CRS 1112CD

CURRAN/PAOLO TOFANI/MAURO TESPIO, ALVIN: POPTraits: Contemporary Music Collection CD (CRS 1112CD) 6.50
2012 release. A deep investigation of a very few simple principles; acoustic instruments rub ambiguously up against electrified objects and electronics, but these in the main provide atmosphere and harmonic complexity. Taking its cue from John Cage, the trio began sticking contact mics to anything that sounded and amplified their raw sounds. Alvin Curran, Paolo Tofani, and Mauro Tespio share a common interest in electrifying objects; one might say that this represents the bridge between the ancient music experience and contemporary music technology. "Technology is one of those myths that return cyclically to haunt all of us, now then and surely in the future. . . . I began to record the world or sound around me, knowing intuitively that it was an on-going and never-ending symphony of immense beauty. . . ." Alvin Curran: piano, prepared piano, sampling keyboard, percussion, shell, tube, shofar; Paolo Tofani: trikanta veena connected to an Axon Ax50 Apple MacBook Pro MIDI converter by a GK-2 resophonic Roland; Mauro Tespio: trumpet, Tibetan bells, percussion, balafon, EMS Synthi AKS.


CRS 117CD

CAGE, JOHN: Cheap Imitation CD (CRS 117CD) 6.50
1989 reissue; originally released in 1977 as number 17 in the Nova Musicha series. Recorded at the Center for Contemporary Music, Mills College, Oakland, California, Cheap Imitation is a piece for solo piano by John Cage, composed in 1969. It is an indeterminate piece created using the I Ching and based, rhythmically, on Socrate by Erik Satie; it consists almost exclusively of a single melodic line, with occasional doublings, as an "imitation" of original score.


CRS 163CD

LOMBARDI, DANIELE: Costellazione Seconda CD (CRS 163CD) 6.50
2011 release. Costellazione Seconda is the follow-up to Daniele Lombardi's 1978 Costellazione, a piano exploration based on a map of constellations planned as the first step of a large work focused on the exposition and performance of constellations maps, planetaria, and maps of the heavens. Costellazione Seconda is broken up into 21 short piano movements concentrated on incredibly short staccato notes that sting violently between fractured harmonics, leaving plenty of momentum-puncturing silences to really heighten the sense of disorientation -- as well as two long (over 20 minutes) piano excursions.


CRS 211CD

ROCCHI, CLAUDIO: In Alto CD (CRS 211CD) 6.50
2011 release. The final album by Italian prog singer-songwriter Claudio Rocchi (1951-2013). Rocchi was a bassist in the group Stormy Six, and appeared on their 1968 debut album, Le idee di oggi per la musica di domani. Italian newspaper la Repubblica described his 1971 album Volo Magico N.1 as "one of the definitive albums of the Italian psychedelic music, perhaps the only true classic of the genre ever produced in our country."


CRSJB 023CD

ROCCHI, CLAUDIO: A Fuoco CD (CRSJB 023CD) 6.50
2003 reissue; originally released in 1977. "Although Rocchi is probably better known for his earlier material on other labels, his offering on Cramps from 1977 A Fuoco (originally Cramps CRSCD 023) is a good showcase for his own talents (vocals, synthesizers, songwriting, and production) as well as his knack for surrounding himself with top notch musicians. Ostensibly a pop-singer, his skillful mastery of dynamics and clever arrangements put him on a par with the pre-glam/pre-disco work of David Bowie (circa Hunky Dory) or perhaps even later post-folk Donovan. Indeed, many of the tunes are driven by simple acoustic guitar or piano, and then built upon with full arrangements of synths, bass, drums, saxes, violins, and more. . . . fine music." --Exposé

CUBICULO RECORDS (PORTUGAL)

CR 12007EP

CONSCIOUS SOUNDS: Talk 2 Much EP 12" (CR 12007EP) 14.00
Legendary producer Dougie Conscious on the riddim with the great singers King General and Pupa Jim. A relic of Kraftwerk's "The Model" is at the heart of this riddim, a killer work unique digital reggae in an electro-influenced style. There is not much to say regarding the deadly combination on the vocals by King General and Pupa Jim -- simply amazing. Side A features two tracks -- vocal and riddim -- and the B-side features the dub version. Artwork by Gil Nunes.

DANCE FLOOR CORPORATION (ITALY)

DFC 5514EP

SUENO LATINO WITH MANUEL GOTTSCHING PERFORMING E2-E4: Sueno Latino (Synthesis Mix) 12" (DFC 5514EP) 12.50
Based on a sample of Manuel Göttsching's 1984 classic E2-E4, "Sueño Latino" (1989) remains one of the most famous balearic anthems and a true house music classic. This 12" contains two versions of the "Synthesis Mix" by one of the track's original producers, Ricky Persi, with the collaboration of Riccardo "ohmguru" Rinaldi. They're both truly emotional journeys, and with their vintage synths, they add a new brick to the never-ending story of this timeless tune.

DEEWEE (BELGIUM)

DEEWEE 011EP

ASA MOTO: Stay Awake/Wanowan Efem 12" (DEEWEE 011EP) 14.00
Asa Moto are two mysterious producers from Belgium who have been honing their sound at Deewee for a number of months, delivering with their first release two futuristic pieces for the slowed-down dancefloor.

DEUTSCHE GRAMMOPHON/WORDANDSOUND (GERMANY)

DG 47958727LP

RICHTER, MAX: Sleep Remixes LP (DG 47958727LP) 23.50
German-only vinyl LP. Following the worldwide success of Max Richter's groundbreaking eight-hour work SLEEP (2015), his "personal lullaby for a frenetic world," and the one-hour extract from SLEEP, Richter presents an LP of remixes of the project. The legendary Scottish post-rock band Mogwai transforms Richter's dreamy "Path 5" into a darkly throbbing track, with a snare drum complemented by haunting guitar soundscapes and arpeggiated synthesizer. English electronic musician Clark (Warp Records) also remixes "Path 5," and constructs a sequence of three different, highly insistent musical scenes that send the listener on a heady trip; in Clark's words, "by Danny Elfman on Popol Vuh to Slint, merged in a planet of music." Andy Dobson (Digitonal) is known for largely improvised live performances of classically influenced electronica; he showcases his innovative, melodic sound with his "Theo in Dreamland Mix" of "Path 5." Seattle-based electronic musician and composer Norm Chambers returns to his Jürgen Müller alias following 2011's Science of the Sea (DIGI 034CD) for a dreamy, minimal rearrangement of "Dream 3," using an extensive selection of analog synthesizers and drum machines to create a scene of unearthly beauty. Manchester-based trio Marconi Union have been releasing albums of pristine ambient electronic music since the mid-2000s, and are regarded as pioneers of the genre alongside artists like Helios and Jon Hopkins. Here, they recall the work of Brian Eno with a hypnotic ambient remix of "Dream 13."

DUG OUT (UK)

DO ADM070CD

VA: Tempo Explosion CD (DO ADM070CD) 12.50
2016 restock. Moving between New York and Kingston, Jamaica, in the mid-1980s, the revered Black Victory label was a perfect storm, crossing the sainted ranks and deep lineages of Studio One and Bullwackies, together with the first, most celebrated strikes of the digital revolution in reggae. The musicians -- for the JA recordings presented as The Studio One Band, in NYC as the Black Roots Players -- included Brentford Road legends like bassist Bagga Walker and keyboardist Pablove Black, alongside White Plains Road aces like sax-man Jerry Johnson and percussionist Ras Menilik. The studios were Bullwackies, in the Bronx, where the genius Lloyd Barnes produced Tempo Explosion with Sugar Minott, and Music Mountain, in Stony Hill, Kingston, where David Rowan was the recordist, and the heavyweight Crucial Bunny (from Channel One) mixed the Nitty Gritty LP, General Penitentiary. Business was run from two New York record shops: Madison Records at 125th Street in Harlem, and Wackies. Dancehall savior of Studio One and co-architect of Black Victory, Wackies stalwart Minott himself takes the mic, kicking off the imperious Tempo Explosion version-excursion. Studio One veteran Willie Williams turns in one of his masterworks, a pile-driving Shaka murder, with a deejay cut by newcomer Colorman. Throughout Black Victory, the musicianship and dubwise production magnificently rides the cusp between analog and digital, with masterful live performances and swinging drum programs seamlessly combined. This is an album containing eight versions on King Tubby's "Tempo" rhythm, originally released in 1985 and produced by Bullwackie and Sugar Minott. Sleeve art by design by Wackies artist Leslie Moore. Other artists featured include: Chris Wayne, Ras Menilik DaCosta, Jerry Johnson and Black Roots Players.


DO ADM070LP

VA: Tempo Explosion LP (DO ADM070LP) 29.00
2016 restock. LP version. Sleeve art by design by Wackies artist Leslie Moore. Other artists featured include: Chris Wayne, Ras Menilik DaCosta, Jerry Johnson and Black Roots Players.

EDITIONS MEGO (AUSTRIA)

EMEGO 216LP

AKITA & EIKO ISHIBASHI, MASAMI: Kouen Kyoudai LP (EMEGO 216LP) 20.00
Prolific Japanese artist Masami Akita aka Merzbow teams up with session musician, producer, and singer-songwriter Eiko Ishibashi for a work that showcases yet another side to Akita's monumental catalog. Kouen Kyoudai consists of two side-long tracks that could be read as a contemporary take on the traditional avant-garde. With its skittering electronics, percussion, piano, doom, and noise, Kouen Kyoudai seamlessly incorporates many strands of experimental thought and practice. The tension that arises from the human use of the tool is made explicit as these works unfold in a storm of ecstatic human/instrument/machine interaction. Drums hammer alongside an ecstatic drone. Notes on a piano jostle with a storm of splintered electronics. Kouen Kyoudai highlights the pull between beauty and chaos; structure and the abyss -- leaving behind a thrilling display of the interplay between the human and the technological while opening up new paths for both musicians involved. Masami Akita: noise electronics, computer, drums. Eiko Ishibashi: piano, drums, synth. Recorded at Gok Sound and SuperDeluxe, Tokyo. Recorded and mixed by Jim O'Rourke. Cut at Dubplates & Mastering, Berlin 2015. Photography by Shunichiro Okada. Design by Jacob Cates.

EL PARAISO RECORDS (DENMARK)

EPR 030LP

CAUSA SUI: Return To Sky LP (EPR 030LP) 22.00
LP version. Causa Sui are back with Return To Sky, the successor to 2013's Euporie Tide (EPR 013CD), which consolidated the band as a crucial underground force in the European psych scene and spread their unique brand of warm-toned stoner rock to a wider audience. Return To Sky is a condensed piece of acutely experimental yet immensely engaging instrumental rock. Each of the album's five epics unfolds as a microcosm of the band's genre-transcending psychedelia at large, yet adds something different to the whole. There's a kind of musical metamorphosis taking place that's deeply ingrained in the band's natural flux by now; heavy, detuned riffs are transformed into wide, pastoral soundscapes, and fluid minimalism warped into swirling crescendos and back again. Occasionally the band even manages to sound turbulent -- fuzzed-out yet strangely peaceful at the very same time. While so much of today's psychedelic scene comes off as merely a tribute to a certain period of the past, Causa Sui seem to be on a different mission. More than any other album in their catalog Return To Sky declares their roots in the avant-rock of the late 1990s, when different eras and genres merged into something that resonated as with the present as much as it celebrated the past. It also reveals the fact that members of the band have had their hands in many different projects since the band's debut album in 2005, including solo excursions into synthesizer music, collaborations with members of Sunburned Hand of the Man and Tortoise, film soundtracks, guest spots with krautrock legends Faust and Damo Suzuki, and various improv sessions. It has all worked a subtle influence on the kind of band they have become. Causa Sui's music is now more earthy and heavy than ever before, but its ability to absorb everything from shoegaze and vintage Italian film music to spiritual jazz, Afrobeat, and minimalism into its fabric has matured as well. Never before has Causa Sui sounded as deep and mesmerizing as on this set. Jonas Munk: guitars and electronics; Jess Kahr: bass; Jakob Skøtt, drums and percussion; Rasmus Rasmussen: keys and electronics.

EMIKA RECORDS (GERMANY)

EMK 001EP

EMIKA: Flashbacks 12" (EMK 001EP) 14.00
This four track EP brings together the classical and electronic extremes of the Emika sound, proving that her signature is like no other and continues to evolve. "Flashbacks" is a typically haunting affair with pulsing, filtered synth delays, low register piano bass octaves and a stuttering slo-mo beat produced with The Exaltics. "Restless Wings" goes into more experimental territory, while "Total" features vocalist Michaela Srumova. Franck Vigroux's remix of "Flashback" is driven by gnarled blasts of wildly distorted synths and bass grunts, rising to an intense, mesmeric crescendo. Presented in a handmade sleeve.

END OF AN EAR

EOE 001LP

STICK MEN WITH RAY GUNS: Grave City LP (EOE 001LP) 16.50
Repressed! "Dallas, Texas' Stick Men With Ray Guns was one of the most caustic and dangerous punk bands to ever exist, casting a long shadow that continues to darken those who stumble in out of the sun. Performing for much of the 1980s, the band lived to antagonize audiences (and one another) in a twisted display of love that showcased their departed frontman Bobby Soxx's vehemently anti-Christian views, radical art, and twist of self-destruction. Guitarist Clarke Blacker could bend two chords into a hateful dirge and a complete breakdown of musical structure. The rhythm section of bassist Bob Beeman and drummer Scott Elam perfected the midnight thud of interminable tempos that extended time for the purpose of putting the boot down on unsuspecting crowd members' throats. Violence at their shows was always anticipated, and the group built up a powerful reputation for their live presence and transgressive content without ever leaving their home state. They have no equal in modern music and likely never will, though many have and will get part of the way there. Stick Men With Ray Guns never released a proper record in their own time. This is where End of an Ear comes in with Grave City, the premiere release on the beloved Austin, TX's record store's new imprint. Together for the first time, here is every single studio track that was ever recorded by Stick Men With Ray Guns along with the two live tracks (plus one bonus track) as originally released on the four compilations: A Texas Trip, Live at the Hot Klub, Cottage Cheese From the Lips of Death, and Tales From the Edge Volumes 5 & 6. Each track has been restored and remastered for this release by Jack Control at Enormous Door Mastering in Austin, Texas."

ESP-DISK

ESPDISK 4075LTD

LAST EXIT: Iron Path (Splatter Vinyl) LP (ESPDISK 4075LTD) 32.50
Deluxe edition, pressed on splatter-vinyl; limited and numbered. All-star quartet Last Exit garnered its reputation with a string of unrelentingly forceful concert recordings in which it pushed the energy style of free jazz to its limits. When the group went into the studio, though, a very different sort of album emerged -- very different not only from all their other output, but even from anything else ever heard from anyone at that time. Because of that, when it was released in 1988, some fans and critics didn't know what to make of it. This was, in a way, understandable, because Iron Path was so far ahead of its time that perhaps only a quarter of a century later, in 2015, is there an audience prepared for this album's pioneering hybrid of abstract heavy metal, unsettling ambient music, and free improvisation. Back in 1988, "darkwave" hadn't yet been conceived, much less named and niched. The brutal sonic assault of Last Exit's live albums is not banished; it lurks below the surface on Iron Path, sometimes allowed to break through for a moment of stark contrast. But the unremitting density of texture heard in the quartet's shows is stripped back in favor of more subtle and varied textures, sculpting an atmosphere of moody brooding and sinister suspense. And, of course, the studio also allowed for far greater sonic clarity, putting these virtuoso players in a setting that shows off their masterful command of myriad timbres. In a world that has since become accustomed to hearing Earth, Pelican, Blut Aus Nord, Aphex Twin's Ambient Works sets, and Oöphoi, and artists such as Whote who explore the overlap between them, Iron Path can finally get its due, and an audience schooled to appreciate what it offers. Sonny Sharrock, guitar; Peter Brötzmann, saxophone; Bill Laswell, bass; Ronald Shannon Jackson, drums.

ETRURIA BEAT (ITALY)

ETB 027EP

KAISER: Into The Circle 12" (ETB 027EP) 14.00
Kaiser's "Inside The Circle" features a hypnotic distorted beat full of surprises and twists. Croatia native Miss Sunshine takes the track to acid land with her remix, maintaining the strong techno beat and hypnotic vocals but adding a fat acid sequence to underline the whole track. Etruria Beat regular Toms Due also goes the acid way but with a very different line, very groovy and straight to the floor. German Luis Urbano reworks the track with a fat beat, vocal punctuation, and some techno synths.

FEEDING TUBE RECORDS

FTR 215LP

LENTILS, THE: Brattleboro Is Flooding LP (FTR 215LP) 18.50
"Luke Csehak sounds like a man who has had some troubles. But like the weird alchemy that made Todd Rundgren's early '70s sides so crucial, this new Lentils album manages to work as a damn-near-joyful explosion of (or maybe from) pent-up emotion. And it sounds beautiful. As he demonstrated ably with his former band, Happy Jawbone, Luke's creative engine is a weirdly canted turbine of distemper. His best songs are always moving along and falling apart at the same time, and so it is here. Like all top-rated generators of skew-assed roots-pop, the Lentils never neglect hooks no matter how wiggly the music gets. Just when you start to figure everything's gone to total chaos, a melody rises from the urk to grab your aural worm and dive for the bottom. There are moments here that recall everyone from Big Star to the Grifters to some drunk guy who really likes Dion. It manages to have a continuously riveting folk-rock center no matter which direction it turns. And man, it turns plenty. We suggest you do the same" --Byron Coley, 2015. Edition of 300. Co-released with BUFU Records.

FINDERS KEEPERS (UK)

FKR 011LP

SELDA: Selda LP (FKR 011LP) 25.00
2016 repress; originally reissued in 2006. Bearing all the aesthetic watermarks of a private-press country LP, Selda Ba?can's 1976 debut long-player is a stunning work of space-age Anatolian electronic, progressive protest-psych-folk-funk-rock; a delectable hybrid concoction, presented with the utmost authenticity and conviction, which has never been replicated or equaled in the decades since its recording. When Selda first released her long-awaited LP (the first of two confusingly eponymous titles released the same year), she was enduring/enjoying her halcyon time as one of Turkey's most politically outspoken popular folk singers. In the previous decade she had made a household name for herself as a traditional Anadolu protest singer with a spectacular emotive vocal capacity (for idle argument's sake, begging comparison to a Turkish Joan Baez). A figurehead and poetic driving force for a radical generation of politically motivated, creative revolutionaries, she sang raw, stripped-down folk songs with a yearning for political change and a heart-wrenching earnestness. On her debut LP, in a match made in psychedelic heaven, Selda's radical prose fuses with equally radical musical gestures from some of the most lauded musical mavericks, including Anadolu beat combo Mo?ollar (also known to a growing French audience as Les Mogol), popular backing band Dada?lar under the guidance of Anatolian rock stalwart Arif Sa?, and master electronic producer and pioneer Zafer Dilek. The bands were assembled at multiple sessions at Yeni Studios and the über-legendary Studio Elektronik, where the record was finally completed and mastered. Released in 1976 to equal parts critical acclaim and skepticism, the album smashed boundaries both lyrically and musically. It begs comparison to the second LP by post-folk sibling trio 3 Hür-El (GUESS 056LP), who used a balance of electronically treated saz and proto-polyphonic synthesizers to similar effect (exemplified here on tracks such as "Gitme" and "Yaz Gazeteci Yaz"). However, the fact that Selda was one of the few female voices to adopt the use of such cutting-edge techniques puts the LP in a league of its very own. Anatolian progressive rock has since gained popularity among DJs, producers, and record collectors as an unrivalled source for unique sounds rarely found in other genres of international music, and the artists involved in the recording of this LP, all of whom continued to record radical and experimental music, are considered the cream of the crop among Eastern psych aficionados. Includes two bonus tracks from the album sessions.


FKR 029LP

VA: Pomegranates 2LP (FKR 029LP) 26.50
2016 repress; originally released in 2009. Pomegranates collects some of the finest Persian pop songs ever recorded. Many are acknowledged classics within Iran and throughout the Iranian Diaspora. Some are obscure. This collection is a trove, ripe for discovery and rediscovery, and worthy of inclusion in the canon of idiosyncratic musical gems from the global south. Most of contemporary Iran's artistic and creative leanings, and its grapples with history and identity, are loosely and mystically conjoined and contested in memory. Iran is marked by the complex interplay of diverse constituencies, philosophies, and influences -- ethnic, religious, political, geopolitical, and historical. As in many other countries, the '60s and '70s were a time of tumult in Iran, bringing growth (via petrodollars) and freedom (under the banner of socioeconomic development) while exacerbating inequalities within the country. The music and voices that blossomed during those decades exemplify the turbulence and excitement of the age. It is worth recognizing these left-out and lost artists individually and as a group when considering the global happenings of '60s/'70s psych, rock, and folk, while exploring their influence and relevance since. This collection endeavors to recontextualize these songs from the realm of reminiscence, nostalgia, and memory into a specific and accessible narrative to share and relate within the universal musical gamut. It is for aficionados, the curious, and collectors alike. The recordings excavated here are highly sexual musings, voluble love songs, simple folk tunes, and subtle works of political protest. Includes performances by Zia, Mohammad Nouri, Mehrpouya, Googoosh, Kourosh Yaghmaei, Parva, Nooshafarin, Soli, Marjan, Sima Bina, Ramesh, and Dariush.


FKR 031A-LP

GREEN, BILLY: Stone (FKR 10th Anniversary Edition) LP (FKR 031A-LP) 25.00
To mark its 2015 ten-year anniversary, the Finders Keepers label presents a remastered, repackaged repress of its 2010 reissue of Billy Green's soundtrack to the 1974 Australian biker film Stone. Features updated liner notes and an alternative sleeve design based on the original Japanese theatrical poster. Stone's trailer says it all. A deep Australian drawl narrates the scene over a psychedelic swamp-funk rhythm section doused in electronic percussion and treated keyboards. The screen fills with images of slo-mo bike accidents, hallucinatory trips, and a death-defying cliff stunt that could easily be mistaken for a doppelgänger scene in Psychomania (1971). Cut to a satanic ritual burial at the hands of a denim-clad crew of outlaw bikers with strangely familiar faces. To many global record collectors, DJs, music producers, and general retrophiles living outside of Australia, Stone was primarily known for its electronic sound effects, psychedelic guitars, cosmic soundscapes, and funky basslines. In the '80s and '90s, before the global DVD boom, Stone was primarily a soundtrack for most people -- the kind of soundtrack that makes the listener wish the film were available. The original LP artwork alone is beyond enigmatic, with its embroidered logo (designed by writer, director, producer, and star Sandy Harbutt) alongside its strikingly futuristic airbrushed chrome insignia (designed by comic artist Peter Ledger and realized by airbrush whiz Errol Black). The huge parade of Kawasaki bikes inside the gatefold sleeve looks like something from the future compared to the classic full-dresser Harleys from American biker movies. And when the needle drops into the groove and the freakish blend of didgeridoo and Moog (played by Johnny "Didge" Matthews and synth expert Andy Cohan respectively) -- mixed with unidentified clicks, belches, and pops -- flies out the speakers, it is impossible to put a date, let alone a storyline, to this acid-fueled soundscape. The use of confusing and contradictory musical influences alongside bizarre noises is actually the secret sauce in this concoction and when the swampy psychedelic funk-rock rhythm section kicks in the listener is left with a 45-minute program of skewed, forward-thinking avant-pop that would stylistically fill a very lonely section in the record shop racks. There are not many records quite like Stone.


FKR 044LP

VA: Thai? Dai! - The Heavier Side of the Luk Thung Underground LP (FKR 044LP) 25.00
2016 repress; originally released in 2011. Fourteen slabs of the heaviest Thai funk and psych rockers ever committed to vinyl. The styles featured on this compilation fall somewhere between luk thung ("song of the countryside") and luk krung ("song of the city"). Bangkok was a melting pot for the evolution of these two genres, the former alluding to musical themes and lyrics aimed at the wider national population and the latter looking westward with a more urban audience in mind. Thai? Dai! collects experiments by both little-known groups and established figures like Plearn Promdan. Even within Thailand the majority of these tunes remain unissued outside of this compilation, making this a truly essential glimpse into the strange underbelly of Thai luk thung in all its unique, original, and outlandish glory; a small snapshot of an otherwise forgotten era, gloriously remastered from the original sources and officially licensed from the original label, Sound of Siam Co. Ltd. Includes performances by Sroeng Santi; Plearn Promdan; Rung Petchburi; Rung Fah Puping; Petch Burapa; Teungjai Bunpraruksa; Riem Daranoi; and Jalwal, Annie & Geerasak.

FOLK KRAFT

FK 001EP

BARD: Rain and Pressure EP 12" (FK 001EP) 12.50
The debut EP from young North Londoner Bard. Neuroscientist by day, maker of deep, loopy techno by night, occasional creator of center label images -- synesthetic multi-tasker. Early plays from associate Scuba via his BBC Radio 1 residency and DJ sets worldwide. Support from: Claptone, Orde Meikle, Shadow Child, Martin Landsky, Ardalan, Danny Tenaglia. . . . The cover image is derived from a fluorescently marked zebrafish neuron, imaged on a Zeiss 710 confocal microscope.

FUTUREBOOGIE RECORDINGS (UK)

FBR 041EP

MARK E: Basement Trax 12" (FBR 041EP) 14.50
Birmingham-based DJ and producer Mark E, an ever-dependable exponent of the real and raw house music vibe, returns to Futureboogie for the first time since 2014, following releases on his own Merc imprint and revered labels like Spectral Sound and Running Back. On "Basement Trax 1," distorted synths wander over a low-slung beat alongside marching hi-hats and filter work tweaked to perfection. The gnarly bass and classic string sounds of "Basement Trax 2" are delivered in the finest wild-pitch tradition; the raw production packs a punch as the stomping drums and repetitive keys ramp up the heat for a real blazer of an underground club cut.

GET PHYSICAL MUSIC (GERMANY)

GPM 136LP

BRIGANTE, GERMAN: Bipolar LP 2LP (GPM 136LP) 23.50
Spanish DJ and producer German Brigante follows high-profile releases on labels like Get Physical Music, Saved, Monaberry, and Kittball with his debut album, Bipolar, deepening his focus on a bumping, groovy form of tech house that aims straight for the hips and keeps dancefloors filled with energy. Bipolar is a ten-track selection of some of Brigante's best work to date, featuring vocals from Nick Maurer and a collaboration with Synesthyzer and FreakMe. "Synopsis" introduces the album with a warm bath of pads and synthwork before Brigante gets down to business with Maurer on "The Ones." A soft number, with a delicate and melancholic atmosphere, the track utilizes numerous elements to evoke a beautiful early synthpop feel, as Maurer's vocals do the rest. "Symbiosis," another scene-setting synth-bath, precedes the deliciously retro "Microluxe (808 Instrumental Mix)," with its big synths and classic percussion. "So Good," which appeared in remixed form in late 2015, is included here in its original, gut-grinding, foot-tapping glory. "We Got it," the collaborative effort between Brigante, Synesthyzer, and FreakMe, is another fantastic, dynamic track sure to work any dancefloor into a frenzy. Brigante takes the energy down a bit for "30 Degrees," employing thick, deep, dark synths under a warm canvas of pads and percussion. "Memories (Get Physical Edition)" is another dark, frantic number that delivers a heavy dose of tech house to the album and brings the energy back up. Before the gentle outro of "Monomodule," Brigante delivers one last adventure through the night with another solid dance track, "Be Right Back." Bipolar is a wonderful example of how this synth-savvy producer masterfully forges and arranges his creations for a result that is more than the sum of its parts.

GRINGO RECORDS (UK)

WAAT 048LP

SAUNA YOUTH: Dreamlands LP (WAAT 048LP) 19.50
180-gram reissue of Sauna Youth's 2012 debut LP, Dreamlands, following their well-received 2015 album Distractions (UTR 071CD/LP). Sauna Youth, attracted to the possibilities apparent within a DIY philosophy, have been self-recording and self-releasing their own music since 2010, creating a number of split 7"s and cassettes. "Weird" is a meaningless platitude, and "art punk" is a classifier that shouldn't be required. Sauna Youth journey into the far-reaching wilds of the unfolding psyche and feast on the chaos within, quickly collapsing any pre-conceived notions within minutes of impolite introduction.

HAFENDISKO (GERMANY)

HFNDISK 030EP

VA: Hamburg Elektronisch 3: Teknomusi EP 12" (HFNDISK 030EP) 14.00
Hamburg Elektronisch is back with a teaser for the third compilation in the series (HFNDISK 031CD), featuring compilation exclusives by Erobique, Wareika, and Oliver Huntemann alongside the first vinyl release of Remute's contribution. Carsten Meyer aka Erobique delivers "Teknomusi," a driving take on techno quite different from his funk-driven output. Huntemann's "Kiez" is a dark, moody tech house growler. "Summer Slump" finds Remute (Denis Karimani) exploring textures of a techy groove while staying firmly rooted to the floor. "Teufelsbrück (Vinyl Edit)" by Wareika (Jakob Seidensticker, Jakob Seidensticker, and Henrik Raabe) is an amazing trip into psychedelic tropicalia via techno-driven synth incantations.

HELLO?REPEAT RECORDS (GERMANY)

HELLO 026LP

DAZE MAXIM: Rising/Falling 3LP (HELLO 026LP) 33.00
Triple LP version. Multi-faceted artist Daze Maxim aka Marcus Manowski presents Rising/Falling, his second full-length work following his 2000 debut album Same Place the Bot Got Smashed. The album's title refers to meditative breathing exercises, in which Manowksi developed an interest around the same time as the album's conception. This additional balance and clarity allowed the album to develop harmoniously, and paved the way for completion. There is also a nod to reflexivity; though this discipline provided necessary solace, it also demanded greater engagement. The overall aesthetic is unquestionably true to the minimal framework Manowski has meticulously crafted since his debut in 2000. In a playground of intermittent tempo and hybrid organic electronica, harmony builds while dissonance prevails. There is maturity and guts in the selection and delivery of each part's piece in the puzzle, and a true viral beauty as it gains momentum. What is immediately striking about the album in full is its brooding space and progression. From ambient tones and warped classic synths to rigorous live instrumentation, the sonic palette enriches as the odyssey continues. Recalling a camera lens drifting in and out of focus, Manowski toys with periodic collapse and elongated movements, but always pulls the listener back through percussive punctuation. The collaborations featured on the album occurred naturally, though the sessions played out differently. Sloth's unique trumpet work on the opener is an entirely improvised workout without specific key or time signatures. In contrast, Yonatan, a classically trained jazz musician from Tel Aviv now residing in NYC, added bowed and fingered double bass to an already arranged work. Finally, the piece with Bruno Pronsato became a re-imagination of a previous live composition under their Others moniker. Each partnership subtly enriches the spectrum, though never overtaking Manowski's position at the helm. Haunting every intimate beat and phrase is a true jazz sensibility. A diligent yet self-taught student of composition and theory, Manowski's brilliance lies within his persistent tightrope-walk of texture and melody. Rising/Falling is as intrinsically musical and direct as is gets, and the outcome is elegantly unsettling.

HI HAT (UK)

HH 3034LP

HANCOCK FEATURING JACO PASTORIUS, HERBIE: Live in Chicago 1977 LP (HH 3034LP) 23.00
180-gram vinyl. 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.

HOUNDSTOOTH (UK)

HTH 054EP

THROWING SNOW: Axioms 12" (HTH 054EP) 23.50
Throwing Snow presents Axioms, bringing together six dancefloor-facing tracks that have received support from Thom Yorke, Gilles Peterson, Four Tet, Sasha, and Laurent Garnier. Previously digital-only, the tracks are pressed onto a heavyweight, translucent splatter-effect 12", along with two locked grooves created for the vinyl release, and presented in a bespoke PVC sleeve with a clear snowflake-pattern window displaying the colored wax. Mastered and cut by Matt Colton at Alchemy. Limited edition of 500.


HTH 055LP

ANDREWS, GUY: Our Spaces 2LP (HTH 055LP) 33.00
Double LP version. Our Spaces is the debut album of a very exciting talent: Guy Andrews. In search of some form of musical escapism prior to his DJ sets, one day he returned home, deleted all of his old synth patches, and embarked on a musical reinvention of himself. Ignoring previously used DJ-friendly structures, tempos, and mixdowns, Our Spaces breathes a new power and directness. Breaking free from genre constraints, Andrews found he could finally express what was in his head. This paradigm shift is evident throughout the album, with its emphatic percussion and reeling distortions a perennial feature. This sonic aggression, however, is paralleled with a sensitivity and zeal that really adds a level of depth that is often hard to communicate consistently in album format. Mastered by Matt Colton, MPG Mastering Engineer of the Year 2013. Limited edition of 500.

IN PARADISUM (FRANCE)

IP 019EP

DECEMBER/KAUMWALD: Half Cuts 1 12" (IP 019EP) 15.00
"In a world where oppressively dark techno is approaching mundanity, In Paradisum is a leading light, metaphorically speaking. Putting out blackened, downright evil music from the likes of Mondkopf, Somaticae and former metalhead Run Dust, the French label's techno takes influence from the darkest corners of other musical realms to give it an extra edge. Now they're launching a new series of split EPs called Half Cuts, meant to showcase artists who make music compatible with the label's aesthetic but aren't currently part of the family. The label brings together two Parisian acts for the first 12-inch. There's December, who has released bilious techno for Where To Now and Blackest Ever Black's A14 label, and there's the duo Kaumwald, who gave Opal Tapes a 12-inch of slow, shuddering drones in 2014. For Half Cuts, the two meet in the middle, delivering four molten flows of screeching synths and lumbering drums." --Resident Advisor


IP 022LP

QOSO: Printemps-Ete LP (IP 022LP) 23.00
"Charlie Janiaut opens up a third way between physical energy and experiments on sound textures. The producer originally from Franche Comté has dusted his fingers on battle scratch and his playing with computer is totally instinct driven. Playing techno from the viewpoint of rap music, Qoso's music is entirely based on samples and feeds on mistakes, frequency translation and a piling up of effects leaving space to randomness. The tracks on Printemps Ete were composed all at once and speak more to the body than the head - they're rhythm tracks as stated by Emotional, which opens the record where most electronic albums like to put a nice ambient track."

INDIGO RAW (SPAIN)

IR 001-1EP

DEWALTA & SHANNON: Residual Pt 1 12" (IR 001-1EP) 14.00
180-gram 12". The Indigo Raw label presents its first release since 2012, the first part of Berlin-based power duo DeWalta & Shannon's two-part Residual. Continuing to refine the special marriage of smooth grooves and fat beats that has so quickly come to define them, DeWalta & Shannon begin with three distinct peeks into an electrifying creative process, ranging from deep and moody to minimal or even jazzy. The highlight of this first installment is the mean-ass modular monster titled "Jugular Dub," which could belong to no one but these two.


IR 001-2EP

DEWALTA & SHANNON: Residual Pt 2 12" (IR 001-2EP) 14.00
180-gram 12". With the second part their two-part Residual, Berlin-based power duo DeWalta & Shannon continuing to refine the special marriage of smooth grooves and fat beats that has so quickly come to define them. Three more distinct peeks into an electrifying creative process, ranging from deep and moody to minimal or even jazzy, including the vinyl-only old-school banger "Wrench Miss," the deconstructed jam session "Wilson Space," and the sonar-bleeping "Duality."

JUST THIS (ITALY)

JT 007EP

PISETZKY: Elevation EP 12" (JT 007EP) 14.50
Pisetzky's "Elevation," a collaboration with Primal, was produced in the desolate outskirts of Copenhagen. It's a strong melting pot of numerous energies with its expansive arpeggios, icy melodies, and grand break. "Hide," an enthralling voyage through soulful psychedelia and dark atmospheric synth explorations. Distant Echoes' remix of "Elevation" is an acid-induced groove with a psychic rawness drawn by a strong techno base. Inland's remix of "Hide" is a techno adaptation of an abstract mystic journey, where melody surfaces shyly from behind a curtain of reverb and industrial drums to tell you its story.

KAPSIZE (UK)

KAP 016EP

ASA & SORROW: Knights of Ren EP 12" (KAP 016EP) 14.00
Bristol, England-based duo Asa & Sorrow open their Knights of Ren EP with "Island Wave," which uses a sonic palette reminiscent of vintage-era Joker productions. The undulating riddim displays the duo's ability to evoke emotions of childlike hope and wonder as they explore a genre dominated by a macho aesthetic. Crafted more pointedly as dancefloor weapons, "Barbaric" is a screwface-engager and "Knights of Ren" could come straight out of Plasticman set before Richie Hawtin had him change his name to Plastician. Lemz and Hi5Ghost's remix of "Knights of Ren" turns the riddim into a proud grime banger.

KAPVT MVNDI (UK)

KPT 004EP

ASTRONOMY DOMINE: Elementi 12" (KPT 004EP) 12.50
Two tracks of dark, psychedelic drone, drawing influences from Tropic of Cancer and Death in June; post-techno that could be easily filed under cold wave. "Fuoco Acqua" is a calm, relaxing track full of percussion and rhythm, while "Spazio Terra" close the EP with a dark, hypnotic hymn. Single-sided 12".

KEYMAN (UK)

KMLP 001LP

DR. ALIMANTADO: Best Dressed Chicken In Town LP (KMLP 001LP) 21.00
Restocked. "Reissue of the drop-dead classic album from 1978, Alimantado with Horace Andy, Lee Perry, King Tubby, Gregory Isaacs, Jah Woosh, Jimmy Radwell and Jackie Edwards. Recorded in several sessions, at the Black Ark, Channel One, Randy's and King Tubby's studios, it was the first album put out by Greensleeves, now reissued by the good Dr. himself on his Keyman label. Alimantado's graffiti, daubed round Westbourne Park and Notting Hill back in '78 survived longer than any Banksy could, without a sliver of perspex in sight."

KINGSTON SOUNDS (UK)

KSLP 061LP

ZUKIE PRODUCTIONS, TAPPER: Stars ah Shine: Hits from the Stars Label 1978-1982 LP (KSLP 061LP) 15.50
LP version. Tapper Zukie is not only a successful recording artist in his own right, but a well-respected producer as well. In the mid-1970s he set up his own record label, Stars, to help nurture the many artists who were rising in Kingston, Jamaica. In doing so he created a great catalog of reggae music that few artists have bettered. For this release -- with the help of Tapper Zukie himself -- Kingston Sounds has selected the highlights of the Stars label. Includes tracks by Junior Ross & The Spears, Prince Alla, Linford Nugent, Cornell Campbell, Dennis Brown, Horace Andy, The Mighty Diamonds, Rockey Dread, Ronnie Davis, Freddy McKay, Alton Ellis, and Frankie Jones.

KLONDIKE RECORDS (UK)

KL 5002LP

SANTANA: Live at the Rynearson Stadium, Ypsilanti, MI, 25th May 1975 LP (KL 5002LP) 23.00
180-gram LP. Santana's appearance at Rynearson Stadium in Ypsilanti, Michigan, on May 25, 1975, was originally broadcast on the King Biscuit Flower Hour radio show. Opening with an inspired pairing of Peter Green's "Black Magic Woman" and Gábor Szabó's "Gypsy Queen," Santana display an explosive showcase of virtuosity and improvisational flare throughout the show, with familiar material from the band's earlier repertoire receiving a rapturous response. Such fluent and imaginative musicianship is rarely witnessed and simultaneously recorded, but this 1975 concert displays compelling musical talent played with emphatic furor. The 1975 Ypsilanti performance clearly rivals that of the band's famed Japanese shows recorded two years earlier. Klondike's retrospective release of this seminal appearance from 1975 captures the entire recorded performance and celebrates a period of Santana's work that remains pivotal to their legacy. Digitally remastered sound. Includes background liners.

KOMPAKT (GERMANY)

KOM 349EP

UNDER, ALEX: Olas de Quila Quina 12" (KOM 349EP) 12.00
Madrilenian producer Alex Under -- one of Spain's most sought-after electronic artists -- follows releases on such iconic imprints as Trapez, Soma, and Plus 8, with Olas de Quila Quina, his first outing for Kompakt. The title-track only needs a handful of carefully processed sounds to tell a highly evocative story -- a focused, geometrical jam that nonetheless allows for freewheeling outbursts of creativity. The same can be said for the punching, asymmetrical acid of "El Reflejo Del Lacar" and the full-bodied bass bounce of "Lolog," as both cuts juxtapose sharp-edged shards of electronic texture with chewy, melodic synths.


KOM EX090EP

BORATTO/RENATO RATIER, GUI: Speicher 90 12" (KOM EX090EP) 12.00
Kompakt staple Gui Boratto returns to the Speicher fold, teaming up with respected DJ and producer Renato Ratier (the mastermind behind legendary Brazilian club D-Edge and its eponymous label). Both artists are not ones to shackle themselves within genres, and it's exhilarating to find them collaborating on these two bangers. Bringing all the sonic refinement audiences have seen in his work for his own imprint D.O.C. and his 2014 album masterpiece Abaporu (KOMP 115CD/KOM 312LP), Boratto makes his presence felt on these crackling, propulsive cuts, but also focuses on a muscular approach to dance music -- a perfect fit for Ratier's expanded floor expertise.

LOVELAND RECORDINGS (NETHERLANDS)

LLR 103EP

SAHRAOUI, KARIM: Sacred Kingdom EP 12" (LLR 103EP) 14.00
After years producing gems under his Djinxx, Soul Monkey, and Electronic Resistance aliases, Karim Sahraoui emerged under his given name in 2014 with the the future classic Eternal Life EP Part 1 on Derrick May's Transmat. Here, the A-side features the epic ten-minute original version of "Horns Of Glory," a journey filled with beautiful melodies and rhythms that paint a lush landscape of sound. The B-side opens with the fairy-tale vibe of "The Earth From Above" before Vince Watson's pumping, powerful, energetic, hypnotic remix of "Horns Of Glory."

MACRO RECORDINGS (GERMANY)

MACROM 047EP

KUF: Odyssee EP 12" (MACROM 047EP) 14.00
Kuf are a trio of keys, bass, and drums. The rhythm section hints at the great history of dirty funk and rhythm and blues, but the grooves are firmly contemporary -- dance-centered and broken up at the best possible joints. The prominent vocal elements are all based on self-recorded samples that keyboard whiz kid Tom Schneider melds and bends and squeezes in real time. With no artificial synchronization in place, bassist Valentin Link and drummer Hendrik Havekost push the disembodied, highly abstract voices into an arena of hyper-integrated real-time magic. This EP includes a special guest VIP remix for the club.

MENTAL EXPERIENCE (SPAIN)

MENT 001CD

CIRCLES: Circles CD (MENT 001CD) 17.00
In the late 1970s and '80s there was a lot happening in the German post-krautrock underground that few people knew about -- lots of independent artists doing their own thing, either via small labels or no labels at all. Circles was one of these bands. Based in the suburbs of Frankfurt, they consisted of Dierk Leitert (synthesizer, sequencer, drums, bass, guitar, voice, saxophone, flute) and Mike Bohrmann (guitars, bass, synthesizer), plus a few collaborators. Carrying the torch of '70s bands like Cluster, Harmonia, or Liliental into the '80s, Circles were also contemporaries of groups like Throbbing Gristle, Ilitch, and Nurse with Wound, so one can also expect some similarities to those artists. Circles is their first album, originally privately released in 1983 on the duo's tiny Einhorn label and housed in a mysterious cover. This little-known but excellent kraut/psych/experimental album is highly recommended for anyone into Harmonia, Cluster, Fripp & Eno, Heldon, Conrad Schnitzler, NEU!, Throbbing Gristle, Ilitch, Irmin Schmidt, Amon Düül II. . . . First-ever reissue, including detailed liner notes by Alan Freeman (The Crack in the Cosmic Egg, Ultima Thule) telling the band's story for the first time.


MENT 001LP

CIRCLES: Circles LP (MENT 001LP) 25.50
LP version. In the late 1970s and '80s there was a lot happening in the German post-krautrock underground that few people knew about -- lots of independent artists doing their own thing, either via small labels or no labels at all. Circles was one of these bands. Based in the suburbs of Frankfurt, they consisted of Dierk Leitert (synthesizer, sequencer, drums, bass, guitar, voice, saxophone, flute) and Mike Bohrmann (guitars, bass, synthesizer), plus a few collaborators. Carrying the torch of '70s bands like Cluster, Harmonia, or Liliental into the '80s, Circles were also contemporaries of groups like Throbbing Gristle, Ilitch, and Nurse with Wound, so one can also expect some similarities to those artists. Circles is their first album, originally privately released in 1983 on the duo's tiny Einhorn label and housed in a mysterious cover. This little-known but excellent kraut/psych/experimental album is highly recommended for anyone into Harmonia, Cluster, Fripp & Eno, Heldon, Conrad Schnitzler, NEU!, Throbbing Gristle, Ilitch, Irmin Schmidt, Amon Düül II. . . . First-ever reissue, including detailed liner notes by Alan Freeman (The Crack in the Cosmic Egg, Ultima Thule) telling the band's story for the first time.


MENT 002CD

CIRCLES: More Circles CD (MENT 002CD) 17.00
In the late 1970s and '80s there was a lot happening in the German post-krautrock underground that few people knew about -- lots of independent artists doing their own thing, either via small labels or no labels at all. Circles was one of these bands. Based in the suburbs of Frankfurt, they consisted of Dierk Leitert (synthesizer, sequencer, drums, bass, guitar, voice, saxophone, flute) and Mike Bohrmann (guitars, bass, synthesizer), plus a few collaborators. Carrying the torch of '70s bands like Cluster, Harmonia, or Liliental into the '80s, Circles were also contemporaries of groups like Throbbing Gristle, Ilitch, and Nurse with Wound, so one can also expect some similarities to those artists. More Circles is their second album, originally privately released in 1984 on the duo's tiny Einhorn label. It's a work of experimental krautrock with lots of psychedelic guitar, keyboards, motorik drums, drones, proto-ambient sounds, and avant-garde/Dadaist touches. RIYL: Harmonia, Cluster, Fripp & Eno, Nurse with Wound, Throbbing Gristle, Chrome, Heldon, Conrad Schnitzler, NEU!, Eroc. . . . First-ever reissue, including detailed liner notes by Alan Freeman (The Crack in the Cosmic Egg, Ultima Thule) telling the band's story for the first time.


MENT 002LP

CIRCLES: More Circles LP (MENT 002LP) 25.50
LP version. In the late 1970s and '80s there was a lot happening in the German post-krautrock underground that few people knew about -- lots of independent artists doing their own thing, either via small labels or no labels at all. Circles was one of these bands. Based in the suburbs of Frankfurt, they consisted of Dierk Leitert (synthesizer, sequencer, drums, bass, guitar, voice, saxophone, flute) and Mike Bohrmann (guitars, bass, synthesizer), plus a few collaborators. Carrying the torch of '70s bands like Cluster, Harmonia, or Liliental into the '80s, Circles were also contemporaries of groups like Throbbing Gristle, Ilitch, and Nurse with Wound, so one can also expect some similarities to those artists. More Circles is their second album, originally privately released in 1984 on the duo's tiny Einhorn label. It's a work of experimental krautrock with lots of psychedelic guitar, keyboards, motorik drums, drones, proto-ambient sounds, and avant-garde/Dadaist touches. RIYL: Harmonia, Cluster, Fripp & Eno, Nurse with Wound, Throbbing Gristle, Chrome, Heldon, Conrad Schnitzler, NEU!, Eroc. . . . First-ever reissue, including detailed liner notes by Alan Freeman (The Crack in the Cosmic Egg, Ultima Thule) telling the band's story for the first time.

MIE (UK)

MIE 038LP

DREAMBOAT: Dreamboat LP (MIE 038LP) 22.00
Dreamboat is a collaboration between dream-folk singer and guitarist Ilyas Ahmed and the lunar-inclined analog-synthesizer-and-processed-bass-clarinet duo Golden Retriever (Matt Carlson and Jonathan Sielaff). The collaboration between these long-time friends began with a shared admiration for each other's work and a commonality in approach to making music, which one day begged the question, "What if our individual sound worlds intersected?" The result yielded a unifying love of exploded modal song forms, improvisation as composition (and vice versa), and a desire to interact with traditional song form. The record is a result of intense scrutiny of arrangement as well as a commitment to reckless abandon. Opener "Aftershock" introduces the trio's vocabulary with Ahmed's 12-string guitar and soft vocals floating through the billowing clouds of Carlson's synth wash as Sielaff's processed clarinet cuts through the haze like a knife. "Face to Face" ebbs and flows like the ocean's wash against the shore, with each instrument allowing the other plenty of space until the song's chorale-like outro. The B-side opens with "Mirrored Image," which straddles the line between abstraction and free-form chaos. Closer "Your Sunday Best" begins as a near-chamber-ensemble piece before segueing into the record's most overt pop gestures and playing out in a wash of modal hypnosis. Imagine Tim Buckley sitting in on the first Cluster recording session or Neil Young with The Taj Mahal Travellers as Crazy Horse covering Popol Vuh and you are almost there. Edition of 500.

OPEN MOUTH

OM 047LP

DILLOWAY & BILL NACE, AARON: BAND EP LP (OM 047LP) 16.00
"At long last, this recording sees a proper release. There's a story: Initially, I released this as a cassette on my own label, Silver Lining. To be fair, you can hardly call it a label. I have no right releasing my own music, let alone anyone else's. I'm bad at manufacturing things, I'm bad at promoting them, and I'm especially dismal when it comes to packing things up and mailing them out. And so this cassette had a brief brush with public life and then vanished, due primarily to my negligence and laziness. This is where Open Mouth, once again, comes to the rescue. The record comes in a gorgeous full-color sleeve, and the sound is so much finer than the cassette that even the more sweaty-palmed collectors out there will gladly welcome this object in favor of its previous incarnation, and join me in eagerly awaiting the day when these two release a proper full length. I like that they call this EP BAND. It's a subtle melding of the personal and the conceptual. The 'B' from 'Bill,' the 'A' from 'Aaron,' the 'N' from 'Nace,' and the 'D' from 'Dilloway.' It's simple. But they're not really a band. A band is a thing that exists over time and practices and builds its own identity. Or something. This is a duo. A meeting of the minds. A conversation. A lost weekend. At their best, duos illuminate the core tenets of individuals while pushing them into territory they might not otherwise occupy. It sounds easy but it's anything but. Just look at divorce rates. Nace and Dilloway make the perfect duo. For years, they've each kept their music fresh, always avoiding preconceived notions of what they're supposed to do. Dilloway's tape loops and electronics are routinely musical, which Nace's guitar always stretches to the edges of alien electricity. Both exude a refreshing and vehement disregard for cliché without leaving behind the necessity of tradition. One hears the earliest hints of electronic music, the conceptual and visceral assault of noise, the structural and spiritual liberation offered by free jazz, the delicate patience of extended techniques, and so much more. This collaboration though, like their back catalogs, works because it is beholden to none of these. Their individual voices are recognizable, yet the record's allure is found when those voices funnel into one another. In these moments, who's who becomes irrelevant, and the music is elevated to its rightful place, far above the concerns of personality or individualism. The gurgles, scrapes, moans, and loops build their own intoxicating fog, a metallic expanse with its own logic. After all these listens, I remain disoriented by it. It's the kind of thing you want to play again because you can't quite remember exactly what it sounds like. I'm reminded of J.G. Ballard: 'The slower the clock, the nearer it approximated the infinitely gradual and majestic progression of cosmic time.' And maybe that's the thing. Nace and Dilloway each embrace the immediacy of moments and the endless march of time equally, so for this record to finally see the real light of day is no minor event." --Matt Krefting, Holyoke, MA, 2016

OPTIMO MUSIC (UK)

OMD 005EP

NOO: Optimo Music Disco Plate Five 12" (OMD 005EP) 12.00
Noo (Daze Dasen aka Plastique de Rêve and Sami Liuski aka Bangkok Impact of Putsch '79) return with their third 12". "Kabuki" is based on classical Kabuki and Noh drama, blending taiko drums and mystical flutes with futuristic synths and crazy TV samples. "Super Mario" is a tribute to Nintendo video games, science fiction, the films of Studio Ghibli, and the geniuses behind the electro-disco-pop of the one and only Yellow Magic Orchestra. "Rainbow Road" uses sounds from the previous track for beatless waves of glittering synths and lonely vocoders -- the perfect soundtrack for the mind-bending final Mario Kart course.

OUT-SIDER (SPAIN)

OSR 038LP

PIERLE, RAY: Time and Money LP (OSR 038LP) 25.50
First vinyl reissue. Master tape sound. Includes insert with liner notes and lyrics. Originally released in 1980 as a private edition of 300 copies, Time and Money finds outlaw rock hero Ray "McKay" Pierle abandoning the rural rock sounds of his famous 1978 Into You album for a more hard rock approach. Twin guitar attacks charged with fuzz-wah and catchy songs full of memorable hooks and melodic vocals. Recorded mostly at Ray Pierle's homemade studio and mixed by Moe Whittemore at the legendary 700 West studios in Indiana, resulting in a fabulous, warm analog sound.


OSR 041LP

CHILDREN, THE: Rebirth LP (OSR 041LP) 25.50
The Children were a great psychedelic band from San Antonio, TX, who released only one classic album on Cinema in 1968 (picked up by Atco later that year). Starting out as The Stoics in 1966, they later evolved into The Mind's Eye, then their final incarnation as The Children with the beautiful female vocals of Cassell Webb. Ex-Monkee Davy Jones took them under his wing in 1967, promoting them on the LA Sunset Strip club scene. Rebirth combines soft psych and baroque pop with fuzzed-out psychedelia. Produced by Lelan Rogers (13th Floor Elevators, The Golden Dawn, etc.). Original gatefold artwork faithful to the beautiful original release on Cinema. Newly remastered sound. Includes insert with detailed liner notes and photos.


OSR 043LP

STUD: Stud LP (OSR 043LP) 25.50
LP version. Private hard rock ultra-rarity from Texas exhumed for the first time. With only 200 copies released in 1975, the Stud album has become a holy grail for collectors. A mystery for many years (all the band members used pseudonyms on the album credits), the band seemed impossible to track down... until now. Formed in 1974 in Houston, Stud featured the killer lead guitar of 17-year-old genius Tim Williams, the brutal Rickenbacker bass attacks of Paul Eakin, and the solid-as-a-rock drumming of George Lasher. The chemistry was born when they first starting played together, and after many rehearsals they decided they were ready to record their first album. So they entered the Barons Studios in Rosenberg, and Stud was the result. Powerful hard rock ("A Woman Like You" and "Jim/Blues"), killer boogie-rock ("Captain Boogie"), hard psychedelic jams (the 13 minutes of "Stud"), and progressive hard rock on the impressive "The War Song." File next to Morly Grey and Incredible Hog. Remastered sound. Color insert with lots of previously unseen photos and liner notes by Paul Eakin telling the band's story for the first time.

PHARAWAY SOUNDS (SPAIN)

PHS 030CD

AKBAYRAM & DOSTLAR, EDIP: Nice Yillara Gulum CD (PHS 030CD) 17.00
The third album by Turkish psychedelic singer Edip Akbayram, originally released in 1982, really ramps up the silly synthesizers. Hear whooshy '80s Rolands, vocals run through a harmonizer, and tons of totally tubular bass popping -- it's easy to hear the boundaries of the western intros and breaks. Ever wish Knight Rider's KITT could drive to ?stanbul? Take a ride on cheesy synthesizers with Edip at the wheel! Remastered sound. Includes insert.


PHS 030LP

AKBAYRAM & DOSTLAR, EDIP: Nice Yillara Gulum LP (PHS 030LP) 25.50
LP version. The third album by Turkish psychedelic singer Edip Akbayram, originally released in 1982, really ramps up the silly synthesizers. Hear whooshy '80s Rolands, vocals run through a harmonizer, and tons of totally tubular bass popping -- it's easy to hear the boundaries of the western intros and breaks. Ever wish Knight Rider's KITT could drive to ?stanbul? Take a ride on cheesy synthesizers with Edip at the wheel! Remastered sound. Includes insert.

PLUS 8 (CANADA)

PLUS 825-6EP

80XX: Creatur/Grindr 12" (PLUS 825-6EP) 14.00
The sixth installment in Richie Hawtin's seven-part From My Mind to Yours 12" series, for which Hawtin has revived some of his most revered aliases -- Plastikman, F.U.S.E., Robotman, Circuit Breaker, 80xx, Childsplay, and R.H.X. The title of the series is a play on the now-classic early Plus 8 compilations From Our Minds to Yours from 1991 and 1992. The records were previously released in 2015 as very limited hand-stamped white labels via Hard Wax in Berlin. This 12" includes "Creatur" and "Grindr," both credited to 80xx.


PLUS 825-7EP

VA: EXpanded/EXtensions 12" (PLUS 825-7EP) 14.00
The seventh installment in Richie Hawtin's seven-part From My Mind to Yours 12" series, for which Hawtin has revived some of his most revered aliases -- Plastikman, F.U.S.E., Robotman, Circuit Breaker, 80xx, Childsplay, and R.H.X. The title of the series is a play on the now-classic early Plus 8 compilations From Our Minds to Yours from 1991 and 1992. The records were previously released in 2015 as very limited hand-stamped white labels via Hard Wax in Berlin. This 12" includes "Expanded," credited to F.U.S.E. vs. Plastikman, and "EXtensions," credited to R.H.X.

POSH ISOLATION (DENMARK)

PI 156LP

VANESSA AMARA: You're Welcome Here LP (PI 156LP) 23.00
Vanessa Amara, the duo of Birk Gjerlufsen and Victor Kjellerup, follow their 2014 vinyl debut, Both of Us/King Machine (Posh Isolation), with You're Welcome Here, a work that realizes the immense potential of their previous efforts. Built around church organ, string quartet, tapes, and synthesizers, the seven pieces that make up You're Welcome Here are immediately, though not forcefully, arresting. You're Welcome Here is as intimidating as it is beautiful; an emotive rendering of Gjerlufsen and Kjellerup's musical finesse.


PI 164LP

NORIN: Bakom Planteringen LP (PI 164LP) 23.00
Hannes Norrvide, best known as the frontman of acclaimed synth trio Lust For Youth, presents the debut of his Norin solo project. Norin is far removed from the refined rave anthems of Lust For Youth, yet still one can sense that Båkom Planteringen takes place under searching club lights, in a weightless mind state. While the five tracks on Norin's debut utilize a techno sound pallet, the nauseating arpeggios and obscure, tape-treated voices are not likely to fill dancefloors. There is a desperation in the music not unlike the desperation of hearing one's heartbeat in one's ears after too many hours under strobe lights. Despite the motorik propulsion across much of Båkom Planteringen it mostly registers as a kind of slow-motion anxiety in full resolution. This is the sound of ODing in the chill-out room.


PI 165LP

ERLANDSSON, MATS: Valentina Tereshkova LP (PI 165LP) 23.00
Valentina Tereshkova is the debut LP by Swedish musician Mats Erlandsson. Erlandsson is an electronic composer and musician based in Stockholm, where, in addition to his artistic activities, he works as a studio assistant at Elektronmusikstudion (EMS). A student of music since age 10, Erlandsson holds a master's degree in composition from the Royal College of Music in Stockholm. While mainly focused on solo electronic music, he has also composed music for dance and chamber ensembles as well as work for live electronics together with various collaborators. On June 16, 1963, Valentina Tereshkova became the first woman to fly in space. She spent two days and 22 hours alone in space, manually operating the Soviet spacecraft Vostok 6. Erlandsson's Valentina Tereshkova is a record made up of six pieces of electroacoustic music. It would be easy to argue that the Valentina of the Soviet space mission and the Valentina of Erlandsson's record are different characters all together, but there is a feeling of spatiality in Erlandsson's music that one could speculate is not unlike that of being in a vessel like Vostok 6 -- a small room surrounded by infinite space, and, maybe most importantly, a room that allows for just one person. Erlandsson is a craftsman, a quality most keenly felt in the focused structure of his drone pieces. This is reflexive, heavy-hearted music that almost cynically dissects itself for the listener; the pieces themselves apologize for their melancholia with their compositional brilliance. A stunning debut of a strong new voice in Scandinavian electronic music.

ROX VOX (UK)

RV 2028LP

COHEN, LEONARD: Toronto '88 2LP (RV 2028LP) 31.00
180-gram vinyl. By 1988 Leonard Cohen had undergone something of a renaissance in North America, propelled by the success of Jennifer Warnes's 1987 Famous Blue Raincoat album. He supported his widely acclaimed synthesizer-heavy I'm Your Man album (1988) with a tour of Europe, the US, and his native Canada. This superb performance at Massey Hall in Toronto on November 9, 1988, was broadcast live on CBC Radio. The complete broadcast is presented here with background notes and images.

SCOPITONES (UK)

SCOPITONE 011LP

CINERAMA: Torino 2LP (SCOPITONE 011LP) 27.50
RSD 2015 expanded reissue; originally released in 2002. 180-gram vinyl. Cinerama's third studio album, Torino, with six acoustic bonus tracks from an American radio session. "Torino is a giant beast of adulterous lyrical fantasies, cult soundtrack flourishes and the screams of Albini-engineered guitars." --Uncut


SCOPITONE 020LP

WEDDING PRESENT, THE: Take Fountain 2LP (SCOPITONE 020LP) 27.50
RSD 2015 expanded reissue; originally released in 2005. 180-gram vinyl. First vinyl edition. Includes six bonus tracks. Featuring 11 songs written by David Gedge and Simon Cleave, Take Fountain marked the end of The Wedding Present's nine-year gap between studio albums following 1996's Saturnalia. Recorded in Seattle by Steve Fisk, who also produced The Wedding Present's 1994 Watusi album. Take Fountain is a body of songs so heartfelt that it's impossible not to be moved by them, matching, if not surpassing, the quality of anything Gedge had previously recorded and released.


SCOPITONE 060EP

DE CASTRO, TERRY: You Can't Separate Light 10" (SCOPITONE 060EP) 16.50
2015 release. Mini-album of original songs on clear 10" vinyl by Terry de Castro, known primarily as the bassist for The Wedding Present and Cinerama. Backed up by eclectic guitar sounds, distorted violins, abstracted feedback, intricate banjo parts, and evocative backing vocals, she wrangles far-flung friends and colleagues including New Zealand guitarist Geoff Maddock (Goldenhorse), Shetland-born recording artist Astrid Williamson (Goya Dress) and Seattle-based producer/multi-instrumentalist Paul Hiraga (Downpilot).

SHAM PALACE

SHAM 004LP

LOS SIQUICOS LITORALENOS: Sonido Chipadelico LP (SHAM 004LP) 12.00
New lower pricing on this 2013 release. "Sham Palace (USA) and Annihaya (Lebanon) are pleased to present from the mystical locus of Curuzú Cuatiá, in Corrientes, rural northeastern Argentina, Los Siquicos Litoraleños, with their first international full-length release. The result: a unique triumph of homegrown rural psychedelia, standing alone on the edge of an unchartered vanguard. Los Siquicos have spent the past decade recording and performing mountains of material and distilling it into a rare form of ultra-cerebral roots music from the countryside; rich with strange passion, beauty, experimentation, horror and humor. Corrientes sits in the Argentine Mesopotamic region, in the area known as el Litoral. Inhabitants of this region are known as Litoraleños. Los Siquicos Litoraleños (The Psychics of el Litoral) aren't running from their musical heritage, they are staring straight at it -- spinning it around, refracting it, and transmuting it into something that is probably one of the most genuine things that has happened to folk, rock, experimental or psychedelic music in many years. Having met through various musical projects in the mid-2000s, Los Siquicos formed as a trio in 2004, determined to develop an unheard style of music. They created their own genre -- Chipadelia, (a reference to the traditional chipá bread, typical of northeast Argentina and Paraguay). It involves equalizational demolition therapy -- which they describe as 'using sound to change people's perceptions, and words to produce cognitive dissonance in order to free the masses from the prison of fixed ideas and prejudices.' Being a peripheral band living in a semi-rural town, Los Siquicos remained outsiders to the Argentinian rock circuit for quite a while, though their unpredictable live performances in Buenos Aires caused a stir amongst the local scene. Their shows often feature extended line-ups, with members cloaked in surreal gaucho costumes, playing segments of free-music and altered versions of chamamé and cumbia tunes influenced by the myriad regional gaucho dance bands. All the while, projections of cows, fractals, UFOs and their beloved countryside play out in the background. At home, they're affectionately referred to as 'El Pink Floyd de los pobres' -- the poor man's Pink Floyd. Over time, the group has gained underground acclaim both nationally and abroad after sending their signals out in the form of self-released CDs, internet presence, and a handful of European tours. This collection has been culled from multiple recordings made between 2005 and 2010. It showcases some of the finest compositional moments in the group's dense and damaged repertoire -- pitched-down cumbias soaked in dub brine, swirling solar instrumentals, and surrealist, shamanic lyrics laid across guitars, drums, tapes and electronics. Forty-four minutes of deep, multi-fidelity electric and acoustic psychic sound-forms for a better today. Los Siquicos Litoraleños are the contemporary group you keep hoping exist, but can never find. If you were to reach for spiritual comparisons, you wouldn't be forgetting the most spirited moments from Sun City Girls, Butthole Surfers, Faust, Os Mutantes, Captain Beefheart or The Residents. Sonido Chipadelico opens with the mind-melting psych-rocker 'Cinta Planeteria' -- like a Latin American time-travel experiment gone wrong. 'Cachaka Espejo,' 'Tenemos Semillas' and 'No Sabemos Nada' reinvent cumbia radio tunes as if heard from a distance of at least two blocks away on a dirt road in the barrio, then deconstructed, propelled into the outer ether, and beamed back into a burning dub transistor. 'El Chipa Chiriri' is a subverted chamamé-styled track -- revealing the recipe for the local Corrientes cheese bread. 'Necesita Ecualisacion' is a call for aural and mental equilibrium encouraging change rapidly from the present state of things to an improved and more complex, flexible state. The hypnotic 'Sirena Chunga y la Movida Solar' is perhaps one of the strangest folkloric songs ever committed to tape -- not unlike what light must hear when it travels inside of a vacuum. 'Si, Si, Si' is an uptempo, angular anthem in collaboration with Dutch experimental duo Static Tics. Also included is Los Siquicos' haunting acid-ballad cover of 'Quizás, Quizás,' and much more -- further into the greater depths of sound and surprise..." --Mark Gergis

SONIC CATHEDRAL (UK)

SCR 090CD

SPECTRES: Dying CD (SCR 090CD) 17.50
2015 release. Bristol, England-based four-piece Spectres are the loudest, most abrasive band on the Sonic Cathedral label to date, and one that makes a mockery of those articles that crop once in a while asking if guitar music is dead. "If guitars are supposed to be dead," wrote Drowned in Sound in its review of 2013's Hunger EP, "it's probably because Spectres have killed them." Dying opens with the ominous and unsettling white noise and dark found sounds of "Drag" and is relentless for the next 50 minutes, taking in lead single "Where Flies Sleep," a re-recorded version of "The Sky of All Places" (originally released early in 2014 as part of the Too Pure Singles Club), and "Sea of Trees" (which was given away as a free download to attendees of Sonic Cathedral's 2014 10th-anniversary show at the 100 Club in London). Produced and mixed by Dominic Mitchison (Velcro Hooks).


SCR 105LP

YETI LANE: L'Aurore LP (SCR 105LP) 25.00
Clear LP version. Parisian psych duo Yeti Lane present their third album, L'Aurore. It's the follow-up to 2012's The Echo Show, and perfectly balances the duo's love of analog electronics with huge waves of guitar. This time they discarded their suitcase of gear and improvised, building their sound up from scratch, and the result is an album that is rougher, dirtier, and darker than its predecessor. It also finds them singing in their native French for the first time. Yeti Lane formed from the ashes of psych-folk-prog outfit Cyann & Ben in 2009; their self-titled debut album followed the next year to great acclaim. Their second -- The Echo Show -- combined Kraftwerk with LCD Soundsystem and My Bloody Valentine to incredible effect, resulting in more glowing reviews, BBC 6 Music sessions, and memorable live shows. One of the main inspirations for L'Aurore was the band's legendary show at The Shacklewell Arms in June 2012, where they improvised as Damo Suzuki's backing band. "We've always considered each album in response to the previous one, we try to never repeat the same things, the same gimmicks," explains Charlie Boyer (drums and electronics). "We needed to forget our habits, to clean our minds in order to find new directions. We had a lot of fun improvising, which opened us to new playgrounds." "We wanted to keep the excitement of the moment, with no routine," says Cédric Benyoucef (vocals and guitar). "Everything was recorded as we were playing, just the two of us in the same room. We chose takes in which we felt something was happening, rather than the ones in which we were playing perfectly; we kept the mistakes." The duo's core influences remain the same -- The 13th Floor Elevators, Neil Young, The Flaming Lips, Spacemen 3 -- but it was their rediscovery of the French scene of the late '60s and early '70s that inspired Benyoucef to try writing the lyrics in French. (He cites a number of artists from the Saravah label, such as Brigitte Fontaine, Jacques Higelin, and Areski, as well as Obsolete (1974), Dashiell Hedayat's largely improvised record made with Gong.) Cover art by Heretic Studio.

SUBWAX BCN (SPAIN)

SUBWAXFX 001EP

FLUXION: Prospect 12" (SUBWAXFX 001EP) 15.50
First reissue of this essential dub techno masterpiece, originally released on Mark Ernestus and Moritz von Oswald's revered Chain Reaction label in 1999.


SUBWAXFX 002LP

FLUXION: Bipolar Defect 2x12" (SUBWAXFX 002LP) 28.50
Widely considered one of the landmark releases of dub-infused electronic music, as well as an endless resource of inspiration and awe for generations of electronic music artists and enthusiasts, Bipolar Defect by Fluxion was originally released on Mark Ernestus and Moritz von Oswald's revered Chain Reaction label in 2000; this cavernous masterpiece now receives its long-awaited first-ever reissue from Barcelona imprint Subwax Bcn. Bipolar Defect successfully managed to broaden the space and the environment of Fluxion's compositions, and developed further his technique of textural sonic blend. "Fluxion's fourth and most otherworldly Chain Reaction EP, Bipolar Effect. . . . remains his most stunning listen, as the producer continually crafts hallucinogenic aural experiences with an unbelievably minimal palette." --AllMusic


SUBWAXFX 003EP

FLUXION: Outerside 12" (SUBWAXFX 003EP) 15.50
First vinyl edition of four tracks originally included on Fluxion's Vibrant Forms II compilation (SUBWAXFX 001CD), an essential dub techno masterpiece first released on Mark Ernestus and Moritz von Oswald's revered Chain Reaction label in 2000.

SUPPLY

SUPPLY 012EP

AUDIARD, RENE: Spectre EP 12" (SUPPLY 012EP) 15.50
Supply Records label manager Soren Jahan returns to the label with his first appearance under his René Audiard moniker since 2012's Pechorin album. On "Spectre," stabs of dub-influenced chords surface and fade away as the track builds to a killer climax of 909 percussion before "Orly" raises a barebones structure for its understated but deadly acid line. On the heady microhouse collage of "Odkrycia," Jahan stacks jagged-edged sample-layers in a style reminiscent of the most out-there Background and Perlon before sinking into a melodic trance. "SZCZ" rounds things off in a similar collage style but with a steadier, more peaceful progression.

TAPED ARTIFACT (NETHERLANDS)

TA 003EP

ARNEMANN, KEVIN: Concealed EP 12" (TA 003EP) 14.00
Taped Artifact cofounder Kevin Arnemann is back on his own label with the three-track Concealed EP. It's just the Dutchman's third release -- the second on his own label after a 2015 EP from Natan H -- but it's truly a deep and atmospheric offering that takes its cues from many different sounds and scenes.

TAPETE (GERMANY)

TR 332LP

MONOCHROME SET, THE: Volume, Contrast, Brilliance... Unreleased & Rare Vol.2 LP (TR 332LP) 22.00
LP version. At the end of the '70s, The Monochrome Set were part of the first wave of post-punk bands. Right from the beginning, the band earned a solid reputation as purveyors of fine pop, gaining praise from '80s contemporaries such as Morrissey and Edwyn Collins. This praise has continued in the decades since, with artists such as Franz Ferdinand, The Divine Comedy, and Graham Coxon all citing the band as a key influence on their own work. The Monochrome Set's sound has often been described as timeless, and that alone explains why, over the years, the band has continued to gain admirers. Volume, Contrast, Brilliance... Unreleased & Rare Vol.2 is the sequel to the 1983 compilation Volume, Contrast, Brilliance... Sessions & Singles Vol. 1. It's a wonderful collection of previously unreleased and rare tracks spanning 1978 to 1991. These gems range from DIY works to high-quality studio recordings, some of which were improperly recorded or never released due to a variety of reasons (bad timing, odd decisions, forgetfulness) fully explained in the liner notes. The range of styles on display here is typical of this iconic and highly influential band -- slices of their sound can still be heard in indie and mainstream music worldwide.

THE TRILOGY TAPES (UK)

TRILOGY 037EP

CONI: Imaginarium Essai EP 12" (TRILOGY 037EP) 17.00
"You could never accuse Parisian artist Coni of releasing too much music; to date, the ClekClekBoom-affiliated artist has released just three EPs in four years. Clearly, these releases have impressed The Trilogy Tapes founder Will Bankhead, as he's snapped-up a four-track EP from the talented French producer. It's the A-side that sparkles the most immediately, beginning with the curious looped sound effects, slashed jazz chords, swinging rhythms and bubbling electronic hits of 'Into The Silly World'. Arguably even better is 'Zex Plongeon'. While not as thrillingly unusual as its' predecessor, it feels more obviously tailored to club play. It's creepy, deep, drowsy and tense, with slowly pulsing chords and ghostly textures stretching out over a tidy techno groove." --Juno Records


TTTPALACE 002EP

SOULEYMAN, OMAR: Heli Yuweli 12" (TTTPALACE 002EP) 27.00
"Souleyman's vocals are strong and assured on the title track, supported by traditional dabke instruments like the mijwiz, oud and tablas. As with most of Souleyman's music, the song is celebratory and undeniably danceable. Anonymous duo Rezzett, a Trilogy Tapes staple, lure 'Heli Yuweli' into their hazy techno lair. Their remix filters and distorts the original vocals, adding a blown-out bassline, a bouncing synth melody and flanging claps. And all the while Rezzett retain dabke's core elements. The aptly named 'Rerezz' version of 'Heli Yuweli' is a standout -- more suited to a spliff session than a wedding reception. The original is made to sound as if it's playing in a nearby room, reduced to near-static noise, with a gauzy melody disrupted by rhythmic cymbals. Considering the dark, melancholic Legowelt remix on his last LP, Souleyman could do with more bizarre remixes of his original songs. Rezzett is known for their own thumping, distorted techno productions, but their work on this B-side makes it seem like the pair could remix just about anything." --Resident Advisor

THE VINYL FACTORY (UK)

VF 157LP

ABSTRAKTO: Abstrakto/Abstrakto Remex 2LP (VF 157LP) 38.50
Abstrakto are Grammy-winning vocalist and multi-instrumentalist Asdru Sierra (of Ozomatli) and LA-based producer and DJ Balthazar Getty. The duo's acclaimed self-titled debut album is a testament to their fusion of styles, showcasing Latin sounds with electronic production and a distinctly LA hip hop edge. It's presented here alongside an LP of remixes that expand upon the duo's boundary-pushing styles. Abstrakto Remex includes remixes by Abstrakto, Vizion, Anthony Valadez, King Dave, Free Slice, and Jansport J, with appearances from Kap G, Elan Atias, and Res. Two 180-gram LPs; disc one (Abstrakto) is black and disc two (Abstrakto Remex) is white. Bespoke gatefold sleeve. The first co-release from The Vinyl Factory and Balthazar Getty's Purplehaus Music.

TOCHNIT ALEPH (GERMANY)

TA 130CD

SELTEN GEHORTE MUSIK: 3. Berliner Dichterworkshop 12./13.7.73 CD (TA 130CD) 19.50
2015 reissue. First reissue of the 1973 debut LP by Selten Gehörte Musik. This is the first in a series of reissues of the legendary Selten Gehörte Musik records. Recordings of the 3rd Berliner Poetsworkshop (First Berliner Musicworkshop) with Dieter Roth, Gerhard Rühm, and Oswald Wiener, from July 12 and 13, 1973. CD packaged in full-color 12" LP sleeve (a reproduction of the original artwork) with printed 12" inner sleeve featuring rare photos and an English text on Selten Gehörte Musik by Gerhard Rühm. Edition of 500.


TA 131CD

SELTEN GEHORTE MUSIK: Novembersymphonie (Doppelsymphonie) 2CD (TA 131CD) 28.50
2015 reissue. First reissue of the 1974 Novembersymphonie (Doppelsymphonie) double LP by Selten Gehörte Musik. This is the second in a series of reissues of the legendary Selten Gehörte Musik records. Recordings of the second Berliner Musicworkshop with Dieter Roth, Gerhard Rühm, and Oswald Wiener, from November 15-26, 1973. Also included are the two bonus pieces from the 7" that was included with the first 100 copies of the original edition. Two CDs packaged in full-color 12" LP gatefold sleeve (a reproduction of the original artwork) with printed 12" inner sleeve featuring rare photos and an English text on Selten Gehörte Musik by Gerhard Rühm. Edition of 500.


TA 132CD

SELTEN GEHORTE MUSIK: Das Münchner Konzert 1974 2CD (TA 132CD) 28.50
2015 reissue. First reissue of Das Münchner Konzert 1974, featuring the all-star artist line-up of Dieter Roth, Gerhard Rühm, Oswald Wiener, Hermann Nitsch, and Günter Brus. This is the third in a series of reissues of the legendary Selten Gehörte Musik records. Originally published as a three-LP box by Hansjörg Mayer in 1975. Now reissued as a double-CD set packaged in illustrated gatefold 12" LP sleeve (a reproduction of the original artwork) with printed inner sleeve featuring rare photos and illustrations, as well as a 42x59 cm reprint of the original full-color concert-poster by Günter Brus. Edition of 500.

TROCADERO (GERMANY)

TR 20611LP

BARTOS, KARL: Communication LP+CD (TR 20611LP) 22.00
180-gram LP version. Includes CD. Communication is the debut solo album by ex-Kraftwerk member Karl Bartos. Originally released by Sony Music in 2003, 13 years after Bartos left the legendary electronic group, it has now been fully remastered for this reissue, complete with the bonus track "Camera Obscura" -- a song that transcends the term "bonus" and in the context of this edition becomes essential. The album is a concept record that deals with communication at the pivotal time in electronic media and digital culture shortly after the turn of the millennium. As Bartos put it in 2003, "Communication is about the way images shape our view of the world and how electronic media is going to change the contents of our culture." The world of media that Bartos described and envisioned has since become a day-to-day reality. This continued thematic resonance fully justifies the re-release of this definitive work, but there is another reason -- Bartos's former Kraftwerk colleagues also released an album in 2003, their first after a ten-year break and their first since Bartos left the band, and the media focused its attention on Kraftwerk's Tour de France Soundtracks, drawing interest away from Communication. Communication was so overshadowed that it is often referred to as Bartos's "lost album." Bartos produced the album with sound engineer Mathias Black at his home studio in Hamburg between August 2002 and January 2003, but he had been developing its concept since the turn of the millennium. Communication captures his reaction to the all-encompassing influence of digital media on society, cultural awareness, and communication, the very basis of contemporary human existence, focusing this theme through multiple aspects of what Bartos calls "new media reality." It's a conceptual framework that makes this overlooked electropop classic arguably more relevant in 2016 than when it was first released. Its remains without any loss of musical power, and Bartos's sense of joy in making the music as palpable as ever, vividly rendered in remastered sound by Michael Schwabe at Monoposto, Düsseldorf. Communication documents and proves that Bartos created his own musical language ahead of, and independent from, the cultural zeitgeist or anything resembling a fleeting fashion, and connects seamlessly to Bartos's critically acclaimed 2013 follow-up, Off the Record (BB 079CD/LP). Simply put, Communication is the reintroduction of a timeless statement. "It is not the business of music to be fashionable. The meaning of music is to bring people together." --Karl Bartos, 2016


TR 20613EP

BARTOS, KARL: Life (2016) 7" (TR 20613EP) 8.00
Two tracks from ex-Kraftwerk member Karl Bartos's 2003 album Communication, released in advance of the album's 2016 remastered reissue (TR 20612CD/20611LP). A classically trained percussionist and keyboard player, Bartos was a key member of Kraftwerk's classic line-up between 1975 and 1990, co-writing such masterpieces as "The Model," "The Robots," "Numbers," and "Pocket Calculator." Communication is full of melody-driven numbers that operate in a dual universe of pop and electronica. Lead single "Life" is perhaps the most perfect representation of this; its lyrics speak volumes, while its breezy, harmonious, infectious structure almost seems to pay return tribute to New Order, a group that greatly admired Bartos's work.

TROST (AUSTRIA)

TROST 109EP

NIGHTY NITE, THE: Dimples 12" (TROST 109EP) 14.50
2011 release. The Nighty Nite creates a tragic black comedy soundtrack to a meaningless existence, as if Woody Allen made a horror movie about a punk rock band. For the project, John Congleton, founding member of The Paper Chase and renowned recording engineer, and Jason Garner (The Paper Chase, The Polyphonic Spree, The Deathray Davies) enlisted members of Wires Under Tension (Chris Tignor), Shearwater (Kevin Schneider), and Hospital Ships (Jordan Geiger) for new project the nighty nite. Their debut EP echoes John Cale's sardonic mix of pop, orchestra, and skronk and the atmospheric doom of late-period Scott Walker.


TROST 135LP

CHIPPENDALE/GUSTAFSSON/PUPILLO: Melt LP (TROST 135LP) 22.00
LP version. Begun as a temporary project in 2014 by Mats Gustafsson (The Thing, Fire!), Brian Chippendale (Lightning Bolt), and Massimo Pupillo (Zu), this trio soon evolved into a band project. They're now releasing their first album on Trost Records, with a tour to follow in 2016. Mats Gustafsson: saxophone; Brian Chippendale: drums; Massimo Pupillo: bass.


TROST 136CD

LOK 03+1: Signals CD (TROST 136CD) 17.00
Alexander von Schlippenbach: piano; Aki Takase: piano; DJ Illvibe: turntables; Paul Lovens: drums. Recorded by Rainer Robben at AudioCue, Berlin. Lovens joins the Lok 03 trio of Schlippenbach, Takase, and DJ Illvibe for the follow-up to their 2005 debut. CD version includes five extra tracks. Mastered by Beat Halberschmidt. Artwork by Philip Hillers. Liner notes by Yoko Tawada.

UNSEEN MUSIC

UNSEEN 008LP

HELIOS: Yume LP (UNSEEN 008LP) 18.50
LP version. Yume takes its title from the Japanese word for "dream" and delivers an otherworldly ambient-electronic hybrid that's cinematic in scope yet intimate in emotion. In making the album, composer and multi-instrumentalist Keith Kenniff (the sole artist behind Helios) has created a warm sonic tapestry from luminous guitar lines, elegant piano work, ingeniously-crafted rhythms, and lo-fi electronic elements. Though Kenniff's graceful maneuvering of mood and tone lends Yume a journey-like quality, the album offers pieces as captivatingly disparate as "Pearls" (which blends heavy beats and lilting piano melodies; cascading guitar riffs and airy atmospherics) and "Embrace" (which closes out the album with a glimmering expanse of sound). Built from both electronic experimentation and live instrumentation, Yume also constructs its richly-detailed textures by drawing from a repertoire of sound that ranges from toy tambourines to serendipitously-recorded environmental noises. Raised in rural Pennsylvania, Kenniff put out Helios's 2004 debut album Unomia while studying percussion at Boston's Berklee College of Music. Since then, he's released five more albums as Helios, in addition to collaborating with his wife Hollie Kenniff in the shoegaze-inspired pop duo Mint Julep and composing music for such clients as Paramount Pictures, Apple, Facebook, and Google. CD includes two extra tracks.

UNTERTON (GERMANY)

UTON 008EP

KYLE, ETAPP: Continuum EP 12" (UTON 008EP) 12.00
Ukraine-born, Berlin-based producer and DJ Etapp Kyle follows his contribution to the 2015 Ostgut Ton | Zehn compilation and two 12"s on Ben Klock's Klockworks label with his debut on Unterton. The fazing bleeps, synths, and subdued claps of the atmospheric "Opto" precede "Ahora," which builds upon this vibe with more asynchronous drum patterns, well-placed drips of melody, distant pulses, mesmerizing pads, and hints of rattles. "Continuum" counteracts industrial hammer jabs and reduced, puzzling synth pads with a steady, stubborn kick. "Limb" contrasts unconventional pulsating, hypnotic synth tones with sharp claps and snare sounds, rounding off this 12" of futurist techno.

VIETNAM (FRANCE)

BEC 5156345

O: Un Torrent LP+CD (BEC 5156345) 25.00
LP version in gatefold sleeve. Includes CD. Olivier Marguerit aka O has long been considered one of the best sidemen of French indie pop. As a permanent member of Syd Matters, he was used to drawing on his extensive background to highlight and boost the work of others -- until one day he decided to look out for himself. Following his 2015 EPs Ohm part1 and Ohm part2, O showcases his brilliant and erudite form of pop with his full-length debut, Un Torrent.

VINYL ON DEMAND (GERMANY)

VOD 121-1LP

MUSLIMGAUZE: Opaques LP (VOD 121-1LP) 25.00
Limited edition of 200. Standalone edition of Vinyl-on-Demand's expanded reissue of Opaques by Muslimgauze, included in its 2014 Chasing the Shadow of Bryn Jones 1983-1988 box set and originally released as a cassette on Product Kinematograph in 1983. The set focuses on the early output of the Manchester, England-based Bryn Jones, who produced nearly 200 albums between 1982 and 1998, before he passed away in 1999 at age 37. An anti-colonialist at heart, Jones dedicated most of his music to Muslim-world struggles during his lifetime, such as Soviet-occupied Afghanistan, the Iran/Iraq war, and the Lebanon civil war, to name a few, with an emphasis on the Israeli-Palestinian conflict. Jones was pro-Palestine, often evidenced on album and track titles as well as dedications. Muslimgauze music can be considered a sonic treatise on Muslim-world conflicts in the form of exotic soundscape narratives, driving musical protest and rhythmic assertion. As a side-effect of being prolific, Jones worked in a variety of styles and successfully melded traditional ethnic music of places he championed with Western urban stylings such as techno, breakbeat, and dub. Some credit him as being the "Godfather of Dubstep." Perhaps Jones's musical brilliance shone brightest as an audio editor who deftly juxtaposed unlikely sounds in ways that now cannot be envisioned otherwise. In 1992 Jones wrote a manifesto about his music and influence; decades later, his vision is more relevant than ever. "The Principle Influence behind Muslimgauze is the political facts of the middle-east, though support of the PLO is the main Backbone. There are no musical influences, only political facts and figureheads e.g. Arafat, Gaddafi, Bhutto, Khaled etc. Such things are the starting point from which Muslimgauze music is taken. We have just (Gulf War) had a small skirmish in the middle-east, this area of the world is the most important quiet soon. Every countries going to have to choose which side it is on, to help free the people of Palestine. . . . There is a lot more to Muslimgauze than just a few pieces of music on a record or CD. There are no Bands around who I go out of my way to hear/see, the main-music I listen to is authentic and unable to be pigeonholed, people seem to buy what there told to, also they hear what other people have decided is good. Go Out and Discover." --Bryn Jones, February 29, 1992, Manchester


VOD 121-3LP

MUSLIMGAUZE: Hunting Out with an Aerial Eye LP (VOD 121-3LP) 25.00
Limited edition of 200. Standalone edition of Vinyl-on-Demand's Hunting Out with an Aerial Eye by Muslimgauze, included in its 2014 Chasing the Shadow of Bryn Jones 1983-1988 box set. The set focuses on the early output of the Manchester, England-based Bryn Jones, who produced nearly 200 albums between 1982 and 1998, before he passed away in 1999 at age 37. An anti-colonialist at heart, Jones dedicated most of his music to Muslim-world struggles during his lifetime, such as Soviet-occupied Afghanistan, the Iran/Iraq war, and the Lebanon civil war, to name a few, with an emphasis on the Israeli-Palestinian conflict. Jones was pro-Palestine, often evidenced on album and track titles as well as dedications. Muslimgauze music can be considered a sonic treatise on Muslim-world conflicts in the form of exotic soundscape narratives, driving musical protest and rhythmic assertion. As a side-effect of being prolific, Jones worked in a variety of styles and successfully melded traditional ethnic music of places he championed with Western urban stylings such as techno, breakbeat, and dub. Some credit him as being the "Godfather of Dubstep." Perhaps Jones's musical brilliance shone brightest as an audio editor who deftly juxtaposed unlikely sounds in ways that now cannot be envisioned otherwise. In 1992 Jones wrote a manifesto about his music and influence; decades later, his vision is more relevant than ever. "The Principle Influence behind Muslimgauze is the political facts of the middle-east, though support of the PLO is the main Backbone. There are no musical influences, only political facts and figureheads e.g. Arafat, Gaddafi, Bhutto, Khaled etc. Such things are the starting point from which Muslimgauze music is taken. We have just (Gulf War) had a small skirmish in the middle-east, this area of the world is the most important quiet soon. Every countries going to have to choose which side it is on, to help free the people of Palestine. . . . There is a lot more to Muslimgauze than just a few pieces of music on a record or CD. There are no Bands around who I go out of my way to hear/see, the main-music I listen to is authentic and unable to be pigeonholed, people seem to buy what there told to, also they hear what other people have decided is good. Go Out and Discover." --Bryn Jones, February 29, 1992, Manchester


VOD 121-4LP

MUSLIMGAUZE: Buddhist on Fire LP (VOD 121-4LP) 25.00
Limited edition of 200. Standalone edition of Vinyl-on-Demand's expanded reissue of Buddhist on Fire by Muslimgauze, included in its 2014 Chasing the Shadow of Bryn Jones 1983-1988 box set and originally released on Recloose Organisation in 1984. The set focuses on the early output of the Manchester, England-based Bryn Jones, who produced nearly 200 albums between 1982 and 1998, before he passed away in 1999 at age 37. An anti-colonialist at heart, Jones dedicated most of his music to Muslim-world struggles during his lifetime, such as Soviet-occupied Afghanistan, the Iran/Iraq war, and the Lebanon civil war, to name a few, with an emphasis on the Israeli-Palestinian conflict. Jones was pro-Palestine, often evidenced on album and track titles as well as dedications. Muslimgauze music can be considered a sonic treatise on Muslim-world conflicts in the form of exotic soundscape narratives, driving musical protest and rhythmic assertion. As a side-effect of being prolific, Jones worked in a variety of styles and successfully melded traditional ethnic music of places he championed with Western urban stylings such as techno, breakbeat, and dub. Some credit him as being the "Godfather of Dubstep." Perhaps Jones's musical brilliance shone brightest as an audio editor who deftly juxtaposed unlikely sounds in ways that now cannot be envisioned otherwise. In 1992 Jones wrote a manifesto about his music and influence; decades later, his vision is more relevant than ever. "The Principle Influence behind Muslimgauze is the political facts of the middle-east, though support of the PLO is the main Backbone. There are no musical influences, only political facts and figureheads e.g. Arafat, Gaddafi, Bhutto, Khaled etc. Such things are the starting point from which Muslimgauze music is taken. We have just (Gulf War) had a small skirmish in the middle-east, this area of the world is the most important quiet soon. Every countries going to have to choose which side it is on, to help free the people of Palestine. . . . There is a lot more to Muslimgauze than just a few pieces of music on a record or CD. There are no Bands around who I go out of my way to hear/see, the main-music I listen to is authentic and unable to be pigeonholed, people seem to buy what there told to, also they hear what other people have decided is good. Go Out and Discover." --Bryn Jones, February 29, 1992, Manchester

WHITE MATERIAL

WM 005EP

DJ RICHARD: Nailed To The Floor 12" (WM 005EP) 17.00
2016 repress; originally released in 2014. "Out-there, fresh, hard hitting, original 1990s US House/Techno leaning killer EP" --Hard Wax

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