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Forced Exposure New Releases for 4/10/2016

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New music is due Stephen O'Malley, Matt Elliott, and Kevin Verwijmeren, from while old music is due from Arthur Russell, Philip Glass, and Alva Noto.

 

 

FORCED EXPOSURE MAILORDER UPDATE
NEW RELEASES FOR THE WEEK OF 04/11/2016

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ALBUM LABEL (GERMANY)

ALB 008LP

MM STUDIO: Good Star Dubs LP (ALB 008LP) 17.50
LP version. Includes download code. This album by Tadd Mullinix and Daniel Meteo originates from a studio session that took place in Berlin in 2007. Mullinix presented the idea of working on a series of rhythms he had made in the style of the mid-'80s early digital age of Jamaican producers (starting with Prince Jammy's "Sleng Teng" in 1985). One very intense week later, Mullinix and Meteo mixed down about 15 tracks of original dub beats that included handmade recordings of guitars, organs, keys, off-beats, and melodies with plenty of echoes, delays, drop-outs, and the vintage character of the Berlin studio. With the exception of two tracks they contributed to compilations released by labels run by mutual friends (Monkeytown and Shitkatapult), Mullinix and Meteo never put these recordings out for others to hear. The two maintained a strong friendship, and eventually decided that it was the right time to release a complete album featuring six of the recordings plus two alternate mixes. Listening to Good Star Dubs in its final form, the music seems to have even more bittersweet deepness, rolling out touching basslines, deep space echoes, and a reductive, intense musical approach. Mullinix lives in Ann Arbor, MI, and has produced countless EPs, singles, albums, and remixes under several monikers including JTC, 2AMFM, and Charles Manier, to name a few. He is probably best known for his advances in hip-hop production as Dabrye (on Ghostly International). Meteo lives in Berlin and runs the record labels Shitkatapult and Albumlabel. He also works with Random Noize Musick, with which he publishes the music of artists such as Apparat, Oval, and T.Raumschmiere. Meteo has released two solo albums and several others as half of the duo Bus, a collaboration with Sun Electric's Tom Thiel.

AUDIKA RECORDS

AU 1015LP

RUSSELL, ARTHUR: Tower Of Meaning LP (AU 1015LP) 19.00
"Arthur's epic minimalist orchestral composition conducted by the late Julius Eastman. Stunningly beautiful, mercurial, and moving. The transcendental, ephemeral soundscape originally intended for theatrical performance. First released in 1983 on Chatham Square. The Audika release replicates the original artwork with remastered audio." 'Almost medievally pure music in which tone combinations of two or three notes tuned to modal/raga scales are played by various instrumental groups. There is a love of listening to the pure combinations per se, as they are delivered at a regular, moderate pace...then, unpredictably, rich or dissonant chords will be held that open your mind's ear, and take your breath away....the sudden ceasing of the music at certain points also has a similar effect.' --'Blue' Gene Tyranny

AUDIOMER (BELGIUM)

AUDIOMER 014LP

KUNLUN: Time Remaining Unknown LP (AUDIOMER 014LP) 19.50
Kunlun is but one of the many aliases of French artist Max P., who's known to the world as the man behind percussion-driven psychedelia projects like High Wolf and Black Zone Myth Chant. Since 2009 he has released LPs through Not Not Fun, Holy Mountain, Editions Gravats, and Leaving Records. With Time Remaining Unknown, he serves up a dish of eccentric library/new age music gone wrong. The LP is based on improvisations recorded in the summer of 2011, marking Kunlun's first steps in analog synthesis with a very simple set up. Some of those improvisations were also featured on a 2012 Winged Sun tape called Kunlun III. The A-side offers five tracks that explore a sort of heavily layered chamber acid, diving into low frequencies and gravelly bass synthesizer with weirdly disorienting, fluctuating time signatures. Side B is one long trippy maelstrom of seismic submarine bass hypnotism with deep, eroding noise bursts blasting through. As a whole it makes for a dark and claustrophobic piece of psychedelia that will delight fans of Hieroglyphic Being, Bernard Fièvre, Ron Morelli, or Low Jack. Artwork by Belgian artist Lore Vanelslande.

BASSY RECORDS (GERMANY)

BASSY 002LP

ROGALL, DON: Shake Your Hips: The Sound of Bassy Club Volume 2 Compiled by Don Rogall LP (BASSY 002LP) 21.00
The Bassy Club, Berlin. One big bow to the music and lifestyle of the '50s and '60s. Its DJs have popularized many tunes that had been mostly forgotten or unavailable, and which were eventually reissued, making the club's own compilation an obviously good idea. Resident DJ Don Rogall presents a selection of songs that have been mainstays at Bassy for years, along with previously unreleased tunes, collecting numerous specially remastered and restored versions for this one-of-a-kind compilation. The cover art features an homage to Tura Satana by Lou on the Rocks, a dancer at the club's Hoochie Koo night. This fine compilation opens with the charming, exotic, and (mostly) forgotten "Bermuda," performed by Ray Sharpe and produced by Lee Hazlewood, followed by Ric Cartey's driving, danceable cover of Willie Dixon's "Mellow Down Easy," one of the greatest juke joint dancers ever. Like most of the versions on this compilation, it differs from the previously released material -- and the same goes for Slim Harpo's "Shake Your Hips." This alternate mix of an all-time classic will rock your socks off. The Valentines' "That's It Man" is a loud, irresistible boogie like no other. Kenny Loran's "I Chickened Out" is a fun little tune with an irresistible, boppy beat -- but again, only on this version. The only tune here from Europe is Bulgarian jazz singer Lea Ivanova's version of Adriano Celentano's "Basta con la Luna," and it's a real gem. "Daddy Lolo" by Ganimian & His Orientals is a true classic of exotica; Rogall played the single for decades, until he found this original instrumental take of Charles Gaminian himself. It's overdubbed here with vocals by Saudia Young, who performed it in a sound system style at a Hoochie Koo night at the Bassy Club. Side B kicks off with a version of Rogall's signature tune, an exclusive version of a John Lee Hooker cut credited here to John Lee Booker, followed by an up-tempo version of "Double Eyed Whammy" by New Orleans singer and bandleader Tommy Ridgley. The Robins' "The Turkey Hop" was conducted by Johnny Otis, a hero of the genre -- just like Buddy Johnson, who directed the orchestra for his sister Ella Johnson in this tough but smooth version of "No More Love." The Coasters' "Young Blood," Jewel & The Rubies' "Kidnapper," and Guy Mitchell's "99 Years - Dead or Alive" close it out.

BEST WORKS (GERMANY)

BWR 016EP

BAKRADZE, GACHA: Drift EP 12" (BWR 016EP) 12.50
Gacha Bakradze, a multi-talented DJ and producer from Georgia, opens his Drift EP with the title-track, which blends rhythm and beats with warm, flowing soundscapes. He brings in more hypnotic lead sounds with the second track, "Golshifteh." The B-side opens with a techno-infused remix from Berghain resident Norman Nodge, elevating "Drift" to real dancefloor bliss. "Tiresome Walk" moves through playful melodies and laid-back rhythms in a majestic slow burn, suitable as both a stirring set opener and an emotional end.

BIG CROWN

BC 001-7

EL MICHELS AFFAIR: 4th Chamber/Snakes 7" (BC 001-7) 8.50
"The wait is over, El Michels Affair is back with the follow up to 2009's underground cult classic 'Enter the 37th Chamber'. The first single '4th Chamber,' a cover of one of the toughest GZA tunes from Liquid Swords finds EMA's signature sound stronger than ever. Fuzz guitar and synths reminiscent of Morricone scoring Scarface dance over absolutely crushing drums giving the original RZA production a proper run for its money. The lush production and choices of instrumentation take a hip hop classic, and bring almost a heavy metal influence to it while never losing the groove. The B side is something of a Big Crown family affair, El Michels inviting the one and only Lee Fields to the track to sing the vocal part over from Ol Dirty Bastard's rawer than raw album cut 'Snakes.'"


BC 006-10

MICKEY & THE FABULOUS FIVE: Mickey & The Fabulous Five 10" (BC 006-10) 16.00
"In the late summer of 1967, local music entrepreneur E.J. Henke took the Fabulous Five into Jeff Smith's Texas Sound Studio to record two sessions of funky New Breed Soul instrumentals as well as a backing session for Charles Russell's group, The Three Dudes. Still a teenager, Mickey and his father both signed Henke's recording contract. While their recordings with The Three Dudes were released as a single on Henke's Satin Records, the superb instrumentals The Fabulous Five cut during the summer of '67 remained unreleased until now. Relying heavily on the rhythm section, this set of recordings captures the young band crystallizing what would become their signature sound. These early sessions stand alone as a key chapter in the development of one of the greatest, heaviest exponents of funk."

BLACK ACRE (UK)

ACRE 007LP

COMMODO: How What Time 2LP (ACRE 007LP) 36.00
Commodo, one of the UK underground's best-regarded producers, returns with How What Time, following his impressive 2015 collaborative double-12" with Kahn and Gantz (Deep Medi Musik). An artist with deep roots in bass music's history and present, Commodo experiments with a variety of underground elements, using components of hip hop, grime, dubstep, and more. On his debut album he pushes his sound further while managing to uphold the basic formula of space and bass. Continuing to add a thoughtful touch to the deeper ends of UK bass music, How What Time sees Commodo create deeply meditative jams that harness a raw energy and sub-bass power. Made in several different places in the UK, Turkey, and Germany, the album sees Commodo fuse the UK's raw and vibrant grime and hip hop scene, as heard in the fierce and murky soundscapes of "Itchin" with an unmistakable vocal from Trim. The album's standout track "Set It Straight" features Croydon's fast-rising rapper and beatmaker Rocks FOE, and like Commodo's 2014 Jme-featuring hit "Shift," is an instant underground anthem. Commodo blends Madlib-style hip hop beats with the fierce spirit of grime, while the addition of Rocks FOE's straight-talking charisma and energetic flow transitions "Set It Straight" into an up-tempo head-banger. Commodo's inherently unique and accomplished production style has earned him recognition right from the outset of his ascendancy, garnering attention from a host of key figures within the electronic community. While making How What Time he sought to "strike a balance between a sample-heavy, rap style sound palette and the energy of the 140bpm based music." From the tough bass weight of his dancefloor-leaning productions to the tonally rich and immersive qualities of the album's more intricate tracks, How What Time maintains a resounding freshness throughout.


ACRE 061EP

SULLY: Vamp 12" (ACRE 061EP) 14.00
Sully delivers a plate of austere but bass-heavy Black Acre wrongness. Departing from his junglist output, Sully turns in a distinctly futurist and spacious collection of bangers. "Vamp" is a six-in-the-morning drama piece that explodes into a juked-out binary code rinser. "Arco" features a pure military grime skank with fizzing synths, hectic percussive switch-ups, and Roger Corman's laser cannon. "Bronze" returns to seeming familiar places as the tempo is ratcheted up for an eastern junglist detour full of mystery and deft drum programming.

BPITCH CONTROL (GERMANY)

BPC 264LP

ALLIEN, ELLEN: LISm LP+CD (BPC 264LP) 21.00
First vinyl edition of Ellen Allien's LISm, originally released on CD in 2013 (BPC 264CD). LISm is a milestone in the history of Ellen Allien's BPitch Control label; rarely has an album from the circle of BPC artists deviated so far from the club context. Ellen Allien radically disposes of all established musical templates and creates space for 45 minutes of sonic experiments that lie well beyond any functional paradigm; a highly emotional soundtrack for one's inner cinema, but also a creative progression with a considerable fun factor.

BULL TONGUE REVIEW

BTR 001

BULL TONGUE REVIEW: No. 1 MAG (BTR 001) 5.00
A small re-print of the elusive issue No. 1 from January/2015. A Quarterly Journal of Post-Rock Cultural Pluralism, edited by Byron Coley. In this issue: Todd Abramson, Steve Albini, Alan Bishop, Bree, Rej T. Broth, Joe Carducci, Lisa Carver, Benoit Chaput, Sharon Cheslow, Byron Coley, Karen Constance, Nigel Cross, Chris D, Irene Dogmatic, Lili Dwight, Ray Farrell, Andrea Feldman, Tom Givan Tom Greenwood, Mats Gustafsson, Angela Jaeger, Elaine Kahn, Ira Kaplan, Maria Kozic, Matt Krefting, Ted Lee, Donna Lethal, Owen Maercks, Marc Masters, Hisham Mayet, Richard Meltzer, Thurston Moore, Dylan Nyoukis, Gary Panter, Tony Rettman, Bruce Russell, Suzy Rust, Andy Schwartz, Chris Stigliano, Brian Turner, Naomi Yang ?. 50 pages, black & white 8.5" x 11".

BYG RECORDS

BYG 318LP

SHEPP, ARCHIE: Blasé LP (BYG 318LP) 14.00
2016 repress. 18th volume in the BYG Actuel series; gatefold sleeve, 180 gram vinyl. "Originally recorded at Studio Davout in Paris on August 16th, 1969. An intense and sublime album by Archie Shepp with Lester Bowie and Malachi Flavors (from the Art Ensemble of Chicago) plus Dave Burrell, Philly Joe Jones and Jeanne Lee. Five tracks. Gatefold sleeve."

CADENZA (GERMANY)

CADENZA 108EP

FIEGEN, SEBASTIAN: Theofidelity 12" (CADENZA 108EP) 14.00
German producer Sebastian Fiegen rolls out his debut solo release for Luciano's Cadenza with a trio of excellent house cuts. "Dopeman" opens the EP with a rolling Chi-town house-style groove, a simple yet effective filtered vocal loop, and sustained strings. Fiegen keeps up the pace with the drum-led house grooves of "Anando" as the vocal refrain cuts in and out and the bassline and woody percussion maintain the bouncing vibes. "TH01" brings more of the feel-good factor with its use of the looped samples and lazy, hypnotizing drums.

CIRCUS COMPANY (FRANCE)

CCL 001EP

FACCINI & JAW, PIERS: Traitor Creator (Nôze Remix) 12" (CCL 001EP) 14.00
JAW (dOP) returns to "Traitor Creator," a collaboration with British singer-songwriter Piers Faccini from JAW's 2014 Midtown project (CC 016CD). It's a haunting track very much led by Faccini's fragile vocal, with JAW laying down a subtle undercurrent of harmony over delicate guitar and sparse percussion. Nôze maintain the pensive mood with their remix, mixing the vocals to further accent the singers' interplay. Using a stripped-back beat and choice slices of guitar alongside light touches of synth, Nico and Eze draw on the fundamental spirit of the track and take it to a new, equally captivating place for a club-friendly remix.

COMEME (ARGENTINA)

COMEME 006LP

RIONEGRO: Rionegro 2LP (COMEME 006LP) 25.00
In January 2013, Sebastian "Sano" Hoyos, Gregorio "Gladkazuka" Gómez, Natalia Valencia, and Matias Aguayo gathered at Rionegro, a town on the outskirts of Medellín, Colombia. Others, like Byron Idárraga, Natalia Lara, Luis Miguel "Cuchara" Jaramillo, and more, would soon join the sessions. The project followed a musical spirit that Sano initially invoked by playing salsa, descarga, boogaloo, merengue rhythms on contemporary machines. Each participant was conscious of the aim to create something to which one could dance with the same steps as those used with the great salsa classics, and an authentic representation of the group's love for music, rather than a mere a fusion of styles. Based in a house by the mountains, they recorded during extended late-night jams in and around the house (which is why barking dogs and other background noises are sometimes audible). Gladkazuka worked drum machines and sequencers, recorded, and played his distinct minimalist electric guitar riffs of dark Latin psychedelia, recalling moments when beat and rock 'n' roll embraced cumbia. Sano worked to reinvent the dirty, distorted salsa cowbells, the conga cascades of the energetic descargas, and the aggressive trombones from old vinyl, with production help from Gregorio Gomez and Aguayo. Aguayo programmed drum machines, played rhythms and guitar, and wrote lyrics. Valencia, a composer, was also present for the whole project, and appears on several tracks playing the keyboards, which add another level of ghostly, magical notes and colors to the production. Jaramillo, a young percussionist from Medellín, comes from a family deeply rooted in salsa; he brought his playfulness and groove to most of the songs. Idárraga is something of a musical mentor to all, not only as a living encyclopedia of salsa, house music, and new wave, but also a great rhythm programmer, especially on the 707. After the recordings, the Rionegro crew set out to play in Medellín and Bogotá, testing out their tracks on sound systems and dancefloors. The young house-and-techno-loving audience that grew up with salsa embraced the tracks immediately. The track "Descarga," for instance, with its technoid sound and salsa rhythm, quickly incited salsa dancing in the crowd. People also joined in with the repetitive chants, while Jaramillo delivered his tropical rhythms on electronic drum pads. Rionegro is another installment in Cómeme's quest to create music for the dancers, wherever they may be. Includes covers of tropical classics by Los Mirlos, Willie Colón, and Afrosound.

CURLE RECORDINGS (BELGIUM)

CURLE 055EP

MICROWORLD: Orange Sun 10" (CURLE 055EP) 14.00
Marbled orange 10". Everyone knows Microworld from his legendary 1999 EP on Derrick May's Transmat label. His output has been rather limited since then, with only a handful of releases on labels like Styrax Leaves and Millions Of Moments. He sent Curle a demo after hearing some of the label's releases, and Curle was thrilled to say the least. The best Detroit techno to come out of Australia, and that's a fact.

DEEPER KNOWLEDGE RECORDS

DKR 214CD

STILL COOL: Still Cool CD (DKR 214CD) 15.00
"At long last, the legendary unreleased Still Cool album. Producer Carl 'Stereo' Fletcher had been planning this LP on his Uprising label since the late 1970s. In fact, it was nearly released in Nigeria (!!!), but due to a faulty tape machine on a trip to Lagos, it never happened. Finally released nearly 40 years later, here it is. Still Cool, like Stereo and his Uprising label, were part of the vibrant musical arm of the 12 Tribes of Israel Rastafarian group in the 1970s. Still Cool regularly performed on 12 Tribes stage shows. Four of the ten tracks on this album were released as singles back in the day, including one ('Sweeter Music') credited only to Still Cool vocalist Frankie Diamond. The other six tracks have never been released until now. This is a fantastic 1970s roots harmony album that should appeal to fans of classic harmony a la The Abyssinians, Mighty Diamonds, Wailing Souls, Burning Spear, Culture and Bob Marley & The Wailers. The CD version includes six bonus tracks of alternate and extended mixes, culled from rare 45 and 12-inch singles, as well as longer/ unedited versions of the 10 album tracks."

DEGUSTIBUS MUSIC (PERU)

DEGU 019EP

BATONGO: El Cuarto EP 12" (DEGU 019EP) 12.00
The obscure Batongo is back with his fifth EP. Three tracks so close and yet so different: a candid peak into sins and temptations, a eulogy to the erotic world of clubbing, and finally a debate on a society close to collapse.

DEMDIKE STARE (UK)

DDS 017LP

ORIOR: Strange Beauty 2LP (DDS 017LP) 25.50
Orior's Elevation 7" was released in 1979 and is one of the records that Sean Canty and Miles Whittaker of Demdike Stare shared an obsession over around the time they started working together 30 years later. Spurred on by rumors of an unreleased LP, Demdike were determined to track them down but had scant information to go on, just the names "Clip and Phil" credited on the 7", and an out of date contact for the obscure label Crystal Groove. After some detective work, and with a little help from Frank at Vinyl On Demand, they managed to get a postal address for Clip that was ten years old and sent a note over. Fortuitously, a letter was returned in reply from a Jeff Sharp (Clip) who was extremely surprised to be asked about recordings he had long forgotten about. This started a rewarding process: the master tapes were found in Jeff's loft, but were in poor condition so were passed on to Andy Popplewell at AMR to bake and transfer. As Miles Whittaker explains: "The day I went to AMR to collect the masters, before I'd even listened to anything, the engineer Andy Popplewell told me there was 'pure gold' on those tapes. He said it was an absolute joy to listen as the tapes were being recorded, so our anticipation was through the roof..." The material is indeed special, in some respects typical of the era -- lots of experimental drum machine experiments and so on, but also possessed of a totally unexpected character: there are moments that recall the dense atmospheric pieces of Angelo Badalamenti, others that evoke classic Vangelis, or indeed the eerie soundscapes of Leyland Kirby. There are passages that bring to mind Bruce Gilbert's Dome project, and parallels can be drawn with the Fourth World ambience of Jon Hassel and Brian Eno, as well as early Coil. In short -- it's a revelatory set of recordings that, were it not for some resourcefulness and an awful lot of good luck, would have just rotted away in an attic somewhere in South East England. Lucky for us, we can now hear it in all its expansive glory, spread across two meticulously curated LPs on this wonderful label.

DIAL (GERMANY)

DIAL 035LP

JAMES K: Pet LP (DIAL 035LP) 21.00
New York native James K has spent the 2010s quietly honing her sound and peculiar aesthetic; equally organic and electronic, her sound is a combination of odd dreams, industrial beats, and vocals, both incomprehensible and appealing, with a thick layer of glitter on top. James K is a concentrated dose of emotion mixed with sorrowful iciness, which in turn ties together ripped, broken, morphed, and enchanted samples. James K stands for a fusion of visual and sonic elements, deeply rooted in both conscious art practice and downright freak-out. James K creates a mythology of her own. Her debut album, Pet, is a co-release by Dial and her own label, She Rocks! In James K's words, "The underlying desire of Pet divides into two parts: an escape into ethereality and a mischievous denial of my own experience. It narrates my search for honest expression by means of the premature denial -- a childish excursion into a world of monstrosity and innocence. Pet reflects my mental state during its production -- as a person, I was owned, objectified and hurt by other, and that wound I then unwillingly internalized. I turned to my music as a way to dissect these thoughts. The product became my possession, or 'pet.' In retrospect, this process gives me strength over myself; love -- knowledge and wisdom enacted. The arrangement of the music and the Pet itself relates to my endless struggle, namely, my attempts to reclaim myself." Pet follows James K's appearance on Dial's 2015 15th-anniversary compilation All (DIAL 032CD) and a 2015 mini-LP from her noise-pop project Seth (with producer Gobby) released on 1080p. Includes poster.

ECSTATIC

ELP 019EP

L/F/D/M: Crocodiles in the Ceiling EP 12" (ELP 019EP) 14.50
Richard Smith aka L/F/D/M reports four barreling hardware shots from London's EBM and techno underworld with the tense, nervous energy of his Crocodiles in the Ceiling EP for Not Waving's Ecstatic label following a slew of 'floor-wreckers with Optimo Trax and Diagonal (as Bronze Teeth and Green Gums with former Factory Floor member Dom Butler). This EP finds him flexing a buzzing set of dancefloor prongs amid the sweat-mist and strobelights. The result is a visceral, animated style, pushing at the most frayed, wild-eyed aspects of post-industrial/acid/techno with inarguably potent impact and effect.

EDITION OMEGA POINT (JAPAN)

OPA 020CD

ICHIYANAGI, TOSHI: Shikisokuzekuu-Kuusokuzeshiki CD (OPA 020CD) 25.50
The details of Shikisokuzekuu-Kuusokuzeshiki (1964) are unknown except that it was created at the NHK electronic music studio. According to Toshi Ichiyanagi, there were various discussions about the title, but it would seem to have been eventually broadcasted on the radio with the title Kuu after a producer renamed it. Here, the original title is used, following Ichiyanagi's initial intention. This work has no relation to the short experimental film Shikisokuzekuu (1974), produced by filmmaker Toshio Matsumoto with tape music by Ichiyanagi. Extended Voices was released in 1967 on the Extended Voices LP on Columbia's Odyssey sublabel; a new version mixing baritone voices of Takashi Matsudaira to a monaural tape part was released by Omega Point in 2014 (OPX 013CD), but since the stereo version was found later, it is added here as a tape work without voice. Tape recording provided by Gregor Meyer. Gatefold cardboard sleeve. Liner notes in Japanese and English. Edition of 500 copies.

ELASTIC DREAMS (UK)

EDREAMS 002LP

A SAGITTARIUN: Elasticity 2LP (EDREAMS 002LP) 23.50
Double LP version. Ambient techno exponent A Sagittariun fires off another full-length album transmission on his own Elastic Dreams label. Elasticity is the Bristol-based artist's second long-player and the follow-up to his acclaimed 2013 debut, Dream Ritual (EDREAMS 001CD/LP). Dream Ritual firmly established A Sagittariun as an artist whose musical chops and integrity operate largely outside of the mainstream, and as a producer who chooses to put the music firmly at center-stage while opting to remain relatively anonymous within the music scene. Elasticity marks a return for A Sagittariun follow a trio of singles in early 2015 (for Hypercolour, Secretsundaze, and Elastic Dreams), and fans of the slippery and elastic sounds that hallmarked his debut album will not be disappointed. As A Sagittariun explains, "Elasticity was recorded over quite a short period, but the sketches and ideas have been germinating for some time, so sonically it's very coherent and consistent and moves in a way that I personally like albums to move in, with a narrative and flow that holds you right to the end. The recipe for Elasticity was always to be malleable and pliable with the sounds and tempos; for me it's all about the listening experience, and creating a landscape and a world within that one can really get deep into and explore, it's optimistic and progressive music for the head, heart and feet. I really do advise the listener to don headphones and take the trip with me." Over the album's tracks, and a supporting set of "Transmissions" from the likes of Robert Anton Wilson and Terence McKenna, Elasticity delves into a myriad of textured sounds and pliable rhythms, touching on ambient, industrial, breaks, and dub influences.

ELECTRIC DELUXE (GERMANY)

EDLX 046EP

CLOUDS: Timeslip Roadmender 12" (EDLX 046EP) 12.50
Clouds (Calum Macleod and Liam Robertson) grow more gnarled, savage, and formidable than ever with four scuzzy techno cuts full of rattling irreverence that settle in nicely between AnD's gunslinging and Sawlin & Subjected's heady, virulent soundscapes. "Maverick Scrabble" dives in without pausing for breath while "Castres Olympique" weaves together dramatic chords, rattles, bells, static noise, and industrial pangs for a densely packed and textural number. "Coast Range Arc" is like a blast from some cavernous subterranean workshop fathoms below the surface, leaving "Polgate Slamen" to close things on a tough, tight, and itchy tip.

EPM MUSIC (NETHERLANDS)

EPM 002EP

TAYLOR, CARL: Debbie's Groove (Robert Hood Remix) 12" (EPM 002EP) 12.50
EPM Music celebrates its 2016 15-year anniversary with a limited repress of the most sought-after release in its catalog, Debbie's Groove by Carl Taylor (2013), featuring the now-legendary disco-tech stormer remix from the one and only Robert Hood. "Debbie's Groove" sees Taylor in full-on jacking mode, with tinges of disco and a stomping beat. With his remix of "Debbie's Groove," master technician Robert Hood adds a deep bassline, funky claps, and a vocal snippet that echoes his Floorplan sound. Taylor's "Good Vibrations" offers the deep blend of house and techno for which he has become known, with its tough, syncopated groove reaching dizzying heights.

ESKIMO (BELGIUM)

ESK 507585

SATIN JACKETS: Panorama Pacifico 2LP (ESK 507585) 27.50
Double LP version. Includes download code. Electropop darlings Satin Jackets (German producer Tim Bernhardt and lead performer Den Ishu) unveil their debut artist album, Panorama Pacifico, featuring a string of cameos from vocalists jetting in from LA, Berlin, London, Belgium, and Australia. Scaling the heights of the Hype Machine right from their first release and clocking up almost ten million plays on Spotify, the duo deals in an original brand of diva funk and smooth disco that has whetted the taste buds of the likes of Majestic Casual and i-D (the latter of which called the duo's work "super sexy, infectious house music thats filled with the vibe of summertime"). Their smash single, "You Make Me Feel Good," has accumulated close to three million plays on SoundCloud and YouTube at the time of this release, while their eponymous live show has relentlessly toured the US, Canada, Mexico, and Europe, opening their fluid pop appeal and accessible four-to-the-floor groove up to the world at large. Bernhardt recalls the origins of their debut album: "The idea came from our character, Mr. Satin Jackets, who's been travelling the world quite a bit the past two years. Four continents, about twenty countries, he's on the West Coast and takes a break. He watches the ocean to put his mind at ease and . . . Panorama Pacifico." This idyllic perspective is launched by the vocals of Scavenger Hunt, the Los Angeles-based electropop four-piece who have been charted by Billboard and featured by the likes of Nylon, while Nigeria-born, Birmingham-based UoB's Got Talent winner IsaacO contributes to "Keep Moving On." The album also takes a peek into the past successes of Satin Jackets, with 2015's smash single "Shine On You" featuring UK-born, Berlin-based talent Esser (which Clash called "an exploratory glimpse into the mind-expanding side of Satin Jackets' electronics") and 2016 single "We Can Talk" featuring vocals from Emma Brammer. Further collaborators include Ghent-based collective I will, I swear; Melbourne's Kids At Midnight; and Belgian pop diamonds-in-the-rough Marble Sounds. Fellow Eskimo artist and Greek producer NTEIBINT and KLP from Australia also feature. Three-quarters of the tracks are fresh and introduce exciting guest vocalists and producers. These are complemented by the duo's much-loved staples, "Girl, Forever" and "You Make Me Feel Good."

FEEDING TUBE RECORDS

FTR 222LP

LENTILS, THE: My Pillow Lava Part Negative One: Legitimate ASMR LP (FTR 222LP) 18.50
"As the Lentils shift their lip-movements to the land of the rising sun (Cali), they have prepared a final kiss for the New England-based fans who have loved Luke Csehak through the many pangs of his early iterations. Half of the record is a studio recording, continuing the emotional saga begun on the Lentils' 2014 debut LP (FTR 150LP). The music is a bit more scrambled and broken this time. The riffs are sometimes buried under more outsider confabulation than we're used to, as though everyone is wearing big rubber boots that have just come from mucking out the stalls. It's what you'd have to call a real Crackabaggy Sound, with all the sweat and smoke and stink that implies. It's the sort of music that goes through your head when you're looking at a big field you have to plow, and you can only think about the rocks. The tunes themselves have a truly heroic glow, but the bridges between them are haunted by winter's brute strength. The second side was recorded live on a cold January night in Turners Falls. This is the Lentils in their finest proletarian mode -- playing loose angular pop like a friendly cross between The Strapping Fieldhands and Great Plains. There are sleeper-pop moves on here so heavy you're bound to become a believer. And you'll miss them already. Even if you never heard 'em before. S'long!" --Byron Coley, 2016. Edition of 400.


FTR 244LP

BUCK GOOTER: Stainless Steel Mirrors LP (FTR 244LP) 18.50
"The last AIDS Wolf tour with Unicorn Hard On we came through Virginia. I looked in the tour book and it said, support: BUCK GOOTER. Buck what? Valerie said, 'you never heard of Buck Gooter? Man, you're in for a treat.' It was a bleak time for the music in general and the pattern was that each opening band was more horrible than the last and each promoter along the way seemed to give less and less of a fuck. Somehow, underneath this Ethiopian restaurant in Harrisonburg Virginia, I met the two gentlefolk known as Buck Gooter: Lightening Hands Billy and Terry Turtle and I've never been the same henceforth. I could see Buck Gooter being a circuit riding evangelical concern in a John Brunner near-future bummer in which weeeird pathological plutocrats run a landscape on fire and these cats show up and spell it out . . . Oh wait! That's EXACTLY how it ACTUALLY is. Never mind. 'Stainless Steel Mirrors' is the sound of Buck Gooter listening to themselves wrapped across a piece of steel. A reflection in sound crafted by none other than Don Zientara at Inner Ear Studio (he recorded the Faith/Void split lp, among . . . uh . . . others). . . . 'Dustless Grinding' sounds the closest to Laughing Hyenas anyone's come in recent memory. Billy says it's more like the 'Blue Monday' beat and that, furthermore, any band that's been around 10 plus years inevitably hits that point. . . . 'Who Put You In Charge?' This one is a neon-lit Del Shannon cyberclunk weeper. The band took out all the swear words at the last minute on this one and had to relearn the tune. Rakim, the greatest MC to ever rap, never swore once on a tune. RE SPEK. 'Waste Treatment' shows off the range in Billy's singing. Like somehow the Tornado Kid who atoms about the stage during a typical Goot performance is gonna slow down a moment and belt one out, croon for the moon, sing like the birds in Dolphy's backyard. . . . Terry and Billy will likely be buried next to each other; playing burnt Theremin lines off gruff, day-glow guitar boogies, only 'the Silent Ground' will hear. This is the way it is meant to be. But now: Here they are together alive. So you can hear" --Alexander Moskos, Montréal, March 2016. Edition of 200.

FINDERS KEEPERS (UK)

FKR 084CD

BIXIO/FRIZZI/TEMPERA: Magnetic Systems CD (FKR 084CD) 17.00
From the same vibrant cinematic landscape of '70s studio supergroups as Goblin, The Pawnshop, The Feedback, and The Braen's Machine comes the Magnetic System, the Italian incognito dream-team composed of Milano prog keyboardist Vince Tempera, Cinevox sibling Franco Bixio, and video nasty maestro Fabio Frizzi (whose career it launched). Bridging giallo jazz-bass-driven prog and the arrival of home studios and synthesizers, the film music of the Magnetic System marked a sea change in Italian genre film music, promoting melodic electronics to the forefront of Italian pop culture and preempting the first murmurs of Italo disco and synthpop. Masterminded in the mid-'70s at the apex of Italian film music's most exciting transitional period, the Magnetic System was created to encapsulate the combined efforts of three of the country's most prolific and adventurous soundtrack composers and retarget their lauded behind-the-scenes personas toward the Italian commercial instrumental pop market. In the early 1970s, with a climate that nurtured instrumental rock such as the work of Franco Battiato, Sensations' Fix, and Le Orme, the soundtrack specialist label Cinevox (founded by Cesare Andrea Bixio) identified opportunities within their roster, finally finding chart success with the rebranded writing team known as Goblin. By 1977 the union of Franco Bixio, Fabio Frizzi, and Vincenzo Tempera as the Magnetic System would join a list of retitled outfits like The Pawnshop (featuring Alessandro Alessandroni, Giuliano Sorgini, and Giulia De Mutiis), The Braen's Machine (featuring Alessandroni and Rino De Filippi), and The Group (a drum-heavy version of Morricone's Gruppo di Improvvisazione Nuova Consonanza), all of which took brief hiatuses from their soundtrack and library music day jobs to throw overqualified prog pop on the commercial craps table. The unfortunate low demand for these ambitious unchartered excursions resulted in small runs, which (with time as a healer) would cause future record collectors to salivate -- the one and only 7" single by the Magnetic System being no exception to this phenomenon. Also experimenting under further alter egos such as the day-glo Fruit Of The Gum and the Spaghetti Western-cum-disco Benjamin Franklyn Band, the group's third moniker, the Magnetic System, specifically showcased the trio's more aggressive, brooding, and heavier sound in comparison to its sister groups. This compilation gathers a wider selection of the trio's compositions that fall within the stylistic parameters of the Magnetic System's creative blueprint; culling drum-heavy synthesized psychedelic soundtracks with sympathetic leanings to the white funk/cosmic disco murmurings of the era. Limited edition of 1000.


FKR 084LP

BIXIO/FRIZZI/TEMPERA: Magnetic Systems LP (FKR 084LP) 26.50
LP version. Limited edition of 2000. From the same vibrant cinematic landscape of '70s studio supergroups as Goblin, The Pawnshop, The Feedback, and The Braen's Machine comes the Magnetic System, the Italian incognito dream-team composed of Milano prog keyboardist Vince Tempera, Cinevox sibling Franco Bixio, and video nasty maestro Fabio Frizzi (whose career it launched). Bridging giallo jazz-bass-driven prog and the arrival of home studios and synthesizers, the film music of the Magnetic System marked a sea change in Italian genre film music, promoting melodic electronics to the forefront of Italian pop culture and preempting the first murmurs of Italo disco and synthpop. Masterminded in the mid-'70s at the apex of Italian film music's most exciting transitional period, the Magnetic System was created to encapsulate the combined efforts of three of the country's most prolific and adventurous soundtrack composers and retarget their lauded behind-the-scenes personas toward the Italian commercial instrumental pop market. In the early 1970s, with a climate that nurtured instrumental rock such as the work of Franco Battiato, Sensations' Fix, and Le Orme, the soundtrack specialist label Cinevox (founded by Cesare Andrea Bixio) identified opportunities within their roster, finally finding chart success with the rebranded writing team known as Goblin. By 1977 the union of Franco Bixio, Fabio Frizzi, and Vincenzo Tempera as the Magnetic System would join a list of retitled outfits like The Pawnshop (featuring Alessandro Alessandroni, Giuliano Sorgini, and Giulia De Mutiis), The Braen's Machine (featuring Alessandroni and Rino De Filippi), and The Group (a drum-heavy version of Morricone's Gruppo di Improvvisazione Nuova Consonanza), all of which took brief hiatuses from their soundtrack and library music day jobs to throw overqualified prog pop on the commercial craps table. The unfortunate low demand for these ambitious unchartered excursions resulted in small runs, which (with time as a healer) would cause future record collectors to salivate -- the one and only 7" single by the Magnetic System being no exception to this phenomenon. Also experimenting under further alter egos such as the day-glo Fruit Of The Gum and the Spaghetti Western-cum-disco Benjamin Franklyn Band, the group's third moniker, the Magnetic System, specifically showcased the trio's more aggressive, brooding, and heavier sound in comparison to its sister groups. This compilation gathers a wider selection of the trio's compositions that fall within the stylistic parameters of the Magnetic System's creative blueprint; culling drum-heavy synthesized psychedelic soundtracks with sympathetic leanings to the white funk/cosmic disco murmurings of the era.

FREUDE AM TANZEN (GERMANY)

FREUDE 014LP

EATING SNOW: Eating Snow LP (FREUDE 014LP) 22.00
LP version. Pressed on 180-gram vinyl. Includes poster and download code. From a festival to a feature to friendship; from techno to electronica to a band. Douglas Greed and Mooryc met in 2010 at a festival in Poland, and soon developed the joint tracks "Pain" and "Morning Gloria," which were released on Douglas Greed's 2011 debut album KRL (FREUDE 006CD/LP). They arrived at a common sound despite their different musical roots, which range from sensual indietronica to powerful house and perfectly-grooving pop moments. The full range of this sound is spread over 13 tracks on their debut as Eating Snow, which was developed in Poznan, Poland; Wustrow, Germany; Jena, Germany; and, of course, Berlin, where Mooryc has been living, and where Douglas Greed spent some time in the summer of 2014. The two of them spent the majority of that visit together in the studio, drinking lukewarm beer and having fun around the clock. They discovered a common passion for the darker elements of pop music, and bound electronic beats, melodies, and lyrics together in a magical combination; Mooryc's unique voice joins with the melancholia and euphoria of Douglas Greed's musical tendencies as the pair entirely sheds any dancefloor categorization. The album begins with the sensually-meandering "Over," which gets the listener in the mood for the impending musical trip. "The Cut" delivers a heartthrob beat with hypnotically-oscillating synthesizers, smooth piano modulations, and Mooryc's bittersweet vocals. The deep pop of "Let You Down" precedes "Mine," which transitions to much calmer notes, and the restrained "Beauty of Destruction." "Gravel and Trees" increases the beats-per-minute before "Forever Is Gone by Now" finds its way into a yearning sensitivity. "This Emptiness Is Mine" conjures a mysterious atmosphere and "Chameleon" returns to instrumental paths, opening up broad spaces and making room for a fantastic melody and the sound of playing children. The dreamy, deeply personal "Last Summer Day" and an album version of the previously-released "Siamese Twins by Choice" deliver the album's acoustic conclusion. Artwork by street art duo HeRAKut.

FUTURE DAYS RECORDINGS

FDR 613CD

FAMILY OF APOSTOLIC, THE: The Family Of Apostolic CD (FDR 613CD) 15.00
"Apostolic was many things: a label, a collective, a state of mind even. But before all of that, it was a recording studio set up by New Yorker John Townley. As a member of the Magicians, (you recognize that name from the Nuggets albums), Townley worked in some of the finest studios in the USA, but he felt he was on a conveyor belt. 'You had to do the creation ahead of time, which is not my idea of a good time,' he says now. 'You had all this stuff to play with, and you weren't allowed to play with it.' When Townley came into an $85,000 inheritance he immediately invested in a loft building on 10th Street, New York, against the advice of, well, 'everybody'. But there were fellow believers. Friends Matt Hoffman and Michael and Danny Weiss, heirs to the Weiss jewelry fortune, helped assemble the studio, which was built to bleeding-edge specifications and even had a 12-track recorder. Soon, it was attracting likeminded souls such as Frank Zappa, whose Mothers Of Invention recorded several landmark LPs at Apostolic. But the greatest example of the output of this artistic community is the sprawling double LP The Family of Apostolic. A utopian album inspired by global cultures ranging from Pakistani folk songs to Scottish traditional music and Chinese opera, it was made by a cast of 19, bonded by a desire to create 'primitive performance art' from surrealist happenings. 'The idea of Apostolic was that the whole operation was a family,' says Townley. 'Anybody could do anything if they participated.' Despite the possibilities opened up by the studio and the chance to treat the desk as an instrument, The Family Of Apostolic is nonetheless a folk record at heart, and sounds downright spare in places. The experimentation was there in subtle ways, per Townley's desire for each song to be 'like just a natural happening. We were trying to get a very close, upfront, live feeling.' Released under a deal with Vanguard, the rambling album proved too difficult to market. Singles were released under different artist names, serving only to confuse the public more. Soon the studio was heading down the tubes, thanks in part to Jimi Hendrix's multi-track studio Electric Lady opening two blocks away. And before long, the Apostolic dream was over. The album remains a curate's egg, but one filled with delights. Opening track Redeemer asks, 'O say, are you a true believer?' By the time you've listened to our deluxe reissue, you will be."


FDR 613LP

FAMILY OF APOSTOLIC, THE: The Family Of Apostolic 2LP (FDR 613LP) 30.00
Double LP version housed in a deluxe gatefold tip-on jacket and limited to 1000 copies. "Apostolic was many things: a label, a collective, a state of mind even. But before all of that, it was a recording studio set up by New Yorker John Townley. As a member of the Magicians, (you recognize that name from the Nuggets albums), Townley worked in some of the finest studios in the USA, but he felt he was on a conveyor belt. 'You had to do the creation ahead of time, which is not my idea of a good time,' he says now. 'You had all this stuff to play with, and you weren't allowed to play with it.' When Townley came into an $85,000 inheritance he immediately invested in a loft building on 10th Street, New York, against the advice of, well, 'everybody'. But there were fellow believers. Friends Matt Hoffman and Michael and Danny Weiss, heirs to the Weiss jewelry fortune, helped assemble the studio, which was built to bleeding-edge specifications and even had a 12-track recorder. Soon, it was attracting likeminded souls such as Frank Zappa, whose Mothers Of Invention recorded several landmark LPs at Apostolic. But the greatest example of the output of this artistic community is the sprawling double LP The Family of Apostolic. A utopian album inspired by global cultures ranging from Pakistani folk songs to Scottish traditional music and Chinese opera, it was made by a cast of 19, bonded by a desire to create 'primitive performance art' from surrealist happenings. 'The idea of Apostolic was that the whole operation was a family,' says Townley. 'Anybody could do anything if they participated.' Despite the possibilities opened up by the studio and the chance to treat the desk as an instrument, The Family Of Apostolic is nonetheless a folk record at heart, and sounds downright spare in places. The experimentation was there in subtle ways, per Townley's desire for each song to be 'like just a natural happening. We were trying to get a very close, upfront, live feeling.' Released under a deal with Vanguard, the rambling album proved too difficult to market. Singles were released under different artist names, serving only to confuse the public more. Soon the studio was heading down the tubes, thanks in part to Jimi Hendrix's multi-track studio Electric Lady opening two blocks away. And before long, the Apostolic dream was over. The album remains a curate's egg, but one filled with delights. Opening track Redeemer asks, 'O say, are you a true believer?' By the time you've listened to our deluxe reissue, you will be."


FDR 626LP

VA: Loma: A Soul Music Love Affair, Volume Three: Sad, Sad Feeling 1964-68 LP (FDR 626LP) 24.00
"Several years of in-depth research into the Loma vault provide the content of our third volume. It celebrates the many sophisticated uptown productions on the label, mostly cut in New York under the auspices of Ragovoy, Van McCoy, George Kerr, Richard Tee, and other soul notables. Loma goddess -- and Aretha's favorite singer -- Linda Jones gets us 'Hypnotized' while Bobby Freeman spooks with 'Shadow Of Your Love.' Rarities include soulful items from The Realistics, Bobby Reed, Mary Lee Whitney, and Tommy Starr, along with several unreleased titles, including heart wrenching nuggets by The Enchanters and Carl Hall, and the never-before-heard Bob & Earl gem 'Just One Look In Your Eyes'. With full historical notes on artist and label history and many rare illustrations, Loma: A Soul Music Love Affair is a fresh and invigorating celebration of one of 60s soul's most storied imprints."


FDR 627LP

VA: Loma: A Soul Music Love Affair, Volume Four: Sweeter Than Sweet Things 1964-68 LP (FDR 627LP) 24.00
"Last but not least, our unprecedented dig into the Loma Record vaults has thrown up a surfeit of soulful goodies for the final volume, many of which are previously unreleased. Northern soul fans will marvel at the dancefloor potential of The Marvellos' 'I Need You' or The Invincibles' 'Heartstrings.' Aficionados of the Ragovoy-supervised uptown sound will groove on Carl Hall's 'Like I Told You' and Ben Aiken's 'That's All You Gotta Do.' The tracklist also shines light on many unfairly overlooked entries in the Loma listings by the likes of Linda Jones, Billy Storm, The Implements, and The Realistics, and yet more compelling cuts from The Apollas, Teen Turbans, and The Mighty Hannibal remind us just why we love Loma. With full historical notes on artist and label history and many rare illustrations, Loma: A Soul Music Love Affairis a fresh and invigorating celebration of one of 60s soul's most storied imprints."

GET ON DOWN

GET 902EP

CLIPSE: Virginia/Grindin' 7" (GET 902EP) 11.00
"These 'big hole' 7 Inches from Lord Willin' are presented on white vinyl in mini Star Trak die-cut jackets -- replicas of the label's original 12" sleeves. The first hip-hop group signed to The Neptunes' newly formed Star Trak label in the early 2000s was a Virginia based duo known as The Clipse. The group's first single 'Grindin',' impacted young people with its bare-boned but infectious drum beat in the same way that Run-DMC's 'Sucker MCs' did almost two decades earlier. MCs Pusha T and Malice, combined with The Neptunes' groundbreaking production, sent a clear message to the rap world -- 'we are not the same.' Pharrell Williams and Chad Hugo were able to combine their electro-punk production with just the right group to create a street masterpiece. Following in the footsteps of such rap criminologists as Kool G Rap, Nas, Jay-Z and Mobb Deep, the Clipse offer a hustler's viewpoint, with clever, hard-hitting lyrics that are consistent throughout the album."


GET 904EP

CLIPSE: Famlay Freestyle/When The Last Time 7" (GET 904EP) 11.00
"These 'big hole' 7 Inches from Lord Willin' are presented on white vinyl in mini Star Trak die-cut jackets -- replicas of the label's original 12" sleeves. The first hip-hop group signed to The Neptunes' newly formed Star Trak label in the early 2000s was a Virginia based duo known as The Clipse. The group's first single 'Grindin',' impacted young people with its bare-boned but infectious drum beat in the same way that Run-DMC's 'Sucker MCs' did almost two decades earlier. MCs Pusha T and Malice, combined with The Neptunes' groundbreaking production, sent a clear message to the rap world -- 'we are not the same.' Pharrell Williams and Chad Hugo were able to combine their electro-punk production with just the right group to create a street masterpiece. Following in the footsteps of such rap criminologists as Kool G Rap, Nas, Jay-Z and Mobb Deep, the Clipse offer a hustler's viewpoint, with clever, hard-hitting lyrics that are consistent throughout the album."

GO4 MUSIC (FRANCE)

GO4 019EP

GOPHER, ALEX: Back to Basics EP 12" + CD (GO4 019EP) 14.50
180-gram yellow 12". Includes CD. Following his 2015 track "Smile" with Etienne de Crécy, Alex Gopher is back with a four-track EP on his own GO4 imprint. Soulful French house music!

GOLDENBOY (UK)

GLD 001EP

TEORA, ANTONELLO: The Art Of Hate 12" (GLD 001EP) 12.50
Antonello Teora presents The Art Of Hate, the first installment in the Goldenboy techno vinyl series produced by Blackwater exclusively for Antonello Teora's productions. Includes free poster. A single-sided 12" with two proper techno tracks, straight and rough. Hate and violence are conveyed and transformed from negative energy into positive, consciously metabolize information for a final result of pure love.

GOMMA RECORDS (GERMANY)

GOMMA 219EP

MUNK: The Correspondant Gomma Joints 12" (GOMMA 219EP) 14.00
Mathias "Munk" Modica lives in France and has worked with many Parisian artists including Chloé, the Ed Banger crew, and Black Strobe. Here, Modica teams up with Jennifer Cardini's Paris-based Correspondant label for a collaborative release with his Germany-based Gomma label. Munk's tracks here are influenced by psychedelic ideas and the 1990s Detroit electro-funk sound of labels like Red Planet. Analog instruments, funk loops made on a MPC, and weird, sick synthesizer melodies. Includes remixes by LA's finest psychedelic electronic producer, Secret Circuit (Beats In Space Records), and German star Lauer (Tuff City Kids with Gerd Janson).

I'M A CLICHE (FRANCE)

CLICHE 064EP

VITELLI, COSMO: Last Train To Marzahn 12" (CLICHE 064EP) 14.50
I'm a Cliché boss Cosmo Vitelli presents the first release to come out of his studio in Berlin's Marzahn district. The emotional, up-tempo "A Cruel Story" draws influences from genres that end in "wave" and the spirit of sentimental electro. "Ketamine Karaoke" further explores and reinterprets the melancholic and melodic potential of older genres with gently modulating analog synths and vintage drum machines. "Chiens de l'Enfer" is structured around brooding percussion, hypnotic melodies, sinister synths, and an entrancing bassline. I:Cube's remix of "A Cruel Story" enhances the hypnotic elements of the original for a tense, dark, but quite debonair work.

ICI D'AILLEURS (FRANCE)

IDA 102CD

ELLIOTT, MATT: The Calm Before CD (IDA 102CD) 11.00
Matt Elliott presents The Calm Before, the seventh album under his own name, following his 2013 album Only Myocardial Infarction Can Break Your Heart and the 2016 20th-anniversary reissue of his 1996 debut as The Third Eye Foundation, Semtex (IDA 111CD/LP). For The Calm Before, Elliott is joined again by producer David Chalmin, who coproduced Only Myocardial Infarction Can Break Your Heart, as well as the musicians who contributed to that album. The six masterpieces collected here fit the logical continuum of Elliott's previous work, but a deeper listen reveals the true strength of the music and lyrics, capturing the essence of what Elliott's art is all about -- folk guitar virtuosity influenced by the Mediterranean and Eastern Europe; songs that start with whispered melodies and end with noisy storms; Elliott's deep, strong voice reaching new levels; and a tendency to avoid any well-known way of making music. Elliott's poetry is also an art in its own right. He prefers to leave his words open to interpretation, but offers a few thoughts about The Calm Before here: "'The Calm Before' is obviously a reference to the expression 'The calm before the storm'. The song itself is about those points in life when a storm arrives, be it a circumstance or a person & the mix of feelings, turbulence, trouble that comes with it but a storm also brings something, it clears the air & can push you into a new situation. . . . 'Wings & Crown' is a song about those who ride high oblivious to the precariousness of their power. It discusses a grand fall from grace. . . . 'The Allegory of the Cave' is very obviously about Plato's famous allegory. . . . about humanity in relationship to the great universe and what lies beyond the Pale. . . . The song is an existential ramble, are we just a bunch of cells? Will what makes our minds carry on after death?" Elliott would argue that we simply cannot know, and that endless return and eternal void are both ideas too tragic to contemplate. Nevertheless, with The Calm Before Elliott delivers another masterpiece, adding a precious stone to his path through contemporary folk music.


IDA 102LP

ELLIOTT, MATT: The Calm Before LP (IDA 102LP) 16.50
LP version. Matt Elliott presents The Calm Before, the seventh album under his own name, following his 2013 album Only Myocardial Infarction Can Break Your Heart and the 2016 20th-anniversary reissue of his 1996 debut as The Third Eye Foundation, Semtex (IDA 111CD/LP). For The Calm Before, Elliott is joined again by producer David Chalmin, who coproduced Only Myocardial Infarction Can Break Your Heart, as well as the musicians who contributed to that album. The six masterpieces collected here fit the logical continuum of Elliott's previous work, but a deeper listen reveals the true strength of the music and lyrics, capturing the essence of what Elliott's art is all about -- folk guitar virtuosity influenced by the Mediterranean and Eastern Europe; songs that start with whispered melodies and end with noisy storms; Elliott's deep, strong voice reaching new levels; and a tendency to avoid any well-known way of making music. Elliott's poetry is also an art in its own right. He prefers to leave his words open to interpretation, but offers a few thoughts about The Calm Before here: "'The Calm Before' is obviously a reference to the expression 'The calm before the storm'. The song itself is about those points in life when a storm arrives, be it a circumstance or a person & the mix of feelings, turbulence, trouble that comes with it but a storm also brings something, it clears the air & can push you into a new situation. . . . 'Wings & Crown' is a song about those who ride high oblivious to the precariousness of their power. It discusses a grand fall from grace. . . . 'The Allegory of the Cave' is very obviously about Plato's famous allegory. . . . about humanity in relationship to the great universe and what lies beyond the Pale. . . . The song is an existential ramble, are we just a bunch of cells? Will what makes our minds carry on after death?" Elliott would argue that we simply cannot know, and that endless return and eternal void are both ideas too tragic to contemplate. Nevertheless, with The Calm Before Elliott delivers another masterpiece, adding a precious stone to his path through contemporary folk music.

IDEAL RECORDINGS (SWEDEN)

IDEAL 135LP

O'MALLEY, STEPHEN: End Ground LP (IDEAL 135LP) 23.50
End Ground forms the 3rd and final installment in a series of records documenting the solo prowess of Sunn 0)))'s Stephen O'Malley released on Sweden's iDEAL Recordings. It was performed on electric guitar thru Sunn model T amps, and captured on zoom H4 at Centre Cultural Suisse, Bad Bonn Carte Blanche, Paris, France, on October 18th, 2013. In solo mode, stripped of his usual accomplices and collaborators, O'Malley is no less than an elemental force. His durational meditations absorb and consume with steady-handed wave after wave of charred, sustained, and sub-harmonized chords casting the mesmerizing minimalist practice of La Monte Young into the physicality of Black Sabbath's original, heavy metal die. The A-side/first half of this 45 minute performance features O'Malley tentatively coaxing out languorous riffs which turn the air around him to a pensive, vibrating mush. As the 2nd half dawns he begins to deliver more crushing blows, drawing out and subsiding the chords with a patented, gut-wrenching and vivifying power that transcends rock, avant-garde, minimalism -- all of that -- to awaken dormant senses not usually experienced with other musics or concise temporality. As with many of the most affective heavy drone recordings by Sunn 0))), among others, a modicum of patience is required in order to attain the right state for reception, but once your mind and body are malleable, the impact is deliciously visceral, primal and whelming. Mastered and cut by Matt Colton. Individually hand-numbered edition of 700 copies.

INFINITE GREYSCALE (GERMANY)

IGR 009EP

BEACON SOUND CHOIR, THE: Sunday Morning Drones 10" (IGR 009EP) 28.50
Gold-colored single-sided 10" with silkscreened B-side. Includes insert, photograph, and download code. Edition of 300. The Beacon Sound Choir, a project instigated by multi-instrumentalist Peter Broderick, presents Sunday Morning Drones, a work of improvised vocal drone in two parts. Comprising over 30 singers, The Beacon Sound Choir explores the oscillating harmonics of the choir as individual voices coalesce into that of a group. Peter Broderick has released numerous albums with labels such as Bella Union, Erased Tapes, and Type. He has frequently collaborated with musicians including Gabriel Saloman, Machinefabriek, and Nils Frahm. From 2007-2012 Broderick was a touring member of the Danish band Efterklang.

INTERNATIONAL FEEL (URUGUAY)

IFEEL 052EP

LEISE, LEN: Lingua Franca Remixes 12" (IFEEL 052EP) 14.50
180-gram 12". Len Leise's acclaimed Lingua Franca mini-album (IFEEL 049LP, 2015) was the first release in International Feel's mini-album series, which accompanies each mini-album with a 12" featuring a remix by the artist and another respected producer. Here, Leise and Gilb'R revisit the work that Thump called "2015's undoubted Balearic masterpiece." Len Leise turns "O Caminho" (also included in its original form) into a dub-heavy ride -- basslines rumble and congas move. With his remix of "El Modelo," French native Gilb'R, a living legend in the house scene, delivers a timeless piece of house music made with the dancefloor in mind.

JAZZMAN RECORDS (UK)

JMAN 084LP

TATUM TRIO PLUS, THE JAMES: Contemporary Jazz Mass LP (JMAN 084LP) 23.50
LP version. Includes insert and download code. Limited numbered edition of 1000. A gem of independent Detroit jazz, reissued for the first time. James Tatum's stunning, spiritualized Contemporary Jazz Mass is one of the only true jazz masses ever released. Inspired by Duke Ellington's Sacred Concerts, Tatum's masterwork was recorded during its first-ever performance at St Cecilia Church in Detroit, and released on Tatum's own private label in 1974. A professional music educator and jazz composer, Tatum had been working as a teacher in Detroit, and in the long aftermath of the 1967 riots he began teaching music to local children in St Cecilia's. The church commissioned the mass in 1972, and Tatum put together an ensemble of singers from within the church, backed by his own trio and local jazz musicians. Looking toward the great sacred works of Ellington, but with lyrics drawn straight from liturgy, Contemporary Jazz Mass is a unique work of sanctified vocal jazz -- nourishment for the spirit and soul, brought back to you by Jazzman Records as part of its esteemed Holy Grail Series. The CD version also includes Tatum's independent second release, Live at the Orchestra Hall & Paradise Theater (1980). Another breathtaking long-form vocal jazz composition, it was conceived as a trip through the deep history of African-American music, expressing the spirit and sound of the past through the medium of jazz music and song. All tracks fully licensed and digitally restored. Includes comprehensive, detailed liner notes with pictures and information from Jazzman's interviews with James Tatum himself.

KHEMIA RECORDS (UK)

KHEMIA 001EP

IN AETERNAM VALE/BRONZE TEETH: Vernal Equinox Edition 12" (KHEMIA 001EP) 15.50
Limited clear 12". The first release from London-based electronic music label Khemia Records, which follows a curatorial agenda that reflects the programming of the KAOS London events. Split between In Aeternam Vale and Bronze Teeth, Vernal Equinox Edition delivers two muscular, tensile tracks extending over more than nine minutes. In Aeternam Vale's "La Grille" is a propulsive techno monster and a master class in hypnotic sonics, with the insistent momentum of its hammered rhythms, reverberating echoes, and intense emotional crescendos. Bronze Teeth's "Rude Movements" is a virtuosic attack of left-field modular electronics with the construction of a caustic, industrial, broken-beat experiment.

KINGSTON SOUNDS (UK)

KSLP 062LP

MORGAN, DERRICK: This Is Derrick Morgan LP (KSLP 062LP) 15.00
LP version. Derrick Morgan is one of the greats of Jamaican music, and the undisputed king of ska. But his recording career did not stop in 1967 when the sound of ska slowed down into rocksteady. Nor did it stop in 1968 when rocksteady evolved into the early sound of reggae. This set was first released in 1974, when reggae was king, under the name In the Mood, but the working title had been This Is Derrick Morgan. The working title follows the format by which the world of reggae would normally introduce a new singer with a showcase album. In this case, for the first reissue of this album, the working title is restored to reintroduce Derrick Morgan to the new reggae sound -- though an artist of Morgan's caliber really needs no introduction, as his voice works on any rhythm put his way. One of the greats of Jamaican music showing the world -- with the help of producer Bunny Lee -- that he can roll with the reggae sound.

KRAAK (BELGIUM)

K 086LP

RAZEN: Endrhymes LP (K 086LP) 25.50
Brussels-based group Razen present Endrhymes, a work of hardcore melodic minimalism and raw, dystopian deep listening. Exclusive artwork by Bryan Lewis Saunders. The four pieces on Endrhymes thrive on an almost compulsory focus and improvisation carefully developed during many concerts. As a trio, Razen erase the acoustic deep listening from their previous album to explore territory of raw, melodic, and psychedelic minimalism that refers to the massive works of Louis Andriessen. The first and last tracks are raw, pulsating improvisations built out of short, melodic motives that create a slowly changing arch of musical tension, while the centerpieces destroy the musical center and drop the listener into a cold, dystopian place, left alone and subject to powers beyond knowledge. Razen leave the listener no choice: immerse. Layout by Jeroen Wille, Mastered and cut by Rashad Becker. Includes download code for MP3, FLAC, and other formats. Edition of 320.


K 087LP

CALHAU!: U LP (K 087LP) 25.50
A true gem from the Portuguese underground. Sparse electronics blended with mystic vocalism -- think Ghédalia Tazartes or Diamanda Galás. Deep in the Portuguese underground, Calhau! constructs an absurd universe in which nightmares, rural Catholic mysticism, and surrealist spirituality play the lead role. Performance, movie, and music contribute to one melancholic and cruel whole. The music is deeply rooted in Roman mysticism, using the dark hand of alchemy to beseech the insane 21st century. The duo sounds like an updated version of Ghédalia Tazartes and Throbbing Gristle, blending tape collages and sparse electronics, not unlike the PAN back catalog. First and foremost, Calhau! are their own island, at the point where Old Europe disappears into the sea. Ú is their third album. The A-side builds upon five song particles, in which a grotesque voice floats over hard samples and rough electronics. The voice sings in Portuguese, or Latin, maybe French, or Mongolian throat singing. Vom Grill's gurgles could be a reference. Side B is a re-release of the limited 2014 mini-CD A Corte D'Urubu. It's one long droney piece, a result of a collaboration with a choir, recorded on the Portuguese coast. The composition is a loose interpretation of Gregorian pieces, like Stabat Mater and Veni Creator Spiritus, mixing choral works with gritty synths and sinister opera. With Ú, Calhau! establish their status as the most talented duo of the Portuguese avant-garde.

KRANGLAN BROADCAST (SWEDEN)

KLN 008EP

BJORK, HARALD: Kris & Konflikthantering II/III 12" (KLN 008EP) 12.50
Harald Björk presents tracks from his live repertoire, while Ada, the queen of Pampa, Areal, and Kompakt, delivers a remix of "Sabor Latino" from Björk's Studio Barnhus debut, the 2015 Fritids EP (BARN 036EP). This is the second of the three-part Kris & Konflikthantering release; Björk put this work together while taking a course called "Kris & Konflikthantering," which translates to "crisis and conflict management." He created Kris & Konflikthantering in semi-unconscious conditions and recorded it on the Studer B67 master tape recorder, the heart of the Kranglan Broadcast studio.

LONNIE RECORDS

LR 5050EP

FOSTER JACKSON GROUP: Feel The Spirit 12" (LR 5050EP) 15.00
"Another extremely rare underground record coming out of the P&P camp. This highly sought after 12" originally released on Lonnie Records is an absolute gem combining jazz, funk and disco. Although there is little to nothing known about the Foster Jackson Group, 'Feel The Spirit' was mixed by Tim Benedict, who was a recording engineer at Sound Palace Studios in NYC where he assisted greats like Patrick Adams (on a variety of projects), and jazz-funk legend Bob James. With that in mind, it's no wander this track is one that appeals to both the jazz funk/rare groove fans and disco heads alike. An Incredible uptempo mover loaded with a jazzy organ, horns, congas, and funky breakdowns."

MBR LIMITED RECORDINGS (BELGIUM)

MBRLTD 011EP

JONASSON, MIKAEL: Profane 12" (MBRLTD 011EP) 12.50
Swedish techno master Mikael Jonasson follows countless monumental releases with his grand debut on MBR Limited. Three killer originals, paired with a fantastic remix by fellow maestro Dany Rodriguez, form a package that exemplifies powerful techno. Expect nothing less than another remarkable release, with, as always the signature of label founder Marco Bailey.

MODERN SILENCE (MALTA)

OI 001LP

REICH, STEVE: Berkeley University Museum - November 7, 1970 LP (OI 001LP) 25.50
A live performance of four early works by Steve Reich: "Four Organs," "My Name Is," "Piano Phase," and "Phase Patterns." This 1970 performance marked an important moment in San Francisco Bay Area new music history with the triumphant return to the East Bay by Reich, who studied at Mills College with Luciano Berio and performed the 1964 world premiere of Terry Riley's seminal In C at the San Francisco Tape Music Center. The resonant acoustics of the University of California at Berkeley Museum's concrete interior were especially appropriate for "Four Organs", with its long additive sustained chords over a maraca pulse. 180-gram LP. Limited edition of 500.


OI 002LP

VARESE, EDGAR: Music of Edgar Varèse Vol. 1 LP (OI 002LP) 25.50
Reissue of Music Of Edgar Varèse, originally released on Columbia Masterworks in 1960. 180-gram LP. Limited edition of 500. From the original liner notes: "Edgard Varèse belongs to the generation of Béla Bartók, Igor Stravinsky, and Anton Webern. Each of these composers produced a music of extreme individuality, like nothing of his contemporaries, and a radical break with that of the previous century. They may be said to have carried music to the limits of atomization, where one or another of its different elements seem to predominate. 'Ionisation' (Paris, 1931) requires an ensemble of thirteen musicians who play a total of thirty-seven percussion instruments. . . . Most of 'Ionisation' is composed with sonorities of percussion instruments alone. They are pitched instruments, of course, but belong to a category of pitch that we hear only as 'high' or 'low,' 'deep' or 'shallow'; timbre, rather than pitch, is the most conspicuous property of Varèse's orchestra, and rhythm and timbre are the principal elements of 'Ionisation'. . . . The sense of progress and development the listener feels from the first bar to the last, 'Ionisation' is noble music, capable of exalting the listener. When the masterpieces of the twentieth century are enumerated, it should be on the list, not in first place, perhaps, but there, nevertheless. 'Density 21.5,' a composition for unaccompanied flute solo, was written in January 1936, 'at the request of Georges Barrère for the inauguration of his platinum flute.' . . . The 'Poème Èlectronique,' an example of Organized Sound, the technique that has come to occupy Varèse's attention since 'Density 21.5' (he rejects the term musique concrète as inapplicable to his kind of composition), was created in close collaboration with the architect Le Corbusier for the Philips Radio Corporation's pavilion at the Brussels Exposition. Le Corbusier designed the pavilion in the shape of a three-peaked circus tent externally and (to use his own analogy) in the shape of a cow's stomach internally. This provided a series of hyperbolic and parabolic curves from which Varèse could project his 480-seconds-long composition. Along these curves, placed with infinite care, were no fewer than 400 loudspeakers through which the 'Poème' swept in continuous arcs of sound. . . . The audience, some fifteen or sixteen thousand people daily for six months, evinced reactions almost as kaleidoscopic as the sounds and images they encountered -- terror, anger, stunned awe, amusement, wild enthusiasm."


OI 004LP

VARESE, EDGAR: Complete Works LP (OI 004LP) 25.50
The French-born Edgar Varèse (1883-1965) believed music to be both an art and a science. His pioneering use of electronic instruments like the Theremin, along with his theory of "organized sound," earned him the impressive title of "Father of Electronic Music." Varèse spent the early '20s as a starving composer in NYC, writing works like the percussionless "Octandre" and "Intégrales," his first piece to use the term "spatial music." Upon returning to Paris in 1928, he composed the celebrated "Ionisation," the first piece ever written for an entirely percussive ensemble (13 percussionists playing 40 instruments). His 1936 piece "Density 21.5," written for solo flute for the premiere of George Barrère's new platinum flute, is one of the great masterpieces for unaccompanied flute. It is also one of the only compositions written by Varèse during this decade. His next major work, "Déserts," was in fact not written until 1950. It was the first piece ever written for magnetic tape and orchestra and was meant to be the soundtrack to a film that would juxtapose images of actual deserts with images from past wars (the great "deserts" of civilization). This LP, originally released in 1950, includes "Integrales," "Octandre," "Density 21.5," "Ionisation," "Interpolation I," "Interpolation II," and "Interpolation III." It's reissued here on 180-gram vinyl in a limited edition of 500.

MOJUBA (GERMANY)

MOJUBA 005EP

ORACY: Mind Dance 12" (MOJUBA 005EP) 14.00
2016 repress; originally released in 2007. Oracy with more fantastic warm analog house music that slowly builds with floating synth waves over a simple bass drum before claps and snares fall in halfway through and push things forward. The B-side is slightly more aggressive and leans toward old school techno. Fantastic music, reminiscent of classic Abacus and Callisto releases on Guidance.

MORR MUSIC (GERMANY)

MORR 143EP

LIND, MIKAEL: Intentions and Variations 12" (MORR 143EP) 16.50
12" version. Includes download code. Intentions and Variations is composer Mikael Lind's most ambient work to date, absent of beats and filled with soundscapes and sound manipulation. It's weightless music that may make audiences think of Christopher Bissonnette, Deaf Center, or Stephan Mathieu. Lind's tracks are based on simple themes -- often performed by a piano or a viola -- but his compositions gradually evolve into more complex creations and mature textures by as he lets the electronically manipulated sounds interact. As on Lind's previous releases, these five sonic explorations are more comforting than agitating. But make no mistake; underneath their beautiful surface, threatening forces constantly loom, waiting to be unleashed. On "Unyielding Rocks," the shimmering sounds are almost drowned in a wall of droning distortions. But those multi-layered elements never fully negate the solemn aspect of Lind's music; as he puts it, "Complexity is a wonderful thing, but should never be an end in itself." Mikael Lind is a composer of experimental ambient music, residing in Reykjavík, Iceland, at the time of this release. Intentions and Variations is his debut for Morr Music.


MORR 145LP

QRELLA, MASHA: Keys LP (MORR 145LP) 18.00
LP version. Includes download code. Berlin-based musician Masha Qrella's fifth album, Keys, finds her elegantly fusing disco-pop and songwriting. Written and produced by Qrella in her studio within one year, the album's 11 songs feature well-known elements of fragility, perfection, and understatement, while walking a fine line between laconic coolness and passionate, up-tempo melancholia. There is a new straightforwardness in how Qrella sings about break-ups, new beginnings, and keys; "Please don't give me your keys / 'Cause I don't wanna have to give them back again," goes the refrain of the title-track, which features deliberately sparse instrumentation unexpectedly interrupted by the noise of traffic and construction sites -- one of those little surprising twists that have always been crucial to Qrella's music. While her earlier solo albums relied on more electronic elements, stumbling beats, and sonic textures, Qrella now puts emphasis on her voice and songwriting. Every sort of shyness seems to have vanished. One gets the feeling that Qrella is breaking new personal ground on this album. Every song on Keys captures an immediate and open-hearted quality that Qrella has not quite revealed before. With this album, Masha Qrella creates a very distinct version of pop music, subtly channeling her love for Elliott Smith, Neil Young, AIR, and Metronomy but always staying true to herself.

MULE MUSIQ (GERMANY)

MUSIQ 195LP

TONIGHT WILL BE FINE: Elephant Island LP (MUSIQ 195LP) 23.50
LP version. Following a break after their 2009 Touch 12", German musicians Julius Steinhoff and Abdeslam Hammouda revive their musical adventures, though this time they're leaving all electricity untouched. For this acoustic project the duo has chosen the alias Tonight Will Be Fine, which was the title of their 2008 debut 12" as Steinhoff & Hammouda (both Touch and Tonight Will Be Fine were released by Smallville Records, the internationally acclaimed house-and-beyond label and record store that Steinhoff co-runs). The pair stayed in touch during their break from musical collaboration, and eventually met again to record music that had nothing in common with their prior work. Steinhoff re-activated his self-taught guitar abilities and entered his friend Lawrence's studio in the back of the Smallville record store to capture some steel drums and vibraphone sounds. Hammouda brought more instruments like a banjo, a violin, and tablas, and Steinhoff dusted off his old drum kit. Growing up, Hammouda's musical background covered a wide range of influences before he got into producing hip hop and electronic music, and Steinhoff played in bands until he discovered house and techno in his late teenage years; the transition to instrumental music was smooth for both of them. Once the duo began to feel that their musical communication was elevating into something more profound than a session thing, they added guitars, claves, an accordion, a piano, and more. Their charming singing covers almost the whole album with a characteristic sense of deep, winking melancholy. At some point they began showing these songs to some friends, who encouraged the duo to move forward with the project. Somehow one of the tracks landed in Toshiya Kawasaki's mailbox. He instantly fell in love with it and asked the duo if they would like to do an album for Mule Musiq. The result is 13 songs full of sweeping acoustic guitars, airy rhythms, piano melodies, gloomy accordion emotions, touching voices, and a bunch of other exotic instruments, all created without the help of electronics. Elephant Island is an incredibly inspirational place where impressionistic lyrics dance gently with kinetic acoustic music borne out of the simple fun of jamming. The mélange of a structured song base and free improvisation injects all songs with a loose feeling. Steinhoff and Hammouda carve out their own musical utopia, full of hope and musical freedom powered by an unabashed instrumental playfulness.

MUSIQUE POUR LA DANSE (BELGIUM)

MPD 002EP

VOORN, ORLANDO: Collected EP #1 12" (MPD 002EP) 14.00
First EP (of four) released in advance of the double-CD Orlando Voorn anthology Collected, showcasing the best from the Dutch producer in his early days. This EP focuses on Voorn's housier side, with tracks from 1991-1996 originally released under the aliases Basic Bastard, Baruka, Designer Loops, and Dope Dog. Voorn started in the late '80s as a successful DMC DJ in the Netherlands; his unique early productions, with analog tweaks, funky beats, and cosmic chords, quickly attracted the attention of the likes of Juan Atkins and Kevin Saunderson, for whom he produced game-changing classics like Atkins's "Game One" and "Fix (as Flash)."

NICK SOLE TRAX (GERMANY)

NST 001LP

SOLE, NICK: Privat Collection One LP (NST 001LP) 23.50
180-gram marbled LP in unprinted translucent PVC sleeve. Nick Solé, known for his previous releases on Mojuba and Fauxpas, relaunches his Nick Solé Trax label with Privat Collection One. Forty-six minutes of music in his typical mesmerizing, captivating house style; a 4/4-paced array of tones and effects, hypnotic at around 120 BPM, with a focus on fantastic sound and high quality production.

NOW-AGAIN

NA 5120CD

VA: Wake Up You V.1: The Rise & Fall Of Nigerian Rock Music (1972-1977) CD/BOOK (NA 5120CD) 25.00
"The Western world was in the throes of peace, love and flower power as Nigeria descended into Civil War in 1967. The rock scene that developed during the following three years of bloodshed and destruction would come to heal the country, propagate the world-wide ideal of the modern Nigerian, and propel Fela to stardom after conflict ended in 1970. Wake Up You! tells the story of this time, pays homage to these now-forgotten musicians and their struggle, and brings to light the funk and psychedelic fury they created as they wrested free of the ravages of the late 1960s and created thrilling, original Nigerian rock music throughout the 1970s. The CD is presented in a 104-page book full of never-seen photos along with detailed liner notes by Nigerian musicologist and researcher Uchenna Ikonne (Who Is William Onyeabor?), with all tracks fully licensed from the bands themselves."

ONE WAY STATIC

OWS 010CS

GLASS, PHILIP: Candyman II (Original 1995 Motion Picture Soundtrack) Cassette (OWS 010CS) 10.00
"First time cassette release of this iconic soundtrack. Limited edition cassette (250 copies) with Alternate Artworks."


OWS 010LP

GLASS, PHILIP: Candyman II (Original 1995 Motion Picture Soundtrack) LP (OWS 010LP) 27.00
"Deluxe black vinyl version limited to 500 copies worldwide, comes with obi strip. Vinyl is packaged in a deluxe gatefold tip-on jacket with artworks by Silver Ferox. First time vinyl release of this iconic soundtrack. One Way Static Records is excited to bring you their latest release, one where we had the chance to (again) work with legendary composer Philip Glass. This has been a much requested release we simply could not withhold from you! Following up on our last year's release for Candyman (1992) One Way Static Records is now proud to announce the release of Mr. Glass' iconic motion picture soundtrack for Clive Barker's 1995 CANDYMAN II (Farewell to the Flesh) on vinyl. Clive Barker who wrote the story for Candyman is a multi talented artist, painter, director & producer. The extent of his work is endless. Spawning the likes of Nightbreed, Hellraiser, Lord Of Illusions and the Books Of Blood just to name a few. Philip Glass also needs no introduction. Considered one of the most influential composers of the last century his works are featured in a multitude of movies like Koyaanisqatsi, Hamburger Hill, The Truman Show, etc. Mr. Glass was nominated for and won several Golden Globes, Bafta & Academy Awards. For the first time on vinyl, packaged in deluxe old school tip-on gatefold jacket."

OSTGUT TON (GERMANY)

OSTGUT 020-7EP

VA: Zehn | Sieben 12" (OSTGUT 020-7EP) 12.00
Standalone edition of Zehn | Sieben, originally included as one of ten 12"s in the Ostgut Ton | Zehn box released for the Ostgut Ton label's 2015 ten-year anniversary. Martyn's contribution is prototypical Panorama Bar material: Some vocal bits and distant field recordings here and there, but mostly an uptempo, kick-heavy monster of its own. B1 sees AtomTM & Tobias. in full analogue synth swing. Planetary Assault Systems aka Luke Slater rounds out the EP with looping acid bleeps and tribal percussion.


OSTGUT 020-8EP

VA: Zehn | Acht 12" (OSTGUT 020-8EP) 12.00
Standalone edition of Zehn | OSTGUT 020-7EP, originally included as one of ten 12"s in the Ostgut Ton | Zehn box released for the Ostgut Ton label's 2015 ten-year anniversary. What started as Marcel Fengler's and Efdemin's inaugural collaboration as DIN for 2013's MASSE ballet sees its continuation on A1's "Mono." Fiedel contrasts the opening track's cool sounds with an upbeat contribution that brushes funk, electro, acid and boogie territory atop a muscular rhythm. Analogue synth aficionados are being served by Tobias.: "Like A Drug" is a minimalist techno track with maximalist dancefloor effect.

OSTRA DISCOS (PORTUGAL)

OD 006EP

DE LOS MIEDOS: Agadir Cuts 12" (OD 006EP) 16.50
De los Miedos and Ostra Discos deliver another edits bundle that sidesteps the obvious.

PAY JAY

PJ 007CS

J DILLA: The Diary Cassette (PJ 007CS) 16.00
"Pay Jay Productions, Inc. was the company James Dewitt 'J Dilla' Yancey founded in 2001 to house his production company and his publishing company. The Diary is presented here in a special limited edition cassette tape."

PETS RECORDINGS (POLAND)

PETSEDITS 002EP

DJ TONKA: Security (Catz 'n Dogz 2016 Edit) 12" (PETSEDITS 002EP) 14.00
The second PetsEdits release from Pets Recordings. The old school DJ Tonka "Security" track taken by Catz 'n Dogz for a club edit. Vinyl only.

PHILIP (BRAZIL)

PHI 6325019LP

RIBEIRO & ALPES, CATHERINE: Paix LP (PHI 6325019LP) 18.50
First-time vinyl reissue of two extraordinary documents from Catherine Ribeiro + Alpes. Born from the tumult of the '68 riots in France, Ribeiro + Alpes defined a uniquely Gallic take on the progressive psychedelia of the time. This is ecstatic music fusing European medieval traditions with the contemporary free jazz of the era. Ribeiro, with her confrontational and surrealistic poetry, along with Patrice Moullet's invented instruments, defined a genre unto themselves and created some of the most original music of the early '70s with these two masterpieces. Paix, released in 1972, is considered Catherine Ribeiro + Alpes's masterpiece and rightfully so! The album marked a change in the musical direction of the band, evolving into a more cosmic sound achieved by way of much improvised propulsive energy. Paix floats, shrouded by a strong, uniquely medieval, Gallic folk influence. Composed mainly of two expansive suits, Paix delivers a unique amalgam of progressive, spacey instrumentals (due largely to Moullet's homemade instruments: percuphone, cosmophone, and orgolia) standing in sharp contrast to Ribeiro's severe yet hypnotic vocals, both seemingly informed by the same shadowy depths of feeling. It is on Paix that this collaboration reached its summit, producing some of Ribeiro and Moullet's most haunting and passionate work. A landmark album FINALLY reissued on its original format. Included on the legendary NWW list. Remastered sound. One-time limited pressing of 500 copies.


PHI 6332017LP

RIBEIRO & ALPES, CATHERINE: Ame Debout LP (PHI 6332017LP) 18.50
First-time vinyl reissue of two extraordinary documents from Catherine Ribeiro + Alpes. Born from the tumult of the '68 riots in France, Ribeiro + Alpes defined a uniquely Gallic take on the progressive psychedelia of the time. This is ecstatic music fusing European medieval traditions with the contemporary free jazz of the era. Ribeiro, with her confrontational and surrealistic poetry, along with Patrice Moullet's invented instruments, defined a genre unto themselves and created some of the most original music of the early '70s with these two masterpieces. Ame Debout breaks much new ground for 1971, with Alpes joined by Gong keyboardist Patrice Lemoine and his bassist brother Jean-Sébastien. Rather than trying to fuse recognizable musical styles with vocals, Ame Debout illustrates Alpes's relationship with Ribeiro as something instantly more elemental and complicated. The music launches immediately into a radical sound world of acoustic guitar, bass, stabbing and soaring organ, scuttling percuphone, and celestial cosmophone. The album retains a repetition stretched across tracks and time that shifts ever so slightly but rarely responds directly to Ribeiro's vocals. The band's instrumental work drifts hazily beneath Ribeiro's swells, supporting her harmonically but never displaying enough ego to act as anything other than a platform for her existential angst, as if to conjure her id onto tape. These elements converge on Ame Debout, transforming a largely improvised combination of instrumentation and vocals into the utmost emotional expression. Included on the legendary NWW list. Remastered sound. One-time limited pressing of 500 copies.

POLE (GERMANY)

PL 011EP

POLE: Waldgeschichten 2 12" (PL 011EP) 12.00
2016 repress. Pole presents another spacey and heavy bass 12". Two melancholic, quiet tracks full of crackles and endless space, made for the winter. In contrast to Waldgeschichten, with its use of full chords, this new production is marked by its use of spaces, which seems to expand until they collapse and enfold the listener.

PORTALS EDITIONS (GERMANY)

PRTLS 007CS

GAINSTAGE: Elevated Noise Cassette (PRTLS 007CS) 10.00
In this age of electronic surrender, when identities and realities slough off as easily as leprous skin, one must consider: What is the storage capacity of our personal spiritualties? Does our ease of transition affect only the exterior, or do our humanities become ragged with use? Or do they become compressed as these fragments of reality splinter away? What is the sound of a soul in 2016? The scream of such corruption may be incomprehensible to the untrained mind, yet in the aural abattoirs of Gainstage these flayed metaformations are brought into unreality. Beneath the sediment of humanity, the sun shines in RGB; convert to grayscale and watch a world of self-buried definition open up. In this landscape, cold light illuminates shattered ideologies and the dust of forgotten deities left behind from some cosmic flea market. Inhale this world; serrated serotonin dragged up spinal digitalis, crushed-god ecstasy snorted up behind the third eye. Pounding metamorphosis as the void whispers incessantly. A celebratory consumption of self, filling the pipes of the body with shambling effervescence and an eternity of hissing and indecipherable voices. Soft light -- the color of stone, of ancient mountains and dirty concrete -- fills the spaces behind the eyes: Eigengrau as lover, its crushing arms enfolding with the promise of silent dominion. In these alien pieces of audio, one need not find terror, but enlightenment. There is no deception in destruction or in death. Allow the weight of Elevated Noise to act as psychogenesis -- you may find yourself rising faster than you fall.

PUBLIC POSSESSION/UNDER THE INFLUENCE (GERMANY)

PPUTI 007EP

HYSTERIC: Mappamondo EP 12" (PPUTI 007EP) 14.00
Hysteric presents four fine pieces of music. Audio recordings strange and foreign. Pleasure for the DJ. A disc for the pleasure jockey.

PUNCH DRUNK (UK)

DRUNK 008EP

RSD: Jah Way/Speeka Box 12" (DRUNK 008EP) 12.50
2008 release, repressed. "Bristol music godfather RSD returns to Peverelist's Punch Drunk label with another heavyweight soundsystem double header, 'Jah Way' and 'Speeka Box.' 'Jah Way' is a duttyweight dread fuelled stepper's rhythm designed to test the sturdiest of boxes from Bristol to Brixton. 'Speeka Box' is pure summer bubblin' roll out vibes. Infectious and irresistible. The kind of bassline you'll be humming for weeks. Big tings for RSD this year! Constant rotation from Peverelist, Appleblim, Pinch, Headhunter, Ramadanman and more."

RASTER-NOTON (GERMANY)

R-N 072CD

ALVA NOTO + RYUICHI SAKAMOTO: Revep CD (R-N 072CD) 14.00
2016 repress, originally released in 2006. The EP Revep is a continuation of the collaboration between Alva Noto and Ryuichi Sakamoto, and offers a previously-unreleased extract of this musical exchange which started with Vrioon (2002) and found its temporary end with Insen (2005). Similar to its predecessors, Revep breaks the rules of traditional acoustics -- the separation of sound and noise -- in a mysterious manner. "You hardly can go further, hardly can get deeper into the structure of sounds -- in order to discover a beauty never heard before." --Tim Lorenz, Groove. In contrast to both predecessors, Revep presents "Ax Mr.L.," a track where the artists fall back on an already renowned composition by Sakamoto -- the theme music to the movie Merry Christmas Mr. Lawrence with David Bowie, Ryuichi Sakamoto and Takeshi Kitano from 1983. 20-minute EP, housed in a fold-out digipak.


R-N 078CD

ALVA NOTO: Xerrox Vol. 1 CD (R-N 078CD) 17.00
2016 repress; originally released in 2007. Originals are unique, be it genetic codes or image and sound documents. Their copies are mere means of distribution. To secure these originals from misuse is the main issue today. The essence and potential of the copy mostly is disregarded. We live in a world of constant reproduction, where only the replication counts as original, the single object is a sheer copy of the prefiguration, which is abstract and becomes an icon. The uncountable number of multiplied images confirms the original, but immediately the copy withdraws and assesses its own value. By using the technique of copying the copy, it also often contains mistakes and abstractions that differ from the original. These simplifications and deformations inherent to the copy process lead to a gradual loss of its connection to the original and results in a substantial change of meaning. Although there is still a core of the actual source, the original message disperses in the white noise of reproduction. In the end, the observer can hardly differentiate if the origin is part of the information transferred. If there is still an integral material component of the original or can this only be projected... these questions remain unanswered. What finally remains is the process of copying itself. It becomes a creative tool by analytically accomplishing something new. The mutating copy provides space for development -- the copy becomes original again. Xerrox is the new, self-contained project by Alva Noto, which like his "Transall" series (Transrapid, Transvision and Transspray) is intended to be released in five parts during the next years. On Xerrox, Alva Noto works with samples from muzak, advertising, soundtracks and entertainment programs. These sounds we hear randomly in everyday life and thereby they become an always-present and available public domain. With Xerrox, Alva Noto manipulates these recognizable melodic (micro) structures by the process of copying. He alienates them beyond recognition so the results manifest their connection to the original only suggestively. In this respect, the original is copied to the original. Alva Noto used several samples from these sources: Narita airport Tokyo, in-flight program Air France, telephone wait-loop Lufthansa, hotel Apollo Paris, Suizanso hotel Yamaguchi, Seven-Eleven Tokyo, Forma London, Reaktor and www.kkmovie.com.


R-N 159LP

ALVA NOTO: Xerrox Vol. 3 2LP (R-N 159LP) 23.00
2016 repress; Double LP version. After a break following the 2009 release of Xerrox Vol. 2, Alva Noto continues his Xerrox series with Xerrox Vol. 3, titled Towards Space. This is a journey that started with Xerrox Vol. 1 (R-N 078CD, 2007), referring to the "old world," and Xerrox Vol. 2, heading "to the new world." Using the process of copying as a basis, the Xerrox series deals with the manipulation of data by means of endless reproduction. Due to the inherent vice of the procedure that becomes especially visible when copies are made from copies, everyday sounds are so much altered that they can be hardly associated with the source material anymore. As a result, entirely new sounds are created that, being copies of originals, become originals themselves. On Xerrox Vol. 3, a new aspect enters the scene. Inspired by childhood film memories from the 1970s including Tarkovsky's adaption of Solaris (1972) and La isla misteriosa y el capitán nemo (1973), based on Jules Verne's The Mysterious Island, the album shows Alva Noto's private side. With its very intimate atmosphere, it is a personal reflection of dreams, an imaginary journey through emotional landscapes or, as he himself puts it, a "cinematographic emotion of a soundtrack to a film that actually does not exist in reality." Alvo Noto further states, "I see Xerrox Vol. 3 as my most personal album so far. I have to admit that this emotional output is a surprise even for myself. It remains exciting how the last two albums of this series will sound."


R-N 170EP

KYOKA: SH 12" (R-N 170EP) 15.50
Inspired by her residencies at Stockholm's EMS, Kyoka's SH may be her most experimental record yet. Each of these four snapshots manifests its own spontaneous character, as they were edited and recorded during various sound checks and performances. The results showcase Kyoka's chaotic sound with unforeseen shifts in beat, unpredictable repetitions, and surprising clicks and bops. Gloomy opener "Susurrus" is followed by the dubby, up-tempo "Smash/Hush," which culminates in a repetitive and hypnotic swirl. The B-side, on the other hand, continues with the slamming "Hovering" and concludes with "Shush," complex track with diverse breaks and cuts.

ROTORELIEF (FRANCE)

ROTOR 001CD

COILECTIF: In Memory ov John Balance & Homage to Coil CD (ROTOR 001CD) 14.00
2006 release. Coilectif consists of French bands from the genesis of industrial, experimental, and free jazz musics -- for the most part unclassifiable underground musics -- and more recent artists from the same vein. These artists explore and express, openly and without limits, what Coil's heritage suggests to them, an opportunity to pay homage to Geoff Rushton aka John Balance following his death on November 13, 2004. Coilectif is also an homage to all the musicians, as well as illustrators Scherer & Ouporov, united for the first time under such an outline, all expressing what Coil's universe evokes to them through lunar, astral, and visionary excursions, while keeping their own artistic identities. It is not a compilation of remixes of Coil, nor a catalog of previously released tracks, but a genuine concept of creation in which this collective of artists homogenizes itself around a real artistic project. The 17 tracks form an intimate, magnetic, and timeless piece of work. Each band composed, recorded, and mixed their own exclusive track. Mastered by Laurent Pernice. Graphic design by Patricia Leclerc from the artwork of Scherer & Ouporov. Includes works by Ilitch; De Mange Machine; Servovalve; Bela Goosy; Laurent Pernice & Jacques Barbéri; Pacific 231; Vivenza; Désaccord Majeur; Art&Technique; Othila; Gas Anorex; Vox Populi! (as Gitanjali & The Masters Of Mystic Entertainment); Les Nouvelles Lectures Cosmopolites; Palo Alto; Déficit Des Années Antérieures; Étant Donnés; Jac Berrocal, Marie France & Jack Belsen.


ROTOR 001LP

COILECTIF: In Memory ov John Balance & Homage to Coil 2LP (ROTOR 001LP) 36.00
Clear double LP version. Includes quotations from various artists and a text written for the project by writer and philosopher Jean-Marc Vivenza called méditation sur la mort. Limited numbered edition of 400.


ROTOR 002CD

PACIFIC 231: Ethnicities CD (ROTOR 002CD) 14.00
Ethnicities is a collection of previously unreleased recordings from Pacific 231's post-industrial period. Successive and consecutive cuts were made before the artist put together the concept of the album as a pluricultural diversity of sounds, with tropical steams, exotic journeys, electronic manipulations, urban dins, and industrial mazes. An unexpected psychedelic patchwork from Pacific 231. Composed, recorded, mixed and produced by Pierre Jolivet. Mastered by Laurent Pernice. Graphic design by Patricia Leclerc from pictures from Pierre Jolivet.


ROTOR 010WHT-LP

CURRENT 93: When The May Rain Comes (Purple and White Vinyl) 12" (ROTOR 010WHT-LP) 23.00
200-gram purple and white 12" version in deluxe heavy-duty sleeve. "When the May Rain Comes" is a cover of a track by German trio Sand, whose work has had a profound effect on David Tibet's work. The track first appeared on Current 93's influential 1992 album Thunder Perfect Mind. It appears here with an alternate version of the same track, originally released as a CD single accompanying the first 1000 copies of Ultrasonic Seraphim (1996), David Tibet and Steven Stapleton's collection of material by Sand. Current 93 is David Tibet's eclectic, idiosyncratic, hallucinatory, apocalyptic artistic project, begun in 1982. David Tibet is the only person permanently present in the group, although Steven Stapleton of Nurse With Wound, whom David met in 1983 at London's Equinox Event, has appeared on virtually all of Current 93's releases. David Tibet has worked with many individuals since he formed Current 93, including Michael Cashmore, Steve Ignorant (Crass), John Balance (Coil), Nick Cave, Marc Almond, Antony Hegarty, Sebastian Horsley, Andrew W.K., Rickie Lee Jones, Shirley Collins, and Bonnie "Prince" Billy. Current 93 has many faces, but has always primarily reflected David Tibet's beliefs and obsessions. His vision continues to grow increasingly personal and intense, inspired by his translations of non-canonical Coptic and Gnostic texts. Other important influences upon his work have been the New Testament, the works of Count Stenbock, cats, the Kabbalah, seahorses, and Birdsong in the Empire. Cover painting by Babs Santini.


ROTOR 011PIC-LP

NURSE WITH WOUND: Chromanatron (Picture Disc) PIC. DISC (ROTOR 011PIC-LP) 22.00
Picture disc version in special window sleeve. Limited numbered edition of 500. Chromanatron consists of Nurse With Wound's collages of no less than five albums by the mythical German band Sand from the late '60s and '70s. These five experimental psychedelic krautrock albums include their first oddity, Golem (ROTOR 006CD/LP/BLU-LP/PIC-LP, 1974), which has long been a great source of inspiration for Nurse With Wound. A hallucination on the music of Sand by Andrew Liles and Steven Stapleton, with Ian Hinton-Smith, guitar; Rick Tomlinson, French horn; and Matt Waldron, atmospheric grooves. Recorded at The Bear Den, West Yorkshire. Engineered by Andrew Liles. Cover art and insert art by Babs Santini.


ROTOR 014CD

VIVENZA: Realites Servomecaniques CD/BOOK (ROTOR 014CD) 22.00
Originally released in 1985. CD with 32-page A5 book. First reissued by Rotorelief in 2009. Features reworked visuals. Vivenza presents sounds -- noises -- in their rawest and most genuine aspect; sounds are machines and machines are sounds. Thus Vivenza captures the essence of factories with a strong sense of austerity and radicalism, evoking the thick smoke and intense darkness of industrial landscapes. Réalités servomécaniques directly refers to the triumph but also decline of heavy industries in the '80s. The cogwheels, forges, and machines smash us in the face in a radically powerfully vivid way, plunging us into the midst of the machines -- and into the machines themselves -- with a surprising and striking strength. Since his first works in the mid-'70s, Jean-Marc Vivenza has theoretically and politically linked himself with the Italian Futurists and Russian Constructivists, and qualifies his music as "bruitist futurist" rather than "industrial." He enacts the re-appropriation of noise as a formal plastic aid. He explores the field of perspectives that the plastic-acoustic material offers and works on a concept that he calls "the objective materiality of noise," basing his work on the Futurist thesis of Luigi Russolo proclaimed in his 1913 manifesto The Art of Noises. He is then the first, between 1976 (with the band Glace) and 1979, to build a bridge between the thesis of Luigi Russolo and our time. The originality of Vivenza lies in his use of sonorous industrial material in the literal sense of the word (machines, workers in action, factories). Noises and machines recorded and mixed by Vivenza in Grenoble, France, 1984. Mastered by Hervé de Keroullas, 2009. Graphic Design by Peter Mendelsund, 2009. Photography from Vivenza's personal archives.


ROTOR 015LP

PACIFIC 231 & LIEUTENANT CARAMEL: Just Digging the Crazy Art LP (ROTOR 015LP) 19.50
A collaboration between Pacific 231, pioneer of experimental noise and industrial music, and surreal sonic alchemist Lieutenant Caramel. Pacific 231 creates a dark aquatic atmosphere into which Lieutenant Caramel introduces some zings and pops. Reflexive and mental, Just Digging the Crazy Art is the launch of a vast undertaking of brainscrambling. Pacific 231 puts aside his metallic sonorities of the '80s and brings atmospheric waves in harmonic spirals while Lieutenant Caramel flutters about, striving toward infinity. Composed, recorded and mixed by Pierre Jolivet and Philippe Blanchard. Mastered by Laurent Pernice. Graphic design by Peter Mendelsund.


ROTOR 016CD

PACIFIC 231 & VOX POPULI!: Aramesh CD (ROTOR 016CD) 14.00
A collaboration between Pacific 231 and Vox Populi! A synthesis of East-meets-West colliding with the most experimental sounds and collages. Building up stacks of multi-directional creations using binaural technology to fully immerse the listener. Axel Kyrou: JD-800 and Pro One synthesizers, MC-808 and ASR-X workstations, resonant objects, field recordings, voice. Pierre Jolivet: electronics, effects, acousmatic, spatialization. Chester Harlan: guitar on "Gharb." François Poli: voices on "Sawt." Mitra Kyrou-Khalatbari: vocals on "Sawt." Arach Khalatbari: flute on "Alif." Fr6 Man: bass and guitar on "Asas." Recorded, produced, and mixed by Axel Kyrou and Pierre Jolivet, 2009, Paris and Dublin. Graphic design by Peter Mendelsund, 2009. Tracks 01, 04, 05, 09, 11, 12, 13, 14, and 15 are binaural recordings.


ROTOR 017LP

ILITCH: Life Out of Time LP (ROTOR 017LP) 19.50
2010 release. Life Out of Time the selective combination of the first two Ilitch CDs, Hors Temps/Out Of Time (2004) and Lena's Life & Other Stories (2007), rearranged and reorganized to create a multifaceted album. Minimal synthpop, punchy rock, unusual popular music . . . as Ilitch's music comes directly out of his states of mind, not taking only one path, it can be dark and merry, difficult or bouncy, satisfying different audiences. He consistently associates his music with imagery and tells stories with wide influences, including Philip Glass, quality popular music, contemporary music, Pink Floyd. . . . Ilitch is the work of mostly one person, Thierry Müller; since the '70s, he's been using unconventional instruments with a heavy use of electronics, adding new wave, krautrock, and cold wave elements to create relevant, bold, sharp music. Limited edition of 215 numbered copies.


ROTOR 018LP

BRUME: Ainsi Soit-il! LP (ROTOR 018LP) 19.50
Limited edition of 250. Alone, you have to listen to Brume alone, and lie down far from the neon lights, traffic, and gossip, with your lights filtered. In the dominating dark and night, Brume carries an atomized reality to a world where chaos rhymes with spatial waverings, where atmosphere is devoid of impurity, rich with rhythms and sonorities, and dense with emotions, for a mysterious -- but undoubtedly innovative -- energetic trip. Rich, complex, and experimental Ainsi Soit-il! envelopes us. Brume (Christian Renou) is a prolific French musique concrète composer/sound sculptor who has won himself a place of his own with his crossover between sound collages, electroacoustics, and noise. His compositions rely on dense, rapid-fire montage and wed cacophony and dynamics, emphasizing both the elements of discontinuity and continuity. 1978: first steps with a Farfisa organ, inspired by surreal soundscapes à la Fripp & Eno and experiments experiments experiments. Tries to make a compromise between electronic and electroacoustic. 1985: creation of the Brume Rec. label. 1986-2000: many LPs, CDs, and cassettes, and some soundtracks for visual artists. 2000: Brume stops everything. Regeneration. 2008: 30 years after his first sound, Brume starts his experimentation again. For our pleasure.


ROTOR 019EP

ROXY EPOXY: 1000 12" (ROTOR 019EP) 14.00
A collection of previously unreleased new wave and synth-infused tracks by Roxy Epoxy, sometimes punchy and sometimes languorous and velvety, showcasing her oh so particular voice. Also notable is the reprise of the mythical and mysterious synthpop band Nine Circles, in Roxy Epoxy's version of "What's There Left."


ROTOR 023LP

VIVENZA: Modes Réels Collectifs LP (ROTOR 023LP) 22.00
LP version. Limited numbered edition of 575. Modes réels collectifs is the first work published in 1981 under the Vivenza banner, following Jean-Marc Vivenza's time with the bands Glace (1976) and Mécanique Populaire (1979). It represents a genuine manifesto that would become emblematic of all Vivenza's subsequent work. By suggesting, from philosophical and sonic points of view, an idea of opening to the reality directly inspired from Futurist theories, Vivenza was presenting what he had brought from his relationship with machines and sounds of factories, to evoke the brutal concrete of the heavy industry world. This album shows this concern about participating in the energy of the future, with the reciprocal mediation linked to the productive activity of the world. As Vivenza puts it, "By working and through the strengths of work, in the sonorous magma of the industrial society, at the heart of the forges and weirs, of the rolling mills and power stations, reactors and artificial intelligence, nature reveals its dynamic characteristic. The power of machines, and of industry in general, are the truth of the world." Thus, industry and technique are what we could call the principle of any reality, because, like the Futurists said, "The machine is indeed the richest symbol of the mysterious human creator strength" (Enrico Prampolini, Ivo Pannaggi, and Vinicio Paladini, Manifesto of Mechanical Art, 1923).


ROTOR 026RED-LP

VIVENZA: Réalité De L'Automation Directe (Red Vinyl) LP (ROTOR 026RED-LP) 23.00
200-gram red LP version. Limited numbered edition of 200. Originally released in 1983. "Bruitism is the representation of a living, biological body, not unrelated but on the contrary intimate to the substance. The nature/technique gap is totally, in The Art of Noises, the most accomplished form of a reconciliation with industrial mechanization. By highlighting the autonomy of the dialectical movement in its inaugural tension, bruitism reestablishes this relationship with the pure objectivity of the substance, which is the cornerstone of the program of futurism and remains more than ever valid for the future of all futures. The sonorous world, the noises of life, are not just a simple residual environment but the material of a new art, The Art of Noises! Luigi Russolo declares: 'In a few years the engines of our industrial cities can all be skilfully sounded so as to make from each factory an exhilarating orchestra of noises'. The futurist objective is 'a will for a back to original forces', it finds in bruitism the most intense form of a participation to the universal energy of the being of the world" --extract from L'art des bruits futuristes (The Art of Futurist Noises), Vivenza, 1982. Since his first works in the mid-'70s, Jean-Marc Vivenza has theoretically and politically linked himself with the Italian Futurists and Russian Constructivists, and qualifies his music as "bruitist futurist" rather than "industrial." He enacts the re-appropriation of noise as a formal plastic aid. He explores the field of perspectives that the plastic-acoustic material offers and works on a concept that he calls "the objective materiality of noise," basing his work on the Futurist thesis of Luigi Russolo proclaimed in his 1913 manifesto The Art of Noises. He is then the first, between 1976 (with the band Glace) and 1979, to build a bridge between the thesis of Luigi Russolo and our time. The originality of Vivenza lies in his use of sonorous industrial material in the literal sense of the word (machines, workers in action, factories). Noises and machines recorded and mixed by Vivenza in Grenoble, France, 1982. Mastered by Hervé de Keroullas, 2011. Graphic design by Matthieu David, 2011. Photography from Vivenza's personal archives.


ROTOR 029LP

VIVENZA: Veriti Plastici LP (ROTOR 029LP) 21.00
Black LP version in deluxe heavy-duty sleeve. Limited numbered edition of 333. Veriti Plastici, the third part of the first works of Vivenza, was recorded and completed in 1983 and represents a fundamental step in the definitive formalization of the bruitist perspective. Made of objective industrial atmospheres, this recording is the bridge between the pure experimental approach and the rigorous structuring of the works that would follow (including Fondements Bruitistes in 1984 (ROTOR 033CD/AB-LP/ABRED/DC-LP/DCRED) and Réalités Servomécaniques in 1985 (ROTOR 014CD/RED-LP)). The release of Veriti Plastici was accompanied by a text, Le Programme Futuriste De Retour A La Realite Materielle, which describes Vivenza's theory of bruitism as follows: "The futurist objective, which is 'a will to a return to the original forces', will thus find in bruitism the most intense form of a participation to the universal energy of the being of the world. Bruitism is a radical attempt of the carrying out of the futurist project in its will of participative communion to the dialective future sensed in the mechanical power of industry. The attentive examination of bruitism on each machine generating a noise-sound, reveals an organic vision of the industrial and urban network: 'the large and fabulous breathing of a sleeping town is so strange, wonderful, fascinating. . . . a breathing only interrupted now and then by the whistle of a train; a breathing which is the result of all different industries (electric power stations, gas factories, train stations, printings, etc.) continuing their activities in the quiet nightlife' [Luigi Russolo, The Art of Noises, 1913]. The transfigurative wave of the dialectic movement of the Vortex, 'the point of the highest energy' [Ezra Pound, Blast, 1914], expresses the vertiginous transparency of the abyss; only the knowledge-contact through the exercise of the decentering of the subject can offer the possibility of a uniting participation to this abysmal reality." Noises and machines recorded and mixed by Vivenza in Grenoble, France, 1983. Mastered by Hervé de Keroullas. Layout by Matthieu David, from pictures, logo, and text from Vivenza's personal archives.


ROTOR 030RED-LP

PARAZITE: Le Bunker de la Dernière Rafale (Red Vinyl) LP (ROTOR 030RED-LP) 23.00
Red LP version. Limited numbered edition of 333. Le Bunker de la Dernière Rafale (The Bunker of the Last Gunshots), made in 1981 by Marc Caro and Jean-Pierre Jeunet, is a 26-minute retro-futuristic silent film bursting with punk and industrial culture, in the tradition of expressionist cinema. Caro's soundtrack, a work of his Parazite project, was initially presented in monaural sound for the 35mm film. A stereo version was made through the Arkamys process when the film was released on DVD in 2001. Marc Caro presented a 5.1 surround sound version at the 30th-anniversary screening of the film at L'Étrange Festival in 2011. This edition contains the stereo mix of this live cinema performance version. Personnel: Marc Caro, Joëlle Coulombeau, Antenna Meadows, Spot Phelizon.


ROTOR 033AB-LP

VIVENZA: Fondements Bruitistes 1 LP (ROTOR 033AB-LP) 21.00
Part one of two LP versions. Limited numbered edition of 300. Fondements Bruitistes d'Action (Bruitist Foundations of Action), originally released in October 1984, opens the period in Vivenza's work on bruitist sound when he started to incorporate the question of the relationship between the technological and mechanical industrial fabric, on the one hand -- which makes up the reality of the modern world -- and the human and social environment on the other. This is the first-ever release of the entire 1984 Fondements Bruitistes session.


ROTOR 033DC-LP

VIVENZA: Fondements Bruitistes 2 LP (ROTOR 033DC-LP) 21.00
Part two of two LP versions. Limited numbered edition of 300. Fondements Bruitistes d'Action (Bruitist Foundations of Action), originally released in October 1984, opens the period in Vivenza's work on bruitist sound when he started to incorporate the question of the relationship between the technological and mechanical industrial fabric, on the one hand -- which makes up the reality of the modern world -- and the human and social environment on the other. This is the first-ever release of the entire 1984 Fondements Bruitistes session.


ROTOR 034LP

LE SYNDICAT & SEKTOR 304: Geometry of Chromium Skin LP (ROTOR 034LP) 21.00
2013 release. In 2011, Le Syndicat and Portuguese industrial band Sektor 304 began to exchange sounds, driven by a mutual artistic respect and the will to create a project together. The goal was to rearrange, transform, mutate, and sometimes destroy each other's sounds to create real collaborative tracks that efficiently meld the sounds and styles of each band. The result is a gathering of amazing, powerful sound treatments and compositions, pushing the limits of sensations that music can provoke. Produced in 2011 and 2012 by Le Syndicat in collaboration with Sektor 304, by mutual exchange of sound sources, data, and strategies. Ruelgo: electronics, beats, bass frequencies, sound processing, FX, sonic destruction. André Coelho: electronics, sound collage, dirge bass, processing, vocals; João Filipe: scrap metal percussions, junk abuse; Gustavo Costa: cymbals, metal percussion; Henriques Fernandes: electronics; Manuel Neto: text dissection, voice; Antonia Reis: voices. Limited numbered edition of 333.


ROTOR 035LP

MINAMATA: Mit Lautem Geschrei LP (ROTOR 035LP) 21.00
Originally released in 1984. Minamata started its activities in 1984 and proposed an extreme music of dark and tortured atmospheres and aggressive voices full of hate. The metallic rage of Minamata was in line with the precursors of the industrial movement, driven to fight against the media manipulation and the power of the politics. In 1984 the group released its first tape, Mit Lautem Geschrei. This is its first vinyl reissue, released as part of the Archives Des Musiques Industrielles De France. Limited numbered edition of 300.


ROTOR 036LP

BRUME: Friction LP (ROTOR 036LP) 21.00
Friction contains a selection of tracks from the first two official Brume tapes, Frikture (1985) and Le jour du cochon (1987), plus the previously unreleased track "Friktion." A very experimental electro-ethnic-industrial-oriented period, marking the change from Brume's analog works to his electroacoustic hybrids using synthesizers and computers. Part of the Archives Des Musiques Industrielles De France. Limited numbered edition of 300.


ROTOR 037BRN-LP

M.B.: Weltanschauung (Brown Vinyl) LP (ROTOR 037BRN-LP) 23.00
Brown LP version. Limited numbered edition of 333. Originally released in 1982. At the beginning of 1981, Maurizio Bianchi sent some demo tapes to William Bennett's Come Organisation in England; extracts from these tapes were then blended together to form Weltanschauung. The track "Under The Victory Banner," an anachronistic and detrimental track for the rest of the album, has been replaced here "Plutoniumetrio," a track from the same set, originally released on Come Organisation's 1982 compilation Für Ilse Koch. Come Organisation was a record label founded in London in 1979 by William Bennett, initially as a vehicle for his group Come, and later specializing in extreme electronic or controversial music -- in particular the work of Bennet's subsequent group Whitehouse, but also the work of other artists including Maurizio Bianchi, Nurse With Wound, and Charles Manson. When Whitehouse went on hiatus at the end of 1985, Come Organisation was dissolved.


ROTOR 038LP

BRUME + VOMIR: UNstable LP (ROTOR 038LP) 22.00
"The involvement in the improbable challenge of a collaboration with another musical entity takes on its full meaning when the two characters have radically different personalities. In 2001, the merger of Brume with the American project Bastard Noise would have seemed surreal. One works in the field of musique concrète, and the others in what we can call power electronics, making their own sound generators. The first album of this association materialised with a very successful CD. 2012 . . . up pops up this 'alien', unique in the French music scene: Vomir, the project of Romain Perrot. Some monolithic hard-liner 'walls of noise' stretching endlessly. . . . The paradox of the music of Vomir is that this sonorous fire ship manages to blow you away, this magma being so hypnotic, similar to the German long electronic tracks of the '70s. Amazing. Armed with his experience with Bastard Noise, Brume contacted Vomir for a new musical experience, a new challenge. . . . The result was arranged by Christian Renou in his own home studio. Any description would be shallow to describe the result. Sharpen your ears and let yourself drift away with these thermonuclear explosions" --Christian Renou, January 2014. Limited numbered edition of 300.


ROTOR 040LP

LE SYNDICAT: Second Empire LP (ROTOR 040LP) 21.00
Bruitism, empiricism, explosion, process, labor, loss, fracture, abstraction, to throw, to rebuild, to leave, to doubt, to corrupt, to wrap up, to close, to forget, to macerate, to forsake, to perforate, energy, pleasure, method, existence, survival, exhibition, abstraction, history, terror, resistance, construction, progression, music, Second Empire. Le Syndicat was founded by art students J.M. Onni aka Ruelgo and Van Minh L aka Zyklon in Paris in 1982. The first goal of this association was to make noise performances. A year later, the tape label Le Syndicat was created with help from Zorïn, painter, graphic designer, and visual scientist. Their fascination with chaos, strength, and violence was not motivated by provocation but by the sheer pleasure of manipulating noise material. This was the main difference between industrial music and Le Syndicat's empiric bruitism. After releasing some intense noise albums in the mid-'80s, Ruelgo, with new member Veïdt Mjölnïr, turned to more musical styles, experimenting with ambient loops, heavy rhythms, etc. Deluxe silver sleeve. Limited numbered edition of 300.


ROTOR 041PUR-LP

M.B.: Neuro Habitat (Purple Vinyl) LP (ROTOR 041PUR-LP) 23.00
Purple LP version. Limited numbered edition of 200. Originally released in 1982. "In order to create this sound system, I used the conduction of psychomotor pulses merging it with neurosis signals circulating within the hypertrophic experimentation to get a plant immune-sensitive, so that the metabolism of rumoristic environment emerges with the syndrome dissonant electronics, and the result was Neuro Habitat" --Maurizio Bianchi, 2013.


ROTOR 042LP

LE SYNDICAT: Audiostatik Repress LP (ROTOR 042LP) 21.00
Originally released in 1983. A certified head-cleaner of brutalist/bruitist/rhythmist/industrial noise. Le Syndicat's The rhythm and noise evolved through a process mingling tape loops, overblown drum machine programming, shortwave radio experiments, short-circuited consumer electronics, and eventually rudimentary sampler technology. Audiostatik Repress is a visionary early-80s vision of what was to come in the next decade. Part of the Archives Des Musiques Industrielles De France. Limited numbered edition of 300.


ROTOR 043AB-LP

DIE FORM: Die Form ÷ Fine Automatic 1 LP (ROTOR 043AB-LP) 22.00
French industrial group Die Form, led by Philippe Fichot, formed in the late '70s and released Die Form ÷ Fine Automatic in 1982, a split with Fichot's Fine Automatic project. The complete original album is released as two separate LPs as part of the Archives Des Musiques Industrielles De France; this is part one. Limited numbered edition of 300.


ROTOR 043DC-LP

DIE FORM: Die Form ÷ Fine Automatic 2 LP (ROTOR 043DC-LP) 22.00
French industrial group Die Form, led by Philippe Fichot, formed in the late '70s and released Die Form ÷ Fine Automatic in 1982, a split with Fichot's Fine Automatic project. The complete original album is released as two separate LPs as part of the Archives Des Musiques Industrielles De France; this is part two. Limited numbered edition of 300.

SCOPITONES (UK)

SCOPITONE 014CD

CINERAMA: John Peel Sessions: Season 2 CD (SCOPITONE 014CD) 14.50
2003 release. Second volume of Cinerama's Peel Sessions. "It's a shame Cinerama are still seen as a Wedding Present afterthought: David Gedge has built them into a much more interesting vehicle for string-soaked, painfully acute romance." --Uncut


SCOPITONE 019DV

WEDDING PRESENT, THE: I'm From Further North Than You DVD (SCOPITONE 019DV) 6.50
2005 release. PAL format. "I'm From Further North Than You" is classic Wedding Present, from its over-wordy title with a hint of a North-South divide to the sad story of the end of a relationship between unhappy people. More surprising though -- to the dissenters at least -- is that it's better than anything The Wedding Present ever released in their '90s incarnation. This is because David Gedge brought his experiences writing, recording, and singing beautiful, string-laden, lush pop music with his Cinerama project to bear on the mid-2000s Wedding Present recordings, proving himself, if there was still any doubt, to be one of the best songwriters in Britain. "I'm From Further North Than You: is perfect guitar pop with a twist, grown up without ever straying toward the embarrassing territory of maturity. The DVD includes a charming video for "I'm From Further North Than You" featuring Gedge and a mystery girl pacing the streets of Edinburgh and reciting lyrics from past Gedge songs into their cell phones, as well as an eerie video for the rougher, edgier single "Interstate 5." "Perfect Blue (Three Minute Film)" was shot in Amsterdam at a semi-acoustic performance by David Gedge and (Wedding Present guitarist) Simon Cleave and also includes footage shot by Gedge himself. The videos on the DVD single were all made by Tim Middlewick, who directed Get Up And Go, the acclaimed 2004 Cinerama DVD.


SCOPITONE 026CD

DE CASTRO, TERRY: A Casa Verde CD (SCOPITONE 026CD) 14.50
2009 release. Terry de Castro takes a novel approach to her solo debut, one that is especially charming, likable, and curious. The album is composed entirely of cover versions, but these are not necessarily well-known songs by famous artists. Each songwriter on A Casa Verde is a personal friend and musical collaborator of Terry de Castro. The CD comes with elaborate sleeve notes delineating the stories, alliances, and histories of all the artists and her connections to them, placing each song into its unique context and strengthening the overall coherence and concept of the album. It's a deliberately understated exercise. There is a warm, inviting humility in the basic premise of devoting an album to telling stories by one's friends, and it informs the entire endeavor, setting a tone of intimacy and empathy. Each song is a story unto itself, and all of the songs hang together in a vivid and illuminating way. De Castro's maturity as an artist is apparent from the first track, as she adapts "Dalliance" by The Wedding Present, making it her own by layering pedal steel and acoustic guitars. It's a wry, subtly arch choice to launch this particular solo debut. In one of the album's highlights, de Castro strikes a darker tone with Hank Starrs's "East St. O'Neill." With a deceptively languid start and sparkling imagery, it builds slowly on a theme of murder and sorrow, rising on the strength of rousing chord changes that are disturbingly catchy, given the subject matter. As the album progresses, a rich array of styles and subjects take their spin across the dancefloor. Dean Hawksley's "The Sun Is Always Sweetest" by is a bittersweet, country-tinged waltz. Two compositions by Astrid Williamson (Goya Dress) -- "Glorious" and "To Love You" -- are swirling torch songs. The composers also include Mike Chylinski (Drugstore), Simone White (composer of "The Beep Beep Song," which was used in an Audi advertisement), Johnny Daukes (Eurotrash), and Paul Hiraga (Downpilot). De Castro does an expert job of filtering their material through her own self-assured aesthetic, while directing an outstanding band in the process. A Casa Verde is an unpretentious, lovingly assembled pop album; a simple collection of songs. But as a project, the album hangs together in a positively conceptual way, one that vivifies Terry de Castro's life and the lives of her friends.


SCOPITONE 047CD

TOQUIWA: Toquiwa CD (SCOPITONE 047CD) 14.50
2012 release. The music of Japanese legends-in-the-making Toquiwa (previously known as Pinky Piglets) is, in the band's own words, characterized by "Catchy riffs, addictive melodies and energetic performances you can't miss. We burst onto the stage!" The Wedding Present caught these gifted all-girl rockers in Japan and fell in love with the energy of their live performances and the earworm-catchiness of their songs. Subsequently, The Wedding Present have practically adopted the band, inviting them to their annual mini-festival in Brighton and their European and North American tours and releasing their self-titled debut album on David Gedge's own Scopitones label, previously reserved for the releases of Wedding Present members. Gedge on Toquiwa: "I have never seen audiences react so positively to one of our support bands before. At first they just appear to be a cute Japanese band but, when they start to play, everyone's jaw hits the floor!" Toquiwa roars into life with "Tokyo Merry-Go-Round" and "Roll The Dice," which channels The Strokes for two minutes and 38 seconds of pop rock perfection. "Brain Party" thumps in your head like a rock disco -- close your eyes and find yourself in a Tokyo night club. The Japanese love of a ballad is not left out of this album; the unexpectedly tender lyrics of "The Rain Song" are a breather from the heart-pounding pop-punk-rock of the rest of the album. Toquiwa only let up for a moment, though; their biggest hit, "Give Me A Chocolate," comes in with AC/DC guitar riffs placed over the sugary-sweet vocals of vocalist Auska. They close the album with their ode to The Wedding Present, an inspired cover of "Kennedy."

SHITKATAPULT (GERMANY)

STRIKE 159LP

MOBIUS, GUIDO: Batagur Baska LP (STRIKE 159LP) 17.50
LP version. Includes download code. In the beginning there is noise. Not an encompassing and continuous noise, but something choppy and rhythmic. It sounds as if a noise-generating device is constantly being switched on and off in regular time. It's a machine-like pulse that stoically keeps its own time, even if none of the instruments, introduced one by one, follow its rhythm. Nor does the bassline, consisting of four notes played with long pauses, nor the hypnotic tom sequence on the drums. The noise has a life of its own. Its staccatos swell into metallic harmonies that wander around the room without ever deviating from their tempo. The voice of Cambodian singer Prak Chum floats over it all. Its agility and countless, minute modulations make it seem both strange and intimate; grounded and ethereal at the same time. This is "Batagur Baska," the first piece from the album of the same name by Guido Möbius. Nothing on this album actually goes together. One hears bouncy patterns played on analog synthesizers, and then a recorder. Rumbling, grinding industrial percussion develops through vocals played backward into something like acid krautrock. "Call The Police Now," with its shakers and soft vocal lines, has a bossa character that's counteracted by the overwrought voice of a woman screaming her lungs out in all fury. The ghostly "How To Never Wake Up" accompanies a mantra sung by Jana Plewa with grating squeaks that seem to comment on and object to the voice and lyrics. In any case, for Möbius, it is about the interplay between friction and harmony -- sound and noise -- and the constant balance between melodiousness and discord that keeps his music in suspense. The path he takes from a pleasant sound immersion to oppressively disturbing noises is a short one. Twisted humor and sacred seriousness are neighbors, as are autonomy, irritation, and loss of control. The Berlin-based artist creates tracks that suddenly shift from mild and friendly to darkly morbid -- or the other way around. Everything is organically interwoven, arranged in layers, or opposed. Möbius works as a PR agent and runs the music publishing house Autopilot Music Publishing. His PR clients include record companies and promoters such as Shitkatapult, Alien Transistor, Deutsche Grammophon, the Haus der Kulturen der Welt, and CTM Festival. As a music publisher, he handles the rights of artists such as F.S. Blumm, the Trabant Echo Orchestra, Nicholas Bussmann, and zeitkratzer.

SONIC PIECES (GERMANY)

PATT 002LP

JOHANNSSON WITH HILDUR GUDNADOTTIR & ROBERT AIKI AUBREY LOWE, JOHANN: End of Summer LP (PATT 002LP) 25.50
LP version in laser-cut cover with printed inner sleeve. Includes download code. End of Summer captures Jóhann Jóhannsson's journey to the Antarctic Peninsula to discover the calm scenery of a landscape changing seasons, barely influenced or even noticed by humanity. The Super 8 film is a comforting study of a peaceful setting in one of the most crucial and endangered areas of our planet. Accompanied by rich and detailed field recordings of the surroundings, this footage forms a perfect foundation for Jóhannsson's musical compositions, performed together with fellow musicians and friends Hildur Guðnadóttir and Robert A. A. Lowe. The varying use of cello, voice, synthesizer, and electronics creates a listening experience that reflects both the vast beauty of the quiet scenery and the necessary caution of its inhabitants. As if gliding through the steep ice, its rough edges, and the harmonious water movements, organic arrangements patiently devolve into voice-and-electronics-based ambience that adds warmth to the icy environment. The soundtrack to End of Summer is an emotional, enduring listen and a compelling experience. Forming a soundscape as broad as the view that inspired it yet equally heartwarming, the music will slow down time and provide a moment of harmony within times of change.

STEPPAS RECORDS (UK)

ASLP 005LP

DUB DYNASTY: Holy Cow 2LP (ASLP 005LP) 29.00
Double LP version. Dub veterans Alpha & Omega and their son and nephew Alpha Steppa present their eagerly awaited third album as Dub Dynasty. This third installment of dynastic dub follows their critically acclaimed albums Unrelenting Force (ASCD 001CD/ASLP 001LP, 2013) and Thundering Manta (2014). Diverse, dynamic, and forward-thinking dub reggae music with a deep roots foundation. Championed by a range of soundsystems from the bass music spectrum from roots veterans Channel One Soundsystem to UK steppers pioneers Iration Steppas and dubstep originator V.I.V.E.K. Includes contributions from Cologne, Iyano Iyanti, Sis Jane Warriah, Kiangana, and Violinbwoy.

STROBOSCOPIC ARTEFACTS (GERMANY)

SA 027EP

KANGDING RAY/RROSE: Ardent/Swallows 12" (SA 027EP) 12.50
Stroboscopic Artefacts veterans Kangding Ray and Rrose present a split release -- a fitting partnership, as both individuals are known for advancing the progress of rhythmic electronic music while drawing from creative influences and movements that were not previously associated with the techno lineage. Kangding Ray's "Ardent" is a gripping and propulsive piece formed in the same spirit as the songs from his 2015 full-length Cory Arcane (R-N 167CD/LP). Rrose, meanwhile, presents an elegantly arching set of multiplying and disintegrating waveforms that rewards those with the courage to return its insistent gaze, revealing the wealth of detail concealed within its deceptive minimalism.

SUB ROSA (BELGIUM)

SR 420LP

APPEL, KAREL: Musique Barbare LP (SR 420LP) 15.50
LP version. Gatefold sleeve. First reissue of Karel Appel's masterpiece Musique Barbare. In 1963, Dutch abstract expressionist painter Karel Appel (1921-2006), who cofounded the avant-garde Cobra movement in 1948, booked time in the Instituut voor Sonologie in the Netherlands to compose music for a documentary that cinematographer Jan Vrijman was making on Appel's work. Musique Barbare was born. Originally released by Philips, this masterpiece of musique concrète is a real jewel for any record collector. Made in collaboration with Insituut member Frits Weiland, Musique Barbare is a fantastic mix of electric organ fumblings, full-on riots of distorted kettle drum, and assorted percussion-room filigrees, assembled into an extremely edit-heavy suite with significant tape-speed manipulation. Karel Appel was a forceful and fascinating personality, and Musique Barbare bears his unique stamp as much as any of his other artistic creations. A more remarkable gramophone record has not been produced in many a year. Includes exclusive photos by Ed van der Elsken and texts by Jan Vrijman, all printed on luxurious photographic paper.

SUBTEXT (UK)

SUB 005LP

EMPTYSET: Medium LP (SUB 005LP) 18.00
2016 repress; A five-song EP following their second album Demiurge (SUB 001CD), Medium is the first non-studio-based production by Emptyset, recorded on location in the remote Woodchester Mansion in Gloucestershire. The collection of tracks explores the duo's preoccupations with the elemental properties of sound and bare, rhythmic structures and overlays it onto the textural possibilities of space and material. The project marks their first act of adapting their analog-based studio system into an architectural intervention, pushing extreme bass and feedback into the irregular spaces of the unfinished building. The rural mansion, which remains an incomplete remnant of the Gothic revival and a place studied by both architectural researchers and psychic investigators, provides a rich source of texture as the sparse palette of sine waves and noise is adorned with the intricate details of the space. Medium emerges as an act of translation, remodeling the house through sonic impulses into a state of audio, a fluid, transformative gesture and a process mirroring the sonar impulses of the bats residing within Woodchester's rooftop sanctuary. The project, supported by the Woodchester Mansion Trust, was provided technical support by the renowned Bristol-based sound engineer Mat Sampson, who managed the array of vintage microphones and preamps distributed within the building along with the central monophonic sound system.

SUBWAX BCN (SPAIN)

SUBWAXFX 002LP

FLUXION: Bipolar Defect 2x12" (SUBWAXFX 002LP) 28.50
Restocked. 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

SUPERIOR VIADUCT

SV 078EP

RESIDENTS, THE: Satisfaction 7" (SV 078EP) 11.00
"'The Residents' 1976 version of The Stones' 'Satisfaction' is nearly everything the better-known version by Devo from a year later is not: loose, belligerent, violent and truly fucked up. A real stick in the eye to everything conventionally tasteful in bicentennial America. Delightfully painful to listen to thanks to Philip 'Snakefinger' Lithman's completely unhinged lead guitar and mystery Resident member's menacing vocal, this is a timeless piece of plastic' --Brad Laner. This reissue comes with original sleeve design. Limited edition purple vinyl."


SV 080EP

DILS, THE: I Hate The Rich 7" (SV 080EP) 11.00
"The Dils formed in Carlsbad, California, in late 1976, although they soon relocated to San Francisco (and later Los Angeles) to become one of the preeminent bands in early West Coast punk. Their debut 45 appeared on What Records?, the same label that released The Germs' Forming single. While 'I Hate The Rich' combines catchy melodies with a perfectly punk politique, 'You're Not Blank (So Baby We're Through)' features brothers Chip and Tony Kinman's harmonizing vocals and the group's tight, breakneck rhythms. This reissue comes with original sleeve design. Limited edition blue vinyl."


SV 082EP

FLIPPER: Love Canal 7" (SV 082EP) 11.00
"Flipper formed in San Francisco in 1979 on the cusp of Ronald Reagan's presidency. It seems fitting that their debut single (originally released on Subterranean in 1981) turns environmental disaster into the band's modus operandi. Chorus-less and catchy-as-hell, 'Love Canal' features all that would become Flipper trademarks in four art-damaged minutes: knuckle-dragging tempo, ear-splitting feedback, basslines to crash your car to and a depraved frontman wailing about uncomfortable American matters. 'Ha Ha Ha' is even more direct in its intent, mocking suburbia with a flat, almost psychotic laugh. This reissue comes with original sleeve design. Limited edition red vinyl."

THE BICYCLE MUSIC COMPANY

BIC 109LP

PHARCYDE, THE: Labcabincalifornia Instrumentals 2LP (BIC 109LP) 23.00
"It took three years for The Pharcyde to follow up on their debut release, Bizarre Ride II The Pharcyde. Not that they didn't keep busy in that period with supporting slots for De La Soul and A Tribe Called Quest as well as a successful spot on Lollapalooza's 1994 tour. Of course J-Swift had parted ways with the group just before the conclusion of the Bizarre Ride sessions. Rather than try to out an out replace Swift, production on Labcabincalifornia was handled by the Pharcyde's own Bootie Brown, Fatlip and Slimkid3 along with contributions from Diamond D, M-Walk and very notably the work of a recent arrival in LA, Jay Dee aka J Dilla. The resulting project, Labcabincalifornia, maybe calmer than the group's debut but it's no less warped with stand out cuts like the She Said, Drop, and Runnin'. Traffic Entertainment and The Bicycle Music Company are now proud to bring you the instrumentals of the entire project on this special double vinyl edition."

TIME-LAG RECORDS

TLR 062LP

FUNKE, MAXINE: Lace LP (TLR 062LP) 23.00
"First ever vinyl edition of this album, originally released in NZ as a tiny cdr edition on Alastair Galbraith's Next Best Way label in 2008, four years before the release of Felt. Overall a more polarized and pleasantly tumultuous listen compared with the starkly beautiful Felt, but revealing just as much subtle grace. Playing out as though occasionally whipped by a salty wind, with gusts of psychedelic noise rising here & there to engulf these fragile poetic songs, sending them infinitely outward. A more externalized & expansive listening experience then the inward stillness of Felt, and a perfect mirrored pair to the later. These songs will beam deep into your unconscious before you've even realized you remembered them. The sound here is decidedly 4-track home-fi, with a gauzy analog mist ever present & the sounds of the environment gently creeping in. A largely solo affair, but with considerable & highly distinctive contributions from Alastair Galbraith, adding an electrified & disorienting edge. Truly wonderful stuff here, with plenty of that unique New Zealand magic. Raw, pure, and completely unforgettable? packaged in a totally hand assembled fold-out art paper cover with screen printed text & pasted artwork, nicely matching the Felt covers. Edition of 300 copies."


TLR 063LP

FUNKE, MAXINE: Felt LP (TLR 063LP) 23.00
"New vinyl edition of this amazing & instantly out of print album, originally released in NZ as a tiny 100 copy edition in 2012. While Maxine's earlier Lace album unfolds as a more externalized & psychedelic experience, here everything focuses inwards with an utterly beautiful, lulling, tidal tranquility. Overflowing with warmth & humble magic, like watching dust dance in a beam of sunlight through an open window. A kind of intimate microcosmic observation of the everyday, stretching the tiniest joys & subtlest quirks of life into something truly poetic and timeless. The songwriting is deep & revelatory, yet totally raw & unforced. Fully in the 'now' but also completely part of the infinite, like it's been pulled directly from the vague spaces between time & place themselves? stillness in motion? a sparse 4-track home-fi recording, with a gauzy analog mist ever present & the sounds of the environment gently creeping in. Sublimely wonderful stuff here, with plenty of that unique New Zealand magic. Direct, pure & unforgettable, in the most lovely way? packaged in a totally hand assembled fold-out art paper cover with screen printed text & pasted artwork, nicely matching the Lace covers. Edition of 300 copies."


TLR 099LP

VALENTINE, MATT "MV": Blazing Grace LP (TLR 099LP) 20.00
"It can take a lot for a single album to stand out from a discography as epic as MV's, but by the time you're given this one a single spin it becomes very clear that a new apex has been reached. This long in the works solo outing somehow merges nearly every one of the finest elements of past releases into a perfectly executed singular vision. There's an intensely personal, exposed element to the song writing here, increasingly hinted at in the recent past but never so purely focused. Likewise the music itself has a honed edge thats both unharnessed yet precise, drifting just enough, but never too far. A newborn musical trajectory wrapped in MV's most loving & elaborate 'spectrasound' production to date, creating a sonic pallet that simply ripples with nuance, tone, and a seemingly bottomless depth of detail. All together, a start-to-finish trip that's instantly memorable & hummable, subtly intimate yet cosmically blasted. Restrained yet fully rocking, with that unmistakable burnt, ragged edge. Blazing grace indeed-- distinctly a solo vibe, but without any shortage of help on board. Guests include : Erika Elder, P.G. Six, MICK Flower, Spanish Wolfman, Jeremy Earl, J. Mascis, Meg Baird, Pete Nolan, Muskox, Carson Arnold, and Rongoose, all adding to the decidedly rich, earthy, and futuristic sound. Endless guitars of every texture, lush mellotron, vibrating harmonies, star-dust synth, hazed rhythms, eastern drones, and far more, all fluidly entwined -- packaged in a beautiful full color laminated 60s style heavy tip-on cover, with large insert. Edition of 500 copies."

TOKEN (BELGIUM)

TOKEN 059EP

ANTIGONE: Saudade EP 12" (TOKEN 059EP) 14.00
Antonin Jeanson aka Antigone follows his Token debut, the 2015 Cantor Dust double-12", with the Saudade EP. "Night Adrift" delivers an unapologetic heaviness as Jeanson showcases the physical quality at the root of his sound. On "Hiraeth," harmonic elements emerge throughout before snapping out of earshot. The track's title is a Welsh word that has no direct English translation; Oxford and Merriam Webster define it as "a homesickness for a home you cannot return to, or that never was." The Saudade EP is wistful, dreamlike, and ethereal, while also conveying Jeanson's masterful understanding of electronic music with every beat.

TURBO RECORDINGS (CANADA)

TURBO 176EP

ACID BITCHEZ: Thinking About Acid 12" (TURBO 176EP) 12.50
No one knows acid quite like Jori Hulkkonen, as his EPs on Turbo and tracks with Jesper Dahlbäck as Kebacid prove. Here, JuhalJohnny, one of the black-tie-wearing 303-knob-twiddlers in Hulkkonen's Acid Symphony Orchestra, teams up with lyrical miracle JessicalJessika to become Acid Bitchez. This release of "Thinking About Acid" includes Hulkkonen's killer remix, which Tiga hammered in his DJ sets and on his November 2015 Paranoid London-centric mix for Resident Advisor. Rounding out the package are remixes from Glasgow's General Ludd (Mister Saturday Night, Ten Thousand Yen), old-school NY legend Joeski, and 2015 Turbo discovery Zia.

UPSET THE RHYTHM (UK)

UTR 077LP

DOG CHOCOLATE: Snack Fans LP (UTR 077LP) 23.50
180-gram LP in gatefold sleeve with a booklet and download code. Edition of 500. Dog Chocolate sound like a crowded room but are actually four individuals from London. Having played in many other bands including Yeborobo, Limn, and Gasp! Cracking Eggs, united they recognize Dog Chocolate as their one true love. Abandoning notions of elegance, cred, and professionalism, they embrace the ramshackle, instant, and fun, capturing a vivid spontaneity with their music. Snack Fans is the band's debut album, following from 2014's split LP with gastronomic kin Ravioli Me Away (UTR 063LP). Snack Fans is composed of 14 bite-sized nuggets high in salt and sugar content. The sound is a shabby, fast, over-excited ball of wet fur falling down the stairs, knocking over plants along the way, and staining the carpet. With an average song time of two minutes, Dog Chocolate are on to the next treat before fully digesting the last. Chewing up bits of punk, post-punk, noise, and pop, Matthew and Robert's guitars race around each other like wasps, pitch-shifting and phasing all over the place while Jono's rolled-up-newspaper drums chase them round the room. Andrew's occasional impressionistic keyboard flourishes add further color to the scene, while Andrew and Robert take it in turns to sing with the others joining in occasionally. Lyrically the album deals with themes domestic, emotional, and metaphysical, with subjects ranging through purging one's life of material possessions, cosmically ordering a pet, memories evoked by the tactile properties of objects, the impermanence of the body, confusion, holidays, environmental concern, and hay fever. There are moments of flippancy and silliness, but also of investigation and introspection. In just over 25 minutes the band gleefully assemble a sound held together with Scotch tape and Blu-tac, just robust enough to reach its destination as it's chucked downhill. It's an album packed with ideas and momentum -- no need to set the table, Dog Chocolate are in a rush. If Snacks Fans doesn't satisfy your appetite then you'll need to fix yourself a feast or something.


UTR 080EP

WORLD, THE: Managerial Material 7" (UTR 080EP) 10.00
Oakland, California's The World offer the only glimmers of hope in a city rapidly transforming into a wasteland of artisanal toast. Their debut 7" is all double sax attack, dub guitar tremolo, and spare and sturdy drums, anchored by the gravitational pull of Amber's propulsive bass. Members have done time in Andy Human & the Reptoids, Pang, and Penny Machine; devotees of all those will find much to like here. The World's a post-punk band, sure, but they're also a dance group and a wild and revolutionary art collective. RIYL Delta 5 and Essential Logic. Neon yellow 7". Edition of 500.

VYNILLA VINYL/ICARUS (BELGIUM)

VV 029LP

VERWIJMEREN, KEVIN: Those Glorious Heights LP (VV 029LP) 23.50
At the time of this release, Kevin Verwijmeren is a 23-year old science student, living in Delft, Holland. Since 2013, he has used musical patterns and melodies to create contemplative landscapes of sound. Inspired by the sound and emotion of Loscil, Tim Hecker, and Pan American, Verwijmeren constructs a musical cocoon in which to imagine a vision of a different world. Through his dark but beautiful soundscapes, he tries to break daily routine and accept the dark side of life. Those Glorious Heights was mastered by Stephan Mathieu at Schwebung Mastering and features artwork by Jan van der Kleijn.


VV 029LTD-LP

VERWIJMEREN, KEVIN: Those Glorious Heights (Green Marbled Vinyl) LP (VV 029LTD-LP) 25.50
Limited edition green marbled vinyl version.

WE RELEASE WHATEVER THE FUCK WE WANT RECORDS (SWITZERLAND)

WRWTFWW 007LP

CARPENTER, JOHN: Dark Star (Original Motion Picture Soundtrack - Expanded & Remastered) LP + 7" (WRWTFWW 007LP) 26.50
An underground classic! Limited edition of 500. The original motion picture soundtrack for John Carpenter's Dark Star (1974), with added bonuses that are sure to satisfy all cult sci-fi soundtrack completists of the galaxy (and beyond). This limited-edition release includes an LP and a 7". The former is a remastered version of the original motion picture soundtrack consisting of incidental music, sound effects, John Carpenter's synth experimentations, dialogue excerpts, and vintage interferences extracted directly from the film roll. The 7" is red with a yellow label circled in black (in pure beach ball alien fashion) and contains "Ode to a Bell Jar" remade by loyal Carpenter collaborator Alan Howarth (Escape from New York (1981), Christine (1983), Big Trouble in Little China (1986), They Live (1988)...), the fan favorite "Benson Arizona" remade by Dominik Hauser, the very sought-after "When Twilight Falls on NGC 891" by Martin Segundo and the Scintilla Strings (in the real world, James Clarke's "Spring Bossa" (1968)), as well as endless loops of sound effects from the movie to turn your house into your very own scout ship. Plus a very secret hidden bonus track! It all comes in slick Thermostellar Triggering packaging with brand-new artwork and invisible hyperdrive electronics -- the best way to relive the Dark Star adventure and celebrate John Carpenter's first directorial feature film, co-written by (and starring!) all-around legend Dan O'Bannon (Alien (1979), Lifeforce (1985), The Return of the Living Dead (1985)). Let there be light!

ZAIJENROOTS (GERMANY)

ZAI 004EP

VA: Introducing 12" (ZAI 004EP) 14.00
Tracks by Toyz on Acid, Matt Nowak & Sabine Hoffmann, Nowak & Apoena, and Nowak & SRA SRA.

ZEPHYRUS RECORDS (BELGIUM)

ZEP 033LP

BLACK FLOWER: Ghost Radio LP (ZEP 033LP) 25.00
Imagine a radio that plays music from other worlds, past and future. The gentlemen of Black Flower hit the studio for an impressionistic, abstract, and psychedelic session. This album is special. Call it a ghost record, a document . . . a work that gives a unique insight into the minds and creative processes of the musicians of Black Flower.

 

Last Updated on Sunday, 10 April 2016 06:47  


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