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Forced Exposure New Releases for 4/18/2016

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New music is due from Kevin Drumm, Hermann Nitsch, and Chris Abrahams, while old music is due from Stereolab, Nurse With Wound, and Sonic Youth.

 

FORCED EXPOSURE MAILORDER UPDATE
NEW RELEASES FOR THE WEEK OF 04/18/2016

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1972

IF 024LP

STEREOLAB: Cobra and Phases Group Play Voltage in the Milky Night 2LP (IF 024LP) 27.00
2013 release. "Cobra and Phases Group Play Voltage in the Milky Night is Stereolab's sixth studio album and a return to the poppier tendencies the band had left behind on their previous full-length, Dots and Loops. Where that album was an amalgam of often chilled, abstract electronica, prog and jazz, this work's exotic pop features warm Moog textures, bursting horns and lush, layered vocals. Co-producers John McEntire (Tortoise, The Sea and Cake) and Jim O'Rourke (Sonic Youth, Gastr del Sol) add new wrinkles to Stereolab's sound and deliver rich and expansive mixes. Their contributions to the album's sonic deconstructions and analog keyboard textures present a radical model of pop-rock song architecture. Harmony and cacophony coexist throughout, wrapped up in the group's familiar, mellow '60s bossa-groove."


IF 025LP

STEREOLAB: Sound-Dust 2LP (IF 025LP) 27.00
2013 release. "Released in late 2001, Sound-Dust found Stereolab firmly in the midst of their second phase. After taking a two-year break, the band returned with a strong melodic focus and a highly evolved, sophisticated style of writing that further displayed their growing talents. Many fans and critics consider the album to be among the group's finest. Producers Jim O'Rourke (Sonic Youth, Gastr del Sol) and John McEntire (Tortoise, Sea and the Cake) returned to further Stereolab's continuing evolution. The group brings a lighter, almost orchestral touch to the set of songs with unpredictable shifts in tempo and melody; this new approach is especially apparent on the lead single 'Captain Easychord' and its warped, country-tinged feel. The avant-garde and lounge textures still remain, but are balanced by sun-kissed harmonies and breezy Tropicalia. Sound-Dust is another example of a pioneering band moving forward creatively. It's a full-color collage of sound bursting with catchy refrains and exuberant rhythms. Always a band to add new twists to their sound, this album returns Stereolab to its most playful and otherwordly."

A RECORDINGS (UK)

AUK 009LP

BRIAN JONESTOWN MASSACRE, THE: Spacegirl and Other Favorites LP (AUK 009LP) 15.50
2016 repress. Originally released in 1996 and now reissued on A Recordings, Anton Newcombe's own record label. Released on 180 gram green vinyl. Taken from the original vinyl release with the original tracks & re-cut at Abbey Road.


AUK 019LP

BRIAN JONESTOWN MASSACRE, THE: Love LP (AUK 019LP) 12.50
2016 repress. Originally released on vinyl in 1997 and now reissued on A Recordings, Anton Newcombe's own record label. The Brian Jonestown Massacre is a psychedelic rock band originally from San Francisco, California, led by guitarist/singer Anton Newcombe. Since 1995, The Brian Jonestown Massacre has released numerous albums. BJM has been essential in the development of the modern U.S. garage scene, and many L.A. and SF musicians got their start playing with Newcombe, including Peter Hayes of Black Rebel Motorcycle Club. On 180 gram vinyl.


AUK 021LP

BRIAN JONESTOWN MASSACRE, THE: If I Love You? LP (AUK 021LP) 12.50
2016 repress. Originally released in 1996, this 180 gram vinyl re-issue is the last in the 1990s EP series on Anton Newcombe's own A Recordings label, and this will not be released on CD. This features three versions of songs on the A-side from the Bravery Repetition & Noise sessions, the B-side features four tracks from the early beginnings of the band from 1991 and 1992. Originally Newcombe was heavily influenced by The Rolling Stones' psychedelic phase -- the name comes from Stones guitarist Brian Jones combined with a reference to cult leader Jim Jones, but his work in the 2000s has expanded into aesthetic dimensions approximating the UK shoegazing genre of the 1990s and incorporates influences from world music, especially Middle Eastern and Brazilian music.

ANNIHAYA (LEBANON)

END 012CD

PRAED: The Fabrication of Silver Dreams CD (END 012CD) 23.50
Founded by Lebanese visual artist and musician Raed Yassin and Swiss musician Paed Conca in 2006, Praed is a band whose musical oeuvre can be described as a mixture of Arabic popular music, free jazz, and electronics. Over the years, the duo has collaborated with renowned musicians from across the globe, including Axel Dörner and Johannes Bauer from Germany, Hans Koch from Switzerland, Takumi Seino and Maki Hachiya from Japan, and Stéphane Rives from France, among others. Praed's body of work explores the terrain of shaabi (Arabic popular music) and its interconnectedness with other hypnotic music genres. Since its inception, the duo has shown a keen interest in this music as a medium that reflects Egyptian society's complicated fabric. Through their research and thanks to numerous concerts in various Egyptian cities, Conca and Yassin discovered a strong cultural connection between shaabi sounds and the mouled music played in religious trance ceremonies. The hypnotizing psychedelic effect embedded in this genre incited Praed to explore other popular music from around the world that also employs forms of sonic delirium, such as free jazz, space jazz, and psychedelic rock, among others, and effectively incorporate these in their own musical concoctions. The Fabrication of Silver Dreams is the duo's fourth album and their second for Lebanese independent music label Annihaya Records. Paed Conca: electric bass, clarinet, electronics, percussion; Raed Yassin: keyboards, electronics, vocals. With: Fadi Tabbal: electric guitar; Sharif Sehnaoui: electric guitar; Khaled Yassine: riq. Recorded and mixed by Fadi Tabbal at Tunefork Studios, Beirut. Mastered by Stefan "Lopazz" Eichinger at Mixmastering.


END 013CD

CATER, SEAMUS: The Three Things You Can Hear CD (END 013CD) 23.50
Born in England, son of an Essex folk singer, Seamus Cater was surrounded by English revivalist folk music from day one. He eventually moved to Amsterdam in 2000, where he has been working on different kinds of music; acoustic, electronic, composed, and improvised. Cater organizes two Amsterdam concert series, DNK Amsterdam and Pest House, and is the founder of Nearly Not There Records, a small stock, non-profit record shop in Amsterdam specializing in new music in many forms, mostly avant-garde and experimental. The Three Things You Can Hear follows Cater's 2010 collaboration with NYC banjoist Woody Sullender (When We Get to Meeting) and his 2012 collaboration with Finnish multi-instrumentalist Viljam Nybacka (The Anecdotes). Recorded in Amsterdam and Berlin, The Three Things You Can Hear is a solo album consisting of a group of songs developed over a period of about three years. They were written and performed using a duet concertina made in 1941 (serial number Crabb 9807), which Cater found in a junk shop in Amsterdam. Given Cater's folk music background, and the fact that his father also played a concertina, it was a fortuitous event to find an instrument such as this, a black leather squeeze-box made in London. The slow repair and learning of this instrument led to a close relationship and unconventional playing style. By no means a concertina virtuouso, Seamus set out to find simpler, more primitive techniques of playing, and as the songs became ready, he invited some Berlin musicians to accompany him on different songs. The album includes contributions from Kai Fagaschinski and Michael Thieke (The International Nothing), Koen Nutters and Morten J. Olsen (from The Pitch), and Johnny Chang (of Konzert Minimal). When asked about the influences that informed the making of the album, Cater mentions Scottish folk singer Ivor Cutler and English folk singer Peter Bellamy, as well as music from other cultures, chiefly African, Arabic, South American, Indonesian. . . . His distinctive phrasing recalls at times the fragile music of Robert Wyatt's solo releases, and at others the elaborate folk constructions of Peter Blegvad and John Greaves, particularly their surreal 1977 concept album from Kew. Rhone. Seamus Cater: voice and duet concertina. With: Koen Nutters: double bass; Morten J. Olsen: bass drum and vibraphone; Michael Thieke: clarinet; Kai Fagaschinski: clarinet; Johnny Chang: viola; Han Jacobs: saw. Recorded by Seamus Cater, mixed by Clare Gallagher, and mastered by Jeff Carey.

ART OF MEMORY (GERMANY)

AOM 002-2EP

PURMAN, NICO: AOM002.2 12" (AOM 002-2EP) 12.50
Berlin-based Argentine producer Nico Purman presents the second EP in a two-part release on his Art Of Memory label. Bass moves the soul while synth and space free the mind. The late 1960s and early 1970s gave us five years of moon missions, the first view of our lonely blue dot, the inspiration of math and science, and new wave science fiction. Purman draws upon this vaulted era to create AOM002. To label AOM002 techno would be tantamount to calling Kubrick's 2001 merely a film or the Saturn V merely a rocket.

BA DA BING!

BING 1012CD

VON SCHLEICHER, KATIE: Bleaksploitation CD (BING 1012CD) 10.00
"Released on cassette in 2015, Katie Von Schleicher's Bleaksploitation took the tape world by enough of a storm to thunder demand for more formats. Bleaksploitation was recorded in a dark room on a Tascam 4-track cassette machine. The result is hazy, terrifying and playful. This is what happens when well-crafted songs are made in the moment, warped, drunk on themselves. Von Schleicher's voice sinks like anchors and rises like a phoenix, wrestling its way through its very own form of basement tapes. '70s piano rock provides the core, sad lyrics form the shell."

BERCEUSE HEROIQUE (UK)

BH 029EP

DON'T DJ: Gammellan 12" (BH 029EP) 17.00
"Florian Meyer back on BH, with ten minutes of gamelan psychedelia, subtly and tensely minimalist as Terrence Dixon at his best. On the flip, Dresvn takes more of a beeline to Detroit, fuelled by submerged classics like UR's Coinochime ? cosmic, but deadly and unsettling. ('Gammel' means 'junk', in German. Maybe Magellan the explorer permeates that title, too, going round in circles in the East Indies, giddy and gammy below decks, amidst his trophy exotica.) Warmly recommended."

BLACK TRUFFLE (AUSTRALIA)

BT 020LP

AMBARCHI/KASSEL JAEGER/JAMES RUSHFORD, OREN: Pale Calling LP (BT 020LP) 19.50
"Pale Calling presents the fruits of the first collaboration between Oren Ambarchi, Kassel Jaeger and James Rushford, recorded at GRM studios, Paris in 2014. Although drawing on aspects of each member's solo works, the trio mark out their own unique territory, a mysterious space of slowly cycling electronics, distracted vocal mumbles and often unidentifiable field recordings. These two side-long pieces are composed of distinct layers that gently rise up and recede, obeying a dream-logic that feels entirely disconnected from traditional electro-acoustic composition, forming surreal sonic images in which half-remembered fragments of everyday life mix with the quiet intensity of dreams haunted by natural forces. Over the course of the first side a slowly thudding electronic pulse eventually gives way to a distant organ, detouring through reverberated guitar shimmers, moments of Ashley-esque vocal automatism and waves of insects and bats. The second side utilises similar ingredients, this time layered over the top of what sounds like radically slowed down film music. As the field recorded and electronic spray slowly builds, the listener is left with the impression of hearing the last moments of a dying television abandoned in a field overrun with animals and insects" --Francis Plagne. Artwork designed by Stephen O'Malley. Cut by Rashad Becker at Dubplates & Mastering, Berlin.

BUREAU B (GERMANY)

BB 219LP

YOUNG, DENNIS: Wave: Electronic Music 1984-1988 LP (BB 219LP) 22.00
LP version. Dennis Young is best known as the percussionist of the New York band Liquid Liquid, who are themselves known for their 1983 track "Cavern," sampled the same year by Grandmaster Flash for "White Lines." In parallel to his work with Liquid Liquid, Young produced his own solo work, including three cassettes released between 1985 and 1988 that form his tribute to the pioneers of electronic music. Wave: Electronic Music 1984-1988 contains the best pieces from these cassettes, as selected by Young himself. Those who don't know otherwise might guess that this music originated in the '70s. As Young recalls, "My love for electronic music goes back to the late 70's when I decided to buy my first synthesizer, a rare used vintage Davolisint made in Italy, after seeing Keith Emerson perform live with ELP. This lead to my discovery of more electronic music artists using synthesizers such as Klaus Schulze, Tim Blake, Larry Fast, Edgar Froese, Brian Eno, and Cluster just to name a few. My musical challenge was then to create my own electronic music using this instrument. After experimenting in the early 80's with live recordings using a reel to reel tape machine I purchased my first multi-track recording system in 1984. When Liquid Liquid was on hiatus I was able to devote full time to this music and do professional recordings at my home studio in Edison, New Jersey. I added more synthesizers to include a Korg Mono/Poly, a Korg Poly Six, a Moog Rogue, and later the Korg M1. Every track was put through various delay and reverb units and I added vocal parts and along with guitar where I felt it was needed. The music resulted in three now out of print cassette only recordings entitled Concepts (1985), Reflections (1987), and Quest (1988). They were all mixed at Gabriel Farm studios in Princeton, New Jersey, with the help of Andrew Gomory who owned the studio and who himself was a keyboardist. Thanks to Bureau B I have been able to go back in time to put together what I feel are the best songs from that era for you the listener to enjoy." --Dennis Young


BB 221LP

ARBEIT SCHICKERT SCHNEIDER: ASS LP+CD (BB 221LP) 23.00
LP version. Includes CD. Three guitarists, three generations, one album. Günter Schickert, Jochen Arbeit, and Dirk Dresselhaus are all renowned Berlin guitarists. They epitomize three generations of experimental musicians; Schickert personifies the krautrock of the 1970s, Arbeit 1980s post-punk, and Dresselhaus the neo-electronica of the late 1990s and 2000s. Their artistic approaches may differ according to their diverse musical backgrounds, yet what they have in common is a fundamental interest in developing the guitar as a sound object and seeking out unusual structures and harmonies. They now present the results of their explorations and ideas with a joint album. The final product is very much more than the sum of its parts, due not only to the participants' different musical philosophies, but also to the use of instruments not usually associated with this type of music (e.g. balafon, conch, mbira, electronic drums, modular synthesizer). Their joint album concocts a kind of musical magic from a myriad of influences (krautrock, psychedelia, free jazz, punk, industrial, techno, minimal electronic . . .) yet simultaneously transcends them to create a new form of music. Günter Schickert (born 1949) has been an active member of the Berlin music scene since 1964. He released two albums in 1974 and 1979 on two legendary krautrock labels, Brain and Sky Records (Überfällig, BB 096CD/LP). Since then he has played in various projects, including the band Ziguri, and pursued a solo career. Jochen Arbeit (born 1961) moved to Berlin in 1980 and joined the Geniale Dilletanten art group, who mixed punk rock and Dada. In 1983 he began touring the world with his instrumental rock band Die Haut. He has been a member of Einstürzende Neubauten since 1997 and Automat since 2012. Dirk Dresselhaus (born 1970) has been involved in various musical fields since the late 1980s. Between 1989 and 1997 he played and sang in noise rock and pop bands like Locust Fudge and Hip Young Things, before focusing more on electronic music from 1997 onward, starting up his Schneider TM project. In 1999 Dresselhaus formed the Angel duo with Ilpo Väisänen.


BB 222CD

CLUSTER: 1971-1981 9CD BOX (BB 222CD) 110.00
Cluster's influence on the development of electronic music cannot be overstated. The original trio of Conrad Schnitzler, Hans-Joachim Roedelius, and Dieter Moebius released two seminal albums as Kluster before Roedelius and Moebius replaced the "K" with a "C" and continued as a duo. They produced eight albums in their most innovative period between 1971 and 1981, two of them together with Brian Eno. Cluster anticipated much of what would later emerge in such varied styles as industrial, ambient, electro, and even synthpop. Some call Cluster's music avant-garde, others krautrock or kosmische musik. Few would dispute their immense influence, despite their relative lack of commercial success. Hence their first album, as a microcosm of their entire oeuvre, made The Wire's 1998 list "100 Records That Set the World on Fire (When No One Was Listening)." This box set contains all eight of the albums that represent Cluster's main phase, plus a previously unreleased album of two live recordings from 1972 and 1977. All of the albums have been remastered by Willem Makkee. Includes booklet with essays on each album, rare photos, and an exclusive text on the evolution and significance of the band by Asmus Tietchens, excerpted here: "Cacophonous noise in the 1970s and 1980s masked the subtlety of Cluster aesthetics, diminishing their force of impact. Only since the 1990s, and all the more so today, have Cluster been identified and celebrated as pioneers. The somewhat hackneyed 'avant-garde' tag really amounts to nothing more than being ahead of one's time. . . . Now, twenty, thirty years later, with so many new aural experiences on offer, listening habits have changed to such a great extent that we are better placed to assess Cluster's importance, their influence on subsequent generations of musicians. . . . The eight (official) Cluster albums presented here trace the group's arc of development over a period of around ten years. Not a particularly extensive oeuvre compared to many of their peers, but prolificacy was never a feature of Cluster's constitution. They only released a new album when they felt that they had taken a significant step forwards on their musical trajectory -- which goes some way to explaining how varied and different their LPs were. Cluster were no pedagogues, but their indirect influence on musicians and, more to the point, on listeners, resonates until today. Can a legacy be any more alive?" Edition of 1500.

BURNING SOUNDS (UK)

BSR 988CD

PRATT, PHILL: Star Wars Dub CD (BSR 988CD) 16.00
"Phill Pratt was a producer who helmed releases from Gregory Isaacs and Dennis Brown to Horace Andy. Star Wars Dub is his classic dub album with backing by the Revolutionaries. Long out of print, this is the first time it is available on CD!"


BSR 989CD

WELL PLEASED AND SATISFIED: Give Thanks And Praise + Love Train CD (BSR 989CD) 16.00
"Well Pleased and Satisfied's debut album from 1978 is a roots reggae treasure. Long out of print, this fantastic album is reissued by the revamped Burning Sounds label on CD and includes their 1979 album Love Train as well. First time on CD for both releases!"


BSR 989LP

WELL PLEASED AND SATISFIED: Give Thanks And Praise LP (BSR 989LP) 21.00
"Well Pleased and Satisfied's debut album from 1978 is a roots reggae treasure. Long out of print, this fantastic album is reissued from the revamped Burning Sounds label on 180 gram vinyl. Recorded at King Tubby's with the backing band Sly and the Revolutionaries, Give Thanks and Praise is roots reggae of the highest caliber."

COMPOST (GERMANY)

COMP 478EP

SIREN: Paradise (Incl. Gavin Russom Rmx) 12" (COMP 478EP) 12.00
Siren is Darshan Jesrani (Metro Area, Startree) and Dennis Kane (Disques Sinthomme, Ghost Town). Their third single, "Paradise," They follow 2015's sweeping and euphoric "A/Way" (COMP 471EP) with "Paradise," a slowly unfolding workout as haunting as it is thumping and propulsive; it hints at the compositional economy of that liminal mid-'80s period when R&B and the developing sound of club music met, as downtown NY icon Felice Rosser effortlessly delivers a powerful but breathy and emotionally evocative vocal. Gavin Russom (Black Meteoric Star, DFA) delivers a dark, mechanical techno dub of "Paradise" on the B-side.


COMP 480LP

NANA, EMILIE: The Meeting Legacy 2LP+CD (COMP 480LP) 22.00
Emilie Nana, a Lyon-born, Geneva-based artist of Cameroonian descent, has immersed herself in a creative outpouring since 2012. With her debut album, The Meeting Legacy, she pulls together an eclectic selection of 11 tracks, including "I'm Childish, So What!", which first caught the attention of the music community in July 2015. The only track on the album with French-language vocals, it evokes a loopy, no-rules feel and is an absolute imaginative jewel. The album opens with "Off The Street," crashing through the implications of a girls night out before the warm, playful "Music," which bears influences from early-'90s Janet Jackson and Prince. "Nothing On Our Shoulders" features Toma Izzo and finds Nana signaling her soul to the audience with semi-audible sounds, in a uniquely authentic and direct approach to the interpretation of her being. It's the last track in the unofficial first part of this two-part album, before the second part begins with the title-track. "The Meeting Legacy" draws from Elaine Brown, an American prison activist, writer, singer, and former Black Panther Party chairwoman. The bass and vocals on this slow-stalking symbol of struggle poignantly position this track before "Black Like Me," a warm, melodic creation, with the simplest of lyrics and marimbas bobbling in the background, that embodies Nana's lived experience while serving as a musical interpretation of journalist John Howard Griffin's 1961 book Black Like Me. The Meeting Legacy is the outpouring of Nana's delicate yet vibrant being, successfully striving to transcend the rules that often limit art. Reimagining her life, Nana offers various perspectives on subculture, struggle, and social influences. Having spent four years producing this prized work, Emilie Nana delivers an album that matches her unique, playful, yet mature spirit, summing up her soul in The Meeting Legacy. Emilie Nana is also DJ and has been spinning regularly since 2008, with various residencies in Geneva.

DAGORED (ITALY)

RED 227C-LP

CIPRIANI, STELVIO: Tentacles (Tentacoli) 2LP (RED 227C-LP) 37.50
A fabulous, jazzy, psyched-out score with extremely '70s vibes and high-energy mood composed by the maestro Stelvio Cipriani (Concorde Affaire '79) for Tentacoli (Tentacles), a 1977 thriller directed by Ovidio Assonitis and starring a bunch of Hollywood stars including Shelley Winters, John Huston, and Henry Fonda. This is the first-ever release of the complete soundtrack on vinyl. Two transparent LPs in deluxe embossed gatefold sleeve. Limited edition of 500.

DAMAGED GOODS (UK)

DAMGOOD 450CD

JOHNNY MOPED: It's A Real Cool Baby CD (DAMGOOD 450CD) 16.50
The three remaining original members of UK punk band Johnny Moped, who debuted in 1978 with their Cycledelic LP (BEAT 058LP), are back with It's A Real Cool Baby. Johnny Moped, Slimy Toad, and Dave Berk, together again for the first time since 1990's The Search For Xerxes, showcase some new songs and revisit a few live favorites that never got recorded back in their heyday, including "I Wanna Die" and "I Believed Her Lies." The original three Mopeds are joined by longtime live members Jacko Pistorious and Rock N Roll Robot (also known as Rob from legendary ska punk band Case). This album follows the 2015 release of the band's first 7" since 1978, Ain't No Rock 'N' Roll Rookie/Super Woofa, which hit the number-three position in the UK vinyl chart and was warmly received by Moped fans as "sounding just like a Johnny Moped single" -- no higher praise is possible.

DIRTER PROMOTIONS (UK)

DPROM 119LP

NURSE WITH WOUND: Soliloquy For Lilith 4LP BOX (DPROM 119LP) 75.00
Originally recorded and released in 1988, Nurse With Wound's ambient opus was years ahead of its time, a groundbreaking set of atmospheric sound patterns designed for ritual ceremonies. Hailed as a masterpiece on release, it soon became a firm favorite of NWW fans and topped the world ambient chart for over three months! This edition has been expanded to a four-LP set containing the original three LPs plus a 40-minute piece from the original sessions, previously unreleased on vinyl. The set arrives in a rigid, heavy, gloss-laminated box with red foil blocking. Each LP is housed in its own spined outer sleeve inside the box, along with a double-sided insert.

DOWNWARDS (UK)

LIN 070EP

SHREEVE, SIMON: Healing Bowl 12" (LIN 070EP) 14.50
Healing Bowl forms Simon Shreeve's debut release under his birth name after his work as part of Kryptic Minds and his techno-leaning solo output as Mønic. Five pensile, nerve-pinched pieces defined by finely sculpted bass, shivering percussion, and cranky concrète processing. "a/sa" sets a crypt-like tone and spatial setting that bleeds thru into the title-cut before "a thousand and one" locates and locks into a dank pocket of plasmic bass and spectral vocal recital. "sharada" follows with a ghostlier pallor before the elusive, entropic sound design of "s/ka" seems to invert techno and D&B dynamics with vampiric lust and romance.

DRONE (UK)

DRONE 006EP

RICHARD FEARLESS: Overview Effect Remixes 12" (DRONE 006EP) 12.50
Luke Hess and DJ Richard remix sides A and B of Richard Fearless's Overview Effect (DRONE 005EP, 2015). Luke Hess takes "Overview Effect," the dubbed-out, Detroit techno-infused title-track, and transposes its mood, breaking out the 303 and sampling the original strings to add an element of dazed hallucination for a peak-time acid track. DJ Richard brings crafted electro rhythms and swelling, dubbed-out horns to his remix of "Metal Dub," completely reimagining the stripped-down, metallic techno of the original.

ECHOES (UK)

ECHO 2041CD

WATERS, MUDDY: Live '76 At Paul's Mall, Boston CD (ECHO 2041CD) 17.00
Muddy Waters arrived in Boston on June 15, 1976, where he was met with open arms by city mayor Kevin White. During Muddy Waters's appearance at Paul's Mall that night, the mayor proudly proclaimed June 15 Muddy Waters Day. Muddy Waters has his invaluable band behind him here with Pinetop Perkins, "Steady Rollin'" Bob Margolin, Calvin "Fuzz" Jones, Luther "Guitar Junior" Johnson, Jerry Portnoy, and Willie "Big Eyes" Smith. With a staggering combination of fluency and bite, they take on numerous chunks of Muddy Waters's iconic songbook. Muddy Waters's legacy is almost unmatched, not only in terms music, but also in terms of the fabric of a whole generation and the culture it came to define. Echoes proudly presents the entire original WBCN-FM broadcast of Muddy Waters and his band live from Paul's Mall, Boston, MA, on June 15, 1976 (Muddy Waters Day). Professionally remastered original broadcast with background liners and rare archival photos.

EDITION OMEGA POINT (JAPAN)

OP 012CD

ITO, ATSUHIRO: Live CD (OP 012CD) 16.50
Atsuhiro Ito, visual artist and sound performer, has performed live many times. This CD comprises two Tokyo performances; for the first, at the Hara Museum of Contemporary Art in 2009, Ito used his handmade "fluorescent lamp" instrument (OPTRON) and some junk objects that were exhibited as an installation. The second performance, at Vacant in 2010, was created with a female actor and tech-noise unit Miclo Diet, mixing Ito's OPTRON junk noise and the industrial rhythms of Miclo Diet. Cover artwork by Ito. Cardboard sleeve. Limited edition of 280 copies.

EL PARAISO RECORDS (DENMARK)

EPR 030CD

CAUSA SUI: Return To Sky CD (EPR 030CD) 16.50
Causa Sui are back with Return To Sky, the successor to 2013's Euporie Tide (EPR 013CD), which consolidated the band as a crucial underground force in the European psych scene and spread their unique brand of warm-toned stoner rock to a wider audience. Return To Sky is a condensed piece of acutely experimental yet immensely engaging instrumental rock. Each of the album's five epics unfolds as a microcosm of the band's genre-transcending psychedelia at large, yet adds something different to the whole. There's a kind of musical metamorphosis taking place that's deeply ingrained in the band's natural flux by now; heavy, detuned riffs are transformed into wide, pastoral soundscapes, and fluid minimalism warped into swirling crescendos and back again. Occasionally the band even manages to sound turbulent -- fuzzed-out yet strangely peaceful at the very same time. While so much of today's psychedelic scene comes off as merely a tribute to a certain period of the past, Causa Sui seem to be on a different mission. More than any other album in their catalog Return To Sky declares their roots in the avant-rock of the late 1990s, when different eras and genres merged into something that resonated as with the present as much as it celebrated the past. It also reveals the fact that members of the band have had their hands in many different projects since the band's debut album in 2005, including solo excursions into synthesizer music, collaborations with members of Sunburned Hand of the Man and Tortoise, film soundtracks, guest spots with krautrock legends Faust and Damo Suzuki, and various improv sessions. It has all worked a subtle influence on the kind of band they have become. Causa Sui's music is now more earthy and heavy than ever before, but its ability to absorb everything from shoegaze and vintage Italian film music to spiritual jazz, Afrobeat, and minimalism into its fabric has matured as well. Never before has Causa Sui sounded as deep and mesmerizing as on this set. Jonas Munk: guitars and electronics; Jess Kahr: bass; Jakob Skøtt, drums and percussion; Rasmus Rasmussen: keys and electronics.

ESKIMO (BELGIUM)

ESK 507583

SATIN JACKETS: Panorama Pacifico CD (ESK 507583) 14.00
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."

FIGURE (GERMANY)

FIGURE 075-5EP

POOLEY, IAN: Celtic Cross (Len Faki Remix) 12" (FIGURE 075-5EP) 14.00
When originally released in 1995, Ian Pooley's Celtic Cross destroyed clubs everywhere with its iconic vocal sample and hypnotic bass bleeps. Len Faki's remix treatment is a subtle one, which manages to leave most of the original's elements in tact while still expanding upon its fiercely banging character. Bringing the unashamed rave vibes from two decades ago up to modern production standards, this remix will have both the new generation of techno lovers as well as the veteran heads unite in joy on the dancefloor.

FM CONCERT BROADCASTS LTD

FMCB 117CD

REED, LOU: Ultrasonic CD (FMCB 117CD) 12.50
"In December 1972 Lou Reed released his seminal, ground-breaking solo work Transformer. The album came just a few months after his eponymous debut, a record that struggled to find either a clear artistic voice or much of an audience, barely scraping into the top two hundred and drawing sniffy, dismissive reviews. Recorded in the summer of 72, Transformer signally benefitted from the intervention of David Bowie and guitarist Mick Ronson. Reed had been a key inspiration for Bowie in his own work, and he was determined to rehabilitate his idol's flagging career. The partnership of a New York eccentric and a British androgyne with a firm grip on the zeitgeist produced a lean collection of modern rock n roll that stormed the higher atmospheres of the charts, aided in no small part by a hit single in 'Walk on the Wild Side'. In the decades since Transformer has gone on to be critically appraised as one of the most important recordings of the modern era. This concert is from December 1972 a month, following the release of Transformer. Taking place at Ultrasonic studios in New York, it was broadcast live by WLIR, a local radio station that had developed a reputation for eschewing mainstream acts and chart performers in favour of featuring new and innovative music that was largely ignored by the majority of US stations. Reed gives a searing performance of songs from Transformer, Lou Reed and the Velvets period, a fascinating essay of his solo career and persona, right at the time that his fortunes were transformed."

FREUDE AM TANZEN (GERMANY)

FREUDE 014CD

EATING SNOW: Eating Snow CD (FREUDE 014CD) 17.00
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 CLASSIC (AUSTRALIA)

FCL 166LP

FLIGHT FACILITIES: Live with the Melbourne Symphony Orchestra 3LP (FCL 166LP) 32.00
Australian producer duo Flight Facilities present Live with the Melbourne Symphony Orchestra, recorded under the stars at the Sidney Myer Music Bowl in Melbourne, Australia, on October 17, 2015. That night 12,000 fans witnessed Flight Facilities recreate their journey from their first DJ mix in 2009 to the release of their acclaimed debut album Down To Earth in 2014. The 15-track performance was captured live and mixed by ARIA-winning engineer Eric J Dubowsky; it features musical guests Touch Sensitive, Surahn, Kurt Kristen, Owl Eyes, Katie Noonan, George Maple, Reggie Watts, and Emma Louise. Also includes remixes by Flight Facilities of tracks by James Curd and The Lowbrows (feat. Broadhurst), as well as a performance of a track by The C90s. Includes download code.

FUTURE DAYS RECORDINGS

FDR 622CD

THIRD POWER, THE: Believe CD (FDR 622CD) 15.00
"Mastered from the original tapes. Includes 11 bonus tracks. New liner notes interviewing band plus unseen photos. 'Like a meteor shooting across the horizon, the Third Power lit up the Detroit music scene with a ferocious roar like no other group before them. But like all meteors, they only burned bright for a short while. Leaving one 45, one full length album and a lasting legacy.' - from the liner notes by Willy Wilson The Third Power were part of Vanguard Records' shortlived but memorable sortie into the realm of Detroit's "high energy" rock milieu of the late 1960s. Signed by staff producer Sam Charters to the label in 1969, the Third Power's lone album for Vanguard today stands as one of the more memorable longplayers from the scene that begat the MC5, Stooges, Frost and others. A power trio par excellence, the band first came together in 1965 but it was not until an extended sojourn 'getting it together' at a farm on the outskirts of Detroit that their powerful blend coalesced. Equal parts Cream, Hendrix and Detroit rama-lama, allied to a distinctive and melodic songwriting ability, the Third Power started to make noise at regional hotspots like the Grande Ballroom in 1968. An obscure one-off single for the Baron label preceded the recording of Believe in New York. Loaded with strong songcraft, imaginative arrangements and instrumental muscle, the record showcased the band at its best, but a poor commercial showing upon release in 1969 exacerbated intra-band tension and spelled the end for the Third Power by the turn of the decade. Frequently bootlegged in the past, this legitimate, definitive reissue of Believe not only sports superior mastering from the original master tapes, but also almost a dozen bonus tracks, featuring their 1968 non-LP single, seven studio outtakes and two storming on-location live recordings from the Grande Ballroom. Heavily illustrated liner notes tell the story of the Third Power with quotes from band members Jem Targal and Drew Abbott and producer Sam Charters."

GE-STELL

GESTELL 001EP

DALGLISH: Dorcha Aigeann 12" (GESTELL 001EP) 20.00
Chris Douglas' Dalglish is very personal and his Ge-stell debut Dorcha Aigeann carries a range of meaning and complication. His compositions render bright, brittle passages, allowing for exploration of fatigue and fracture in digital signal processing techniques. These tracks are entangled into a web of splintering percussive patterns, arrhythmic textures and amorphous forms, titled in an asymmetrical variant of Scots Gaelic. Each track on the EP is a free-time computer based composition; mastered and cut by Rashad Becker at D&M, Berlin.


GESTELL 002EP

NICKELL, BRANDON: Skyline 12" (GESTELL 002EP) 20.00
Brandon Nickell's Ge-stell debut Skyline is inflected by generative and hyper-concatenated rhythms, placing angular, yet ambient-tipped synthetic textures against deft beat programming. His productions oscillate between propulsive and percussive arrangements, through events that do not link conclusively, but instead through diverse dynamic vectors. His productions manifest as if continuous functions of open source programming situated at an acid-tinged, hip-hop indebted framework, woven with warps and fractures. These tracks make discreet entries and exits at the center and periphery, seamlessly placing cadences and cascades in the spaces in between.


GESTELL 003EP

KNAPP, TOM: Mophoc Rez 12" (GESTELL 003EP) 19.50
150-gram 12" in full-color direct-to-board jacket with gloss varnish finish; designed by Joe Gilmore and Cameron Shafii. Limited edition of 222. Tom Knapp has been active in the UK underground since the late 1990s, as a DJ, musician, label owner, and promoter for the Leeds-based electronic music night Vector; Knapp ran the Icasea label and was in Mortal & Chemist (Skam Records). Knapp's Ge-stell debut unfurls through hard-edit juxtapositions and morphological destabilizations, with recurring digital malformations and asymmetrical percussive patterns alongside crunchy digital signal processing. Each track is a free-time computer-based composition. Mastered and cut by Rashad Becker at D&M, Berlin.

GOOFIN'

GOO 020CD

SONIC YOUTH: Sister CD (GOO 020CD) 16.00
"One of Sonic Youth's most beloved albums, 1987's Sister incorporated the dissonance of their earlier releases into more traditional song structures. It's an innovative and thrilling work assuredly delivered by a band at the peak of their powers. Reissued on the band's Goofin' imprint, this 2016 pressing includes a digital download card with the vinyl edition."


GOO 020LP

SONIC YOUTH: Sister LP (GOO 020LP) 20.00
LP version.

GUERSSEN RECORDS (SPAIN)

GUESS 098-99LP

WICKED LADY: Complete Recordings, 1969-1972 4LP BOX (GUESS 098-99LP) 125.00
Deluxe box limited to 500 numbered copies. Not to be repressed. The stuff of legend, Wicked Lady were the legendary UK power trio led by Martin Weaver. They played raw, unadulterated, psychedelic hard rock; their sound is a real fest of fuzz and wah-wah, exemplified by such proto-doom classics as "Run the Night" and "I'm a Freak." Guerssen presents their complete recordings, from 1969-1972, in a deluxe leatherette box. Includes all four vinyl discs (The Axeman Cometh double LP and Psychotic Overkill double LP, originally reissued by Guerssen in 2012 and long out of print) in two gatefold covers with printed lyrics and special designs for this release, plus an eight-page LP-sized booklet with liner notes by Martin Weaver and photos, a Wicked Lady tote bag, a Wicked Lady badge, a Wicked Lady patch, and a Martin Weaver postcard. Please note: this is just a collectors' box set, and is not intended to be the only way to get Wicked Lady vinyl, as it is limited and expensive. Soon after the box is sold out, Guerssen will repress the regular vinyl with their pal Martin Weaver, everyone's guitar hero.


GUESS 147LP

ELLISON: Ellison LP (GUESS 147LP) 25.50
Blastin' underground hard rock from Canada, 1971. Ultra-raw guitars and lots of attitude. Think Black Sabbath and Elias Hulk. Ellison were formed in Montréal in late 1967 by Vincent Marandola, Richard Arcand, Robert Cager, and Christian Tremblay. The band started playing quite frequently in and around Montréal, and actually played a few other gigs in Québec. They recorded their one and only LP in 1971, and it was originally released on Trans-World Records. This welcome reissue of the rare and sought-after album features newly remastered sound. Tip-on sleeve; includes insert with liner notes and photos.

HOGA NORD REKORDS (SWEDEN)

HNR 014EP

BRIAN JONESTOWN MASSACRE, THE: La Facon Dont La Machine Vers l'Arriere 7" (HNR 014EP) 10.00
Necessary evil activities -- messy but clean -- from The Brian Jonestown Massacre. The band formed in San Francisco in 1988. Led by Anton Newcombe, their output spans psych, folk, shoegaze, kraut, kosmische, etc. Here, they deliver dark organic beats with "La Façon Dont La Machine Vers L'Arrière." On the B-side, Al Lover -- San Francisco's own DJ Shadow -- takes the listener on a remixed space odyssey. Hand-printed sleeve. Limited edition of 500.

HOLY MOUNTAIN

HOLY 1998EP

FUKUDA, HIIRAGI: Dump 7" (HOLY 1998EP) 7.50
"'Dump' (and its B-side 'Don't Worry Be Slow') has the massive guitar solos that Hiiragi Fukuda's masterpiece of late-night mellow My Turntable Is Slow could not contain. Both songs possess an earlier-in-the-evening swagger that make them as complimentary to Hiiragi's LP as 'Suspicious Minds' is to The Memphis Album. The single is limited to 300 copies."

HONEST JON'S RECORDS (UK)

HJP 052EP

SHACKLETON: Deadman 12" (HJP 052EP) 11.00
2016 repress. Sam Shackleton stalks deeper into the sub-loaded unknown. From his Fabric mix CD, "Deadman" turns paradox and paranoia into dancefloor fire. This is rolling, dread techno of breathtaking heat and humidity, spurred by hectoring congas and thick-set subs, amidst a teeming soundscape of drones, field recordings and oblique vocal textures. Kevin Martin adopts his King Midas Sound guise for an expansive remix which reveals his lineage in noise, industrial and isolationist ambient. Mastered by Rashad Becker with artwork by Zeke Clough.


HJP 053EP

SHACKLETON: Fireworks/Undeadman 2x12" (HJP 053EP) 20.00
2016 repress. Two brilliant Shackleton tracks with remixes by T++ and Baron Mordant. On "Fireworks," the mood is malevolent with synth shrapnel crisscrossing a stately, choral progression. T++'s remix enacts a rhythmic necromancy, its brittle, emaciated breakbeats shunting forward ravenously. "Undeadman" raises "Deadman." Midi signals from the original were sent to synths; sounds and effects were recorded separately and rearranged. Mordant Music re-fashions it into an epic of bad-trip kosmische. Designed by Will Bankhead, the sleeve layers different Zeke Clough artworks, in spot UV varnish.


HJP 064EP

PINCH & SHACKLETON: Boracay Drift 12" (HJP 064EP) 11.00
2016 repress. "Boracay Drift" is the CD-only track from Pinch and Shackleton's collaborative full-length for Honest Jon's (HJR 059CD/LP). A pulverizing, apocalyptic opening gives way to a menacing bass excursion, expertly putting on the frighteners dubwise, before dissolving ambiguously into the amazing, extended vocal treatment -- a thread of eerie, garbled sublimity, like a kind of black-magic plainsong. Morphosis' epic remix is more spaced and spooked, the dread of the original version in check but still body-rocking and driving out of its silences.


HJR 059LP

PINCH & SHACKLETON: Pinch & Shackleton 2LP (HJR 059LP) 23.50
2016 repress. Gatefold 2LP version. Pinch & Shackleton's self-titled release finds the two dubstep pioneers at the top of their game. The deadly concision, the rhythmic punch and dramatic timing, the spry, side-to-side detailing of a cavernous stage, the crisp-biscuit vocal sampling and Middle Eastern percussion -- their sound signatures are not so much totalled as squared. Truly an album, the music is multi-leveled -- dark as anything at times, but engrossingly varied and emotionally shaded, always on the move.

HOUNDSTOOTH (UK)

HTH 056EP

DEVI, AISHA: Of Matter and Spirit Remixes 12" (HTH 056EP) 14.00
Aïsha Devi's 2015 Of Matter and Spirit album (HTH 047CD/LP) encapsulated the spiritual metamorphosis and transcendent journeys of this other-worldly figure. Of Matter and Spirit Remixes leads this singular, meditative artist straight into the ritualism of the dancefloor. Irish duo Lakker's take on "Anatomy Of Light" adds a heavy dose of syncopated percussion. 2016 Ninja Tune signing Throwing Shade transforms "Kim & The Wheel of Life" into an introspective session. The remix EP boasts two reworks of "Mazdâ." Berlin's Mind:Body:Fitness interprets the track as a whirlpool of trance, and the spooky Killing Sound version features vocalists Rafael Shafique and Bogues.

HUNDEBISS (ITALY)

H 018LP

LIL UGLY MANE: Mista Thug Isolation 2LP (H 018LP) 31.00
2016 repress. 150-gram vinyl. 2015 reissue of Virginia-based rapper and producer Lil Ugly Mane's classic 2012 album Mista Thug Isolation. "Mista Thug Isolation is far more than datpiff fodder. Lil' Ugly Mane has fully developed into his ideal Memphis hardcore caricature and exudes pure evil without resorting to shallow shock tactics. But even in the presence of the hellish, the attention to detail -- whether in his commitment to country-fried pronunciations or... devilishly dissonant flips -- makes it evident that this project wasn't born from a love of violence or horror, but rather a love of hip hop" --Matt Sullivan, Impose, February 17, 2012. Design by Lil Ugly Mane.

ICI D'AILLEURS (FRANCE)

IDA 027CD

ELLIOTT, MATT: Drinking Songs CD (IDA 027CD) 11.00
2016 repress; originally released in 2005. "Forget 24 hour bingeing, raucous antisocial behaviour, even the gin-soaked balladry of The Band Of Holy Joy or the likes of Eazy E, The Beastie Boys and Schoolly D singing the praises of their favourite brew. Matt Elliott emerges shyly from the shadows of his Third Eye Foundation alias to celebrate the drowning of sorrows rather than the exuberant pissing away of our leisure hours. Introspective and alone, breathing in the fumes of some neglected cellar, his drinking songs withdraw themselves not simply from polite society but from all society. How else can one dream or contemplate what might have been? Opener 'CF Bundy' has a woozy charm. Evenly paced and alive with the strumming of acoustic guitars, it sets the mood for what is to come. Evoking the regrets and indiscretions of a bygone age, one grown sick and enfeebled by fantasies, 'Trying to Explain', 'The Guilty Party' and 'What's Wrong' would all seem to be taking place in a world teetering on the edge of some great fall or cataclysm. 'What The Fuck Am I doing On This Battlefield?' and 'A Waste Of Blood' are both moments of rude awakening. As a coda and extended finale, the 20 minute 'The Maid We Messed' sees Elliott returning to the wordplay and hypervelocity breaks of his Third Eye Foundation recordings. Overall, however, Drinking Songs remains a work to be listened to with eyes closed -- it's about the only way you can keep the room from spinning." --Ken Hollings, The Wire, April 2005


IDA 037CD

ELLIOTT, MATT: Failing Songs CD (IDA 037CD) 11.00
2016 repress; originally released in 2006. Because it's really about songs, Failing Songs turns Matt Elliott into a true songwriter, with subtle melodies that contrast with the hardness of the words. Between despair and cold anger, Elliott's lyrical subjects include a rejection of the liberal military evolution of the world. These sublime, melancholic, bitter, works are influenced by Slavic music and Greek music, and are occasionally punctuated by Spanish guitars.


IDA 049CD

ELLIOTT, MATT: Howling Songs CD (IDA 049CD) 11.00
2016 repress; originally released in 2008. Howling Songs is the magnificent third and final part of Matt Elliott's Songs trilogy. A work without any definite frontiers, whose only constant heritage lies in European music, particularly Slavic music. A haunted, personal piece of music; its moving melodies follow other moving melodies, balancing between ballads and folk music; madness and reason; revolt and despair. Howling Songs sympathizes with the surrounding world; it is a definitive observation in which one can feel, throughout the songs, the artist's outraged sensitivity in Elliott's lone voice. Howling Songs is, without a doubt, the most introspective album by Matt Elliott and the one that best carries his musical personality.

IDEOLOGIC ORGAN (FRANCE)

SOMA 024CD

JOHNSON ASSISTED BY JESSICA MAYER, RAGNAR: Sacred Flute Music from New Guinea: Madang/Windim Mambu 2CD (SOMA 024CD) 21.00
Recorded by Ragnar Johnson, assisted by Jessica Mayer, in Papua New Guinea, April-August 1976. Tape-to-digital transfer by Dave Hunt at Dave Hunt Audio in London, July 2015. Mastered and cut by Rashad Becker at Dubplates & Mastering in Berlin, August 2015. Notes and photographs by Ragnar Johnson and Jessica Mayer. First combined release. Originally released as two distinct LPs on Quartz Publications (!QUARTZ 001 (1977) and !QUARTZ 002 (1979)) by David Toop with the assistance of Sue Steward, Evan Parker, Robert Wyatt, and Alfreda Benge. Reissued as two distinct CDs on Rounder Records in 1999 (Rounder CD 5154 and Rounder CD 5155). Includes recordings of sacred flutes blown to make the cries of spirits by adult men in the Madang region of Papua New Guinea, pairs of long bamboo male and female flutes played for ceremonies in the coastal villages near the Ramu river, Ravoi flutes from Bak accompanied by two garamut (carved wooden slit gongs), Waudang flutes from the island of Manam accompanied by two large and two small slit gongs and six singers, Jarvan flutes from Awar accompanied by a shell rattle, and the cries of six different pairs of flutes and one pair of conch shells from the Ramu coast, two pairs of Waudang flutes from the island of Manam with singing, and Mo-mo resonating tubes from the Finisterre Range. Occasional percussion is provided by wooden slit gongs and hand drums. "We would like to thank the performers and people of the villages of Awar, Borai, Bo'da, Kaean, Kuluguma, Nubia Sissimungum and Damaindeh-Bau for making this record possible. Copies of the master tapes are in the Institute of Papua New Guinea Studies, Port Moresby. Ragnar Johnson thanks the Canadian I.D.RC. for supporting his anthropological research. Thanks to Dave Hunt for transferring the original magnetic tape recordings onto digital media and to Stephen O'Malley, David Toop and Evan Parker for assistance."

IMPORTANT RECORDS

IMPREC 398CD

HENNIX, CATHERINE CHRISTER: Central Palace Music from 100 Model Subjects For Hegikan Roku CD (IMPREC 398CD) 16.50
Central Palace Music, performed by Catherine Christer Hennix's just-intonation ensemble The Deontic Miracle, is the first in a series of archival Hennix releases to be issued via Important Records. This previously unheard piece was taken from an eight-day festival organized in the spring of 1976 at the Museum of Modern Art in Stockholm. The group features Catherine Christer Hennix on Renaissance oboe and custom sinewave generators, Peter Hennix on Renaissance oboe, and Hans Isgren on sheng. Central Palace Music is packaged in a deluxe letterpressed sleeve."She has created a sound that reliably taps into our subconscious and frees us from linear time" --The Quietus. Catherine Christer Hennix (born 1948 in Stockholm) is an artist, poet, composer, and philosopher with a strong interest in logic and formal music theory. In late-1960s Sweden, she was a pioneer of experimenting with mainframe computer-generated composite soundwave forms, and in the 1970s she was a key protagonist of the Downtown School along with La Monte Young and Henry Flynt, with whom she has collaborated on numerous occasions. She pursued studies with master vocalist Pandit Pran Nath and led the just-intonation live electronic ensembles Hilbert Hotel and The Deontic Miracle (featured on this recording). She was a professor of mathematics and computer science and assistant to and coauthor with A. S. Esenin-Volpin, for which she received the Centenary Prize-fellow Award from the Clay Mathematics Institute in 2000. Hennix's interest in drone music and the meditative, trance-like state it induces is apparent in her exploration of similar music in many other cultures and traditions, including, for example, Japanese gagaku music and the 13th-century vocal music of Pérotin and Léonin.


IMPREC 434CD

HENNIX, CATHERINE CHRISTER: Live At Issue Project Room CD (IMPREC 434CD) 16.50
Live At Issue Project Room is the first recording of the expanded configuration of Catherine Christer Hennix's Chora(s)san Time-Court Mirage just-intonation ensemble, documenting a 2014 performance at Issue Project Room. The ensemble of Hennix (voice) and Hilary Jeffery and Robin Hayward (brass) is expanded to include vocalists Imam Ahmet Muhsin Tüzer, Amir Elsaffan, and Amirtha Kidambi; brass players Paul Schwingenschlögl and Elena Kakaliagou; and Marcus Pal and Stefan Tiedje on electronics. Live At Issue Project Room is packaged in a deluxe letterpressed sleeve."She has created a sound that reliably taps into our subconscious and frees us from linear time" --The Quietus. Catherine Christer Hennix (born 1948 in Stockholm) is an artist, poet, composer, and philosopher with a strong interest in logic and formal music theory. In late-1960s Sweden, she was a pioneer of experimenting with mainframe computer-generated composite soundwave forms, and in the 1970s she was a key protagonist of the Downtown School along with La Monte Young and Henry Flynt, with whom she has collaborated on numerous occasions. She pursued studies with master vocalist Pandit Pran Nath and led the just-intonation live electronic ensembles Hilbert Hotel and The Deontic Miracle. Hennix's interest in drone music and the meditative, trance-like state it induces is apparent in her exploration of similar music in many other cultures and traditions, including, for example, Japanese gagaku music and the 13th-century vocal music of Pérotin and Léonin. In 2003 she returned to computer-generated composite soundwave forms or "soliton(e)s," of which Infinitary Composite Sound Wave Form Composition Soliton(e) Star (2003-present) was the first result. She subsequently formed the Choras(s)an Time-Court Mirage just-intonation ensemble; in 2012, Important Records released a performance by this ensemble of "Blues Dhikr Al-Salam (Blues Al Maqam)" as Live At The Grimm Museum Volume One (IMPREC 354CD). In 2012 Henry Flynt asked Hennix for a new, expanded realization of an "Illuminatory Sound Environment" for an installation at the ZKM in Karlsruhe, Germany, for his "Henry Flynt. Activities 1959 --" exhibition. In response Hennix realized a four-channel composition, Rag Infinity/Rag Cosmosis, her first four-channel computer-assisted composition since 1969.

IN PARADISUM (FRANCE)

IP 021EP

WEST, ROGER: En Asie 12" (IP 021EP) 15.00
"Another brilliant set of pop-meets-pop rodgerings by De Murcia of no mercy, this time riding East for inspiration, following his notable Wasted House EP from last year. Five sharp and discombobulating detournements: funny, flatulent, sexual; knockabout, unpretentious and danceable. Ace."

JAZZMAN RECORDS (UK)

JMAN 084CD

TATUM TRIO PLUS, THE JAMES: Contemporary Jazz Mass/Live at the Orchestra Hall & Paradise Theater CD (JMAN 084CD) 14.50
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. CD includes eight-page color booklet.

JUKEBOX JAM SERIES (UK)

JBJ 1064EP

MCVEA, JACK: Wino 7" (JBJ 1064EP) 11.00
Top-drawer jazzy rhythm and blues from California-based bandleader Jack McVea. One of his signature pieces, the uproarious boozehead anthem "Wino," is presented on the A-side with his upbeat mid-'50s R&R-style take recorded for Combo, and appears in its original, glorious '40s incarnation on the flipside (which incidentally marks the first 45 RPM 7" appearance of the recording).

JUNGLE RECORDS (UK)

FREUD 117LP

HEARTBREAKERS: Live At Max's Kansas City (Volumes 1 & 2) 2LP (FREUD 117LP) 31.00
"The Heartbreakers split up when Track Records folded. But in the fall of '78, Johnny Thunders, Billy Rath and Walter Lure found themselves in New York and decided to do a couple of gigs for 'old times sake' and some 'chump change'. They got together with drummer Ty Styx for some farewell gigs at Max's Kansas City, which were recorded, with the resulting album issued in 1979 on Max's Kansas City Records in the US and Beggars Banquet in the UK. It sold well, so Max's Tommy Dean decided to release a Volume 2. A long weekend of six shows was booked, this time with original drummer Jerry Nolan, but 'chemical imbalances' ruined all but half of the last show. Beggars Banquet turned down the tapes, and the Volume 2 remained unreleased until it appeared briefly on CD in the mid-90's. Now for the first time, both volumes are put together on double-vinyl!"

K7/BECAUSE MUSIC (FRANCE)

K7 331-1EP

BRANDT BRAUER FRICK: Holy Night/Poor Magic (Tom Trago Remix) 12" (K7 331-1EP) 14.00
Concepts and ideas come fast and furious to Berlin trio Brandt Brauer Frick. Having turned heads from the group's inception with their classically-informed approach to creating techno compositions with acoustic instruments, BBF's output has been characterized by a restless creativity. Now the band adds a new element: the voice of collaborator Beaver Sheppard, who adds vocals to two new compositions. The first fruits of the collaboration, "Holy Night" and "Poor Magic" comprise this single, rounded out by a remix from Tom Trago.

KOMPAKT (GERMANY)

KOMPPA 004LP

GIBSON, KENNETH JAMES: The Evening Falls LP (KOMPPA 004LP) 23.00
180-gram LP version. Includes download code. Kenneth James Gibson, one of the most multifaceted artists in contemporary electronic music, presents the fourth installment in Kompakt's Pop Ambient artist album series. He's the mastermind behind the Adjunct Audio label and projects as diverse as [a]pendics.shuffle, Eight Frozen Modules, Reverse Commuter, neo-Americana duo Bell Gardens (with Stars of the Lid's Brian McBride), and noise pop band Furry Things. On The Evening Falls, he deviates from his more beat-infused work and explores vast aural landscapes with an intricately woven tapestry of swelling string drones, shimmering pedal steel, and minimalist piano motives. The first strictly ambient solo offering from this incredibly versatile composer and musician reveals a delicate sense for rich, ruminant textures and fine-grained synth buzz, dispensing organic highs on tracks like opening movement "To See You Drift," the Polaroid-colored "Long Gone Canadian Summer," the meditative "A Conversation Between Friends," or the terraforming blues of "Lateral Decomposition." The iridescent quality of these recordings almost appears to be born out of an auditory illusion, with the arrangements seemingly evolving in time-lapse and slow-motion at the same time. The natural, wholesome flow of the album certainly finds itself influenced by Gibson's 2014 move to a 6000-foot mountain community called Idyllwild. While two of the tracks on The Evening Falls were started in LA, Gibson found that in order to fully realize them and the rest of the album, he needed to transition away from inner-city roaming. "My wife and I heard the calling of the mountains for a while -- getting deeper into meditation and nature and a slower way of life. There've been beatless tracks on many of my albums, but this is the first full-scale ambient album I've done . . . I simply needed to find the right focus." The result is a masterful addition to Kompakt's growing series of Pop Ambient full-lengths, presenting the fully formed vision of a veteran producer who never lost his taste for sonic adventure.

LATENCY RECORDINGS (FRANCE)

LTNC 006EP

NUEL: Unveiled 12" (LTNC 006EP) 17.00
"A stone scorcher of an EP to put alongside his classic Aquaplanos with Donato Dozzy, from nearly ten years ago. Four contrasting, deeply atmospheric stages in longing -- swingeing and propulsive to blissed-out and bittersweet. Terse but charged; hypnotic, never bludgeoning; soulful and warmly crafted, never mechanical. Says Nuel -- 'Unveiled consists of live recordings made on the same great day: 03/10/2015. The inspiration comes from a woman, the record is my reaction to something she unveiled. The record is about really strong feelings, relationships and mental projections... a sexy record for me. After that recording session I found these tracks so appealing that I decided to keep them in that form, a document of that day.' In hand-made, silk-screened sleeves -- tastily inky and rough -- featuring a bust from the gardens of the Villa Medici in Rome... stern, erect, gaze averted. Another killer from the redoubtable Latency. Very warmly recommended."

LEAF (UK)

BAY 093CD

BOURNE, MATTHEW: Moogmemory CD (BAY 093CD) 16.00
"I first met Matthew Bourne, a prodigious improvising pianist, who was fascinating to watch as he took that conventional instrument 'off road' in an emotional sweat. Post-gig, and still wild-eyed, he made a beeline for me, having heard that I also owned a Memorymoog. Matt was keen to compare notes, and to discuss the fact that he was having the Lintronics Advanced Memorymoog (LAMM) conversion done to his (this is the Memorymoog equivalent of open heart surgery, which replaces 1,300 components over eight weeks of bench time, costing as much as a new machine). I immediately thought that Matt was insane. Some years later, moogmemory is Matt's paean to this living, breathing machine. No other instruments are used on the album, and its capabilities are drawn out by this extremely empathetic musician: beautiful, brooding landscapes of thick impasto to translucent sunbursts; Dr Bob would be proud!" --Graham Massey (808 State), November 2015


BAY 093LP

BOURNE, MATTHEW: Moogmemory LP+CD (BAY 093LP) 20.00
LP version. Includes CD.


BAY 104CD

COMET IS COMING, THE: Channel The Spirits CD (BAY 104CD) 16.00
"Channel the Spirits is a starburst galaxy, a journey through the outer reaches of the cosmos. Over twelve tracks, our fearless stargazers evoke the ghosts of bold experimentalists such as Sun Ra, Funkadelic and the BBC Radiophonic Workshop, reanimate them through 21st century technology and send them off hot-stepping into the greatest party the universe has seen. Keyboards, drums and electronics shimmer and soothe one moment and wig-flip wayward the next, while saxophonist King Shabaka squeezes sounds that echo like the exaltations of visionary voyagers drifting through interplanetary space and time. They shift from the elegiac and the experimental into iridescent molten jazz and full-on intergalactic groove mode. Dusted in cosmic magic, Channel the Spirits is more than an album--it is a séance, a reckoning, a prophecy, a mission."

LIGHT IN THE ATTIC

LITA 020LP

ELLIS, NOEL: Noel Ellis LP (LITA 020LP) 24.00
2016 repress; LP version. "* New edition to celebrate 10 years since our first reissue. * Restored original album artwork and expanded to a Stoughton gatefold 'tip-on' jacket. * Includes updated liner notes and archive photos. Noel is the son of legendary Studio One/Treasure Isle recording artist Alton Ellis, and this self-titled debut was recorded in Toronto in 1979 by studio wizard Jerry Brown for the pioneering Summer Records -- often cited as Canada's answer to Lee Perry's Black Ark Studios. Features six dub-loved, heavy yet ethereal tracks, with contributions from OG reggae maestros Jackie Mittoo, Willi Williams, and Johnny Osbourne. The eponymous classic lost full length includes the hugely influential version of 'Rocking Universally,' which was recorded by The Clash as 'Armagedion Time.' Noel Ellis evoked a transcendent majesty, and the album's economical performances were a blessing compared to certain overproduced recordings of the era. Tasteful keys, varied percussion, essential echo, conquering dub changeovers, and Noel's impeccable mic control gave an otherworldly twist to Summer's remarkable drum and bass sound. It was an end-to-end burner for midnight tokers and cool rulers alike."

LIVITY SOUND RECORDINGS (UK)

LIVITY 019LP

KOWTON: Utility 2LP (LIVITY 019LP) 28.50
Utility is the stunning full-length debut of Livity Sound cofounder Kowton, the first album release for both the artist and the label. Combining the powerful reductionism of classic Detroit techno with the inventiveness and originality of the Bristol sound, Kowton has produced an album that will no doubt be looked back on as a landmark work of UK techno. While his trademark hypnotic rhythms, dramatic transitions, and chest-rattling bass are all present and correct throughout, Utility is more than just a collection of club tracks. Here Kowton has distilled both his influences and experience to create an immersive journey that twists and turns, encompassing not only weapons-grade 4/4 techno but also geometric minimalism, deep abstract dance, and skeletal, grime-influenced ambience. Kowton moves straight into the fray from the opening bars of "Comments Off"; the booming bass and intricate staccato rhythms coax the listener into a tunnel of repetition only ruptured by bursts of sub-bass. This sets the tone; each track on Utility is composed of very few elements, but it's what Kowton does with them that makes it such an engaging listen. Take the Sähkö-indebted bleeps of "Balance," for example, as Kowton layers them into a cerebral ping pong before unleashing the track's brazen percussive chassis. Following the immersive "Scido" and pummeling "Sleep Chamber," the tempo drops for mid-album centerpiece "Some Cats," which writhes on a slippery arpeggio providing brief respite. Things kick back up a gear with the disarmingly stark and simple minimalism of "Loops 1," segueing perfectly into the frenetic polyrhythms of "Bubbling Under." The spaciousness of "A Bluish Shadow" is the final calm before the storm of album closer "Shots Fired," on which hints of bittersweet melody meld with staccato sub-bass and disorientating arpeggios. Kowton formed Livity Sound around 2011, when he and Bristol luminary Peverelist began sharing ideas and collaborating in the studio, and the pair eventually linked with Asusu. The label's critically lauded opening salvo of releases culminated in Resident Advisor's selection of Livity Sound as its label of the year -- and of the label's eponymous compilation (LIVITY 001CD) as the number-two compilation of the year -- for 2013. There's been many facets to Kowton's musical evolution, but the constant feature throughout has been a focus on effective, stripped-back, raw tracks that reduce dance music to its essence and in doing so give the form new life and energy. Simple utility done well. Includes download code.

LOFILE (GERMANY)

LFR 003EP

MARBOD: Turdus Merula 12" (LFR 003EP) 14.00
2013 release. Lofile label founder Marbod debuts with Turdus Merula, a true declaration of love to the deep and warm sound of house music. The four Detroit-inspired tracks, including a remix by Thomas Stieler, deliver minimalist, romantic, and impulsive grooves and combine rawness and beauty for an awesome, deep dancefloor bomb.

LOVE ON THE ROCKS (GERMANY)

LOTR 008EP

LAFFREY, SHARIF: Key Jam (A.C.I.D.) 12" (LOTR 008EP) 14.00
Sharif Laffrey presents "Key Jam (A.C.I.D.)," his first release since the sleeper hit "Turn It Up" was released on Discos Capablanca in 2013. "Key Jam (A.C.I.D.)" is the treasure and the mystery. Laffrey's signature raw edit style is in full effect on this nine-minute proto-dance heater. Sharif Laffrey has been playing records and making music for since the mid-'90s. Born in Detroit, Michigan, he's worked on the line checking camshafts for Chrysler and at Submerge for Mike Banks -- at the same time. He toured Asia with Juan Atkins. Acid, tons of random stuff, tough, sexy, lovely, slow. Freak mode.

MDRNTY RECORDS (SWITZERLAND)

MDRNTY 001EP

CROSSON, RYAN: MDRNTY 001 12" (MDRNTY 001EP) 14.00
The very first release on the new MDRNTY RECORDS imprint comes from Ryan Crosson. The opening track "Aphelion" offers a futuristic techno beat paired with forward driving baselines and backed by emotional pads. "Appalachia" on the B side, keeps a similar soundscape but slowly shifting into a swinging beat. "Bambi Hands" closes the Ep on a high note. A playful melody as leitmotiv driven forward by a rolling baseline gives the perfect imagery of those endless dancing afternoons on the top of the Swiss Alps for which Modernity is famous.

MENTAL GROOVE (SWITZERLAND)

MG 116CD

GRAND PIANORAMAX: Soundwave CD (MG 116CD) 17.00
Grand Pianoramax is a supergroup consisting of three strong personalities, each possessing outstanding mastery of their craft, from the acute lyricism of Geneva-based pianist Leo Tardin's keyboards and the immediate intimacy of Black Cracker's wild poetry to the powerful, razor-sharp, and pugnacious drums of Dom Burkhalter. The virtues of this rare alloy illuminate each of their concerts, which have taken place all around the globe. With four albums already under their belt, Grand Pianoramax now presents Soundwave, their second release on Mental Groove Records following 2015's Big Easy mini-album. Staying true to their instantly recognizable signature sound at the crossroads of post-jazz, art rock, and hip hop, Soundwave is another step in the ambitious artistic path of the trio. As opposed to their previous works, this album is characterized by less polished DIY production, in a better reflection of the spontaneity that shines through during the trio's live performances.

MINKY

MKY 002LP

MIXTURES, THE: Stompin' At The Rainbow LP (MKY 002LP) 16.00
"The vinyl is an exact reproduction of the rare 1962 live Linda Records Stompin' At The Rainbow, recorded live at the Rainbow Gardens by a young Wally Heider. The band is introduced by The Newlywed Game's host Bob Eubanks. A 60s-style case wrapped cover. 180 gram vinyl limited edition. A download certificate that includes the extra tracks on the CD. The CD also includes all 6 singles (A and B sides), The Complete Mixtures."

MONOTYPE (POLAND)

MONO 021LP

DRUMM, KEVIN: The Back Room LP (MONO 021LP) 23.00
Kevin Drumm is a Chicago-based experimental artist and one of the most important musicians in the electroacoustic noise scene. During his career he has worked with great improvisers such as Mats Gustafsson, producer Jim O'Rourke and saxophonist Ken Vandermark. Kevin Drumm's Imperial Distortion (HOS 134LP) and Sheer Hellish Miasmah (EMEGO 053LP) are must-hear albums of contemporary avant-garde. The Back Room is a vinyl reissue of a previously self-released album. Two years ago, Drumm prepared by himself 100 copies of a CD-R full of intensive noise. The whole conception from the beginning sounded like something recorded not for a CD but for an LP. There are two parts: one consists of three very short, high-pitched pieces. Another part is built with two long compositions where you can hear and even feel many shades of analog electronic noise, with all of its brutal beauty.

MORR MUSIC (GERMANY)

MORR 143CD

LIND, MIKAEL: Intentions and Variations CD (MORR 143CD) 12.50
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 145CD

QRELLA, MASHA: Keys CD (MORR 145CD) 15.50
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 052CD

TONIGHT WILL BE FINE: Elephant Island CD (MUSIQ 052CD) 17.00
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.

MVD AUDIO

MVD 8260EP

VANILLA FUDGE: Keep Me Hangin' On 7" (MVD 8260EP) 14.00
"Limited edition 7 inch vinyl from Vanilla Fudge doing 'Keep Me Hangin' On.' Includes mono and stereo mixes."

MYSTRA RECORDS

MYS 018LP

ALCORN, SUSAN: Evening Tales LP (MYS 018LP) 15.00
"Mystra is beyond excited to be putting out the Susan Alcorn Evening Tales lp(!) We strongly doubt there ever will be a record in history that is anything like it...how could there!) A friend of ours was telling us a story recently about the first moon orbit...his eyes were wide...and he talked slowly...'did you know... that when the first astronauts circled behind the moon.... they started hearing super crazy noises?? piercing sounds and strange reverb style effects and stuff... all coming from the planet Saturn(!) So cool...most have scared those astronauts(!)' It's interesting...how no one seems to talk about this phenomenon...sounds emitted from a not too distant planet...there are so many mysteries still...(!)The beautiful music made by Susan Alcorn is one of them. 'Unique, amazing, and mysterious' are just a few of the terms associated with her recordings...Why she is not better known/talked about is just part of the big mystery. Some 'in the know' folks love her for sure...like us...but still(!) Maybe she REALLY IS too good for this world...Maybe she should play for the folks on Saturn instead...(?) And YES.. maybe there IS a similar quality to her sound...something a bit Saturn-like..with a 'outer space' quality (A different Saturn than Sun-Ra? or maybe not...?)"

NEOS (GERMANY)

NEOS 11230CD

VA: Darmstadt Aural Documents - Box 3 7CD BOX (NEOS 11230CD) 72.00
NEOS presents the third box from the Internationales Musikinstitut Darmstadt archives, collecting key works performed through the decades by the key ensembles that have appeared at that famous institution. Includes compositions by Hanns Jelinek, Herbert Brün, Franco Evangelisti, Iannis Xenakis, John Cage, Richard Barrett, Erhard Grosskopf, Johannes Fritsch, Pierluigi Billone, Maki Ishii, Arghyris Kounadis, Henri Pousseur, Hans-Klaus Jungheinrich Jean-Claude Éloy, Günther Becker, Hans Ulrich Lehmann, Charles Ives, Walter Marchetti, Ben Johnston, Robert Erickson, Frederic Rzewski, Horatiu Radulescu, Thomas Lauck, Julián Carrillo, Julio Estrada, Tadeusz Wielecki, Rolf Riehm, Michael Reudenbach, Wieland Hoban, Genoël von Lilienstern, Mark Barden, Marta Gentilucci, Eduardo Moguillansky, Liza Lim, Stefan Prins, Robin Hoffmann, and Enno Poppe, performed by the Végh Quartet (Sándor Végh, Sándor Zöldy, Georges Janzer, Paul Szábo), the LaSalle Quartet (Walter Levin, Henry Meyer, Peter Kamnitzer, Richard Kapuscinski), the Quatuor Parrenin (Jacques Parrenin, Jacques Ghestem, Michel Walès, Pierre Pénassou), the Kronos Quartet (David Harrington, John Sherba, Hank Dutt, Joan Jeanrenaud), the Arditti Quartet (Irvine Arditti with quartet combinations of Levine Andrade, Rohan de Saram, David Alberman, Lennox Mackenzie, Alexander Balanescu, Ashot Sarkissjan, Ralf Ehlers, and Lucas Fels, and including performances with Roger Heaton, bass clarinet, and Fernando Grillo, double bass), the Internationales Kranichsteiner Kammerensemble (including a performance with Akémi Karaki, soprano, and performances conducted by Bruno Maderna and Pierre Boulez), the Gregg Smith Singers (conducted by Gregg Smith), Ensemble Incontri musicali conducted by Bruno Maderna, the Contemporary Chamber Players (University of Illinois), the Schola Cantorum Stuttgart (with Nicole Rzewski, speaker, and Frederic Rzewski, piano, conducted by Bernhard Kontarsky), Ensemble Köln (conducted by Robert HP Platz), the Freiburger Schlagzeugensemble (Isao Nakamura, Carlos Beresi, Rüdiger Pawassar, Richard Lepetit, conducted by Bernhard Wulff), Orchester zum 13. Ton Nürnberg (with Martine Joste, piano, conducted by Ulf Klausenitzer), Participants of the Darmstadt Summer Courses 1998 (Daniel Buess, László Hudacsek, Hideki Ikegami, Yoshiko Kanda, Ricardo Marini, Young-Cher Park, directed by Julio Estrada and Isao Nakamura), Ensemble Courage (with Tadeusz Wielecki, double bass, conducted by Titus Engel), ensemble recherche (with Christoph Grund, piano, and Christian Dierstein, bass drum), the Kairos Quartet (Wolfgang Bender, Chatschatur Kanajan, Simone Heilgendorff, Claudius von Wrochem), Participants of the Darmstadt Summer Courses 2006 conducted by Lucas Vis (including a performance with Wieland Hoban, percussion), the Fathom String Trio (Jessica Rona, Moritz Müllenbach, Aleksander Gabrys), Ensemble ascolta, Participants of the Darmstadt Summer Courses 2008 (conducted by Christian Dierstein), the Nadar Ensemble (Katrien Gaelens, Toon Callier, Yves Goemaere, Pieter Matthynssens conducted by Daan Janssens), the IEMA Ensemble (conducted by Susanne Blumenthal), and the Klangforum Wien (conducted by Emilio Pomàrico).


NEOS 11311CD

HAMBRAEUS/CLAUDE LENNERS, BENGT: Piano Concertos CD (NEOS 11311CD) 15.50
This disc contains recordings of pianist Ortwin Stürmer's performances of two piano concertos: Bengt Hambræus's Concerto for Piano and Orchestra (1991-1992), performed with the SWR Sinfonieorchester Baden-Baden und Freiburg conducted by Israel Yinon; and Claude Lenners's "Phaeton" Concerto for Piano and String Orchestra (1999), performed with the Rundfunk-Sinfonieorchester Saarbrücken conducted by Gilbert Amy. Bengt Hambræus had a major impact especially on both Swedish and Canadian musical culture through his diverse activities, as an organist, educator, broadcaster, composer, and musicologist. Between 1944 and 1948 he studied organ and in 1947 he began his academic studies at Uppsala University, graduating with degrees in musicology, art history, and religious studies in 1950 and a PhD in musicology in 1956. Between 1957 and 1972 he worked at the Swedish Broadcasting Corporation. In 1972 he was appointed Professor of Composition at McGill University, Montréal, a position he held until his retirement in 1995. Since his emigration to Canada the term "world music" has appeared in Hambræus's comments regarding his own music. In 1990, an event took place on the Kanesatake reservation by Oka, outside of Montréal, that had an impact on the way his Piano Concerto was conceived and composed. The members of the Kanehsatake Mohawks had a standoff with federal and provincial governments, triggered by the town of Oka's attempt to enlarge its golf course. The town did not know, or ignored, that the land they wanted to use was part of the Mohawks' old burial ground and had a particular importance for the community. For Hambræus the violent scenes shown on television were appalling and he took the side of the Mohawk community. His openly political stance on this issue made it into his own comments on the Piano Concerto, emphasizing their ritualistic properties. Claude Lenners's "Phaeton" piano concerto shares both the rhythmic intensities and the moral concerns of Hambræus's work, although the perspective is different. In Greek mythology, Phaethon, the son of Helios, the Sun God, convinced his father to let him drive the sun chariot for one day. But the horses did not obey Phaethon, and came far too close to the earth. Zeus intervened and struck Phaeton dead with a thunderbolt.


NEOS 41601CD

BROTZMANN & ICI ENSEMBLE, PETER: Beautiful Lies CD/SACD (NEOS 41601CD) 15.50
Reedist Peter Brötzmann, a grand old master of European free jazz, has created a body of music that is considered among the most influential and pioneering of the 20th and early 21st centuries, from Machine Gun (1968) to Full Blast (TROST 107CD/LP, 2011) with Michael Wertmüller and Marino Pliakas. Brötzmann's recording presented here, a 72-minute document made in collaboration with the Munich ICI Ensemble, consciously alternates between the intimacy of contemporary chamber music and virtuosic brilliance -- brought together within a large-scale form designed as if agreed upon in advance, yet somehow created purely out of the present moment. Peter Brötzmann: tenor saxophone, clarinet, tárogató; Roger Jannotta: flutes, clarinet, oboe, alto saxophone; David Jäger: soprano & tenor saxophones, bass clarinet; Markus Heinze: baritone & alto saxophones, cornet; Christofer Varner: trombone; Leo Gmelch: tuba, bass trombone; Martin Wolfrum: piano; Gunnar Geisse: laptop; Georg Janker: bass, electronics; Sunk Pöschl: drums.


NEOS 41602CD

WERTMULLER, MICHAEL: Terrain! Terrain! Pull Up! Pull Up! CD (NEOS 41602CD) 15.50
Drummer and composer Michael Wertmüller has fulfilled a personal wish, namely to write a suite for an ensemble with an almost classic big band line-up. And the Bern University of the Arts in Bern, Switzerland, has provided the students, former students, time, and space, not to mention Lucas Niggli, the dazzling soloist on drums. Wertmüller is an in-demand composer of contemporary music and opera. He writes for large orchestras, small chamber music formations, various venues -- and now, at last, for a big band, too. Wertmüller: "I grew up with big band music, with swing, Duke Ellington, Count Basie, and later Buddy Rich and Louie Bellson. It's what we would often listen to at home, along with Tchaikovsky, Beethoven and Bruckner; in other words, the whole classical-romantic apparatus. The idea of now finally writing a big band piece came with Lucas Niggli when I was fortunate enough to invite a number of musicians to a 'special' at Porgy & Bess in Vienna. . . . Why should swing in a well formed context played fantastically well be any less contemporary than a violin in so-called New Music? In fact, I see big band music as a terrific challenge to 'New Music', especially after the experiences we've had with our project. Given globalisation and the blending of styles that goes with it, it's not clear to me why there aren't more 'serious music' composers looking at big band settings; after all, there are plenty of jazz musicians working on string quartets."

NERVMUSIC (RUSSIAN FEDERATION)

NM 001EP

EASY CHANGES: Karen EP 12" (NM 001EP) 14.00
Limited repress of NM001 by Easy Changes, featuring a remix by Cabanne. Originally released in 2009.

NIGHT SCHOOL (UK)

LSSN 036CD

BILLY BAO: Lagos Sessions CD (LSSN 036CD) 18.00
"'How to find a centre here? The output? The hum-drum of the street's daily accent compels the sense of the immediate, the terrestrial; and then those primitive, primeval-seeming echoes of the earliest beginnings of the big bang and its wave-sound simultaneously releasing Sun Ra's reverb sensation of end time! This should not be danceable but these guys are suggesting the possibility of rhythm in the inchoate. Believe me, you can't miss the Lagos Faaji, Sakara flow, Awurebe, Afrobeat slices; its jazz, highlife / Euro-Afro funk / rock / rap and seedy night echoes, too. But in their otherworldly dimension. No matter the accolades, I will encourage a therapy of some sorts to the creators of this production.' --Sola Olorunyomi"

OPTIMO TRAX (UK)

OT 020EP

SPARKY: Things Fall Apart 12" (OT 020EP) 12.00
Celebrating our 20th release, Glasgow's Dave Clark returns to Optimo Trax as Sparky. He was responsible for the third release on the label as LUMA which featured the club smash "John Broadwood." All four tracks here are certified dancefloor winners; from the reach for the lasers, kickless "Things Fall Apart" through the synth rhapsodies of "Black Swan" and "My Prophet", climaxing in the jacking "Seven Daggers."

OUTIS MUSIC (GERMANY)

OUTIS 001CD

SABATINI, DINO: Omonimo CD (OUTIS 001CD) 17.00
Producer Dino Sabatini, owner of the Outis Music label, has carved out a distinctive musical style that shows a great reverence for both ancient archetypes and future possibilities. With one foot planted in a mysterious past and the other planted in a world yet to arrive, Sabatini's works are carefully realized emotional journeys that intertwine shimmers of optimism with undercurrents of poignancy or nostalgia. Omonimo brings all of this to fruition in a work that demands (and rewards) deep listening, presented as a continuous mix for the CD version (unlike the vinyl and digital versions, on which the tracks are separated). After the pulsating "Foreword" massages the mind and prepares it for Sabatini's story, "Choosing the Right Way" blankets the listener in a rainy-day ambience punctuated with tantalizingly distant vocal refrains and nimble piano. At once solemn and erotic, it sets the pace perfectly for a set of tracks that have a cohesive feel, yet all use their own sonic vocabulary and color palette to tell unique variations on the story. "It's My Forest," for example, sticks to the reliable mid-tempo trip hop framework while introducing quick snatches of tabla and hovering synth arpeggios. "Follow Me" retains the lush synth pads and cycling percussive loops of "It's My Forest," and then things take a turn for the slightly darker with "The Unexpected," a sudden uptick in percussive punch and apprehensive intensity. The album's main recurring motif of cascading note patterns continues on "Just When I Think About You" and "Sometimes Back," with the former benefitting from a fat, insistent bass synth throb and both of these pieces benefitting from the return of tastefully minimal piano accents. And speaking of piano, the album's feeling of grandeur truly hits its stride with the assistance of jazz pianist Antonello Salis; on "If" and closer "And It All Ends Here," Salis's input allows Sabatini's blossoming arrangements to truly breathe while accommodating his partner's contemplative presence, culminating in free-floating, luminous wisps of romanticism. Nestling neatly between a number of contemporary genres and wisely avoiding their fatal clichés, tracks like the collaborations between Sabatini and Salis point listeners forward to a new kind of compositional freedom, and a style that can melt away feelings of pervasive stress without ever silencing the mind's innate curiosity.


OUTIS 001LP

SABATINI, DINO: Omonimo 2LP (OUTIS 001LP) 23.50
Unmixed version. Gatefold "maschinengrau" (recycled paper) sleeve. Producer Dino Sabatini, owner of the Outis Music label, has carved out a distinctive musical style that shows a great reverence for both ancient archetypes and future possibilities. With one foot planted in a mysterious past and the other planted in a world yet to arrive, Sabatini's works are carefully realized emotional journeys that intertwine shimmers of optimism with undercurrents of poignancy or nostalgia. Omonimo brings all of this to fruition in a work that demands (and rewards) deep listening. After the pulsating "Foreword" massages the mind and prepares it for Sabatini's story, "Choosing the Right Way" blankets the listener in a rainy-day ambience punctuated with tantalizingly distant vocal refrains and nimble piano. At once solemn and erotic, it sets the pace perfectly for a set of tracks that have a cohesive feel, yet all use their own sonic vocabulary and color palette to tell unique variations on the story. "It's My Forest," for example, sticks to the reliable mid-tempo trip hop framework while introducing quick snatches of tabla and hovering synth arpeggios. "Follow Me" retains the lush synth pads and cycling percussive loops of "It's My Forest," and then things take a turn for the slightly darker with "The Unexpected," a sudden uptick in percussive punch and apprehensive intensity. The album's main recurring motif of cascading note patterns continues on "Just When I Think About You" and "Sometimes Back," with the former benefitting from a fat, insistent bass synth throb and both of these pieces benefitting from the return of tastefully minimal piano accents. And speaking of piano, the album's feeling of grandeur truly hits its stride with the assistance of jazz pianist Antonello Salis; on "If" and closer "And It All Ends Here," Salis's input allows Sabatini's blossoming arrangements to truly breathe while accommodating his partner's contemplative presence, culminating in free-floating, luminous wisps of romanticism. Nestling neatly between a number of contemporary genres and wisely avoiding their fatal clichés, tracks like the collaborations between Sabatini and Salis point listeners forward to a new kind of compositional freedom, and a style that can melt away feelings of pervasive stress without ever silencing the mind's innate curiosity.

PARTICLES (UK)

PART 4055CD

VA: Curiosity Shop: A Rare Collection of Aural Antiquities and Objets d'Art: Volume Three 1968-1971 CD (PART 4055CD) 17.00
Opening up a new chapter in the enpsychlopedia, Particles presents a colorful variety of obscured pop nuggets recorded in the aftermath of the British psychedelic period. The psychedelic effects have gone and the lightshows have blown, but their lingering presence in the aftermath of the hallucinogenic haze is, though perhaps less defined, strangely evident. The end of the explosive decade that brought us the Fab Four and gave us the pop star was proving to be a turning point in both musical and political terms. Curiosity Shop provides an insight into the changing times with an illustrious soundtrack to furnish the senses. Professionally remastered original recordings of rare and obscure artifacts from 1968-'71 presented with a 20-page full-color booklet containing a wealth of archival photos and comprehensive liners. Includes tracks by Tin Tin, Judas Jump, Dr. Z, The Crew, Humbug, Young & Renshaw, Eartha Kitt, Goliath, Duffy, The Bonzo Dog Band, Dave Berry, Granny's Intentions, Dr. Marigold's Prescription, Joe Cocker, Keef Hartley, Paul Korda, Executives, Marbles, and Kevin Westlake & Gary Farr.

PERLON (GERMANY)

PERL 107CD

TANAKA, FUMIYA: You Find the Key CD (PERL 107CD) 17.00
The long awaited full-length Perlon debut of Fumiya Tanaka. "Easily Japan's most talented and knowledgeable techno DJ, Fumiya Tanaka brought the sound of minimal, intense techno to Japan during the early '90s, and introduced thousands of club-goers to the best Detroit and German producers via his club nights around Osaka and Tokyo. Born in Kyoto, Tanaka listened to and played in punk bands as a teen, then entered the dance scene in 1990 via house, techno, and hip-hop. He began DJing soon after, and formed Japan's first electronic dance label, Torema Records, in 1993 for his own stripped-down productions. By 1995, Fumiya Tanaka released his first mix album, I Am Not a DJ, on Torema, which by then had gained major distribution through Sony. Later that year, he set up Untitled Records, who paved the way for more experimental techno via the compilation Abstract Set 1. Soon he was spinning around the world -- often in the company of DJ heroes Jeff Mills, Derrick May, and Dave Clarke -- and not long after, the European techno cognoscenti realized that Tanaka wasn't just one of the best DJs in Japan, but around the world." --AllMusic

PHARAWAY SOUNDS (SPAIN)

PHS 018LP

SELDA: Selda LP (PHS 018LP) 25.50
Restocked. LP version. Housed in a gatefold sleeve; with liner notes insert. Imagine if Julia Child had marched against Vietnam, stood on the steps of the Pentagon, and placed a flower in a gun barrel. Selda Ba?can's later records have that same cross of easygoing motherly warmth and righteous anger. This 1979 album (technically her fourth, although six of these songs were also released on her third), was recorded when Turkey was at its most politically polarized. Selda was sentenced to a total of over 500 years in prison right about the time it came out. A pile of acoustic guitars and ba?lamas all going off at once under a blanket of reverb, with lyrics about blood, wood, mountains, families, and desperate troubles, so it's a thick squirt for a folk album. Selda's voice can either be sultry or really surge with emotion, and when she does belt one, it's oddly high and completely unique. Her reward was the love of Turkey's people, but also nine trials and three prison terms from the right wing military government of the '80s.


PHS 031CD

MANCO & KURTALAN EKSPRES, BARIS: Sozum Meclisten Disari CD (PHS 031CD) 17.00
Originally released in 1981, this is another killer album by the Turkish legend, recorded with the same line-up as 1979's Yeni Bir Gün album (GUESS 050CD/119LP). Psych/funk/progressive sounds full of heavy drums and basslines, Moog/analog keyboards, and psychedelic guitar. Featuring the killer duet with Deniz Tüney ("Alla Beni Pulla Beni"), the superb boogie-funk-styled "Adem O?lu K?zg?n F?r?n Havva K?z? Mercimek," the cosmic prog sounds of "2025 (Üçüncü Ve Son Yolculuk)," and more. Remastered sound. Original artwork.

PLAY LOUD! PRODUCTIONS (GERMANY)

PL 042LP

GURU GURU: Hinten LP (PL 042LP) 25.00
2016 repress of this 2014 reissue, the first authorized release of Hinten since its original 1971 release. German krautrock band Guru Guru was formed in 1968 as The Guru Guru Groove by Mani Neumeier (drums), Uli Trepte (bass), and Eddy Naegeli (guitar) (later replaced by American Jim Kennedy (guitar)). By the time of Guru Guru's debut in 1970, Ax Genrich had replaced Kennedy to solidify the classic Guru Guru line up. Guru Guru were related to the free jazz scene both through their work with Swiss pianist Irène Schweizer and through Neumeier, who had already won several jazz prizes before forming the band. They were also influenced by psychedelic rock artists including Jimi Hendrix, Frank Zappa, The Crazy World of Arthur Brown, The Rolling Stones, and early Pink Floyd. Among the band's friends were Amon Düül, Can, and Xhol Caravan, with whom Guru Guru often jammed. This reissue of their second album, Hinten, originally released in 1971, is presented in a gatefold sleeve bearing the original artwork and the original Ohr catalog number, along with an insert with photographs. Limited edition of 500.


PL 042LTD-LP

GURU GURU: Hinten (Transparent Red Vinyl) LP (PL 042LTD-LP) 25.00
2016 repress of this 2014 reissue. Transparent red LP version. Limited edition of 500. 2016 repress of this 2014 reissue, the first authorized release of Hinten since its original 1971 release. German krautrock band Guru Guru was formed in 1968 as The Guru Guru Groove by Mani Neumeier (drums), Uli Trepte (bass), and Eddy Naegeli (guitar) (later replaced by American Jim Kennedy (guitar)). By the time of Guru Guru's debut in 1970, Ax Genrich had replaced Kennedy to solidify the classic Guru Guru line up. Guru Guru were related to the free jazz scene both through their work with Swiss pianist Irène Schweizer and through Neumeier, who had already won several jazz prizes before forming the band. They were also influenced by psychedelic rock artists including Jimi Hendrix, Frank Zappa, The Crazy World of Arthur Brown, The Rolling Stones, and early Pink Floyd. Among the band's friends were Amon Düül, Can, and Xhol Caravan, with whom Guru Guru often jammed. This reissue of their second album, Hinten, originally released in 1971, is presented in a gatefold sleeve bearing the original artwork and the original Ohr catalog number, along with an insert with photographs.

PNN (GERMANY)

PNN 014CD

KARMIL, MATT: ++++ CD (PNN 014CD) 17.00
Sweden-based British musician Matt Karmil presents his third album, ++++, following his 2014 full-length debut, - - - - (PNN 007CD/LP), and IDLE033, released on Bristol label Idle Hands in 2016. His output also includes a variety of singles for labels such as New York's Beats In Space Records and Stockholm's Studio Barnhus. On ++++, Karmil can be heard exploring the concepts of impossible objects, reflection, symmetry, infinite perspective, truncated and stellated polyhedra, hyperbolic geometry, tessellations, and lost love. While making the music that constitutes ++++ he interacted with mathematicians George Pólya (1887-1985), Roger Penrose, and Harold Coxeter, as well as the crystallographer Friedrich Haag, and also conducted his own research into tessellation. The result is ++++, Karmil's most clever, strange, emotional, and fun work yet, a testament to his breadth and depth as a musician. Did we forget to mention that he's an awesome party DJ?


PNN 014LP

KARMIL, MATT: ++++ 2LP+CD (PNN 014LP) 23.50
Double LP version. Includes CD. Sweden-based British musician Matt Karmil presents his third album, ++++, following his 2014 full-length debut, - - - - (PNN 007CD/LP), and IDLE033, released on Bristol label Idle Hands in 2016. His output also includes a variety of singles for labels such as New York's Beats In Space Records and Stockholm's Studio Barnhus. On ++++, Karmil can be heard exploring the concepts of impossible objects, reflection, symmetry, infinite perspective, truncated and stellated polyhedra, hyperbolic geometry, tessellations, and lost love. While making the music that constitutes ++++ he interacted with mathematicians George Pólya (1887-1985), Roger Penrose, and Harold Coxeter, as well as the crystallographer Friedrich Haag, and also conducted his own research into tessellation. The result is ++++, Karmil's most clever, strange, emotional, and fun work yet, a testament to his breadth and depth as a musician. Did we forget to mention that he's an awesome party DJ?

POPCORN (UK)

POPC 145EP

SCOTT, BOBBY: I Gotta Run Now/Moanin 7" (POPC 145EP) 8.00
Two sides of swingin' mid-century vocal jazz from the multi-talented Bobby Scott. Both "I Gotta Run" and "Moanin" have been picked and primed for the dancefloor and are sure to add an air of easy sophistication and class to any party, night club, or soiree.


POPC 146EP

ENGLISH/EARL GRANT, BARBARA: Fever 7" (POPC 146EP) 8.00
Another two renditions of perhaps the greatest popcorn standard of them all, "Fever." On the top side, Barbara English's version is a groovy, early-'60s workout with an infectious rhythm and cool female backing vocals. Turn it over and hear Earl Grant give Little Willie John himself a run for his money with a smoldering, jazzed-up, organ-and-sax-led take.

PROG TEMPLE (UK)

PT 8050CD

LIGHTHOUSE: Thoughts of Movin' On CD (PT 8050CD) 17.00
Originally formed in 1968, this legendary Canadian horn-rock band spanned rock 'n' roll, jazz, progressive, and classical music. Released in December 1971, Thoughts Of Movin' On was their fifth album, and appeared on the legendary Vertigo imprint in the UK. It makes its long-overdue CD debut here.


PT 8051CD

SCULLION: Balance and Control CD (PT 8051CD) 17.00
Formed in Dublin in 1979 by Tír na nÓg singer and guitarist Sonny Condell, vocalist Philip King, and guitarist Greg Boland, Scullion made a considerable impact in Ireland with the release of their self-titled debut album later that year. Produced by the legendary John Martyn, their second LP, Balance and Control, appeared toward the end of 1980. This is the first reissue of this wonderful set of acoustic material with a distinctive Celtic flavor, touching on pop, jazz, and more.

PUNCH DRUNK (UK)

DRUNK 003EP

RSD: Corner Dub (Blue & Red Mix)/Pretty Bright Light 12" (DRUNK 003EP) 12.50
Limited edition repress of a classic Punch Drunk release. Bristol music godfather Rob Smith (Smith & Mighty) was a major force in the first-wave Bristol dubstep scene, not only as a huge musical influence on the likes of Pinch and Peverelist but also as a producer in his own right. This typically dubwise 12", originally released in 2007, is one of his best from that era.


DRUNK 005EP

PEVERELIST: Roll With The Punches/Die Brücke 12" (DRUNK 005EP) 14.00
2016 repress; originally released in 2007. A perpetually in-demand bona fide dubstep classic and Bristol anthem. Essential addition to anyone's collection.

QUINTESSENTIALS (UK)

QUINTESSE 048EP

STEVEN WOBBLEJAY: Hang Out EP 12" (QUINTESSE 048EP) 14.00
Our French friend Steven Wobblejay strikes back! After the sublime shake your tingsz EP, Steve presents again some dope deep raw tunes. Lots of old school flava with a new school twist! His partnership with Pablo Valentino as Creative Swing Alliance (Wolf Music, Faces) has been a great base for developing his own style. Another great talent is past, present and future Quintessentials artist Mat Chiavaroli, who's delivering a rugged and free-stylish remix. Hang out - the way we love it!

RECOMMENDED (UK)

RER F6

FAUST: Faust CD (RER F6) 16.00
2016 repress. "In 1971, Polydor entered a deal with Uwe Nettelbeck to assemble a musical ensemble that could compete with the likes of The Rolling Stones, The Kinks, and Small Faces. Before the release of their debut, Faust would send tapes to Polydor containing anything from studio experiments to recordings of someone washing dishes. Allmusic critic Archie Patterson lauded the band's accomplishment, writing that 'The impact of Faust cannot be overstated; their debut album was truly a revolutionary step forward in the progress of 'rock music'.' He awarded Faust four and a half out of five stars, concluding that 'the level of imagination is staggering, the concept is totally unique and it's fun to listen to as well.' The first 1971 Polydor (transparent) album and one of the great testaments to originality and innovation in the field, this album took two years to create, but in the 45 years since has come to be recognized as a breathtaking achievement, which hasn't aged. Remastered, repackaged for the ReR Megacorp release, which is also a part of the Faust 'Wumme Years' Box Set."

ROLL DEEP RECORDINGS (UK)

ROLLDEEP 006CD

ROLL DEEP: Street Anthems CD (ROLLDEEP 006CD) 6.50
Reissue of grime classic Street Anthems (2009), an absolutely essential best-of compilation from the legendary Roll Deep packed with their top 20 hits including "Shake A Leg" and "Avenue" plus previously unreleased early tracks and essentials taken from each of their three albums. It opens with three of the best vocal grime tracks of all time: the previously unreleased vocal of Wiley's "Eskimo" instrumental and posse cuts "When I'm Ere" and "Roll Deep Regular." The level of innovation on the production of these three tracks is spectacular. "Eskimo" is early grime's most seminal track, made up of basic percussion, creeping pads, and Wiley's eski bass sound, which would become his trademark. The other two are Danny Weed tracks centered on accordion and a camera flash. If you want to know what people mean when they describe grime as brilliant minimalism, listen to these three tracks -- and it should go without saying that the MCing matches the production round for round. Known as the forefathers of grime and legends in the UK underground music scene, Roll Deep have set their place in history. Starting in 2001, this group of friends from East London changed the game forever. Their 2005 debut album, In At The Deep End, sold 98,000 copies in 2005, and the group have gone on to have two top 20 hits as well as a string of tours around the world. Former member Dizzee Rascal and Wiley have gone on to become the most successful UK MCs of all time. Street Anthems is one not to be missed.

ROOM40 (AUSTRALIA)

RM 464CD

ABRAHAMS, CHRIS: Fluid To The Influence CD (RM 464CD) 16.50
Chris Abrahams returns with Fluid To The Influence. Building upon the foundation of his previous three editions for Room40, Abrahams charts out a divergent course through lilting piano flows, distended organ passages, thunderous electronic eruptions, and focused concrète explorations. Fluid To The Influence spans a huge spectrum of sound, each movement calling forward to the next in a flowing motion that demonstrates Abrahams's commitment to and interest in the album as an artistic form. Known widely for his piano work with post-everything trio The Necks, Abrahams's output as a composer orbits an otherworldly sonic sphere. Piano is just one element he draws upon to create a deliberately expansive sound field within which the listener is invited to become lost. He is one of the most significant voices in Australian music, and arguably one of the most restless and original artists creating work today. From Lawrence English: "In 2015, whilst celebrating our 15th anniversary, I revisited all of Chris's records. I still have such strong memories of listening to Thrown in his living room in 2004. It was late, after a concert for NowNow Festival, and the living room in which we were seating was dim. Some light crept in from the kitchen, scarcely that of a flickering candle. The music started and forever my world was changed. On Fluid To The Influence Chris continues his tradition of creating deeply personal and evocative sonic worlds. He has a compositional sensitivity and gravity few other artists share. This album draws together the divergent trends in his music creating a powerful and at times hallucinatory audio-vision."

ROTORELIEF (FRANCE)

ROTOR 003EP

BERROCAL/MARIE FRANCE/JACK BELSEN, JAC: Marie Antoinette Is Not Dead 7" (ROTOR 003EP) 15.50
Clear and white 7". Mythical trumpeter and poet Jac Berrocal, his associate Jack Belsen (soundtrack composer, cofounder of Messageros Killers Boys with F.J. Ossang), and iconic singer and actress Marie France -- a cabaret muse fond of unpredictable and stunning collaborations, put the words of Marie Antoinette, Queen of France from 1774-1791, to music. "Je vous veux" is a cosmic, sensual ballad, a perfect compromise between the lascivious, velvety words of Marie France, Belsen's powerful, solemn machines, and Berrocal's flute. "Marie-Antoinette is not dead ou dans quelle position je vous laisse" plunges into the dead of night, when Marie Antoinette writes her last letter.


ROTOR 006CD

SAND: Golem CD (ROTOR 006CD) 16.50
Originally released in 1974. German trio Sand's first album, Golem, is a legendary work of cosmic psychedelic genius. This is its first reissue. There is something magical and inexplicable in creation, and Sand absolutely manifest these mysterious phenomena. Storytellers, musicians, shamans, geniuses -- Sand were known, at the end of the '60s, as P.O.T. (Part of Time). Then Sand -- Ludwig Papenberg, his brother Ulrich Papenberg, and Johannes Vester -- developed a more avant-gardist, proto-industrial, visionary, experimental approach, becoming a truly unique entity in the history of music. Not dependent on a classic krautrock style, Sand is nevertheless part of this movement of German cosmic/psychedelic bands, in addition to being the originators of proto-industrial musics. CD in six-panel digipak.


ROTOR 007CD

SAND: Desert Navigation CD (ROTOR 007CD) 16.50
Previously unreleased album by German trio Sand, recorded 1973-1982. Live events in the quarry and an archaic sound formed the background music of the young atomic age. In the meantime, after endless trance garage sessions, Sand drifted from the mythical landscapes to Berlin and mingled with various oriental influences. Vultures were scudding along the urban canyons while burning houses illuminated the skyline. Sand navigated in obscure spheres and discovered Tendrara. There is something magical and inexplicable in creation, and Sand absolutely manifest these mysterious phenomena. Storytellers, musicians, shamans, geniuses -- Sand were known, at the end of the '60s, as P.O.T. (Part of Time). Then Sand -- Ludwig Papenberg, his brother Ulrich Papenberg, and Johannes Vester -- developed a more avant-gardist, proto-industrial, visionary, experimental approach, becoming a truly unique entity in the history of music. Not dependent on a classic krautrock style, Sand is nevertheless part of this movement of German cosmic/psychedelic bands, in addition to being the originators of proto-industrial musics. Johannes Vester: lyrics, vocals , synthesizers, guitar, organ, harmonium. Ludwig Papenberg: synthesizers, organ, generator, guitar, bongos. Ulrich Papenberg: bass. Guests: Christa Schunke, chorus; Claudia Utke, synthesizer; Dietmar Burmeister, drums; Jörg Hahnfeld, acoustic guitar; Klaus Pankau, electric and acoustic guitars; Martine Rossi-Merue, vocals; Michael (Micky) Westphal, bass. Remastered by Hervé de Keroullas, 2008. Graphic Design by Frédéric Tacer, 2011. Cover painting by Babs Santini, 2009. CD in six-panel digipak.


ROTOR 009ORG-LP

SAND: North Atlantic Raven (Orange and White Vinyl) LP (ROTOR 009ORG-LP) 23.50
Orange and white LP version in deluxe heavy-duty sleeve. Limited numbered edition of 500. Previously unreleased album by German trio Sand, composed and recorded in 1973, '75, and '76. The once-croaking raven now flies silently over the ocean, higher and higher. Where are you rolling, sun-ball, and why don't you fall? The sandy Golem crumbled into dust. His brave struggle against the mighty forces of darkness soon dissolved in voiceless space. There is something magical and inexplicable in creation, and Sand absolutely manifest these mysterious phenomena. Storytellers, musicians, shamans, geniuses -- Sand were known, at the end of the '60s, as P.O.T. (Part of Time). Then Sand -- Ludwig Papenberg, his brother Ulrich Papenberg, and Johannes Vester -- developed a more avant-gardist, proto-industrial, visionary, experimental approach, becoming a truly unique entity in the history of music. Not dependent on a classic krautrock style, Sand is nevertheless part of this movement of German cosmic/psychedelic bands, in addition to being the originators of proto-industrial musics. Johannes Vester: vocals, guitar, VCS3. Ludwig Papenberg: congas, VCS3, drum box, guitar, organ. Ulrich Papenberg: bass. Guests on "High Tension": Klaus Pankau, electric guitar; Micky Westphal, bass; Dietmar Burmeister, drums. Cover painting by Babs Santini.


ROTOR 010CD

CURRENT 93: When The May Rain Comes CD (ROTOR 010CD) 12.50
"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. CD in six-panel digipak.


ROTOR 021CD

COH: Z-Rated CD (ROTOR 021CD) 16.50
Pop-up sleeve. Z-Rated coincides with the premiere of Takashi Miike's 2010 farcical action film Zebraman 2: Attack on Zebra City, and the album carries many of the ironic connotations found in the original film. Yet Z-Rated is so much more. . . . It is a reference to the raw power of no-budget creation below that of B-movies. The album contains pieces from various years, as far back as the early '90s -- music that was hitherto kept hidden and is now revealed at last, including obscure and odd tracks and rare live recordings. Diverse in style and form, Z-Rated undoubtedly carries Ivan Pavlov's own uninhibited touch all in the power and finesse characteristic of all of the CoH productions. Active in the avant-garde electronic scene since the '90s, Ivan Pavlov aka CoH is a spearhead of radically modern electronics whose work always carries a human emotional charge.


ROTOR 023CD

VIVENZA: Modes Réels Collectifs CD (ROTOR 023CD) 15.50
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). CD in six-panel digipak.


ROTOR 026LP

VIVENZA: Réalité De L'Automation Directe LP (ROTOR 026LP) 21.00
LP version. Limited numbered edition of 500. 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 029RED-LP

VIVENZA: Veriti Plastici (Red Vinyl) LP (ROTOR 029RED-LP) 23.00
Red 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 029WHT-LP

VIVENZA: Veriti Plastici (White Vinyl) LP (ROTOR 029WHT-LP) 23.00
White 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 033ABRED

VIVENZA: Fondements Bruitistes 1 (Red Vinyl) LP (ROTOR 033ABRED) 23.00
Part one of two LP versions on red vinyl. Limited numbered edition of 200. 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 033DCRED

VIVENZA: Fondements Bruitistes 2 (Red Vinyl) LP (ROTOR 033DCRED) 23.00
Part two of two LP versions on red vinyl. Limited numbered edition of 200. 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 035RED-LP

MINAMATA: Mit Lautem Geschrei (Red Vinyl) LP (ROTOR 035RED-LP) 23.00
Red LP version. Limited numbered edition of 200. 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.


ROTOR 036RED-LP

BRUME: Friction (Red Vinyl) LP (ROTOR 036RED-LP) 23.00
Red LP version. Limited numbered edition of 200. 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.


ROTOR 038RED-LP

BRUME + VOMIR: UNstable (Red Vinyl) LP (ROTOR 038RED-LP) 23.50
Red LP version. Limited numbered edition of 200. "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.


ROTOR 040RED-LP

LE SYNDICAT: Second Empire (Red Vinyl) LP (ROTOR 040RED-LP) 23.00
Red LP version in deluxe silver sleeve. Limited numbered edition of 200. 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.


ROTOR 042RED-LP

LE SYNDICAT: Audiostatik Repress (Red Vinyl) LP (ROTOR 042RED-LP) 23.00
Red LP version. Limited numbered edition of 200. 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.


ROTOR 043ABRED

DIE FORM: Die Form ÷ Fine Automatic 1 (Red Vinyl) LP (ROTOR 043ABRED) 23.50
Red LP version. Limited numbered edition of 200. 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.


ROTOR 043DCRED

DIE FORM: Die Form ÷ Fine Automatic 2 (Red Vinyl) LP (ROTOR 043DCRED) 23.50
Red LP version. Limited numbered edition of 200. 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.

RUMBLE RECORDS

RUM 2011122LP

DAVIS, MILES: Birth of the Cool LP (RUM 2011122LP) 20.00
Eleven tracks recorded by Miles Davis's nonet in 1949 and 1950, Birth of the Cool (1956) may just be the most accurately titled album ever. The tracks just bleed hipness -- cool, smooth, and swinging -- and practically define the genre of "cool jazz." Unparalleled recordings required for any fan of mid-century American jazz.

RUSTBLADE (ITALY)

RBL 013LP

MORRICONE, ENNIO: Paura (A Collection Of Scary & Thrilling Soundtracks) LP (RBL 013LP) 29.00
"For almost 60 years Ennio Morricone has been composing some of the most beautiful film scores of all time. This collection shows the darker experimental side of Ennio with pieces that have accompanied such films as The Cat O' Nine Tails (Dario Argento), The Devil In the Brain, Il Serpente, Drammi Gotici, The Infernal and many more. Frightening orchestrations, dark jazz tapestries and unsettling piano movements are brought to life. With this release Rustblade attempts to shine a light on the compositional magic of an undisputed musical genius with a collection of songs appearing for the first time ever on vinyl. A must have! Limited Transparent vinyl 499 copies."

SCOPITONES (UK)

SCOPITONE 037CD

WEDDING PRESENT, THE: Valentina CD (SCOPITONE 037CD) 16.50
2012 release. The Wedding Present recorded their ninth studio album, Valentina, in France, California, and England in 2011. It was mixed by the Grammy Award-winning engineer Andrew Scheps (whose previous credits include Metallica, Iggy Pop, and Johnny Cash). The album features nine songs composed by David Gedge and Graeme Ramsay, plus one solo Gedge composition. David Gedge: singing, guitars, percussion; Graeme Ramsay: guitars, piano, harmonium; Pepe le Moko: bass and backing vocals; Charles Layton: drums and percussion.


SCOPITONE 046CD

WEDDING PRESENT, THE: Live 1991 2CD (SCOPITONE 046CD) 10.00
2012 release. Recordings of two live concerts from 1991 (in Wakefield, England, and Uppsala, Sweden). These recordings formed the ninth and tenth releases in the band's own Live Tape series (cassettes that the band sold at concerts and through their fanzine in the '80s and '90s); the series was unavailable elsewhere, so the cassettes have since become rare collectors' items. This is the fifth in the Scopitones label's series of beautifully mastered double-CD re-releases, all of which have been graciously received by the band's loyal fans.


SCOPITONE 049CD

WEDDING PRESENT, THE: Live 1992 2CD (SCOPITONE 049CD) 14.50
2013 release. Recordings of two live concerts from 1992 (in The Hague, Netherlands, and London, England). This release combines a previously unreleased recording with the 11th release in the band's own Live Tape series (cassettes that the band sold at concerts and through their fanzine in the '80s and '90s); the series was unavailable elsewhere, so the cassettes have since become rare collectors' items. This is the sixth in the Scopitones label's series of beautifully mastered double-CD re-releases, all of which have been graciously received by the band's loyal fans.


SCOPITONE 051CD

CINERAMA: Seven Wonders of the World 2CD (SCOPITONE 051CD) 14.50
2014 release. A collection of EP tracks, obscurities, songs in German and French, and more, by David Gedge's band Cinerama. Includes notes by Cinerama's former bassist, Terry de Castro. Gedge used Cinerama to explore a different musical territory from his band The Wedding Present, and often cited John Barry and Ennio Morricone among his influences. Although this gave the band a big-screen, filmic feel, Cinerama also often incorporated classic pop as well as surf music into their sound. Includes tracks from the Health And Efficiency CD single (2001), the Health And Efficiency 7" (2001), the Quick, Before It Melts CD single (2002), the Careless CD single (2002), the Don't Touch That Dial CD single (2003), the It's Not You, It's Me/Erinner Dich 7" (2004), and the I Wake Up Screaming 7" (2013), as well as CD-only tracks from a Music For Listeners session transmitted by KRTU in San Antonio, Texas, in 2009.

SECRET RECORDS

SEC 117LP

SOFT MACHINE: Wonderland LP (SEC 117LP) 26.00
"Limited edition LP (500 copies) of Soft Machine tracks from 1967, featuring Mike Ratledge, Kevin Ayers, Robert Wyatt and Daevid Allen on side one, and from 1969/70 featuring Mike Ratledge, Robert Wyatt, Hugh Hopper and Elton Dean on side two. Pressed on 180 gram vinyl."


SEC 125LP

PERRY, LEE: Holiness Righteousness LP (SEC 125LP) 26.00
"10 tracks taken from Perry's 2003 album Alien Starman now on limited edition vinyl. Perry doesn't take all production duties here; Roger Lomas is on hand as well, and the resulting sound calls to mind mid-season On-U as it ambles blissfully along with a female vocal back up team who sound like Akabu."


SEC 138LP

CHAPMAN, MICHAEL: Savage Amusement LP (SEC 138LP) 21.00
"1976 Michael Chapman album reissued on 180 gram vinyl."


SEC 140LP

DEKKER, DESMOND: Rude Boy Skank LP (SEC 140LP) 21.00
"These recordings are from the final studio session before Desmond's untimely death in 2006. Pressed on 180 gram vinyl."

SHITKATAPULT (GERMANY)

STRIKE 084LP

APPARAT: Walls 2LP (STRIKE 084LP) 25.00
2016 repress. Now available as a double vinyl version. Walls is the fifth full-length album for Apparat. Despite its title, Walls isn't about dividing lines. Instead, it describes a circle that pulls many elements together into a protected, enclosed space where they jostle and roam free: strings and mallet instruments; rock guitar and gravelly sawtooth synths; stuttering digital percussion and muscular studio drumming. Important guests and collaborators on this record include Telefon Tel Aviv's Josh Eustis, who did the album's final mixdown in Chicago, as well as the talented Raz Ohara, who contributes his smoky vocals. Apparat has melded his genius as a sound designer with his growing songwriting talents to craft songs brimming with ideas, energy, texture, light, color. They are hummable, embraceable, swimmable, possibly edible.


STRIKE 159CD

MOBIUS, GUIDO: Batagur Baska CD (STRIKE 159CD) 15.50
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.

SINNBUS (GERMANY)

SINNBUS 056CD

LA BOUM FATALE: Holygram CD (SINNBUS 056CD) 15.50
The long-awaited full-length debut by Berlin-based artist La Boum Fatale, following collaborations with Glenn Astro and Sieren and remixes for Me and My Drummer, Hundreds, and Sizarr. In 2012, musician and producer Antonio de Spirt burst out of nowhere with the surprise hit "AAA" and the beautiful electronica of his debut EP, Damwild. Here, de Spirt gives himself room to experiment. La Boum Fatale has always been a project of cooperation, of creative exchange and friction. Most of these tracks are joint works with artists whose output de Spirt deeply appreciates. He offers the music as a field for experimentation and is calm enough to impose no conditions on the heated "No Tongue In Cheek," sung by Danish artist Asbjørn; the wild "Ghosts" with Pantasz; the floating "Lovers Dough" (with Fee Kürten aka Tellavision); "He Just Might" (with Brookln Dekker (Rue Royale)); and the overflowing "When We Fall/Razor Wires" with vocals by Petula.

SOLAIRE (GERMANY)

SOL 1001CD

BORENSTEIN, NIMROD: Suspended opus 69 CD (SOL 1001CD) 17.50
Premiered at Covent Garden as part of the 2015 International Mime Festival and performed all across Europe since, Gandini Juggling's "4×4 Ephemeral Architectures" was conceptualized as a piece of imaginary architecture and a fusion of the worlds of juggling and ballet. Berlin-based label Solaire now present Nimrod Borenstein's original score for the show, curated especially for the performance: a hauntingly beautiful work that seemingly defies all the rules of the genre. For Nimrod Borenstein (born 1969), one of Europe's most in-demand composers, the task was clear: to write a ballet that would not only provide an inspiring basis for the choreography, but would also work as a full-fledged composition in its own right. Given almost complete freedom by the group's founder, Sean Gandini, Borenstein admits to working "like a madman" for half a year to deliver one of his most striking pieces. Complex rhythmical layers run on top of each other in one moment, only to give way to a thrilling tango, waltz, or Charleston in the next. And in some of the most arresting moments, the pulse seems to be dying down completely, resulting in a form of glacial acoustic ambient. Conducted by renowned Brazilian conductor Laércio Diniz and performed by das freie orchester Berlin, this is the soundtrack to more than 50 sold-out shows and the first collaboration between Borenstein and the Solaire imprint of established classical producer Dirk Fischer.


SOL 1002CD

LISZT, FRANZ: The Franciscan Works CD (SOL 1002CD) 17.50
It came as a surprise to many when pianist Sandro Ivo Bartoli, one of Italy's most charismatic and willful musicians, moved from London to a small farm in Tuscany, producing his own food and withdrawing to the countryside. Instead of ending his career, however, the decision provided him with the time and calm required to focus on his studies and typically untypical interests. This recording is the first result of this move. Bringing together the mysterious Franciscan repertoire of Franz Liszt on one disc for the very first time, Bartoli awards his personal touch to the work of one of the most misunderstood composers -- you have never heard these pieces performed like this. The 13th album of a recording career that began in 1996 sees Bartoli diving headlong into the darkest period in Liszt's life. Faced with the death of his daughter and flirting with suicide; battling with illness and out of grace with the critics, it was faith alone that kept the composer afloat. In what many perceived to be a publicity stunt, Liszt put on the robes of a Franciscan monk, gave away most of his fortune to charity, and began writing in a daring and utterly unique style, somewhere at the cusp between order and chaos; tonal tradition and sonic freedom. Blending passages of massive sound clusters with breathtaking beauty and impressionist color painting, many of these pieces left even some of his closest friends and supporters lost. To 21st-century ears, meanwhile, they appear entirely original and fresh, from the sequencer-like arpeggios of "Les jeux d'eau à la Villa d'Este" to the ten-minute epic "St. Francis Walking on the Water." Recorded at the legendary Reitstadel concert hall near Nuremberg in a single day, the album strikingly marries years of experience with the spontaneity and intensity of a live performance. He may be dealing with darkness here -- but Bartoli has never sounded more alive.

SONIC CATHEDRAL (UK)

SCR 065LP

LORELLE MEETS THE OBSOLETE: Chambers LP (SCR 065LP) 22.00
LP version. 2014 release. Mexican psych duo Lorelle Meets The Obsolete's third album. Recorded by Cooper Crain (Cave, Bitchin Bajas) and mastered by Sonic Boom (Spacemen 3). Chambers is a surprisingly direct record that, despite locking into a pulsating krautrock groove on "What's Holding You?" and getting lost in a fog of white noise on "Music For Dozens," always retains a very human heart and soul. There is diversity, too -- from the slide guitar and driving bass on the out-of-control "Sealed Scene" to the narco-blues of "Dead Leaves" and the folky, melancholy "Grieving." The big influences that came into play while making Chambers were Austin psych-rockers Holy Wave's Knife Hits album and the Ty Segall and White Fence collaboration Hair, which more than explains the garage-rock sensibility that pervades here. Also mentioned in their impeccable list of influences are Nico, Syd Barrett, Broadcast's The Noise Made by People, Albert Camus's existentialist tour de force "The Myth of Sisyphus," and Julio Cortázar's short stories.


SCR 091CD

SPECTRES: Dead CD (SCR 091CD) 16.50
Dead finds the songs from Bristol band Spectres' acclaimed 2015 debut Dying (SCR 090CD/B-LP) remixed by Mogwai, Factory Floor, Hookworms, Richard Fearless (Death In Vegas), Andy Bell (Ride), Robert Hampson (Loop), and many more. The instruction from the band was "kill our songs," and the remains are presented here as a stunning, 13-track album that builds on the original's feeling of claustrophobia and dread -- which won praise for its perfectly realized Sonic Youth-meets-A Place To Bury Strangers noise coupled with darker than dark lyrics worthy of Morrissey in his prime -- but recasts it across everything from brutal techno (Blood Music's "This Purgatory") to New Order-meets-Animal Collective euphoria (Andy Bell's "Sea Of Trees"). It's an occasionally punishing but always rewarding listen that begins somewhere in the depths of a K-hole, courtesy of Vision Fortune's "Drag," and ends somewhere rather beautiful with the celestial synths of Mogwai's "This Purgatory." (Mogwai's classic Kicking A Dead Pig was a big inspiration here.) "We see Spectres as something that can work in a variety of contexts," says frontman Joe Hatt, as he explains the motivation behind Dead. "Our musical interests spread out in different angles and we are always thinking of ways for what we do to evolve and mutate. We put together a list of artists who we admired, and thought would deliver a varied and eclectic mix. Some were close friends who are conveniently making some of the best music around, and others were pipe dreams that we thought would never happen. It was both nerve-wracking and fun waiting for each of the artists' versions to arrive in our inbox, and some definitely surprised us; but none disappointed." Also includes remixes by Oliver Wilde, Giant Swan, Dominic Mitchison, Gramrcy, and Spectres' Joe Hatt.

SPITTLE RECORDS (ITALY)

SPITTLE 064BOX

CONFUSIONAL QUARTET: In The Box 3LP BOX (SPITTLE 064BOX) 56.00
A happening -- maybe one could call it that. Confusional Quartet is one of the most original and unique bands to ever come out of Italy, and one of the few bands able to switch from the prog rock era to dislocated art forms, painting their music with traces of early electronica and a post-punk twist (read: no wave). A bridge linked the band from Bologna (rock) to the musical past and present of the nation, with senses of urgency and creativity on top and a revolutionary aesthetic revealed between the lines. No lyrics -- the music was truly instrumental, incorporating no social issues, but evoked a future no less narrow with their sonic scenario. It's really hard to pinpoint the band; they even re-created a singular version of Domenico Modugno's 1958 Sanremo Music Festival-winning "Volare" in a truly devolved way. Italian music history undergoes shock therapy in the exotic manifesto "Samba Paperino" and in the jazz-rock ostinato of "Pronipoti." Now listeners can finally share the whole experience of this truly unique band with this comprehensive box. The first LP contains their 1980 self-titled LP, the second contains their 1981 self-titled 10" EP, and the third contains their 1981 triple-7" flexi disc Documentario, along with previously unreleased bonus tracks. Each LP is presented in its own cover and printed inner sleeve. Limited edition of 500. RIYL: Devo, DNA, The Contortions, Magma.

SUB ROSA (BELGIUM)

SR 420CD

APPEL, KAREL: Musique Barbare CD (SR 420CD) 15.50
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. CD in six-panel digipak with 24-page booklet.


SR 421CD

NOVI_SAD/RYOICHI KUROKAWA: Sirens CD/BOOK (SR 421CD) 33.00
Berlin-based Japanese artist Ryoichi Kurokawa and Athens-based artist Thanasis Kaproulias (working under the moniker Novi_sad) collaborate to create immersive audiovisual works that combine digitally generated video by Kurokawa and sound explorations by Novi_sad. CD with 48-page 600-gram book, measuring 245x220 mm. Sirens is an impressive work comprising five audiovisual pieces that explore the aesthetics of data. Sirens is a collection of digitally rendered visual formations and sound compositions with an intensity that fluctuates in relation to the unfolding of the economic downturn. Tied to the fate of the global markets, the more the economy fails (as represented by data and indexes), the more developed and complex the coupled sounds and visual sequences become. Any disintegration of financial fortunes leads directly to the emergence of a greater creative energy in an inverse tug-of-war. Sirens elucidates the relationship between generative visualization and cinematic practices, as this computer-generated video work transforms our understanding of the relationship between moving image, data, and the cinematic. By immersing the spectator in an audiovisual scape and narrative, the work heightens the performativity of processes, be they "technological" or "natural." The title of the work is inspired by the Greek mythological creatures who seduce sailors ashore into danger, as a metaphor for market fervor leading to economic collapse. Both artists have worked extensively in video, sound, installation, and live performance and have presented their works internationally in numerous festivals and art institutions. Kurokawa has presented work at the Tate Modern in London, the 54th International Art Exhibition of the Venice Biennale in Venice, Transmediale in Berlin, MUTEK in Montréal, eARTS in Shanghai, and Sónar in Barcelona. In 2010, he was awarded the Golden Nica at the Prix Ars Electronica for Digital Musics & Sound Art. He has also released a number of CDs and DVDs and has collaborated with musicians including Human Audio Sponge (former members of Yellow Magic Orchestra). Novi_sad has presented at the Venice Film Festival, MUTEK in Montréal and Mexico City, Muziekgebouw aan 't IJ in Amsterdam, Le Fresnoy - Studio national des arts contemporains in Lille, the Roy O. Disney Concert Hall at CalArts in Los Angeles, Itaú Cultural in São Paulo, the Athens Concert Hall, VPRO national radio in Amsterdam, Cabaret Voltaire in Zurich, the Royal Academy of Music in Aarhus, Einstein Kultur in Munich, and the Museum of Modern Art in Rio de Janeiro. He has collaborated with notable artists and filmmakers including Lars von Trier, Isaac Niemand, Yorgos Zois, and Karl Lemieux.

SUPERIOR VIADUCT

SV 050LP

CRIME: Murder By Guitar LP (SV 050LP) 20.00
2016 repress. "San Francisco's first and only rock 'n' roll band, Crime loomed over the entire Mabuhay Gardens scene with their blistering 1976 single 'Hot Wire My Heart.' The group's loose, damaged rock 'n' roll was as immediate as it was controversial. They were punk by any definition, yet shunned the label with a guttersnipe sneer. Their meticulously cultivated aesthetic of S&M graphics and police uniforms produced some of the era's most indelible imagery. One of their finest moves was playing in the San Quentin prison yard. Formed by guitarists / vocalists Johnny Strike and Frankie Fix, Crime enlisted bassist Ron the Ripper and drummers Ricky "Tractor" Williams (later of The Sleepers), Brittley Black and Hank Rank. Joey D'Kaye later joined on keyboards and bass duties. For the first time, this LP release collects the sick energy of Crime's three singles along with nine previously unreleased studio recordings from 1976 to 1980. The visceral churn and unwieldy leads on tracks like 'Frustration' and 'Piss On Your Dog' make Murder By Guitar the definitive statement from this prescient American underground band."

TEKLIFE

TEKLIFE 001CD

DJ RASHAD: Afterlife CD (TEKLIFE 001CD) 16.50
Teklife presents Afterlife, the first release on the Teklife label. The album is a celebration of the life and music of the late, great DJ Rashad (1979-2014) and features 14 previously unreleased tracks, each a collaboration between DJ Rashad and friends from the Teklife crew and beyond. Afterlife is testament to an incredible breadth of influences and love of music with soul, hip-hop, house, techno, and many more all brought together at 160 BPM. Rashad's presence is felt throughout in the boundless energy and creativity that run through the album, while each collaborator brings a personal touch to the compositions. With such a prolific body of work as both a solo artist and in collaboration with other musicians, it would be impossible to present a definitive collection of DJ Rashad's music, and many, many classics will remain unreleased forever. Includes collaborations with DJ Spinn, Taso, Gant-Man, DJ Manny, DJ Phil, DJ Earl, DJ Taye, Tripletrain, Boylan, DJ Tre, Traxman, and DJ Paypal.


TEKLIFE 001LP

DJ RASHAD: Afterlife 2LP (TEKLIFE 001LP) 29.00
Double LP version. Includes a bonus track by Microglobe x Machinedrum. Teklife presents Afterlife, the first release on the Teklife label. The album is a celebration of the life and music of the late, great DJ Rashad (1979-2014) and features 14 previously unreleased tracks, each a collaboration between DJ Rashad and friends from the Teklife crew and beyond. Afterlife is testament to an incredible breadth of influences and love of music with soul, hip-hop, house, techno, and many more all brought together at 160 BPM. Rashad's presence is felt throughout in the boundless energy and creativity that run through the album, while each collaborator brings a personal touch to the compositions. With such a prolific body of work as both a solo artist and in collaboration with other musicians, it would be impossible to present a definitive collection of DJ Rashad's music, and many, many classics will remain unreleased forever. Includes collaborations with DJ Spinn, Taso, Gant-Man, DJ Manny, DJ Phil, DJ Earl, DJ Taye, Tripletrain, Boylan, DJ Tre, Traxman, and DJ Paypal.

TELEPHONE EXPLOSION (CANADA)

TER 039LP

VISITORS: Poet's End LP (TER 039LP) 20.00
"A compilation LP from Edinburgh post-punks, Visitors. Recorded or funded solely by John Peel between 1979 - 1981, Poet's End offers all three highly collected 7" singles plus 4 additional unreleased songs from the same recording sessions. Limited to 1,000 copies, Visitors Poets End will be an essential in every punk collectors collection."

TEMPA (UK)

TEMPA 106EP

COULTON, ALEX: Ambush/Direction 12" (TEMPA 106EP) 14.00
Regular Tempa contributor Alex Coulton follows two well-received 2015 solo 12"s on the label his 2014 contribution to Tempa Allstars Vol. 7 with two tracks that take influences from house, techno, jungle, dubstep, and beyond. "Ambush" is full-on Alex Coulton -- moody atmospheres, heavy sub-bass, and delicate percussion. The restrained intro soon gives way to hypnotic conga patterns, maintaining momentum through Coulton's taut soundscapes. On "Direction," the shuffling hats, soft pads, and bright melody, are more primed for the dancefloor, with the stuttering beats accelerating to 4/4 as the track progresses.

THE TRILOGY TAPES (UK)

TRILOGY 043EP

ONDO FUDD: Blue Dot 12" (TRILOGY 043EP) 17.00
Ondo Fudd (aka Call Super) on The Trilogy Tapes.

THE WIRE (UK)

WIRE 387

WIRE, THE: #387 May 2016 MAG/CD (WIRE 387) 9.00
"On the cover: Marissa Nadler (With her new album Strangers, produced by Sunn O))) associate Randall Dunn, the Boston based singer-songwriter and guitarist continues to map out the phantom zone between flesh and spirit). Inside the issue: Jair-Rohm Parker Wells (From contributing slap bass samples to the Apple Loop Library to rebooting the soul-scraping free jazz of Albert Ayler, Jair-Rohm Parker Wells is a walking bass dichotomy); Manchester Improv (North West England is proving fertile ground for new improve, thanks to labels like Golden Lab and Tombed Vision, and artists including Andrew Cheertham, The Hunter Brothers and Nat Birchall); Invisible Jukebox: Illan Volkov (The conductor takes his cue from The Wire's mystery record selection); Steven Julien (The debut album from the artist also known as Funkineven tears itself free from the dictates of the dancefloor). Plus The Wire Tapper 40: The next volume in our series of underground music anthologies is attached to the cover of every copy of the May issue -- 20 new tracks from DJ Stingray, Susanna, Supersilent, The Library Of Babel and more."

TOCHNIT ALEPH (GERMANY)

TA 135CD

NITSCH, HERMANN: 6. Sinfonie 2CD (TA 135CD) 25.50
2015 reissue; originally released in 1988. Hermann Nitsch's sixth symphony (for large orchestra) performed and recorded November 1, 1980, at Museum des 20. Jahrhunderts, Vienna. The Iceland Symphony Orchestra under the direction of Hermann Nitsch. Organ: Frank Dolch. Large two-CD jewel case with 12-page booklet containing the German-lanuage text "Die Verklärte Pracht" by Günter Brus. First reissue. Edition of 500.


TA 136CD

NITSCH, HERMANN: Sinfonie Für Mexico City CD (TA 136CD) 18.00
2015 release. First release of Hermann Nitsch's Sinfonie Für Mexico City. Recorded February 27, 2015, at the Museo Ex Teresa Arte Actual in Mexico City. Performed by Ensemble [LIMINAR] and students of the Conservatorio Nacional de Música. Conducted by Andrea Cusumano. CD in full-color six-panel DVD-size digipak. Edition of 500.

 


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