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Forced Exposure New Releases for 1/30/2017

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New music is due from UnicaZürn, Tornado Wallace, and Fjaak, while old music is due from Mulatu Astatke & his Ethiopian Quintet, Basil Kirchin, and Oby Onyioha.

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PRICE: $14.00
CAT #: AUK 038EP
Open Minds Now Close is the second of three singles from the forthcoming Brian Jonestown Massacre album Don't Get Lost. The first track "Open Minds Now Close" is on the album and features Dan Alliare on drums. "Melody's Actual Echo Chamber", featuring Ryan Van Kriedt and Dan Alliare, is a pitch-shifting, mind-bending mix, available on this single only. A Swedish version of "Open Minds Now Close" called "Öppna Sinnen Stängs Nu", featuring Jocke from Les Big Byrd on vocals, is also available on this single only. A side play at 45rpm; B side plays at 33rpm. 180 gram, white vinyl.
PRICE: $14.00
CAT #: ACR 001EP
SIMIC Corot-7b 12"
Acid Camp present their debut release, Simic's Corot-7b. The Seattle- based artist's full-length EP, features four tracks and a remix by John Tejada. The title track is moody, and brings an expansive, spacey vibe. Tejada remixes "Corot-7b" into a groovier, forward-moving track with a bassline that brings a bouncy and uplifting mood. "Sysop 1" opens with a catchy, quick-witted synth line that eventually draws in a light tempered shaker. "Expressway" is light and dreamy - a diverse ambient track that can be the perfect warm up or cool down with eloquent use of percussion: chimes, wood blocks, and bells.
PRICE: $15.50
CAT #: ALB 010CD
Raz Ohara released Moksha (ALB 001CD/LP) in February 2014 and it was the first release on Album Label, the new label from Shitkatapult at the time. Moksha was never meant to dictate the direction of the new imprint in terms of content. But despite this, the album could be heard as a kind of label manifesto. Moksha demands attention and time. And this is precisely what the makers of Album Label are about: listening to records and having the composure and powers of concentration required to do so. One year later, Oliver Doerell, aka Cummi Flu (of Dictaphone and Swod) drops Z (ALB 004CD/LP, 2015). It is an entirely different kind of music from Moksha, less volatile and blurred, percussive and transparent instead. Yet it is an album that belongs right here on this label, one that demands time from its listener. Cummi Flu, who likes to generate percussion loops from the twangs of various rubber bands, creates loops with the help of all possible and impossible tone generators. What happens now when these complex, gyroscopic sounds are deflected and distorted, when you send them through the Raz Ohara grinder, so to speak? Gnawing tracks emerge from field recordings, acoustic instruments, synthesizers and kitchen utensils. It appears that not only do Ohara and Doerell get along well, but they complement each other splendidly. Together they create an extremely fine psychedelia, a kind of dark psychedelic classicism or urban voodoo music. Y is a jungle album for listeners to lose themselves in. The longer you listen, the less you are interested in determining the origins of individual sounds. It's as if the sum of the music and its psychedelic effect mask all rational thought, as if the music takes over control. Soul fragments, sung by Raz Ohara, in his broken yet commanding style, waft around the extraterrestrial sound loops. Again comes the dark voodoo tapping, Ohara's sharp inhale, after which the listener immediately hears his voice creaking and scratching, maniacally, as if it were part of a cultish act. Various time signatures are intertwined, generating polyrhythmic infinity. And before the extremely filtered flute loops regain the upper hand, the music suddenly grabs your heart and moves you in the same way the soundtrack of your youth perhaps once did. "New polyrhythmic and psychedelic incarnation. Sounding like the music of forgotten people from Venus." --IRM.
PRICE: $17.50
CAT #: ALB 010LP
LP version. Includes download code. Raz Ohara released Moksha (ALB 001CD/LP) in February 2014 and it was the first release on Album Label, the new label from Shitkatapult at the time. Moksha was never meant to dictate the direction of the new imprint in terms of content. But despite this, the album could be heard as a kind of label manifesto. Moksha demands attention and time. And this is precisely what the makers of Album Label are about: listening to records and having the composure and powers of concentration required to do so. One year later, Oliver Doerell, aka Cummi Flu (of Dictaphone and Swod) drops Z (ALB 004CD/LP, 2015). It is an entirely different kind of music from Moksha, less volatile and blurred, percussive and transparent instead. Yet it is an album that belongs right here on this label, one that demands time from its listener. Cummi Flu, who likes to generate percussion loops from the twangs of various rubber bands, creates loops with the help of all possible and impossible tone generators. What happens now when these complex, gyroscopic sounds are deflected and distorted, when you send them through the Raz Ohara grinder, so to speak? Gnawing tracks emerge from field recordings, acoustic instruments, synthesizers and kitchen utensils. It appears that not only do Ohara and Doerell get along well, but they complement each other splendidly. Together they create an extremely fine psychedelia, a kind of dark psychedelic classicism or urban voodoo music. Y is a jungle album for listeners to lose themselves in. The longer you listen, the less you are interested in determining the origins of individual sounds. It's as if the sum of the music and its psychedelic effect mask all rational thought, as if the music takes over control. Soul fragments, sung by Raz Ohara, in his broken yet commanding style, waft around the extraterrestrial sound loops. Again comes the dark voodoo tapping, Ohara's sharp inhale, after which the listener immediately hears his voice creaking and scratching, maniacally, as if it were part of a cultish act. Various time signatures are intertwined, generating polyrhythmic infinity. And before the extremely filtered flute loops regain the upper hand, the music suddenly grabs your heart and moves you in the same way the soundtrack of your youth perhaps once did. "New polyrhythmic and psychedelic incarnation. Sounding like the music of forgotten people from Venus." --IRM.
PRICE: $14.00
CAT #: AUS 110EP
CATZ 'N DOGZ Interpretations 12"
Aus Music kick inaugurate 2017, welcoming in Catz 'N Dogz for three interpretations of tracks cherry-picked from Aus Music's vast back catalog - all given a rough, smoky treatment from the PETS Recordings owners. Kicking things off is the remix of Geeman's "Wanna Go Bang" which sees a driving and percussive reworking. Bicep's "The Game" involves soft, overlapping chords propelled by snapping drums and multiple melodic lines that build an allaying palette. The remix of George Fitzgerald's "Hindsight" caps things off as more frazzled drums propel a stuttering vocal line and a warped synth pattern.
PRICE: $15.50
Passage is the second collaborative album from London-based synth-wizard Ulrich Schnauss and Danish producer Jonas Munk. 11 tracks of breezy, blissed-out electronica and colorful ambient. As the album title denotes, there's a sense of movement in the music these two producers create together: a Schnauss and Munk composition starts one place and ends up someplace very different - something that can only rarely be said about electronic music, which traditionally has focused its energy on texture rather than composition. Sometimes their vivid, expansive soundscapes feels like the sonic equivalent of gliding towards the horizon through a panoramic landscape on a train. One's perspective changes slightly when in motion from one place to another - continuously approaching new things and leaving others behind. There's a prismatic, multi-dimensional quality to these 11 tracks, likely stemming from the fact that these two producers each have worked with a wide range of styles and musicians throughout their 15+ year careers: Ulrich cut his teeth as a drum and bass producer in Berlin, before releasing a string of highly influential neo-shoegazy records on labels such as Domino and City Centre Offices. Since moving to London in 2006, he's been a member of bands such as Engineers and Longview and remixed artists ranging from Depeche Mode and Pet Shop Boys to Mojave 3, and since 2013 he's been a member of legendary band Tangerine Dream. While Jonas Munk initially became known to the post-rock and electronica communities via his Manual albums on Morr Music and Darla Records, he's also had his hands in psychedelic rock (he's a noted producer in the European psych scene and is in the band Causa Sui) as well as film soundtracks and experimental minimalism. Both Ulrich and Jonas, however, have the skills of seasoned producers to weave the multitude of influences together in a well-defined sonic aesthetic. The result is a compelling set of melodic electronic music that echoes the past, yet feels fresh.
PRICE: $16.00
CAT #: BDN 013EP
DAIJING, PAN A Satin Sight 12"
"Described by the label as 'a very personal release by the performance and sound artist Pan Daijing, inspired by Arthur Rimbaud's A Season In Hell. The title refers to objects viewed through a soft filter. Ritualistic, energetic, abrasive, and surrounded by your embrace.' "
BH 035EP
PRICE: $17.00
CAT #: BH 035EP
MORI RA Brasserie Heroique Edits Part 3 12"
"Four deejay wmds beaming in from Osaka: weird, unsettling disco-funk, guaranteed to rock the house. Kanwaza crosses ethnic roots and disco; Cross Calf Dance jacks up the quirkiness; Stormy Weather and Water lock down the after-hours crew."
BH 036EP
PRICE: $17.00
CAT #: BH 036EP
BLACK MERLIN Proto World EP 12"
"Cosmic, artful dancefloor devastation, hard on the heels of one of the most interesting albums of 2016. Deep, dark psychedelia (Vision Animal), tribal murder (Proto World), blissful gamelan-style ambience (Spirit House), and a perfect Sunday-morning come-down, in the widescreen beauty of Hope, to close."
BS 026CD
PRICE: $19.50
CAT #: BS 026CD
PICCINELLI, FRED GALES, WALTER MAIOLI, PIT Amazonia 6891: Sounds From Jungle, Natural Objects, Echo And Electronic Waves CD
Black Sweat Records present a reissue of Amazonia 6891: Sounds From Jungle, Natural Objects, Echo And Electronic Waves, originally released on cassette in 1986. The idea to evoke a deep journey in the Amazon rainforest has affected various musicians in the history of popular and experimental music, but compared to other works, this rare Amazonia 6891, released only on cassette in 1986, appears as totally original and extreme in his conception. Here, the interest in ethnomusicology of the expert Walter Maioli (part of Aktuala and Futuro Antico) is linked to a precise and comprehensive ecological, botanical, ethological and ethnographic perspective. In fact, starting from the sound recording of the ethnographer Pit Piccinelli's collection of natural objects, the collected material for this work is re-elaborate in different times by the anthropologist and electronic pioneer Fred Gales and by Maioli himself. The result of this multi-disciplinary approach is a long, concrete poem of plant organisms, field recordings of verses and calls of tropical animals, futuristically mixed with electronic sounds, similar to the great experimental trials of Futuro Antico and Ariel Kalma's 1978 album, Osmose (BS 007LP). Listening to this imaginative collage is like looking into a precious cabinet of antiquities and curiosity, whose wonders of multi-colored cellular fragments are shaped in the synthesis of a single universal sound matter. The merger between the wild jungle, the mysterious voices of the aboriginals and the oscillation of the electronic waves, creates a spasmodic tension between amazing and heavenly moments, leaking obscure paths and alien sequences. Amazonia 6891 is a magic trip into the unknown wild, into abyss of creation of kaleidoscopic floras and faunas, simply a proposal for a synesthetic experience and multi-sensory.
BK12X12 003EP
PRICE: $18.00
CAT #: BK12X12 003EP
YOU SPEAK WHAT I FEEL My Good Friends Tell Me That 12"
The third release in the 12 x 12 series is this total fucking peach of a collaboration made in 2002 by three peers with a mutual passion for the deepest, original NYC garage and house grooves: Terre Thaemlitz (DJ Sprinkles) and Mat Steel and Mark Fell (SND). This is the first appearance of their collective handle You Speak What I Feel since their contribution to Comatonse's 2003 tenth-anniversary compilation, and it finds the trio at their deadliest, producing a deep-as-anything, peak-time killer riding a strolling bassline, pointillist claps, and effervescent chords for 12 minutes of swingers' bliss. Mastered by Terre Thaemlitz and cut by Matt Colton at Alchemy.
PRICE: $16.50
LP version. French musician François Virot present his second solo album, Marginal Spots, following his acclaimed 2008 debut, Yes Or No. That album's lo-fi pop-folk won Virot praise for his staggering melodies and nervous urgency, earning comparisons to artists like Animal Collective. In the wake of its reception, Virot found himself dragged out of the invisibility of Lyon's squats and rushed hastily on stage. He was expected to give his opinion, but no one realized how unprepared he was. He had crafted his songs for himself, the hard way -- for such a hyperactive artist, versed in songwriting since childhood, naiveté was not a ploy, and DIY is not a fancy gadget. As Virot recalls, "The first time they dimmed the lights at one of my concerts, I didn't understand what was going on. I came on stage, everyone cheered. I needed to change a string, so I said so, and the crowd answered by applauding once again. I changed my string, I finished my beer, 10 minutes had passed, the lights were still on me. People found the scene delightful, they were laughing hysterically. For me, it was hell. There have been many moments such as this one." Two years after his debut, in 2010, Virot appeared on the credits of two of the most beautiful records of the year. The first, Comfortable Problems by the trio the Clara Clara, put to shame every claimant to Deerhoof's throne, with Virot showcasing his rowdy yet precise drumming skills and chanting in a world somewhere between happy hardcore and subtle power pop. The second, Time And Death by the duo Reveille, was as touching, addictive, and imperfect as a collection of demos from The Evens. Now, following the 2016 release of Clara Clara's third album, Bugarach, Virot returns to his solo work with an album that is as much a realization of his obsessions (colorful drums, catchy but devious melodies, referential tangles including The Police, The Ex, Joe Dassin . . .) as a declaration of independence from indie pop laws. As Virot puts it, "Lately I haven't been able to find any record without reverb effects, or a band that doesn't use a chorus pedal or some recorded material live. It annoyed me. Music-making should not be about composing the most beautiful thing there is. You need to catch a glimpse of what's inside, hear an actual human being sing and play." Marginal Spots is François Virot at his core, oblivious to the illusion of success, directly plugged into his heartbeat.
PRICE: $17.00
GROUP DOUEH & CHEVEU Dakhla Sahara Session LP
LP version. Includes an eight-page insert and a download code. The random-access memory of an hourglass. On the one hand, there's Cheveu, the French three-member band, whose soundtrack has never ceased to question music codes by exceeding various genres and pushing back their limits. On the other hand, you have Group Doueh, a Sahrawi band from the Sahara desert (Dakhla). Their music spans across many styles and hammers tradition with unprecedented finds. In between both their remote musical universes dwells a sound clash. It embodies the meeting between two arts of living music day by day, two ways of transmitting, of enchanting the world or refusing to do so, of exploring the repertoire as well as tradition and creation, two visions of the collective - the list of reasons why these guys should have probably never met or could have failed to get along is quite extensive. This piece was recorded in two weeks in Dakhla in January 2016. The mere project seemed like a surreal challenge, something that was almost impossible to achieve and for which time was going to hold major importance. It brought about a telluric big bang, an atomic creation, a story of primitive energies setting the record straight in the whole world. That is, two radically different understandings of time.
BB 039LP
PRICE: $25.00
CAT #: BB 039LP
CLUSTER Sowiesoso LP
2017 repress; LP version. The fourth full-length album by legendary German electronic music duo Cluster, originally released on Sky Records in 1976. Sowiesoso follows on from their most highly-acclaimed album, Zuckerzeit (1974). Michael Rother's influence was clearly audible on the latter, Cluster already having recorded two albums with him under the name of Harmonia. 1976 saw the duo looking for new musical forms. More than any other Cluster album, Sowiesoso represents the utopian vision of Hans-Joachim Roedelius and Dieter Mobius, its mellow transparency evoking the landscape of the Weser Uplands where the two musicians lived at the time. Sowiesoso is not the work of fanatic dreamers who have fled the metropolis, but the reward for their tenacious search for a new musical language. The LP's seven cuts were recorded in their own studio with modest equipment -- a four-track tape machine, two Revox A77 stereo tape-decks and a simple 8-channel mixer. Cluster were thus completely independent, able to work where and when they wanted, at their own pace. With no guest musicians, sound engineers or producers to accommodate, Cluster thrived on their new-found autonomous freedom. Sowiesoso captures them at the peak of their creative development, with the limited range of recording equipment enhancing the clarity of their vision, allowing them to concentrate on the music without drifting into narcissistic muso territory. Minimalist, yet neither formulaic nor automated, the album is a rhythmic tapestry of otherworldly electronic and acoustic elements -- relaxed, organic and gentle ambience. This could only be Cluster music; its harmonies reaffirm the quality of song, in spite of eluding song structure as such.
BB 249CD
PRICE: $17.00
CAT #: BB 249CD
Richard Pinhas, leader of French space-rock pioneers Heldon in the '70s, has been prolific since returning to the form in the '90s. He has collaborate with Merzbow, Yoshida Tatsuya, Oren Ambarchi, Barry Cleveland, and Wolf Eyes. "Changes in my life really influenced this record," Richard Pinhas tells of his new album Reverse. "The wife of a friend of mine offered to read my Tarot cards... I don't believe in it - I am very materialist, not financially but in my philosophy - so it was very strange that in the year that followed I lost my two parents, broke up with my girlfriend, lost my flat, and moved to Nantes. So the album was done in this confusion, in this chaotic state of having lost all these things." Reverse's dark experimental noise and long repetitive tracks have an intimidating first impression. But listening to the whole 50 minutes leaves one feeling purified. Pinhas even says this album "fixed" and "resurrected" him: "It was a healing process for me to make this album. To get rid of all the negativity that occupied my brain." The main process of the album production was one of construction, with Pinhas and Oren Ambarchi (guitars, "dronz") forming the skeleton. After the initial sessions in Paris, they threw out everything except their own parts and then started searching for "the right parts. Not a drummer, but the drummer, not a bass guitarist, but the bass guitarist." He enlisted the talents of Arthur Narcy (drums), Florian Tatar (bass) along with Masami Akita (analog synths), his son Duncan Nilson-Pinhas (digital synths), and William Winant (percussion). Reverse reflects Pinhas's keen interest in Kabbalah. "Ketter" is an unknowable realm and the music reflects this. We catch traces of elements traversing the spectrum while the whole retains its own mystery. Pinhas's immediately recognizable tone is tempered by Narcy's unique drumming style. "End" reflects the "reverse" of the album title, as sounds double back in on themselves whilst Narcy, frantic on the cymbals, pounds the drums themselves with military precision. "Nefesh" is the first level of the soul, the track's percolating sounds depicting such a pneumatic birth. "V2" brings to mind both Thomas Pynchon's Gravity's Rainbow (1973) and David Bowie. It sounds like the aftermath of an enormous futuristic electrical malfunction still lingering over a vast cityscape. Cover art by Yann LeGendre.
PRICE: $15.00
JOHNSTON, JAMES The Starless Room CD
German record label Clouds Hill present James Johnston's debut solo album The Starless Room. The Starless Room is vast in its scope - visceral, intimate and instinctive. The Starless Room represents a remarkable distillation of both Johnston's lyrical obsessions and prodigious, arguably under-acknowledged talent. Suitably, it's the title track that encapsulates the romantic sweep of the record best, with its star at his most intense and Sebastian Hoffman's string arrangements at their most ambitious. For James Johnston, however, the greatest pleasure of all is a simple one: the slow tempo of the songs, "Something I adore, like a lot of the Isaac Hayes or Ray Charles albums that I love. It almost feels like I'm listening to someone else's record." Like he said, it feels just right. As well as playing with Gallon Drunk, James Johnston has spent considerable time working with others: A mid '90s spell as a touring guitarist in The Bad Seeds led to a full role in Nick Cave's band between 2003 and 2008, and he's performed regularly with other iconic acts, including Lydia Lunch, Faust, and PJ Harvey, on whose The Hope Six Demolition Project (2016) Johnston appears. But if it sounds like he's softened on this album, he argues powerfully otherwise: "The band's records have quite an earthy feel, but in a way this is rawer, more focused and direct, musically and emotionally. The last Gallon Drunk record is my favorite, and it was certain elements of that which I really wanted to take further, to strip away the dissonance and anger, to reject the more familiar sounds in order to free it all up again. So the instrumentation is very different, led by piano and voice, and the overall sound is lush, yet intimate. Overall it's far more reflective of me, both as a person and the sort of music I actually listen to."
PRICE: $21.00
CAT #: CSR 222LP
LP version. Trepaneringsritualen's long out of print debut release, Deathward, To The Womb (2012) finally sees a proper reissue. An invocation not so much of Babalon herself, but of the tormented elemental of Frater T.O.P.A.N., and his fervent attempts to usher in the Æon of Horus. In the lyrics - based on the texts of Frater T.O.P.A.N. on the Babalon Working - the perilous flame that is Babalon is called upon to ravage creation. She is asked to scorch the earth clean for the coming cosmic renovation. The Eternal Virgin would spring from Her womb. From Her love, the new divine man would be born. 70 years after the Bablon Working was deemed successfully concluded, its utter failure is painfully apparent. "All love songs are of me" She says. This is certainly true of the first five songs of Deathward, To The Womb. The final songs, "All Hail The Black Flame", seem different altogether. In this guise, Babalon brings not solely love, but cataclysm; a holocaust brought upon the domain of Man. Manifested as the Black Flame, She reaches from a time before time, formless chaos, and rips apart the very fabric of the created worlds. Such is Her nature: two opposing principles; that of the nurturing mother, and that of the callous destroyer. "She is flame of life, power of darkness - She destroys with a glance - She may take thy soul. She feeds upon the death of men." Babalon was summoned at Winter Solstice 2015 under the sign of n, with assistance from Alone In The Hollow Garden, A.I.L of Arktau Eos, Michael Idehall, KzR of Bölzer, Nÿland ii of Hadewych, and Æther. To destroy and to give life. This ritual has concluded and was successful. Appended to the six original songs is a specially commissioned 12 minutes and 57 seconds long ritual work entitled "I Remember When I Was God", and attributed to Teeraal Räum Pheynix.
PRICE: $15.50
CAT #: CSR 230CD
ZOS KIA/COIL Transparent CD
The entire Transparent recordings released for the first time, completely remastered from the unedited tapes. Zos Kia was formed by John Gosling (Mekon), John Balance (Coil) and Min - with guest Peter 'Sleazy' Christopherson (Throbbing Gristle). Their one and only album, Transparent, was released on August 23rd, 1983 in a cassette only edition on the now defunct Austria label Nekrophile. They were the first released recordings of both Coil and Zos Kia. It was reissued years later by Coil (Threshold House/Eskaton). Includes two previously unreleased bonus tracks by Ake (pre-Zos Kia). The music on Transparent is genuinely unsettling and disturbing, with a more primal Industrial feel than the Coil album which followed; Scatology (1984). An essential insight into the very early work of these extraordinary artists and an undeniable link between Coil and Throbbing Gristle. CD version comes in a six-panel digipak with a booklet containing unseen images.
PRICE: $18.00
Dance Tracksz is the body-checking return of Prostitutes, aka James A. Donadio, to Diagonal; a no pretenses rave set built minimal and raw for hard worked 'floors. The label's Cleveland, Ohio ambassador has cut out any sentimentality and gone straight for the rave jugular with no concession to ascetic consistency, knocking up one of his fiercest examples of brutalist funk in the process. It's Prostitutes' third and most substantial release for Diagonal, a swaggering and unzipped affirmation of the styles on 2013's Shatter And Lose and Ecstasy, Crashing Beats And Fantasy from 2015 (DIAG 015EP), and clearly catches the label's close ally in the mood for getting wasted. Prostitutes' Dance Tracksz are schooled with the sort of street knowledge and bluntness that perhaps comes from life as a techno-punk in a blue collar industrial city such as Cleveland, OH: the bullish, PCP-style hardcore bookends of "Ah Yeah" and "War Goes On" say their piece in no uncertain terms, whilst "Bottle Smashing" spits pure industrial street funk and "Prey" deals in riot-inciting jungle-techno. Even the album's sole moment of sentimentality, "I Luv U Bruv" - a gesture of affection for his label boss, Powell - is delivered with an acrid lash of electro-techno, but at least you know he means it. In a sound world spoilt for choice, Prostitutes' refusal of shiny tricks is admirable and almost subversive in the face of hands-in-the-air breakdowns, but there's something about the way he wrenches out every last drop of rusty, jacking funk from his machines that leaves no doubt about Dance Tracksz effect at close quarters. Artwork by Guy Featherstone. Mastered by Matt Colton. Edition of 500.
PRICE: $15.00
Drumming Live was recorded live in New York City at (Le) Poisson Rouge in 2013 at the Steve Reich Benefit Concert to support the Aldrich Museum. It features Steve Reich's Drumming performed by acclaimed Brooklyn based quartet, S? Percussion, and includes a 3+ minute version of Clapping Music, performed by Steve Reich and S? Percussion. Drumming was premiered in 1971 at the Museum of Modern Art. It was the first large-scale piece that Reich wrote and is considered one of the first minimalist masterpieces. 45 years on, it continues to be a fascinating piece of work that keeps listeners intrigued and impressed. S? Percussion are: Eric Cha-Beach, Adam Sliwinski, Jason Treuting, Josh Quillen; featuring on Percussion: Yumi Tamashiro, Mika Godbole, Amy Garapic, Victor Caccese, and Peter Dodds; featuring on vocals: Elizabeth Myers and Daisy Press; featuring on piccolo: Jessica Schmitz. The artwork is by Sol LeWitt, "Five Geometric Figures in Five Colors (S-56)" (1986). Liner notes written by Grammy Award and Pulitzer Prize winning composer, David Lang. Lang from the liner notes: "Drumming asks for a kind of utopian community, in which a group of people come together without a conductor, building elegance and beauty out of the coordination of their intricate, intense, focused actions."
PRICE: $14.50
CAT #: ELP 026EP
NOT WAVING Populist 12"
Not Waving consolidates the myriad stripes of his acclaimed Animals album (DIAG 025CD/LP, 2016) in four extended peak-time hammers on Populist. "Too Many Freaks" is an anthem in waiting, harnessing a barely-hinged sense of chaos between its careening synth lead, acid squabble and velvet-clad kicks, before the dry-rutting jag and plaintive vox of "Vibe Killer" takes a dog-grip. "Control Myself" holds its fizzy line into a fetid crevice of what sounds Russell Haswell ramping with Powell, whereas the crooked clamp-jaw groove of "Ur Lucky Ur Still Alive" pivots around a sample a lone raver at Atonal, Berlin.
PRICE: $15.50
In the years in between, people came and went, but the promise never left, and after writing, recording, deleting, rewriting, re-recording, mixing, remixing, hoping and wishing, the follow up to Coldharbourstores' More Than The Other (2002) is finally here. Wilderness features eight original songs, six of which were produced by Graham Sutton of legendary post-rock band Bark Psychosis. Sutton has produced, amongst others, Silver Apples, East India Youth, These New Puritans and Jarvis Cocker. The album opens with the wonderful "Sightless" and features spoken word from critically acclaimed author of Mysterious Skin (1995), Scott Heim. The album sleeve continues their working relationship with designer Martin Andersen (V23, Pottermore).
PRICE: $14.00
VA Quartin CD
1997 release. Far Out Recordings present a piece of Brazilian musical culture with a compilation of the best of the Quartin label. This was a label started by producer Roberto Quartin, set up with the sole objective of bringing together the new young up-and-coming musicians of the Rio scene of that era (1970-71). The music is a representation of that time, dark and moody, deep jazz, digging into the Latin influences of the region (i.e. bossa and afro samba). It was a time of huge creativity heightened by the oppression and censorship of the ruling military dictatorship. Many of the established musicians fled the country for the more affluent and free USA. A gap was left for these rebellious, young musicians who were the beatniks of their time. Disregarding personal gain in the name of art, they expressed their beliefs through the lyrics of the "protest song" contained herein. They were very much a product of the times, of the student uprisings and the anti-establishment events of the era. The influence of this catalogue and its producer is substantial. Quartin went onto work with some of the USA's most prolific recording artists, including Sinatra, Basie, Ellington and many more. These rare albums have since become sought after by collectors world-wide fetching sums of up £200. Here are the highlights of the catalogue and some un-issued tracks remastered and repackaged. Features: José Mauro, Piri and Victor Assis Brasil.
PRICE: $14.00
2000 release. Long awaited and gathering momentum with each new volume, Misturada 4 hits you with electronically inspired reinterpretations by Friends From Rio. Here's the plan - go to Rio, record rich essentially Brazilan music in Brazil with the best musicians on the scene; Cross the sea back to London, and send out the material to dance music producers like IG Culture, Da Lata, Kirk Degiorgio; Wait for the remixes to arrive. For Volume 4, the album Friends From Rio 2 (1998) is the starting point and the map for these trips into the subconscious of each track. The divergent paths of the different producers take you cross genres to give you a living history of dance music with a heady Brazilian vibe. Included are IG Culture's radical reworking of "Cravo E Canela", featuring the gorgeous Afro-vocals of Bembe Segue. The track "Sob O Mar" is given added grooves by Kyoto Jazz Massive - an insistent beat and jazzy piano submerge you in Nair Candia's seductive underwater vocal. While "Escravos Do Jo" is transformed into a hard "come-to-the-Carnival"-bateria. The original sweetness of the track replaced with a harsh tribal feel in this stripped down remix by Da Lata. Offworld (Kirk Degiorgio) go off-world with easy paced jazz mutating into astral drum and bass, and Flytronix keeps the melody winding between the heavy bass in the slamming mix of "Super Legal". The album also features killer cuts from Roc Hunter, APE, 4 Hero, the original. Essential Amazonian adventuring - a perfect soundtrack for the summer. Also features: Soul Circuit, Seiji.
PRICE: $14.00
ALEUDA Oferenda CD
2000 release. Teaming up with her old friend Hermeto "The Wizard" Pascoal to produce this celebratory album, Aleuda evokes the atmosphere of Bahia and the North East of Brazil on Oferenda. Hermeto Pascoal was born in 1936, a musical child prodigy and wildly creative multi-instrumentalist. In the summer of 2000, he played for the first time in the UK, at the Barbican, to a rapturous audience. Known for his progressive reinvention of North East Brazilian song styles he has recorded with Miles Davis, Airto Moreira and Flora Purim. For Hermeto, everything has musical possibilities and his talent as an improvisational musician makes for quirky and affecting music. His ability to follow each musical impulse, results in unexpected harmonies and rhythms coaxed from common instruments, recorded speech, and even household objects. Legendary percussionist Airto Moreira called him "the most complete musician I ever met in my life, a genius". Hermeto first noticed Aleuda when she was 15 years old, singing regional folk songs to her father's guitar accompaniment in the circus. Her professional career started soon after, when he asked her to join his band as a singer and percussionist. Since then she has worked with Milton Nascimento, Lo Borges, Egberto Gismonti and Robertinho Silva (who is her musical partner and husband). Gismonti and Silva both appear with her on Oferenda. Aleuda was the vocalist on the Grupo Batuque album, Africa Brazil. Oferenda is a celebratory offering and the mood is reflected in the title of the album. The album has the inventiveness and spirituality of a Sun Ra composition. Improvised jazz is combined with samba to a wild and enchanting effect. Aleuda's clear vocals carry the melody over the ever-changing musical backdrop evoking the luscious vitality of the forests and jungles, as well as the rich mix of the religions and folklores of North Eastern Brazil. For this release there are also two specially commissioned remix tracks in the same spirit of innovativeness and experimentalism of the original from production duo APE and Kirk Degiorgio.
PRICE: $14.00
2001 release. Having been featured on four critically acclaimed albums with Azymuth for Far Out Recordings, Jose Roberto Bertrami (Ze) was finally persuaded to record a solo album for the label. He tells how Things Are Different came about: "It all began in mid-September 2000 and the whole thing was ready by the time Carnival 2001 was happening. The song dedicated to my friends Marcos and Paulo Sergio Valle, dictated the groove of this whole album, full of laid back improvisations, a tropical vibe and much hope for the future." Ze, keyboardist, composer and leader of the inimitable Brazilian trio Azymuth, is known for creating the mesmerizing and genre blending samba doida ("crazy samba"). He was originally responsible for joining sambas and bossas with an infectious jazzy swing and he has had a huge influence on Brazilian music through his solo work, collaborations and session playing. One of the Brazilian greats, he is responsible for cross pollinating Brazilian music, bossa nova, samba and folk styles, with jazz, and R&B, using his unique keyboard sounds, a true technocrat. Amongst others, he arranged and wrote with Sarah Vaughan, Elis Regina, Mark Murphy, Joe Pass, Erasmo Carlos, Milton Nascemento, Airto, Flora Purim early in their careers, and his signature sound can be heard on many of the most well-known Brazilian productions. Going solo, you can hear the heavy influence which American jazz has had on Jose Roberto's playing, but the essence of his music remains Brazilian, and on Things Are Different he continues to work his sensitive, subtle magic at the keyboards. His skill is such that you hardly notice it is happening, producing an effortless and intuitive sounding album of laid-back Brazilian jazz. Featured on the recordings are his friends and fellow musicians, who are considered amongst South America's best - Robertinho Silva (known for his playing with Wayne Shorter, Thelonious Monk, Antonio Carlos Jobim), Eddie Palermo and his son Victor on drums. The relevance of the music Bertrami and Azymuth continues, with influences of their music obvious in the work of innovative electronic producers, like DJ Patife, and Max de Castro, through to Kenny Dope. Continuing to draw inspiration from the bands work, Kenny Dope has produced a special remix of the title track of Azymuth's last album Before We Forget (2000).
PRICE: $14.00
BEHIND THE NAME Confession 12"
Timeless, round, unmistakable, irresistible grooves from Behind The Name. No bad surprises, just good house music tracks. Handmade silkscreen cover.
PRICE: $6.00
CAT #: FTR 270CD
TURNER, GREGG Chartbusterzs CD
"We were first introduced to the music of Gregg Turner when he was with VOM, the explicitly post-musical punk-tongue-monster he inhabited along with Richard Meltzer, Metal Mike Saunders and others. From there, he and Mike formed the Angry Samoans, who spewed an insane blend of garage/bubble-punk/hardcore noise to well-deserved acclaim. But the Samoans began including folk rock moves inside their spectrum with 1986's Yesterday Started Tomorrow EP, and most of the work Turner's done since then has contained this element to one degree or another. People who haven't heard Gregg's recordings from the post-Samoans era may be surprised by how straightforward and outright charming some of the material on Chartbusterzs is, but he acknowledges both Jonathan Richman and Tom Lehrer in the credits, and well he should, but this is not all völk väncy. The opening track, 'Kremlin Dogs,' with stinging lead autoharp by Billy Bill Miller (of Blieb Alien and Cold Sun) should remind everyone how deeply involved Turner was with Roky Erickson's post-prison revival. Roaring psych puss of the highest order. 'The Box,' Turner's splattery next chapter to the tale begun by the Velvets with 'The Gift,' is another chunk of most excellent gore. As is the solid garage grunt of 'Look In The Mirror.' But I have to admit that some of my faves are quieter tracks like 'Franz Kafka' (which I believe is ripe for an immediate cover by Yo La Tengo) and 'They Took You Away,' with the great Ronn Spencer on harmonica. Heard as a whole, the album -- which has been playing on constant rotation in the background for well over a month now -- is a goddamn gem. And almost surely the best album by a math professor since Lehrer's last LP, released half a century back. Hopefully, Turner will not keep us waiting that long for another blast from the numerical underground. As Dee Dee Ramone so elegantly put it, '1-2-3-4!' " --Byron Coley, 2016.
PRICE: $16.50
CAT #: FTR 270LP
TURNER, GREGG Chartbusterzs LP
LP version. "We were first introduced to the music of Gregg Turner when he was with VOM, the explicitly post-musical punk-tongue-monster he inhabited along with Richard Meltzer, Metal Mike Saunders and others. From there, he and Mike formed the Angry Samoans, who spewed an insane blend of garage/bubble-punk/hardcore noise to well-deserved acclaim. But the Samoans began including folk rock moves inside their spectrum with 1986's Yesterday Started Tomorrow EP, and most of the work Turner's done since then has contained this element to one degree or another. People who haven't heard Gregg's recordings from the post-Samoans era may be surprised by how straightforward and outright charming some of the material on Chartbusterzs is, but he acknowledges both Jonathan Richman and Tom Lehrer in the credits, and well he should, but this is not all völk väncy. The opening track, 'Kremlin Dogs,' with stinging lead autoharp by Billy Bill Miller (of Blieb Alien and Cold Sun) should remind everyone how deeply involved Turner was with Roky Erickson's post-prison revival. Roaring psych puss of the highest order. 'The Box,' Turner's splattery next chapter to the tale begun by the Velvets with 'The Gift,' is another chunk of most excellent gore. As is the solid garage grunt of 'Look In The Mirror.' But I have to admit that some of my faves are quieter tracks like 'Franz Kafka' (which I believe is ripe for an immediate cover by Yo La Tengo) and 'They Took You Away,' with the great Ronn Spencer on harmonica. Heard as a whole, the album -- which has been playing on constant rotation in the background for well over a month now -- is a goddamn gem. And almost surely the best album by a math professor since Lehrer's last LP, released half a century back. Hopefully, Turner will not keep us waiting that long for another blast from the numerical underground. As Dee Dee Ramone so elegantly put it, '1-2-3-4!' " --Byron Coley, 2016.
PRICE: $18.50
CAT #: FTR 281LP
ARN, ERIC Orphic Resonance LP
"Near the end of his days, John Fahey told me he was sick and tired of solo guitar records. This statement was partly designed to take me aback (as was often his tact), but it was also true. He seemed genuinely bored by most guitar players, especially those who were traveling in the shoes he'd first worn on his own early records. That said, I'm pretty sure he would have loved Eric Arn's Orphic Resonance. The first time I ever saw Eric play was as part of the classic second line-up of Crystalized Movements. He was a monster of raunch-stun binary-functionalism, and this continued as he moved out of New England for forays with the LA/Boston/SF/Austin/Vienna-based Primordial Undermind and California's The Outsideinside. After that, he moved to Austria, where he lives today, and began performing and recording in a more overtly avant-garde direction. The set I caught at 2015's Festival Of Endless Gratitude in Copenhagen was a lovely buzzing, shimmering web of sound. Parts of this new LP are like that, other parts are absolutely different. On Orphic Resonance, Eric moves through vast style fields with absolute surety. He can generate massive drone-throbs that would make even that old crank Fahey smile. He can play with sound sheets in a way that moves even deeper into experimental realms. He can play acoustic fantasia sprawls that would have made Fahey swear. He can throat sing better than John ever did. Making for one hell of a dandy album, and one that has a surprise lurking around each and every corner. This is the first of Eric's solo sides to make it to vinyl, and we sincerely hope there are many more to comes. Discerning listeners are sure to say the same." --Byron Coley, 2016. Edition of 300.
PRICE: $18.50
CAT #: FTR 282LP
"The Portuguese guitar is a kind of weird instrument. It has a teardrop shaped body, twelve strings, an odd tuning scheme, and is generally associated with the mournful Portuguese musical style called fado. It's not often used as an improv instrument, especially in avant-garde settings, but that was before Victor Herrero got his hands on one. Probably best known for his work with Josephine Foster, Victor is a Spanish guitarist and composer, whose work ranges from very traditional to beyond contemporary. On a trip to Lisbon a decade or so ago, he and Ms. Foster became enthralled by the glittering tone qualities of the Portuguese guitar, and decided to go halves on one. A lot of wood-shedding and investigating various musical forms ensued, as the guitar traveled around Spain and then the rest of the world with the pair. It was used as part of a show with Keiji Haino in Japan. It figured into a recording session with some of the Master Musicians Of Jojouka. It was noted performing duets with saxophonist Sonny Simmons. And so on. Removed from its parochial context, the instrument showed itself to be an incredibly limber and adaptable axe. Astrolabio is an album of solo compositions and improvisations for Portuguese guitar that defies easy classification. Its tone is so bright and folky it almost sounds like a hammered dulcimer in spots, but Jean Ritchie would probably keel over if she heard this record. At times, Victor's playing emphasizes the ethereal beauty of the strings' natural vibrations, but he can also create insane rafts of sound with Northern African rhythms crossing swords with chunks of string sound as mysteriously fried as anything ever done by Loren Connors. Totally boss, and unlike anything we've ever heard before. Prepare thyself to deal..." --Byron Coley, 2016. Edition of 500.
PRICE: $18.50
CAT #: FTR 285LP
Beginning in January of 2011, composer, percussionist and improviser Michael Zerang joined Spires That In The Sunset Rise for a year-long collaboration to explore a broad range of sonic and textural improvisations, in a series of live concerts throughout the year. The collaboration culminated in residency at the Experimental Sound Studio in Chicago, as a part of their Artist Residence Program, where the trio was able to perform and record a massive amount of material. The partial result of this effort is the Illinois Glossolalia LP. Since 2001, Spires That In The Sunset Rise have been unsettling and thrilling audiences with their brand of sonic alchemy. Described by Jack Rose as a "female Sun City Girls," they contributed a different slant to the new folk movement by incorporating various avant-garde and world music influences into their sound. They have been compared to artists ranging from The Raincoats to Meredith Monk to Comus to Harry Partch. Their most recent album, Beasts In The Garden (2015), was described by Marc Masters as "some kind of long-lost Terry Riley/Angus MacLise collaboration, equally devoted to divine repetition and center-seeking ritual." They have eight full length albums, a few side releases, and several solo efforts. The band is now the duo of multi-instrumentalists Kathleen Baird and Taralie Peterson. They have collaborated with musicians in the realm of pure improv, worked with dancers, and been involved in various theatrical productions. Michael Zerang was born in Chicago, Illinois, and has been a professional musician, composer, and producer since 1976, focusing extensively on improvised music, free jazz, contemporary composition, puppet theater, experimental theater, and international musical forms. As a percussionist and composer, Michael has over 90 titles in his discography and has toured nationally and internationally to 35 countries since 1981, and works with and ever-widening pool of collaborators. He has performed with Peter Brotzmann Chicago Tentet, Joe McPhee's Survival Unit III, Liof Munimula, Musica Menta, Johannes Bauer Berlin Quintet as well as countless other projects with musicians from around the world. Michael has collaborated extensively with contemporary theater, dance, and other multidisciplinary forms and has received three Joseph Jefferson Awards for Original Music Composition in Theater, in collaboration with Redmoon Theater, in 1996, 1998, and 2000. Edition of 400. Includes download code.
GR 490CD
PRICE: $12.00
CAT #: GR 490CD
WALKABOUTS, THE Train Leaves At Eight CD
2016 repress. Originally released in 2000. Train Leaves At Eight is an in-between project, a concept album which is reminiscent of Satisfied Mind (1993), another in-between album with cover versions that became one of the most critically acclaimed recordings in the long career of The Walkabouts. This time they've taken their favorite European songs, from Greece to Portugal, from the Netherlands to Serbia, from Portugal to England to Germany and Slovenia. Features songs written by Mikis Theodorakis, Bosnian born composer Goran Bregovic, Vlado Kreslin, Italian artist Fabrizio De Andre, Spanish composer Lluis Llach, Portuguese songwriter Jose Maria Branco and his wife Manuela De Freitas, French singer-songwriter Francoiz Breut, Jacques Brel, Belgian band Deus, Dutch artist Solex, Hamburg based band Blumfeld, Swedish songwriter Stina Nordenstamm, Al Bystrom (Midnight Choir), and Neu!. Chris Eckman provides background for the release: "Another name for this album might have been: 'Songs From Continental Europe'. That is the place these songs call home. That is the abstraction from which they are born. However, that title would sorely miss the point of this project. This album is not a destination; it is an unfinished, personal journey. It is a quick flare across borders; both imagined and sturdy. It is the faint sound of the train as it turns the corner, away from well-worn landmarks and cultural filing cabinets. This album is a sequence of questions: Why do the trains keep stopping at the same stations? Why do our musical stories seem to travel in only one direction? Why does our luggage seem so worn, when we actually go nowhere? In the end, the only map one needs is the songs themselves. These songs came to us over a period of years. Some arrived in unmarked parcels, some were heard crackling in the night air. Some of them were rumors and some of them were promises fulfilled. All of them came to us shellacked with coincidence and kindness. We certainly must thank the songwriters, the song-givers, the generous musicians, the recordists, and the translators for helping us to pull this album together. Without them, we would still be waiting for the same old train."
GF 2743CD
PRICE: $21.00
CAT #: GF 2743CD
COMPLESSO GLI ILLUMINATI Che Il Mio Grido Giunga A Te/Prendi La Chitarra E Prega CD+DVD
2014 release. In 1962, Pope Giovanni XXIII set out the second Vatican council. It was a time of modernization through the expectations of a changing nation, and the Catholic Church reformed many of their fundaments. It was in this way that in the middle of the '60s, even the hippies and their guitars, after being widespread in the streets and clubs all around Italy, got a foot in the door of churches and parishes. The beat sound began to play in fervent Catholics' ears and the "Messe Beat" movement became common in all the country. Through the protagonists of that season (Dario Salvatori, Bruno Rukauer - Clan Alleluia, Gege' Polloni - Gli Amici, Giovanni Sabbatucci, Mauro Scaringi, and many others) and the brand new band Complesso Gli Illuminati, this documentary pieces together the origins of this musical movement that has been enjoyed, and is continuing to be enjoyed, by an highly heterogeneous audience. This release includes the documentary film directed by Paolo Fazzini, Che Il Mio Grido Giunga A Te, on DVD along with the first CD reissue of Complesso Gli Illuminati's debut album Prendi La Chitarra E Prega, originally released in 2008 on vinyl by Hit Bit Records. Complesso Gli Illuminati are a psych-beat meets The Who group with religious lyrics hailing from Roma, Italy. DVD is in Italian with English subtitles; DVD is PAL format, region free.
GF 2745CD
PRICE: $15.50
CAT #: GF 2745CD
2014 release. Baba Sissoko is one of the best artists to come out of Mali. Born in 1963 in the capital city Bamako, Sissoko is a poet and singer of the griot tradition and a talented multi-instrumentalist of international fame. He is a missionary to a certain degree, his music a key element in the discovery of the origins of the blues. During his career he met several black icons, like singer Dee Dee Bridgewater, who he wrote the song "Red Earth" for. The meeting with Famoundou Don Moyè and the Art Ensemble Of Chicago was pivotal in trading the "amadran" (the true original form of the blues) with jazz. Just check the two albums Bamako Chicago Express (2002) and Reunion (2003). Further on he met more iconic artists as Youssou N'Dour, Oumou Sangare and the Buena Vista Social Club crew. From 1998 on, Baba has chosen Italy - Calabria in the end - as a proper hometown, while still traveling all around the globe. Tchiwara is necessarily urgent, it shares the same electricity of western rock, an appropriate tendency behind extended jams. With new crew members Angelo Napoli (electric guitar), Dario Triestino (electric bass) and Roberto Coscia (drums), Baba is free to dialogue between the roots of Afro-blues and the most recent hybrid of ethno-jazz-rock. Leading with a solid touch a large ensemble of co-operators - family members Djana Rosa (voice and chorus), Giulia Sokona (violin), and Roberto Madou (keyboards, drums, percussion) - Baba is the harmonic key behind the compositions. He plays traditional instruments such as ngoni, tamani, doun doun, karahnan, kamalengoni, djembe and calebasse, alongside acoustic guitar and bass. Tchiwara is easily one of his most daring works yet, leading the way to bring the African forerunners to their contemporary western followers.
GF 2756CD
PRICE: $18.00
CAT #: GF 2756CD
2014 release. An international collaboration recorded in Memphis and Rome, Scrapyard is a conversation between Adriano Viterbini and Reed Turchi, an exploration of styles and sounds, sparked from an impromptu performance together in November of 2013. This is the blues you do not expect. Fresh and young, these two talents create a work that is both traditional and contemporary at the same time. Adriano Viterbini, front-man of Bud Spencer Blues Explosion, and Reed Turchi (idol of the alternative country and blues scene, described in some parts as the illegitimate son of Randy Newman and JJ Cale) met for the first time in Rome, soon after finding themselves on a stage in an improvised performance together. Scrapyard collects eight songs whose sound is deliberately blues, in the hill-country and delta forms, complemented by American-primitive elements as well as a strong cinematic vision. All conceived, designed and performed with rare taste and balance. The Bud Spencer Blues Explosion in cahoots with the new idol of alternative American blues.
GF 2762CD
PRICE: $18.00
CAT #: GF 2762CD
2015 release. Pastafari Dub is the debut album by Miss Fritty with dubs by Joe Ariwa. It's a kind of "linguistic experiment" that comes from the desire to link the Italian/Apulian culture and the Jamaican one in terms of music, cuisine and everyday life. The result is a "melting pot" of slang - Italian and English - on roots reggae rhythms, extending the Apulian dialect to a wider audience. The voice of Miss Fritty and the dub of Joe Ariwa, son of the well-known producer Mad Professor, come together in a special sounds that gives to the typically British roots rock reggae sound an Apulian flavor, creating a connection between the two cultures. The soft atmospheres of the songs are the fulcrum around the entire album, the sensuality of the sound gives to the project a distinctly "woman touch". This is not a concept album, but the "woman" is at the center of the project. The album also contains the single "Maphia" where Miss Fritty duets with Michael Prophet, roots reggae veteran well-known for his "crying" tenor voice. The producer of the project is the famous Mad Professor, a prominent figure among dub musicians which has collaborated with world-renowned artists like Lee "Scratch" Perry, Sly and Robbie, Horace Andy and Pato Banton and, outside the confines of the Jamaican music, the British duo Massive Attack. The work was mainly done in London at Ariwa Studios Ltd, under the supervision of Joe Ariwa, Mad Professor and other well-known musicians such as Black Steel and Horseman that give to the album an organic and unique sound. The poetic inspiration for the lyrics came to Miss Fritty when she was travelling between London and Bari.
GF 2781CD
PRICE: $17.50
CAT #: GF 2781CD
One of the most accomplished and celebrated bands in the field of contemporary, unclassified pop music, Almamegretta are masters in combining a wide range of elements such as dub, funk, reggae, world and electronica, all filtered through their own deep southern Italian roots. The band from Naples is now back with Ennenne, mixed by the dub master Adrian Sherwood. Sherwood was involved in the band's mid-nineties masterpiece Sanacore (1995). This new work consists of ten tracks, nine originals plus a well-chosen cover of an old Neapolitan hit by Nino d'Angelo transformed into a lovers rock style song. Almamegretta's original line up of Gennaro T Tesone, Paolo Polcari and Raiz is augmented by a great list of collaborators and the result is a strong and multi-layered set made of Afro-funk numbers, reggae ballads, and other riddims, while the British dub influence remains central. The title Ennenne, which means "No Name", is inspired by the acronym used for those who are born from unknown parents. The right title for such a highly dense picture based on the combination of contemporary sounds and social topics. Features Cristina Donadio, Lucariello and Carlo D'angiò. File next to: Massive Attack, On-U Sound, Dub Syndicate, Tricky.
PRICE: $25.50
CAT #: GKL 008LP
LP version. Includes download code. Got Kinda Lost Records present an expanded, first-time reissue of Cromwell's At The Gallop, originally released in 1975. Self-released in 1975 by the Drumcondra, Dublin-based Cromwell, At The Gallop is a blistering, heavy, loud n' lascivious ten-track offering (thirteen in this expanded edition) of proto-metal infused street rock n' roll from a time when Ireland was still under the sway of conservative showbands, quasi-religious, sentimental pop pap and traditional Irish music. Despite their cultural struggles, Cromwell crafted a creative and compact catalog - five fuzzed n' ferocious 45s and this foot-long - led by co-vocalist/bassist Michael Kiely's come-hither coo and fey Jagger pose n' preen, the in-the-pocket drumming of Derek Dawson and minor-guitar hero moves of Patrick Brady, exercising taste, talent and towering mountains of fuzz n' fury as comfortably as greasy '70s raunch and rural modes. At The Gallop is a rare, little-heard classic in the pub/fried rock n' roll/proto-punk terrain. RIYL: Teenage Head, Flamingo-era Flamin' Groovies, Mott The Hoople, '70s Rolling Stones, pre-punk American street rock, and the Bonehead Crunchers series. Includes three bonus tracks from the group's rare singles; Includes an insert featuring rare photos and in-depth liner notes by Jeremy Cargill (Got Kinda Lost Records, Ugly Things Magazine).
PRICE: $14.00
GREY HAIRS Serious Business CD
"This is Grey Hairs second album, perfectly placed to document the times. 2015's Colossal Downer (WAAT 058LP), with its grim faced party child on the cover, was the band on early good form, now they're warmed the fuck up and are playing tense. The playing is tightly wound around the vocals, which are set to attack - attacking themselves, attacking the generation. This is a band of lifers, with history going back including Peel Sessions and touring the world. But as with all lifers, it's in the blood. They come from the same DIY blood stream as set up by Black Flag or UK punks like Heresy or The Stupids. Check the video for the Grey Hairs tune 'Serious Business'. The Dude done Notts style. Paranoid and shambling, Benny Hill-esque speed walking around Ripley and Nottingham. It's 100% definitely punk rock, but it's way more than that. You want a soundbite, go hunt your own. But I'm saying Takeshi Terauchi vs The Wipers done Notts style, this time it's war. Paranoid Time (1980), The Minutemen done by The Fall and The B-52's. It's a total monster, the more you listen the more you hear." --Joe Thompson (Hey Colossus, Henry Blacker).
HH 3033CD
PRICE: $17.00
CAT #: HH 3033CD
POWELL, BUD Birdland 1953 CD
Bud Powell, live from Birdland, New York in 1953, across three performances dated February 7th and 14th, and March 7th. Despite suffering from serious mental health problems and addictions, Earl 'Bud' Powell was one of the leading architects of modern jazz, playing alongside Charlie Parker, Dizzy Gillespie, Thelonious Monk and many others, and considerably extended the vocabulary of jazz piano. Recorded at New York's legendary Birdland club, for broadcast on WJZ-FM, the superb performances captured on this set find him at the height of his powers. The entire WJZ-FM broadcast is presented here, digitally remastered, with background notes and images.
PRICE: $20.00
CAT #: HJP 084LP
No-one else makes music like this: devilishly complex but warm and intuitive, stirring together a dizzying assembly of outernational and outerspace influences while retaining the subby funk-and-hot-breath pressure of Shackleton's soundboy, club roots. The result is an evolutionary, truly alchemical music -- great shifting tides of dub, minimalist composition, and choral song ("Five Demiurgic Options"); ritual spells to ward off the darkness ("Before the Dam Broke," "The Prophet Sequence"); radiophonia and zoned-out guitar improv ("Seven Virgins"); even the febrile, freeform psychedelia of '80s noise rock ("Sferic Ghost Transmits / Fear the Crown"). In the time since he collaborated with Shackleton on 2012's Music For The Quiet Hour, Vengeance's vocal and lyrical range has rolled out across this new terrain. Throughout these transmissions he's hoarse preacher, sage scholar, and ravaged bluesman; blind man marching off to war; and exhausted time-traveler warning of impending socio-ecological catastrophe. Dialogic accounts of our conflicted times, then, expanding beyond the treacly unease of the duo's early collaborative work into something subtler and more emotionally shattering -- its shades of brightness more dazzling, and its darkness even murkier. "We almost didn't hear it when the foundations went."
PRICE: $23.50
CAT #: HJR 111LP
ASAKAWA, MAKI Maki Asakawa 2LP
2017 limited repress; Double LP version. A stunning survey of the 1970s heyday of great Japanese singer and countercultural icon Maki Asakawa (1942-2010). Deep-indigo, dead-of-night enka, folk, and blues, inhaling Billie Holiday and Nina Simone down to the bone. A traditional waltz abuts Nico-style incantation; defamiliarized versions of Oscar Brown Jr. and Bessie Smith collide with big-band experiments alongside poet Sh?ji Terayama; a sitar-led psychedelic wig-out runs into a killer excursion in modal, spiritual jazz. Existentialism and noir, mystery and allure, hurt and hauteur. With excellent notes by Alan Cummings and the fabulous photographs of Hitoshi Jin Tamura. "Japan's answer to Scott Walker, with a visual aesthetic and a death-decadent appeal that is straight out of the Keiji Haino songbook." --Volcanic Tongue
PRICE: $15.50
CAT #: HTH 074CD
Embers, the new album from Ross Tones, aka Throwing Snow, is a conceptually imaginative and musically atmospheric recording that draws stimulus from laws and patterns of the natural world. Excelling creatively from the freedom and restrictions of applying aspects of these elements, Embers emerges vividly from the processes employed in its creation. Recorded in Daddry Shield, County Durham, sounds captured in the surrounding area became part of the music. Rain is transformed into white noise, at one point a melody line is mimicked by a starling - all of which is the result of endless processes and cycles. The techniques used in creating Embers allegorically mirror these processes. Reproducing the way materials are reused in the natural world, tracks are born, live and then die only to be reborn into a new form. All the tracks have similar counterparts whether in structure, dynamics or melodies. Arpeggios self-evolve and are interconnected, randomness is introduced utilizing two similar pairs of synthesizers so that their cycles are ever changing and naturally evolving. Mastered by Matt Colton at Alchemy.
PRICE: $23.00
2016 release. "On the second side of Versatile Ambience, Jeph Jerman utters an all too accurate observation of our overheated culture, describing us at 'the smithy's forge, replacing art with scrutiny.' Throughout their new record, Jerman and Tim Barnes show us another, alchemical possibility - fusing art and scrutiny together. Across a dozen years, the duo of Jerman and Barnes has offered powerful, minimal music rooted in a shared dedication to the creative act of listening. Jerman is a veteran of the creative music scenes in Denver and Seattle, and in more recent years has been thoroughly investigating the sonic possibilities of the desert southwest where he lives and works. Tim Barnes's resume as a percussionist, engineer, and curator is studded with all-star collaborators including Tony Conrad, Sonic Youth, Ken Vandermark (who appears here as a guest), Royal Trux, and Tower Recordings. Versatile Ambience is their second record in as many years, making this one of the most productive periods in the duo's history. The pieces on Versatile Ambience highlight the ingenuity and intense physical economy found throughout both artists' repertoires. What sonic and performative possibilities are held in these few found objects, in this environment? What music is already here? What music is hidden in the subtly shifting motion of a hand? Explicitly or implicitly, Jerman and Barnes have spent their careers asking these questions. The latest answers are found here, in creative percussive and electronic improvisation by the duo, in the minimal but impactful contributions of a handful of guests, and in field recordings ranging from the call of a stranded cricket to the roar of a distant airport. The spoken section (a first for the duo) sounds as though it is a poetics being conceived, written, recorded, and edited as you are hearing it. But if at first it sounds like a cut-up, passages like 'and you, the anvil? / I am the hammer!' promise at the very least a Mad Libs-worth of structure and play, and quite a bit more depth. Despite its appearance so soon after their last effort, this record feels more considered, more complete than any Jerman/Barnes release to date. Like a snake's path through the sand, if the duo's trajectory holds, Versatile Ambience will soon be seen as a remarkable point along a fascinatingly meandering line." --Aaron Rosenblum Louisville, KY.
PRICE: $23.00
"Dan Melchior has become an unlikely 21st century experimental music icon. As the forms, signifiers and 'experiments' of the last several decades have become increasingly codified, one naturally begins to ask the question what the term in a contemporary setting means to the listener. If the performer and the audience both know what to expect before, during and after a record or performance, can it be considered an experiment? At the start of the century, Melchior was known in NYC as being a studied garage rock provocateur with songwriting palate that was equally insightful, vicious and emotive. This is not mentioned for alt rock bravado but to establish a pedigree that none of his immediate peers can claim, clearly showing a breadth of skill and technique they lack or refuse to engage in. Over the last ten years however, Melchior has continued to strip the edges off his music. On his new album, Melchior finds himself removed from any established school of sound. At times caustic, dubbed out and/or haunting, Melchior recalls obscure records we've never heard. The source sounds were mostly recorded on a little Sony mini cassette recorder. Some is live (pots and pans being hit -- etc.) slowed down on playback using the slower speed on the recorder -- some of it was recorded off of records and tapes, using the same recorder. The source sounds blurred to fit Melchior's tonal needs. Melodies arrive as well, the melancholy ballad 'Mall Walker' evokes images of Satie if he recorded for Vinyl On Demand. The influence of his wife Letha Rodman Melchior is clearly evidenced as well, their combined techniques explored through years of creative collaboration. What is an experimental record? Perhaps the best definition is, an album that you won't know what it sounds like until you drop the needle." --Steve Lowenthal. Mastered by Rashad Becker. Comes on 180 gram vinyl; Comes in an Old Style Tip-On jacket.
PRICE: $23.00
Mike Cooper's Blue Guitar is a collection that first appeared on Cooper's Hipshot CDr label in 2010 in a limited edition. It is presented here on Idea Records, for the first time on vinyl. Upon its initial release Cooper wrote: "For the past couple of years I have been collating a body of text culled (mostly) from Thomas Pynchon's novels Gravity's Rainbow and V and making cut-up collage pieces in the spirit of William Burroughs, Kurt Schwitters, Tom Phillips and others. Those two particular novels interest me because they are set in the period that I was born, however no reference to that period is intended in my pieces. Hopefully a more contemporary comment was found lurking within the words, lines, pages and paragraphs. Recently my interest in playing the guitar in a more or less 'traditional' manner, but still incorporating various 'extended techniques' (as opposed to using it purely as a sound source) has been re-kindled along with a renewed interest in blues, Greek rembetika, flamenco, Portuguese fado and other traditional and improvised music around the Mediterranean which in turn brought out the singer in me again... I have lived in the Mediterranean region for 30 years and listened to its music and I wanted to make something that would hopefully have some of its spirit without making reference to any of it musically." "Things as they are / are changed upon the blue guitar" --Wallace Stevens, Man With The Blue Guitar (1937) "Sometimes when you cut into the present the future leaks out." --William Burroughs. Mastered by Rashad Becker. Cover design by Tom Recchion. Comes on 180 gram vinyl; Includes a lyrics insert; Includes a postcard insert; Linen Wrapped/Foil Stamped; Comes in an Old Style Tip-On jacket.
PRICE: $29.00
Ideologic Organ present Unfold, brand-new recordings from The Necks, the legendary Australian trio who excel in bypassing musical cliche whilst exploring and extending the practices embedded within improvisation, jazz, post rock, ambient, minimal, and textural, "sound based" music. The latest document from this long-running ensemble presents itself as a double LP, with four side-length tracks. A deliberate absence of numbered sides hands a substantial swatch of participation over to the listener, allowing her to navigate his own path through the soundscape at hand. The shorter length of the vinyl format, far from being a constraint upon the members of the ensemble, instead offers them a more compact horizon to contemplate, wherein the distance travelled is recalibrated to more immediate and dynamic textural concerns. The immediacy of "Rise" confirms this new path, as the mournful tones of Lloyd Swanton's bass swirl around Chris Abrahams's crystalline piano motif, with Tony Buck's percussion steering proceedings into enlightening free-jazz territories. "Blue Mountain" cuts a swathe through the sonic undergrowth, with soul organ, rattling percussion, whistles, and loping sound-waves all vying for the foreground. "Overhear" retains a sublime melancholic aura as the percussion and keyboards simultaneously embrace and fall apart, whilst "Timepiece" skips along as a gentle gesture of further possibilities. Exactly how The Necks conjure their particular magic - as deceptively simple as it seems - whilst always moving forward, is anyone's guess, but Unfold proves yet again that rules and schools are to be broken and re-formed into patterns and frameworks unlike those already known. Mastered & cut by Rashad Becker at Dubplates & Mastering.
IPB 002-2
PRICE: $11.00
CAT #: IPB 002-2
The new It's Psychedelic Baby!, dedicated to British psychedelic folk. New issue of printed version projected from the well-known, leading psych on-line site It's Psychedelic Baby! After the previous issue covering exclusively the US psychedelic folk scene (IPB 002, 2016), this new issue covers the '60s and '70s British folk scene, with exclusive interviews of members from acts such as Fresh Maggots, Comus, Mellow Candle, Dr Strangely Strange, Spirogyra, C.O.B., Incredible String Band, Fairport Convention, Pererin, Courtyard Music Group, Magic Carpet, Sunforest, Oberon, etc. Also includes a few pages of record reviews. Cover by Justin Jackley. 44 pages.
PRICE: $14.00
Ketiov is a new project from Voitek Taranczuk.
KH 9079CD
PRICE: $17.00
CAT #: KH 9079CD
ZAPPA, FRANK Live At The Palladium New York Halloween 1977 CD
By October 1977, Frank Zappa was firmly established as an iconic and iconoclastic rock star. He had recently been preparing Läther (1977), a proposed four-LP set, due for release on Halloween. However, his label declined to proceed, leading to protracted legal hassles. This show, at The Palladium, New York was broadcast on the King Biscuit Flower Hour, was on the album's release date, and finds the great man in superb form, as he tackles a range of material, much of it from Läther. The entire broadcast is presented here with background notes and images.
BEC 5156671
PRICE: $14.00
CAT #: BEC 5156671
E.BIAS Emmanuel Bias EP 12"
Luke Fowler is a Turner Prize nominated artist and musician based in Glasgow. Honorary Scotsman Richard Youngs has been involved with music for most of his life. Notching up 140 releases, seamlessly drifting through musical genres inventing the 'no genre' genre in the process. Paul Thomson currently drums for Franz Ferdinand and AMOR. 12'' EP kitted in Kick + Clap house sleeve and a white dust jacket. Personel: Richard Youngs (vocal, Casio); Paul Thomson (electronic drums); Luke Fowler (Serge Modular, DX7); Buchla-ized vocals by Sam Wolk; Mixing by Ernst Karel at Sensory Ethnography Lab.
GG 233CD
PRICE: $19.00
CAT #: GG 233CD
"Possibly the thing in the world that you never expected to happen, but luckily you were wrong: Klanggalerie are proud to present you the brand new album by Renaldo & The Loaf. 30 years after The Elbow is Taboo, Renaldo & Ted The Loaf have created another fabulous record. 13 songs in classic RATL style with an incredible cover by the wonderful Poxodd. All the RATL trademark sounds are there, but of course technology has not passed unnoticed, so there is a 2016 approach to the music, too."
KL 5072CD
PRICE: $17.00
CAT #: KL 5072CD
Townes Van Zandt & Guy Clark, live from the Cactus Café, Austin, Texas on February 16th, 1991. Six years before Townes Van Zandt's untimely death in 1997, his renewed studio activity produced a clutch of new material and re-workings, most of which sadly, still resides on tape. However, recordings such as this, offers fans a valuable opportunity to hear exactly what was going on underneath. His appearance alongside lifelong friend Guy Clark in 1991 at the Cactus Café in Austin, Texas, remains one of his most prized performances of the period. Moreover, it helps to portray how Texas produced one of the modern era's most potent and elegant lyricists this side of Shakespeare. As Lester Bangs once said of the man, his songs come "from a depth of feeling that few men can touch." Klondike Records present the entire original KUT 90.5FM broadcast of Townes Van Zandt and Guy Clark performing live from the Cactus Café, Austin, Texas on February 16th, 1991. Digitally remastered original broadcast with background liners, interviews and rare archival photos.
LOV 2015LP
PRICE: $23.00
CAT #: LOV 2015LP
MCGUINN, ROGER Live in New York: Eight Miles High LP
Roger McGuinn live at Islip Speedway, New York, July 7th 1974. The Byrds split for good in 1973, following which Roger McGuinn embarked on a fascinating solo career. Recorded in the summer of 1974 for broadcast by WLIR-FM, this superb live set finds him tackling material from his self-titled debut solo album (1973), and the forthcoming Peace On You (1974), as well as classics by the Byrds, Bob Dylan, and others. The entire WLIF-FM broadcast is presented here, digitally remastered, with background notes and images.
LOV 2019LP
PRICE: $23.00
CAT #: LOV 2019LP
NEWMAN, RANDY Live At The Boarding House '72 LP
Randy Newman's rich and diverse repertoire of songs have reached a wide variety of people through other artists, though listeners didn't always know it. His songs have crossed the divides of pop music, from Eric Burdon to Judy Collins to Fats Domino, which simply illustrates his measure of lyrical wit and intelligent, provocative songwriting. This stunning performance at The Boarding House in San Francisco, on June 11th, 1972, hides nothing from the ears and affords the listener a unique insight into the soul of one of America's greatest songwriting legends. Recorded during the promotional tour for his third studio album, Sail Away (1972), this prized performance finds him at the relative dawn of his career. Although it didn't break massively in a commercial sense, Sail Away was a huge critical success, a fact that makes his solo appearances from this period so inviting. The entire original broadcast is presented here, professionally re-mastered with background liners and rare archival photos.
MA 081CD
PRICE: $15.50
CAT #: MA 081CD
Brent Cash is back with The New High. After a five-year-long hiatus, the multi-instrumentalist from Athens, Georgia returns with his third and probably best album yet. Continuing the tradition of his previous, widely celebrated albums How Will I Know If I'm Awake (MA 071CD/LP, 2008) and How Strange It Seems (MA 076CD/LP, 2011), he once again enters melody wonderland - evoking classic pop songwriting from the '60s and '70s - chock-full of sophisticated arrangements, richly textured vocal harmonies and extravagant key changes. It's proof that pop music is alive and well in 2017. Brent decided to record the album Todd Rundgren-style this time. Each and every instrument is played by the man himself - except for the string section. It adds an earthy edge to his sunshine pop brilliance. The album starts with title track "The New High", a song that builds and builds until you finally reach, well, the new high. "Out For Blood" recalls The Beach Boys's Wild Honey (1967) period - classy, soulful techni-color vocal harmonies layered upon a great rhythm track. The quirky "The Wrong Thing" captures the playful pop majesty of Gilbert O'Sullivan. It even features a crazy fiddle. "Every Inflection" is pure pop heaven - sounding like a lost late '60s AM radio hit - with a super-cool Wurlitzer solo. "Dim Light" is full of wicked twists and turns - even featuring a Beatles-like Mellotron. It takes you on a musical trip in many different sections and evolves like a mini-movie. "The Way You Were" - a song about a love gone wrong - is a special highlight, wearing its Lennon/McCartney influences on its sleeve. "I'm Looking Up" - driven by a cool Carole King-like piano part - is a hit song in the waiting. Check out the beautiful sun-soaked string section! "The Dusk Song" is another special treat on the album. The hypnotic piano riff just grabs you - and takes you deep into Van Dyke Parks territory. The slowly rolling, mournful "Fade/Return" - accompanied by cascading ocean sounds - is a cinematic widescreen beauty with a bewitching orchestra part. The album ends with the acoustic guitar coda "Perfection Comes Near". Well, it certainly does on this album. Get high with The New High. It's the perfect soundtrack to cruise into golden sunsets along the California coast line.
PRICE: $25.50
REQUIEM For A World After LP
LP version. Includes download code. Mental Experience present the first ever reissue of Requiem's For A World After, originally released in 1981. Dark, progressive, synth ambient meets Berlin-School sounds on this obscure kraut album, which "tells the story of a world annihilation through nuclear war." For A World After is full of delayed psychedelic electric guitar, effects, cold drum machines, waves of analog keyboards (Korg MS20, Casiotone 201, Crumar DS-2, Jupiter-4), and cosmic atmosphere. George Speckert is a conceptual electronic composer based in Hannover, but of North American origin. Working as a music teacher in Germany in the '70s, he started to write and produce music in his spare time, inspired by the European rock and electronic scenes of the time (Tangerine Dream, Klaus Schulze, Jean Michel Jarre, Emerson Lake & Palmer, etc.) He met another American expat, David Cassidy, who ran a small record label/studio - that's when Requiem started to take form. A chance meeting with a terrific guitar player named Massimo Grandi, led to Massimo adding some amazing electric guitar to the album. After six months, For A World After was released in a privately-pressed edition of 1000 on the small, Daviton label. RIYL: Klaus Schulze, Tangerine Dream, Conrad Schnitzler, Moebius, Popol Vuh, Metronic Underground, Rüdiger Lorenz, Michael Bundt, Wolfgang Bock, Michael Hoenig, Rolf Trostel, Pina. Master tape sound; Insert with liner notes and photos.
PRICE: $33.00
Mental Experience present an expanded reissue of Ildefonso Aguilar's Erosión, originally released in 1985. Spooky, meditative soundscapes inspired by the desolate volcanic environment of Lanzarote (Canary Islands), created using Minimoog, Polymoog, vocal loops, and field recordings. Originally recorded in Germany in 1978 by Spanish painter/sound artist Ildefonso Aguilar, only a selection of the original recordings were released a few years later on a very rare limited edition cassette and LP. Erosión is a masterpiece of proto-ambient, isolationism, and minimal synth music. For the first time ever, Erosión is reissued here on double LP, featuring the complete recordings, as Ildefonso conceived it at the time. Master tape sound; Liner notes in English/Spanish by Frankie Pizá (TIU Mag); Includes download code. RIYL: Edgar Froese, Conrad Schnitzler, Cluster, Klaus Schulze, Michael Stearns, Steve Roach, Brian Eno, Cozmic Corridors, Pina."Canary Islander Ildefonso Aguilar is best known for his paintings and surreal photography of the desolate volcanic wastelands of his homeland. He was also organizer of concerts at the Jameos del Agua in Lanzarote, a regular event which has featured the likes of Michael Brook, Roedelius, Steve Roach, and numerous other luminaries of ambient and atmospheric music. But, for his own music Ildefonso has never gained the mass recognition he really deserves. Erosión, recorded in 1978, is certainly one of the most fascinating of synth albums I've heard. And, it's remarkable really, if you consider all the technological advances that have happened since, what with digital synthesizers and samplers, that this music created entirely on analogue synthesizers still sounds so fresh and original... Beautiful yet strange, unnerving yet calming. Even more so, at 1¼ hours, Erosión reveals itself as a grand conceived suite, as themes recur in an almost ghostly fashion, as tension builds upon tension, and threatens to explode, which it never quite does! Extraordinary all the way through." --Alan Freeman (Audion Magazine)
MG 118LP
PRICE: $23.50
CAT #: MG 118LP
"Although I did not think deeply about it, I felt that a certain time had come for me and I decided to produce my solo album. It was 20 years since I first started playing drums and since then, out of all the brilliant artists who live in Japan that I played with, I wanted to freely enlist players who I really wanted to create music with." This is what Keiichi Tanaka said about his intention in making Keta Iicna Hika. In 2014, Japan's leading eight-piece Afrobeat band, Kingdom Afrocks, put a halt to their group activities. For eight years, they firmly maintained their steady and indispensable rhythmic core, developing an energetic live performance and music. Their drummer Keiichi Tanaka became the first member to produce a solo album after their split. He started working on Keta Iicna Hika in October of 2014 and finished it at the beginning of 2015. There are several collaborations on Keta Iicna Hika including Kingdom Afrocks ex-colleague Nao Ito, OKI of Oki Dub Ainu Band, legendary Japanese Jazz pianist Fumio Itabashi, and several other artists who Keiichi had performed with. Furthermore, Keiichi has enlisted many African musicians living in Japan. Along with conventional instruments, traditional African instruments, such as a banjo-sounding traditional string instrument popular in countries such as Mali and Guinea, the n'goni, traditional Karafuto/Ainu instruments, such as the tonkori, and a bamboo mouth harp, the mukkur, are featured. Not just confined to Afrobeat, Keiichi also includes various African music and traditions such as Benga from Kenya, a lullaby from Congo, and inspiration from Somaliland and Mali. Keiichi mixes it with dub from OKI, traditional Japanese music, such as the music of Tenjinbayashi, and traditional Ainu sounds. Keiichi also undertakes a jazz-flavored cover of Afrobeat founder Fela Kuti. With Keta Iicna Hika, Keiichi has created a deep and unparalleled melting pot of an album that only he was able to produce. Each song is recorded "live", and as such, performed with his collaborators mostly in one take. The record was ready in 2015 but tragedy struck, and Keiichi passed away. Keta Iicna Hika represents Keiichi's musical vision, a culmination of all he had learned in this twenty years as a musician. Comes in a heavy reversed cardboard sleeve; Includes two pantone printed sleeves, a 60x60 double-sided poster, extensive liner notes in Japanese and English.
PRICE: $14.00
FORD FOSTER Managed Expectations 12"
Crunchy, funky techno tracks from the work shed of Ford Foster. Featuring a Mike Dunn remix for "Decisions". Leeds producer Ford Foster, with releases on Opal Tapes, Fragil, Unknown to the Unknown, is known for his ghetto techno and house.
PRICE: $18.00
BARTEL/GUDRUN GUT, BEATE Instrumentals For Sirens LP
Beate Bartel and Gudrun Gut share history. They were both part of Mania D., "the first German punk band". Beate continued with Liaisons Dangereuses and Gudrun with Malaria!. Then they experimented in sound and visual arts and released three albums with Matador, along with Manon P. Duursma. After 25 years, they are part of the same project again, both producing five tracks for Myra Davies's spoken word album Sirens (MOABIT 021CD). This instrumental vinyl edition provides extended mixes, which differ from the original recordings. Gudrun Gut is known for her activities in the Berlin music scene since the '80s, with Malaria! and recent solo work as well as collaborations with AGF (Greie Gut Fraktion) and Hans-Joachim Irmler (Gut Und Irmler). Beate Bartel was a part of the experimental impulse that made its way into today's art world and museums. Growing up in west Berlin, Beate Bartel's interest in sounds and noise made her a sound engineer and she became a founding member of bands like Mania D., Einstürzende Neubauten, Liaisons Dangereuses and Matador, with Gut and Duursma. Davies and Gut have worked together since 1991 on several releases, notably Miasma 1 (1993), 2 (1997) and 3 (2002), and multi-media performances. Includes a download code.
PRICE: $15.50
Sirens is the new album from Canadian spoken word poet Myra Davies, with music by Berliners Gudrun Gut and Beate Bartel. Myra Davies is back with a new packet of witty stories and poetic reportage in a dynamic current of electronica by Berliners, Gudrun Gut and Beate Bartel. Movement is a major theme. Davies's eye, insightful yet detached, wanders assertively over land to sea to outer space, through time; past to present to future. Her observations and reflections on art, culture, convention, capitalism, express instability and the contingent, even conjectural, nature of existence. Yet, they suggest (without promising) the possibility of optimistic resolution. For Davies, the personal is political and art is more so. The album includes a three-track riposte to Götterdammerung, the final opera in Richard Wagner's Ring Cycle. Two tracks tell the story. The third, "Do Ya", links the epic to us. Wagner was called "the great seducer" because he aimed to "take" his audience in an emotional gut grab that's been described as "artistic rape". No invitation here to sink hypnotically into the dark ambient tones Gut and Bartel provide for Davies, who, in telling the story, frequently pops out of it to comment. Indeed, the point of revisiting this end time for übermenschen is to draw attention to the eagerness with which people give themselves to art, politics, love, war, consumption, work, religion, pop culture, technology, vanity, and thus to bondage. Fortunately, the message is delivered in a tempestuous roil of words and music; This is a Pandora's box of biting zeitgeist - past, present and future - propelled by beats, contrapuntal dynamics, broken rhymes, scraps from here and there, and fragments of great white dead men. A personal note from Myra Davies: "The word 'siren' contains both allure and danger warning. Come hither. Stay away. Such isometric emotional dualities can drive a person around a post like a work donkey. I question such 'native' impulses and the romantic notion that emotion is the seat of authenticity, our true core. Our minds - amygdala included - are colonized. Yet the human brain is flexible. It's possible to take territory, to write our own code. 'Your mission, if you choose to accept it.' Thanks for listening." Davies and Gut have worked together since 1991 on several releases, notably Miasma 1 (1993), 2 (1997) and 3 (2002), and multi-media performances. Comes as a digipak; Includes 20-page booklet.
PRICE: $15.50
Fjaak's path led them from the periphery to the center, and from there, further through the world. Their self-titled debut album for Monkeytown is as much a summary of what had happened in the previous three years as it is an artistic statement. Fjaak combines the energetic peak-time sound of the Berlin-based trio's acclaimed techno singles, like Oben/Unten (2015), with sophisticated breakbeat arrangements and atmospherically dense ambient textures. These eleven tracks are the provisional highlight in a unique success story which started aside club culture's conventions and to this day refuses to compromise. Felix Wagner, Aaron Röbig and Kevin Kozicki were still teenagers when they developed a distinct sound which positioned itself outside beaten paths, both geographically and musically speaking. The trio cut their teeth in Berlin-Spandau's open-air scene and celebrated their first success in the city's center shortly thereafter before taking the techno world by storm with their elaborate analog sound. Having released a few records, they found a permanent home on Modeselektor's Monkeytown in 2014, while incessantly traveling the world. Fjaak draws its overwhelming power from their signature hands-on mentality and the explosive charm of their live sets. Earlier this year, Fjaak let FACT into their Berlin studio for an "Against The Clock" feature, the result of which - an anthemic techno jam - showcases the trio's spontaneous working process. "Against The Clock" sounds rough and unpolished, just like it's supposed to be: Fjaak capture the energy of their jam sessions on Fjaak. Apart from the previously released tracks to be found on the single Wolves/Pray For Berlin (MONKEY 070EP, 2016), the album also features a reworked version of the Fjaak classic "Gewerbe 15". However, Fjaak is far more than a document of Fjaak's studio virtuosity. On it, Kozicki, Röbig und Wagner channel the diverse influences that have informed their unique sound from the very beginning. On "Sixteen Levels", you can hear their love for UK bass sound while "Snow" and the vivid collaborations with Rødhåd or Modeselektor highlight a more placid side of Fjaak. Whether it's peak-time techno or the cowbell-heavy breakbeats of "Fast Food", Fjaak seamlessly blends the musical tensions between subtle textures, raw kicks and smart arrangements. Here and there, there are references to a specific '90s sound. However, Fjaak is first and foremost dedicated to a new musical future.
NW 80789CD
PRICE: $15.00
CAT #: NW 80789CD
HELLERMANN, WILLIAM Three Weeks in Cincinnati in December CD
"'Can you imagine a piece that combines the athleticism of an uphill marathon run on a continuously steepening course with an ethereal, otherworldly sound that takes you out of body? The athleticism in this piece is a non-stop circular breathing run for close to an hour! And what is being circular breathed? A highly evolved, gorgeous multiphonic world shimmering though a continuous breath tremolo! This incredible duality between the physical and ethereal makes for a musical and emotional experience unlike any other. Before I coalesced my identity as a composer-performer, there was a period in the 1970s when I asked a number of composers to write works for me. Of the solo flute pieces from that time, Three Weeks in Cincinnati in December is by far the most unique and indeed the very best' --Robert Dick. 'Three Weeks in Cincinnati in December is the last of four compositions I wrote in the late 70s for solo instruments. They all feature a focus on a specific instrumental technique that was both unusual and difficult. Three Weeks... was exceptional in that it featured three such techniques taking place simultaneously: circular breathing for close to one hour, a continuous diaphragm tremolo, and a succession of beautiful yet very challenging multiphonics. The piece was conceived of and written in close collaboration with the extraordinary flute virtuoso, Robert Dick. Without his involvement I would never have dared to write such a piece and without him it never could have been performed. The intent of all the pieces in the group of four was to explore the special tension attained through the intense physical and mental focus demanded of the performer. This results in sounds I feel have a very complex, not entirely predictable, beauty.' --Bill Hellermann"
NO 306CD
PRICE: $17.00
CAT #: NO 306CD
Pharmakustik, aka Siegmar Fricke, who previously graced the No. catalog in collaboration with Chile's Raw C with Anamorph Specimens (NO 304CD, 2015), presents his debut full-length album in the guise of Pulsed Lavage. According to Pharmakustik, Pulsed Lavage is an audio-surgical album. In its original medical context, the term means "removal of necrotic tissues in wounds by pressurized hydro-solutions." Pulsed Lavage expertly maneuvers the multiple stylistic themes within, from opiate-induced, narcotic bliss through to hammer-and-nail, dancefloor techno. Pulsed Lavage is as raw as it is beautiful, zig-zagging between moods almost like the automated surgical tools of its namesake. Pulsed Lavage, fun for all the Manson family.
PRICE: $25.50
CAT #: OSR 057LP
WOLFGANG Eliminate Hate LP
After more than 30 years hidden in a dusty storage unit, Out-Sider present Eliminate Hate, the previously unreleased album from one of the most enigmatic bands from the Texas psychedelic scene, Wolfgang. An unusual blend of '60s garage-punk, Texas psychedelia (think 13th Floor Elevators or Golden Dawn), The Seeds, The Misunderstood, late era Velvet Underground, '70s era Rolling Stones and '70s pre-punk swagger. Awesome distorted steel guitar with super snotty vocals. Wolfgang were a young band from Pasadena, Texas, discovered by legendary Texas mogul C.L. Millburn. Little is known about the band and what exactly happened to them after recording this album. But, they were led by the great "Wolf", Mike Long (Stone Axe, Josefus) and they also featured an unusual steel guitar player whose electrified sound recalls Glenn Campbell at his best. In 1970, Wolfgang recorded a set of songs written by Milburn, originally intended as demos to secure a deal with a bigger company. Eight songs were taped using Milburn's trusty Sony two-track reel-to-reel, the same one he used to record childhood friend Townes Van Zandt in the late '60s. The major company deal never came so the tapes were stored at the Sea Ell archives for many years and Wolfgang disappeared in the mist of time. Three tracks from the Wolfgang sessions appeared on a compilation called The History Of Texas Garage Bands In The '60s Volume 1: The Sea Ell Label Story, released in 1994 by the Collectables label. They were credited to "The Wolves". Several years later, Michael Greisman from Cicadelic Records discovered the complete Wolfgang recordings while investigating the Sea Ell tape archive, and Milburn revealed to him the real history behind the Wolfgang project. The complete recordings have remained unreleased until now. Master tape sound; Insert with liner notes by Jeremy Cargill (Ugly Things, Got Kinda Lost)
PRICE: $23.50
CAT #: PART 4028LP
VA Portobello Explosion: Collected Artefacts Of Illustrious Noise 1965-1970 LP
Portobello Explosion: Collected Artefacts of Illustrious Noise 1965-1970. Swinging Mod sounds that ruled the world. Portobello Explosion captures the definitive soundtrack to London's 1960s music scene. A colorful explosion of mod pop euphoria and R&B cool echoed from rare and obscure singles. This collection defines an era of attitude and energy that has remained a heady influence over its teenage contemporaries. After digging through the Rubble in a Perfumed Garden, drinking Chocolate Soup for a Sugarcube Flashback, it's finally time to put some fuzz in your freakbeat, so hold on. First time on 180 gram, lobster-red vinyl; Comes with a two-page, full-color insert with liner notes and rare color photographs; Edition of 1000 (numbered). Artists include: Clayton Squares, The Feet, Thane Russell, Roger Young, Him And The Others, Richard Kent Style, Scots Of St. James, The Bunch, The Gods, Rosko, Oscar, Edwick Rumbold, The Answers, The Wards Of Court, Twinset, Charles Dickens, O'Hara's Playboys, Roger James Four, Thane Russell And Three, The Executives, The Nightriders, Transatlantics, and Tony Wilson.
PRICE: $23.50
CAT #: PART 4038LP
VA Upside Down Volume One 1966-1970: Coloured Dreams from the Underworld LP
Particles present the first volume in their Upside Down series on vinyl for the first time -- a lysergic pop extravaganza featuring original artifacts from the psychedelic age with twenty flower power wonders from way down under. From the luminous void that wields such pleasures as Barry Crocker's "Imitation World" and other lysergic pop platters to the menacing feats of apocalyptic freakbeat courtesy of The Expression, Robbie Peters, and The Executives, Upside Down delivers twenty, long-forgotten relics from down under with a potent collection of psychedelic pleasures, circa 1966-1970. Other artists include: The Groove, Ronnie Burns, R Black and The Rockin' Vs, Normie Rowe, Magic, Trojans, Motivation, The Tallifer Group, The Twilights, Kevin McCann, Nineteen 87, Autumn, Dick Roberts and The Troubled Minds, and Nonesuch. Comes on 180 gram, lime-green vinyl; Includes a two-page, color insert with comprehensive liner notes and rare photographs; Edition of 1000 (hand-numbered).
PRICE: $23.50
CAT #: PART 4053LP
VA Curiosity Shop Volume One LP
Particles presents Curiosity Shop Volume One, a colorful variety of obscure pop nuggets recorded in the British psychedelic period, from 1968 through 1971, for the first time on vinyl. 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. Good vibrations indeed! Features tracks by Day 'n' Night, Camaleonti, Colin Giffin, Humbug, Buggy, Michael Blount, Billy M. Lawrie, Lori Balmer, Candy Choir, Lovelace Green, David & David, Samson, The Mixed Bag, Tapestry, Grand Union, Saker, Quartet, Rainbows, Kansas Hook, and Samson. Comes on 180-gram, blue vinyl; Includes a two-page color insert with comprehensive liner notes and rare photographs; Edition of 1000 (hand-numbered).
PRICE: $23.50
CAT #: PART 4058LP
VA Dustin E Presents... Cornflake Zoo: Episode One LP
From the minds behind Piccadilly Sunshine, Mixed Up Minds, Electric Asylum, Upside Down, Velvet Revolutions, Beatfreak and The Electric Sound Show, Particles present: Dustin E's...Cornflake Zoo. Join in the glorious pursuit of seeking obscure, vintage psychedelic pop. There is no better joy known to man than harking back to an era where an abundance of melodies and psychedelic gestures unfold. This then, is the first leap into that world where rules are broken, but standards are observed. Heavenly delights from Holland, Germany, America, England, Canada, Poland, Brazil and the Pyrenees collide in a captivating collection all presented with a loving touch of restoration and mastery and utterly absurd and contemptuous liners. Complete with a plethora of original, archival imagery, no lack of no-use and a simple (minded) narrative, what more could you ask? Features: Casey Jones and The Governors, David, Baby Py Grandmother, Jay Jays, The Toxic, Blues Section, John Winfields, Los Iberos, Hearts and Flowers, Juan And Junior, Wallace Collection, Tages, Octopus 4, Ro-D-Ys, The Klan, Boudewijn De Groot, and Roeks Family. First time on 180 gram, yellow vinyl; Comes with a two-page, full color insert, with comprehensive liner notes and rare color photographs; Edition of 1000 (hand-numbered).
PRICE: $23.50
CAT #: PART 4059LP
VA Beatfreak! Vol. 2: Rare and Obscure British Beat 1964-1969 LP
From the minds behind Piccadilly Sunshine, Mixed Up Minds, Upside Down, Electric Sound Show, Electric Asylum and Cornflake Zoo, Beatfreak! is the pre-cursory journey through the glorious cultural dustbin where beat up pop meets paisley R&B. Prestigious guests include pre-progressive rockers audience in Lloyd Alexander Real Estate, a balladeer's stab at the Pretty Things, a slab of Marjorine and some RAF engineers lost in Singapore, all meeting up for an intoxicating marriage of fuzz and flute and delivered with disgraceful adolescent abandon. Beware, it is not pretty. Beatfreak! Vol.2, a sonic showdown of rare and obscure British beat pop pleasures delivered with a whiff of R&B, is presented here for the first time on vinyl. Also features: The Moquettes, The All, Phase 4, The Pentad, Bad Boys, Billy J. Kramer and The Dakotas, Force Five, Alex Harvey, Dick Jordan, The Trekkas, Profile, Red Squares, The Cherokees, The Frame, Split Image and New Breed. Comes on 180 gram, nectarine-orange vinyl; Includes a two-page color insert with comprehensive liner notes and rare photographs; Edition of 1000 (hand-numbered).
PRICE: $23.50
CAT #: PART 4060LP
VA Dustin E Presents... Cornflake Zoo: Episode Two LP
Particles present Dustin E's...Cornflake Zoo: Episode Two, the second release in the new Cornflake Zoo series, for the first time on vinyl. There is no better joy known to man than harking back to an era where an abundance of melodic hocus pocus resides. This is the glorious pursuit of something more appealing than the mere meaning of life where rules are broken, but standards are observed. Grab yourself a bellyful of Sweden, Poland, Spain, Germany, Belgium, Holland, the USA and Finland in twenty tracks of the most disgraceful, undignified juvenile absurdity to reach the auditory senses. Two tracks have been deleted for your own health and safety so tread with caution! Particles presents a captivating collection replete with original, archival imagery, a loving touch of restoration, no lack of no-use and a simple (minded) narrative, what more could you ask for? Features: The Outsiders, The Raves, Niebiesko Czarni, Evolution, Omega Red Star, Ola And The Janglers, Jess And James, The Boots, Tony Hendrik Five, The Tonics, Cool Stove, Blues Section, Annaabee Nox, Zdroj Jana, Vinnie Basile, Proud Flesh, Test, Les Baroques and Lobos. Comes on 180 gram, red vinyl; Includes a two-page full-color insert with comprehensive liner notes and rare color photographs.
PRICE: $17.00
CAT #: PART 4066CD
VA Mixed Up Minds Part Twelve: Obscure Rock & Pop from the British Isles 1968-1973 CD
Particles present a disturbing chapter from the British underground, with Part Twelve of the Mixed Up Minds series. Mixed Up Minds investigates the overlooked underbelly of British rock and pop from the late 1960s and early 1970s. Part Twelve of their intrepid series captures a further glimpse of the verbal rumblings from British suburbia with 20 melodic musings from a variety of unsung wonders whose place in the British pop phenomena is now safely secure. Professionally re-mastered; Comes with a 24-page full-color booklet with expansive liner notes and rare archival photographs. Features: Akido, Lucifer, Ten Years After, Terry Reid, Love Affair, Baskin And Copperfield, W.O.R.L.D., Quiet World, Cupids Inspiration, Demt, Topo D. Bill, Bachdenkel, Heaven, Paul Slade, Woody Kern, Elegy, Caloogie, Malachi, Titanic, and The Montanas.
PRICE: $17.00
CAT #: PART 4068CD
VA Lysergic Saviours: A Psychedelic Prophecy! The Holy Grail Of Xian Acid Fuzz 1968-1974 CD
Particles present a hallowed collection of psychedelic evangelists, hell-bent on summoning the Lord and armed with the latest fuzz pedals and hallucinogenic. Let us embrace the sound of the heavens with a toxic mix of wild garage punk and prayer recorded between 1968 and 1974. This pious platter delivers 19 lysergic sermons from the depths of revelations. Holy fuzz pedals, let us pray. Professionally re-mastered original sound recordings; Comes with a 20-page booklet with comprehensive liner notes and a plethora of rare archival photographs. Features: Our Generation, The New Folk, New Dawn, Search Party, Concrete Rubber Band, The Accompany, Whispers Of Truth, Azitis, Mind Garage, Koinonia, Eden, Earthen Vessel, Out Of Darkness, Exkursions, The Sheep, and Agape.
PRICE: $14.50
CAT #: PMG 041CD
PMG present a reissue of Kelenkye Band's Moving World, originally released in 1974. "In 1974, a brash young designer called Augustus Kerry Taylor had an idea. He'd gather together the hottest musicians in Ghana and record an album of the heaviest and funkiest sounds coming out of America. And this time, he wouldn't just design the cover, like he'd done with Fela Kuti, he'd even release it on his new label, Emporium, as well. Local Accra legends Joe Wellington, Jagger Botchway, Leslie Addy, Officer Toro, Oko Ringo, Soldier and Steve answered the call. They were christened the Kelenkye Band and gelled immediately. Moving World, is a funky, disparate album that exudes a rare warmth, enthusiasm and togetherness. 'Moving World' and 'Brotherhood Of Man' are hard, grinding funk. 'Jungle Music' has a more soulful groove. There's also a bit of reggae, 'Dracula Dance', and old-school highlife, 'Wale Tobite'. Accra's leading DJ, Charlie Sam, declared his mind 'well and truly boggled.' The Kelenkye Band never recorded another album. Augustus Kerry Taylor shut down Emporium and went back to designing album covers. But in Moving World they delivered a perfect moment of funk alchemy that has rightly become the holy grail of '70s Ghanian groove." --Peter Moore
PRICE: $14.50
CAT #: PMG 045CD
XTASY E Je Ka Jo (Let's Dance) CD
PMG present a reissue of Xtasy's E Je Ka Jo (Let's Dance), originally released in 1984. "Recorded in the USA, E Je Ka Jo is the only record released by Nigerian brother and sister act, Xtasy. It is also a stone cold, boogie classic and remains one of the most sought-after records of its type in the world. E Je Ka Jo means 'Let's Dance' and in 1983, Roy and Stella Bruce were whisked away to LA to record their certifiable dancefloor classic. Their brother, entertainment mogul Ben Murray Bruce, owned the label and called in favors with the America's finest session players, including songwriter Greg Wright and bass player Keni Burke. Wright produced the album and wrote all the songs. He'd worked with Diana Ross, Thelma Houston and Bobby Womack and added a slick international sheen to each track. The sound is smooth, sophisticated and sexy and one that would be welcomed on dance floors anywhere in the world. Strangely, E Je Ka Jo was only ever released in Nigeria. An international release was stymied, but that only served to cement the albums status as a modern soul boogie classic. Thirty years later, that injustice has finally been rectified." --Peter Moore
PRICE: $14.50
CAT #: PMG 047CD
PMG present a reissue of Guelewar Band Of Banjul's Warteef Jigeen, originally released in 1981. "The Guelewar Band Of Banjul are a band quite unlike any other - an explosive mix of soul and funk with local rhythms like bougaraboo and ndaga combined with a defiant insistence on singing in their local language, Wolof. They certainly blew a young Youssou N'dour away. He cites them as his biggest influence. Warteef Jigeen marks the point the band found its groove. The title track sets the tone early with parping horns and psychedelic guitar licks. 'N.T.C. The Gambia' and 'Jilana' seamlessly blend traditional percussion and plaintive sax. 'Leen Te Koun' and 'President Diawara' showcase some of the freakiest synth ever to come out of West Africa. It was Laye Ngom's decision as bandleader to draft his cousin as singer that elevates Warteef Jigeen. Moussa Ngom had paid his dues singing at traditional circumcision ceremonies and his rough, expressive vocals bring a level of melancholy and intensity to the album. It's a melancholy and intensity that can only come from years of watching young boys take this painful journey to Gambian manhood, a journey, in a way, that Guelewar Band Of Banjul made on Warteef Jigeen." --Peter Moore
PRICE: $14.50
CAT #: PMG 050CD
ONYIOHA, OBY I Want To Feel Your Love CD
PMG present a reissue of Oby Onyioha's I Want To Feel Your Love, originally released in 1981. "It's 1981 and Nigeria is booming. Oil was still bringing in the big petro-bucks and a new civilian government brought hope that the dark days of military dictatorships were over. A new album by a baby-voiced, permed, lipstick-wearing vocalist is riding high in the charts, capturing the mood of the nation perfectly. The singer was Oby Onyioha, the university educated daughter of the Godian prophet, His Holiness Ogbaja Kama Onu Kama Onyioha. The album was I Want To Feel Your Love, a collection of slick, up-tempo disco tracks, produced by the 'Quincy Jones of Nigeria', Lemmy Jackson. Handsomely packaged, sumptuously produced, it was as sophisticated and glossy as anything coming out of the west. The album also marked a cultural shift in Nigeria too. Oby Onyioha was a smart, modern woman exhorting her Nigerian sisters to 'Enjoy Your Life'. She wasn't sitting around waiting for a man to call. 'I Want To Feel Your Love', she sang. And 'I'll Put It Right Again', not some dominant boyfriend. Bright, brash and living for the moment, I Want To Feel Your Love is the soundtrack of a Nigeria confident and ready to take its place in the world." --Peter Moore
PRICE: $14.50
CAT #: PMG 051CD
PMG present a reissue of Igna Igwebuike's Bomp, originally released in 1980. "It takes a lot of swag to wear a hat as big as the hat that I.G. wears on the cover of Bomp. But I.G., a.k.a. Bobby I.G., a.k.a. I.G. New Yorker, had swag by the bucket load. That hat tells you everything you need to know about I.G. and, indeed, about Bomp - it's a big funky slice of Nigerian cowboy disco magic. I.G. was a player in the thriving Enugu boogie scene, a scene, in the east of the country that also produced Goddy Oku and William Onyeabor. With Mr Mighty Flames, Willie N'For on bass, Austin Onwurah on drums and all the bells and whistles of the Godiac Studios close at hand, a Nigerian disco classic was inevitable. 'Disco Bomp' and 'Disco Power' are straight-ahead floor-fillers. 'Funk Ina Ghatto' has a slower, dirtier groove. 'World Of Misery' takes a slight calypso reggae detour, before 'Take Me Home' brings it on home, with an unabashed plea for 'loving' and some delightfully wonky synth lines from another Mighty Flame, Frankie Song. Bomp was I.G.'s only album. It's a startling one-off disco boogie classic that was clear in its ambition and perfect in its execution. A bit like the hat, really." --Peter Moore
PRICE: $14.00
S3A = Sampling As An Art! With great pleasure Quintessentials welcome this versatile French producer, who has been making waves with splendid releases on labels like Local Talk, 4Lux Music, Phonogramme, Hold Youth or his own S3A records. Well-crafted proper house music, garage, disco-touched, funky - he can do it all!
PRICE: $31.00
VA The Color Of Noise (Original Motion Picture Soundtrack) 2LP
"The soundtrack to the film, The Color of Noise. Pressed on red and blue vinyl in a world wide edition of 2500. A sampling of the music that was the journey of Amphetamine Reptile Records head honcho Tom Hazelmyer. From the early hardcore band Tom fronted to classic cuts from Unsane, Helmet, Mudhoney, Cows, Today Is The Day, Melvins and more! This soundtrack chronicles a summary of Hazelmyer's impact on American Punk Rock. Limited edition pressing on 150 Gram colored vinyl. One record blue, one red."
PRICE: $15.50
Playing their first gig supporting Goat at what was only the latter's second ever show, Pigs Pigs Pigs Pigs Pigs Pigs Pigs have gigged relentlessly with kindred spirits including The Cosmic Dead and Luminous Bodies, not to mention gracing festivals like Supernormal and Portugal's Reverence with their feral attack. Yet the time has come for this band to transcend the realm of word-of-mouth phenomenon and be judged on their feverish and demented collision of psych-drone dementia and riff-driven salvation alone. The inarguable proof is Feed The Rats, the overwhelming first album the band have created - equal parts righteous repetition, bludgeoning brute force and Sabbathian squalor, its alchemical charge has the power to transform bleary-eyed abandon into small-hours revelation. This three-track, forty-minute monument of chaotic catharsis captures the everything-on-eleven spirit of the band's live manifestation whilst adding a level of finesse and texture often less easily accessible in a dangerous haze of flying hair, discarded clothes and spilt premium lager. Channeling the grimy trip hazards of Monster Magnet's Spine Of God (1991) through a prism of kraut-derived repetition and Part Chimp style bloody-mindedness, the resulting hallucinatory vortex appears constantly on the realm of breaking point. Yet for Matthew Baty, the porcine realm is less about a nihilistic quest for fiery oblivion than one might imagine: "You know, I think we've experienced it, many times. It's those gigs where we can almost sense that everyone in the room is engaged. The energy created is so thick you can almost bite down on it and it feels like there's no longer any barrier between band and audience. Those are the special shows, where there's a solidarity and a very visceral bond. That, and being able to smell our amps melting." Amps and brains alike, as these psychic omnivores bring seven times the joy, seven times the pain, seven times the dementia and deliverance.
RB 009CD
PRICE: $17.00
CAT #: RB 009CD
The accumulation of about four years of work, with tracks written in Berlin and Melbourne, Tornado Wallace's debut album Lonely Planet is nothing like what may have expected from the Australian expat. No stranger to fans and followers of ESP Institute, Beats In Space and Music From Memory's sister label Second Circle, Tornado Wallace's strain of releases, so far, merge functionality with a musical playfulness that led him to find himself as one of the producer's behind José Padilla's International Feel album So Many Colours (IFEEL 042CD/LP, 2015). Here, he leaves the needs of the dancefloor behind in order to create a magical mystery tour de trance into his inner jungle. How about some references? New age sounds meet new wave melodies, Grace Jones runs into the Dire Straits at Compass Point while a Korg Mini Pops and a Roland CR78 make amends for Sly & Robbie's absence, Michael Mann pictures Joseph Conrad's Heart Of Darkness, Robert Rauschenberg tries his luck at naturalism and an imagined Wally Badarou echoes through all of it. Sandwiched between the title track and the yearning beauty of the album's final point "Healing Feeling", the listener will get all of that as well as collaborations with and contributions of No Zu, David Hischfelder and the voice of Sui Zhen on "Today", who would easily make Anna Domino take her proverbial hat off. With Lonely Planet, Tornado Wallace has created an album that supersedes the requirements and expectations of a debut. Like a lost Island Records or a never released Made To Measure album, Lonely Planet soundtracks notions and ideas that recall the nostalgic future in the past as much as it looks ahead.
RB 009LP
PRICE: $23.50
CAT #: RB 009LP
LP version. 180 gram vinyl. Gatefold sleeve. The accumulation of about four years of work, with tracks written in Berlin and Melbourne, Tornado Wallace's debut album Lonely Planet is nothing like what may have expected from the Australian expat. No stranger to fans and followers of ESP Institute, Beats In Space and Music From Memory's sister label Second Circle, Tornado Wallace's strain of releases, so far, merge functionality with a musical playfulness that led him to find himself as one of the producer's behind José Padilla's International Feel album So Many Colours (IFEEL 042CD/LP, 2015). Here, he leaves the needs of the dancefloor behind in order to create a magical mystery tour de trance into his inner jungle. How about some references? New age sounds meet new wave melodies, Grace Jones runs into the Dire Straits at Compass Point while a Korg Mini Pops and a Roland CR78 make amends for Sly & Robbie's absence, Michael Mann pictures Joseph Conrad's Heart Of Darkness, Robert Rauschenberg tries his luck at naturalism and an imagined Wally Badarou echoes through all of it. Sandwiched between the title track and the yearning beauty of the album's final point "Healing Feeling", the listener will get all of that as well as collaborations with and contributions of No Zu, David Hischfelder and the voice of Sui Zhen on "Today", who would easily make Anna Domino take her proverbial hat off. With Lonely Planet, Tornado Wallace has created an album that supersedes the requirements and expectations of a debut. Like a lost Island Records or a never released Made To Measure album, Lonely Planet soundtracks notions and ideas that recall the nostalgic future in the past as much as it looks ahead.
PRICE: $18.00
VA Buzzsaw Joint: Diddy Wah - Cut 1 LP
Buzzsaw Joint was born of a club offering Londoners the chance to revel in the sounds of good ol' trashy rock n' roll in all its vintage vinyl forms. Club top-cat, Fritz, then took the primitive buzzsaw sounds online with a series of savage Mixcloud mixes created by record fiends from all over the globe. Now, the high-octane energy of Buzzsaw Joint has manifested into the physical form with a run of compilations on Stag-O-Lee. Get your ears around the wild n' weird sounds of the extraordinary and inimitable Buzzsaw Joint! The first cut from the Buzzsaw Joint compilation series comes courtesy of London based music fanatic, DJ and dedicated 45rpm record hound, Diddy Wah. Whether slinging vinyl at his Heavy Sugar club nights or through the NTS Radio airwaves, the man's got good taste - impeccable, even. His open-eared, between-the-cracks approach to music selection suits Buzzsaw down to a tee. Enjoy a glimpse into DJ Diddy Wah's record collection with these sixteen handpicked bliss bombs, all recorded between 1959-1962. Features: Sonny And Premiers, Billy Garner, Bobby December And The Famous Renegades, The Canjoes, Joe Louis Johnson, Dennis And The Menances, The Rumblers, Eugene Blacknell And His Savonics, Sammy Fitzhugh, Gabriel And The Angels, Jimmy Beck And His Orchestra, Johnny Acey, The Egyptians, Rex Garvin And The Mighty Cravers, Bunker Hill, and Ray Vernon & The Raymen.
PRICE: $16.00
"Joining Maurizio and Roberto Opalio on their fourth album for Starlight Furniture Co., legendary French-Corsican guitarist and co-founder of Groupe de Recherche et d'Improvisation Musicales brings his noisy lyricism to three long tracks of oddly sensual and animalistic space howl. As their past collaborations attest, My Cat Is An Alien's self-sustaining biosphere is an environment where the surreal dreamscapes of mavericks and eccentrics flourish. Jean-Marc Montera's home-made guitar table, objects, and electronics forge metallic ribbons that twitch between the distant clangs of gigantic spores, while Maurizio (on home-made double-bodied string instrument and effects) and Roberto (on alien-tronics, effects, and modified electronic devices) set worms adrift in a zero-gravity aviary stocked with narcotized satsuma fowl. Roberto adds disorientation to the trio's fog-blurred horizon with wordless vocalizations that could pass for billowing laments hooted by mutant sea mammals with enoki mushrooms growing on their larynxes."
SR 439CD
PRICE: $15.50
CAT #: SR 439CD
Japanese legend, Keiji Haino, meets two of Belgium's most active and valued musicians, keyboardist Jozef Dumoulin (Lilly Joel) and drummer Teun Verbruggen (Othin Spake). The Miracles Of Only One Thing is a deep and intense testimony of this meeting. Keiji Haino, without any doubt one of the most important musicians from the Japanese underground scene, is at his best, Teun Verbruggen and Jozef Dumoulin did a three-week tour in Japan in September of 2015, playing concerts as a duet, but also solo and with local musicians. One of those musicians was hero Keiji Haino, whose work has spanned rock, free improvisation, noise, percussion, psychedelic music, minimalism and drones. Besides his legendary bands Fushitsusha and Lost Aaraaff, he has worked with artists and bands like Boris, The Melvins, Jim O'Rourke, Oren Ambarchi, Peter Brötzmann and Steve Noble. As for Dumoulin and Verbruggen, they are both known for their always refreshing and groundbreaking work that breaks the barriers between free improvisation, electro, jazz and more. Jozef Dumoulin is part of the duo Lilly Joel appearing recently on Sub Rosa with What Lies in the Sea (SR 416CD, 2015). The three teamed up for a studio recording and a recorded live-show. Out of all the material, they distilled an album that reflects both the excitement of the new bond as well as the deep and vast sonic landscapes that their joined forces laid bare. Personnel: Keiji Haino - guitar, vocals, flute, gongs; Jozef Dumoulin - Fender Rhodes; Teun Verbruggen - drums, electronics.
SF 108LP
PRICE: $18.50
CAT #: SF 108LP
VA Ishq Ke Maare: Sufi Songs from Sindh and Punjab, Pakistan LP
A searing assemblage of Islamic Sufi spiritual music from the hinterlands of Sindh and Punjab, this compilation marks Sublime Frequencies' debut release of field recordings from Pakistan. Recorded and compiled by Arshia Fatima Haq, founder of Discostan - a collective of artists from an imagined federation of states from Beirut to Bangkok via Bombay - this is a rare, unfiltered collection of devotional music ranging from hypnotic solo instrumentals and vocal lamentations to euphoric ensemble qawwalis. Presenting voices that are imperiled in the country's contemporary political landscape - where renowned singers are assassinated in broad daylight and performance spaces are regularly bombed - this record continues Haq's ongoing project of engaging complex and controversial Islamic practices and rituals that operate in resistance to religious orthodoxy. "During my travels, I recorded both well-known musicians who made regular appearances on Pakistani televisions, and unknown, untrained singers who traveled from shrine to shrine with no possessions, intoxicated in the pursuit of the divine. I recorded in intimate living rooms, in crumbling concert halls, and in remote interior areas where I had to travel with a police escort. From the vertiginous falsetto harmonies of men singing in the female gender to give voice to those who carry the wounds of society, to the sparse and piercing a capella deliverances of itinerants, singing in the spaces of shrines where the doves coo in liturgies to the saints buried therein, this is music of 'unbridled bridledness', collapsing the divide between the divine and the profane. In masterful, often improvised performances on the harmonium, alghoza, been, and bulbul tarang, these songs unfold into an organic recursion of longing and despair, redeemed by an almost erotic promise of reunion with the divine entity. The singers themselves are 'ishq ke maare' - in the throes of love. Their visionary, intuitive form of devotion is in sharp contrast to the rising tide of mathematical and legalistic approach to faith called Wahhabism seen across the Islamic landscape today. These songs are iconoclastic and anarchic, transcending systems of law and social order, to approach what is truly divine in the rawest possible form."--Arshia Fatima Haq. Features performances by Ustad Aacher and Company, Kalyam Sharif Qawwali Troupe, Meeh Wasaiyo, Fatah Daudpoto, Latif Sarkar, Basheer Haidari and Nazira Bano, Shazia Tarannum, Babu, Sain Juman Shah and Fakirs, Ghulam Arshad, and an unknown singer.
PRICE: $12.50
CAT #: TAL 002EP
Four enthusiastic remix versions from four European electronic producers who revisit On Mande (TAL 001CD/LP, 2016), the latest album by Kenyan vocalists Ogoya Nengo And The Dodo Women's Group. For the "Orutu Run" version, Lena Willikens takes individual sound samples from different songs of the album. "Mix Zwei" by Tolouse Low Trax is an intensely sparse signature mix - growing drum beats reflect the lovely sung vocal line. "Sorbe Pekingese" by Don't DJ is an unrelenting excursion on digitally pitched vocal samples. "Bunde Dub" by Berlin based producer Orson takes some complex Ohangla drum patterns to tight and powerful effect.
PRICE: $14.50
CAT #: WHO 009CD
CORNER, PHILIP Gong/Ear: Shaman CD
Philip Corner (b. 1933) is an American composer, musician and visual artist. A founder member of Fluxus, his teachers include Henry Cowell and Olivier Messiaen, and he has performed with George Maciunas, Yoko Ono and Nam June Paik. While on military duty in Korea in 1960-1961 he studied calligraphy with Ki-sung Kim and many of his works have calligraphic scores. His wide-ranging output includes works for gongs, bells, metal percussion and gamelan orchestra. Philip Corner writes, "Hiah Park - new age shaman, then living in California. My Korea connection interest led me to a workshop she gave in New York; more sessions continued until the opportunity of really working together at the proposed seminar 'Art and the Invisible Reality' to be held in Bavaria. I revisited my old practice of 'metal meditations' specially reinterpreted to go with performance/dance derived from traditional shamanic practices. Then done in Trento in front of the cathedral where we joked about when they burned witches. After the two performances in Europe our association came to an end. Sin Cha Hong, a great friend in New York and a fabulous dancer and choreographer with a truly profound and intense body-incorporated physicality serving a spiritual content in no need of official status. Her Korean-American company she called Laughing Stone; she used my anklung (Javanese bamboo rattles) quartet gamelan Adagio onstage for one of her solos... This recording I made alone in the New York loft with my 'familiar' - the large Paiste tam-tam: while holding her in my mind. The dancer/shamans are, as their names show, from Korea - the country par excellence for this ancient form of religion incarnate. I have had a long a long continuing and most appreciative relationship to that country's culture, from 1960 when shipped as a trombones-man to the American occupying forces there and turned on each afternoon listening to 'National (Kuk Ahk) Music Hour' their theme song 'Su Je Chun' - the most ancient piece from the court repertoire which I have never stopped hearing as the most beautiful music ever made. That, and the breakthrough composition 'Sang-Teh/Situations' which written and performed in Seoul in 1961, made this meeting and working with a genuine Korean shaman a spectacular amplification of my rapport. It was the beginning of the years-long improvisation-meditation practice shared with many other dancers, including most notably Phoebe Neville, soon to become my wife, and still is."
PRICE: $16.50
UNICAZURN Transpandorem LP
UnicaZürn, David Knight and Stephen Thrower, build their long, ceaselessly evolving musical compositions through a process of improvisation, followed by careful editing and processing. Their music, drawn from subconscious associations while recording, is frequently aquatic or oceanic in overall mood and texture. Knight has spent most of his life living on the banks of the Thames while Thrower resides on the East Sussex coast, and their musical flights of imagination tend toward rolling river dynamics and open seas of synthesized sound. For UnicaZürn, tidal imagery, oceanic forms and the slow rhythms of coastal water are a recurring structural presence, with strong associations of rootlessness, of being far away from home. The inability of human lungs to breathe water endows rivers and seas with a special poetics: a boundary between two different but inter-related states. On the one hand, solidity, clarity, definition; On the other, fluidity, uncertainty, dissolution. The sense of a threshold between opposites gives rise to an elusive otherness, suggesting a portal through which the everyday world can be escaped. Death under the water, the survivors of a lost kingdom clinging to the rocks of an unfamiliar island, a coastal boat ride into deepest abstraction, a deserted beach expressing a world outside reality. A sexual frisson too: a hovering at the brink, poised at the turbulent edge of pleasure, swept away into oblivion. There's a darkness in the sea, even if illuminated by the most dazzling sunshine. Open horizons shows the clutter of human life to be transient, and as the sea offers a dizzying sense of the eternal. Aquatic sensibility, oceanic timescales: the action of the salt sea beating on the shore. Beaches are cosmic, elemental. UnicaZürn's core instrumentation blends analog synthesiser, mellotron and electric piano with electric guitar and clarinet. Both Thrower and Knight draw upon their love and wide experience of electronic music, from the outer shores of Stockhausen to the outer space-ways of Tangerine Dream. In addition, Knight is renowned for his pioneering multi-textured fretwork with Danielle Dax and his ambient guitar settings for Lydia Lunch, while Thrower's reed playing provided a distinctive melancholy in Coil and emerged as electro-acoustic texture in Cyclobe. The title "Pale Salt Seam" is drawn from the poem "Night-Song of the Andalusian Sailors" by Federico García Lorca. Parts of "Pale Salt Seam" were recorded live at the Ironmongers Row Baths on March 2nd, 2013. Additional production assistance by Ivan Pavlov.
PRICE: $23.50
CAT #: JBH 002LP
CAMERON, JOHN Psychomania LP
2017 repress. A timely repress of John Cameron's 1973 score to the British cult biker classic Psychomania, aka The Death Wheelers. Originally first issued in 2003 by Trunk, this jazz-rock soundtrack masterpiece has become a valuable LP, people paying up to $100 on the second-hand market. Here it rides again, with music direct from John Cameron's master tapes, with new reversed black, red, and white artwork to differentiate it from the first press in 2003. Psychomania is a true cult classic with zombie bikers, George Sanders (his last film before he killed himself out of boredom), Beryl Reid, Joe Columbo furniture, a frog, brutalist architecture, stone circles, Triumph motorbikes, Nicky Henson, teen gangs, The Living Dead, The M3 motorway, all with music by a British jazz outfit headed up by one of the great progressive jazz/library composers of them all, John Cameron.
PRICE: $12.50
CAT #: TTT 010EP
KIRCHIN, BASIL Silicon Chip 7"
An unreleased 1979 post-punk-post-disco banger from British musical maverick, Basil Kirchin. Back in the late 1970s, Kirchin was in Hull, working on numerous projects, documentary scores, and strange musical concepts. "Silicon Chip" is a rare surviving and most unusual work from the period, until now an unreleased slice of jumping, plugged-in perfection presciently celebrating the dawn of the computer-based industrial revolution. "Silicon Chips" is a set of quick electro blasts and logos, possibly conceived and written for library usage. Personnel: Gary Burroughs - vocals, guitar, keyboards; Danny Wood - drums; Dane Morrell - drums; Bernie Dolman - bass.
PRICE: $18.50
Limited restock. LP version. Yume takes its title from the Japanese word for "dream" and delivers an otherworldly ambient-electronic hybrid that's cinematic in scope yet intimate in emotion. In making the album, composer and multi-instrumentalist Keith Kenniff (the sole artist behind Helios) has created a warm sonic tapestry from luminous guitar lines, elegant piano work, ingeniously-crafted rhythms, and lo-fi electronic elements. Though Kenniff's graceful maneuvering of mood and tone lends Yume a journey-like quality, the album offers pieces as captivatingly disparate as "Pearls" (which blends heavy beats and lilting piano melodies; cascading guitar riffs and airy atmospherics) and "Embrace" (which closes out the album with a glimmering expanse of sound). Built from both electronic experimentation and live instrumentation, Yume also constructs its richly-detailed textures by drawing from a repertoire of sound that ranges from toy tambourines to serendipitously-recorded environmental noises. Raised in rural Pennsylvania, Kenniff put out Helios's 2004 debut album Unomia while studying percussion at Boston's Berklee College of Music. Since then, he's released five more albums as Helios, in addition to collaborating with his wife Hollie Kenniff in the shoegaze-inspired pop duo Mint Julep and composing music for such clients as Paramount Pictures, Apple, Facebook, and Google. CD includes two extra tracks.
PRICE: $17.50
CAT #: VVJ 111CD
"I went to New York to search for jazz, but there was none." It is 1982, and a young Massimo Nunzi is located in a city musically very different from what he expected. Who could imagine that then the seeds were planted for the Orchestra Operaia in New York some 35 years ago? To Nunzi, it was a musical and cultural shock, resulting at first in a sense of displacement that in time was followed by positive, creative opportunities. The artistic sensibility of Nunzi absorbed those stimuli and began to develop a new idea of music, in which definitions in general count for very little. "I owe much to Hal Willner, who in 1981 released an album dedicated to Nino Rota putting together rock musicians and jazz without any prejudice. He was flanked in his work serenely by Bill Frisell and Robbie Robertson, Diamanda Galas and Wynton Marsalis, Iggy Pop and Elvis Costello." Taking inspiration from Gil Evans and Frank Zappa, their stylistic freedom planted a flag in him, and Nunzi completed his art project, crafting Orchestra Operaia with much care and filling it with positive energy. "I seek full, not empty. The suspended atmospheres prefer structure, manic work on composition and arrangement. Music of this kind has never been treated by jazz musicians, and in fact it comes from my extremely varied training. It is a true reflection of my artistic life." This release features collaboration from the Lone Arrangers, four young musicians who could shape the Orchestra as they please, under the watchful eye of Nunzi. "The repertoire forged the Orchestra sound and it is merged within the disc that was composed mostly by me, but in this imaginative journey in my memory there were missing pieces that have enlightened me." Here and there emerge the beautiful voices of Petra Gizzards and Chiara Morucci, to further embellish the story of the album, and one must not forget the voice of the young Marta Colombo. A fascinating journey, which is dedicated to Laurie Anderson with a thoughtful nod to the "Six Memos" of Italo Calvino.
WH 333CD
PRICE: $15.00
CAT #: WH 333CD
"Throttle Elevator Music Reunites with Saxophone Star Kamasi Washington for nine new compositions on their fifth And final recording. Throttle rhythm section bassist Matt Montgomery and drummer Mike Hughes are joined by guitarist Eva Mendoza and emerging trumpet player Erik Jekabsen. Retrorespective sonically is a blend of beautiful spiritual songs and energetic well performed music."
PRICE: $16.50
ASTATKE & HIS ETHIOPIAN QUINTET, MULATU Afro-Latin Soul Vol. 2 (Colored Vinyl) LP
Colored vinyl version.
PRICE: $16.50
ASTATKE & HIS ETHIOPIAN QUINTET, MULATU Afro-Latin Soul Vol. 2 (180-Gram Vinyl) LP
180-gram vinyl version.
PRICE: $15.00
Exact repro; originally released in 1966. Tracks: "The Panther (Boogaloo)," "Konjit (Pretty)," "Soul Power," "Lover's Mambo," "Love Mood For Two," "Jijiger," "Girl From Addis Ababa," "Karayu," "Raina." "For those who might not be familiar, Mulatu Astatke is as important to the history of Ethio-jazz as Fela Kuti is to Afrobeat, defining the genre from it's inception. . . . On 'Soul Power', we find another great example of Astatke's signature sound, blending together traditional Ethiopian music with Latin-jazz. Simply put, just another classic composition from one of the genre's most influential and legendary musicians." --Pat Les Stache, American Athlete
PRICE: $14.00
CAT #: ZAI 005EP
BRATHA Topless Dancers 12"
Bratha is the name of the Berlin based collaboration of Matt Nowak, aka No Mad Ronin, and The Analogue Cops aka Lucretio and Marieu. Topless Dancers is their debut EP on Matt Nowak's imprint Zaijenroots. As usual, this release combines refined samples and quotes with extremely solid, pumpin' beats and fat basslines. The grooves move smoothly from the metronomic dance attitude with a Romanian touch - topless dancers - of the title track, to the wobbling "Estate", undergoing to the suspended, melancholic fluctuations of "Space Boogie" and the slow "No Mad Ronin's Death".
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Last Updated on Sunday, 29 January 2017 09:07  


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