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Forced Exposure New Releases for 10/16/2017

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New music is due from UUUU, The Caretaker, and Daphni, while old music is due from Village Callers, Carl Michael von Hausswolff, and Los Gatos.

FORCED EXPOSURE MAILORDER UPDATE
NEW RELEASES FOR THE WEEK OF 10/16/2017
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1631 RECORDINGS (SWEDEN)
MDC 111CD
PRICE: $15.50
CAT #: MDC 111CD
FILE UNDER: ROCK
MAASSEN, DIRK The Wind And The Sand CD
Dirk Maassen is a German composer and pianist who took up piano at the age of ten. In the 1980s, he performed in several bands and projects and started some experimental cross genre productions where he experimented with different styles. During the '90s, Dirk toured and released two albums with his band In Contact and also worked on his side project Unknown Vision. He returned to solo piano in 2011, which is according to him the most immediate instrument to materialize ideas and feelings into something that can resonate with an audience. Dirk has become one of the world's most revered piano composers and has gained a huge following. His compositions have touched millions of listeners worldwide and have been featured in several film projects, including the award-winning short film Crossroads at the Cannes Film festival in 2015.
SCH 051CD
PRICE: $22.00
CAT #: SCH 051CD
FILE UNDER: ELECTRONIC
KOSEMURA, AKIRA In The Dark Woods CD+DVD
Akira Kosemura's In The Dark Woods combines the electronic and acoustic sounds of piano, Wurlitzer, and synthesizer with a string quartet, similar to the music heard on his previous improvisational solo piano work One Day from 2016. As indicated in the title, the entire album is filled with an obscure darkness and a world of misty sounds ever to be feared of, like a comfortable quietness in the dark where a child in the womb is hearing a mother's heartbeat. As the music goes on, it gradually begins to widen an introspective worldview. The combined sounds of repeated phrases, as seen in minimal music, a sophisticated crossover sound between acoustics and electronics, and an improvisational solo piano present a worldview suggestive of a broader theme, such as the circulation of life or the law of nature. The highlights on the album, "In The Dark Woods" and its variations "Letter From A Distance", will leave listeners with deep emotions and afterglow. In The Dark Woods is released by 1631 Recordings and Schole Records.
AXIS
AX 075EP
PRICE: $15.00
CAT #: AX 075EP
FILE UNDER: ELECTRONIC
MILLS, JEFF Lost In Space 12"
Lost In Space is an exotic music excursion into the unknown -- discovering the sectors of outer space and encountering unexpected occurrences which is to be the objective, narrative and attraction. An extraordinary musical creation by the artist Jeff Mills, he conceives Lost In Space with the future of mankind's advances in space travel and colonizing other planets in mind. Fusing classical and electronic music is the only way to play out a scenario of such magnitude of possibilities. The music was created for the classical orchestral version commissioned by Orchestre National Du Capitole de Toulouse, France.
BEDROOM COMMUNITY (ICELAND)
HVALUR 025LP
PRICE: $27.50
CAT #: HVALUR 025LP
FILE UNDER: ELECTRONIC
FROST, BEN The Wasp Factory LP
Following the CD release of Ben Frost's The Wasp Factory in December of 2016 (HVALUR 025CD), a limited edition transparent vinyl version is presented here. In advance of new music from Ben Frost in 2017, Bedroom Community present the definitive recorded version of his 2013 opera and directorial stage debut, The Wasp Factory, based on the novel by the late Iain Banks. Setting his unwitting characters against the backdrop of vast, implacable forces of nature -- storm, sea, fire, and even their own madness -- Frost reaches deep into his formidable arsenal to reveal an unexpected warmth, from the composer of electronic experiments like Aurora (2014) and Theory Of Machines (HVALUR 002CD/LP, 2006). The focus here is on the live sound of the Reykjavík Sinfonia, recorded in Abbey Road's Studio II and, for the first time, the human voice. He sets David Pountney's libretto to tuneful, even soulful vocal lines; an extraordinarily unreliable narrator describing scenes of extreme violence and horror in music of incongruous loveliness. Limited edition transparent vinyl comes in an edition of 1000."One of his boldest projects thus far, Frost's score and concept for the opera is both ambitious and grand in its design. The writing is often sparse and wide, yet simultaneously focused and intense. Frank, the protagonist, is infamously cast as an ensemble of three women who give voice to his dissociated internal monologues." --Drowned In Sound"The Australia-born, Iceland-based Frost is popularly known for his electro-acoustic hybrids of classical music and heavy metal. He combines post-minimal finesse with modernist severity and Wagnerian daring, charging into the deepest abysses of quiet and storming up the fieriest peaks of noise. Though the focus is now live sound and the human voice, The Wasp Factory should still resonate with fans of his ambient music. It's By The Throat (HVALUR 006CD/LP, 2009) inverted, foregrounding classical and recessing electronics, with no entropy in Frost's signature blend of concussive brawn, delicate tissue, and intricate logic." --Pitchfork
BLACK TRUFFLE (AUSTRALIA)
BT 031LP
PRICE: $23.00
CAT #: BT 031LP
FILE UNDER: ELECTRONIC
DUNCAN, JOHN Klaar LP
Black Truffle present the first ever vinyl reissue of legendary performance and sound artist John Duncan's forgotten gem Klaar, originally released by Extreme in 1991 and partly created in collaboration with Andrew McKenzie (The Hafler Trio). Duncan is perhaps most well-known for his notorious early performances pieces, which explored violence, self-denial, and the establishment of extreme psychological and physical states in both artist and audience. Alongside these transgressive experiments, Duncan began to create audio works primarily using short wave radio. Where some of Duncan's earlier recordings are composed of magnificently sculpted but abrasive walls of noise, Klaar, recorded while Duncan was living in Amsterdam, occupies a more meditative territory. Opening with "Delta", which layers long tones seemingly sourced from slowed down voices over a distant, watery field recording, the remainder of the first side is occupied with the epic title piece, which arranges shortwave radio abstraction, vocal experiments, and field recordings (street sounds, fireworks, monastic chants) into an episodic cinema for the ear. The second side is dominated by the long, brooding "The Immense Room", where layers of shortwave interference and field recordings are gradually built up into a pulsing, wavering bed of sound infused with a subtly disturbing sense of psychological unrest. This rises to the surface near the end of the piece as sexual moans and ominous rumbles crisscross the stereo image before being abruptly brought to a halt. A singular work of electroacoustic composition, Klaar is both compositionally sophisticated and infused with a sense of mystery and a vital reality often lacking in more academic experimental music; it sits proudly alongside contemporaneous recordings by Duncan's friends and collaborators Jim O'Rourke and Christoph Heemann and is a must for anyone interested in their work. Cover image and John Duncan portrait by Traianos Pakioufakis. LP design by Stephen O'Malley. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin.
BLACKEST EVER BLACK (UK)
BLACKEST 068EP
PRICE: $15.50
CAT #: BLACKEST 068EP
FILE UNDER: ELECTRONIC
FORNO, CARLA DAL The Garden 12"
Four new, obliquely confessional dispatches from the edge zones of feeling. "You Shouldn't Have To Wait" is an confrontational companion piece, or response, to her own "Fast Moving Cars". It's a forceful, void-chasing drone-rock led by a "Venus In Furs" bassline. "Clusters" is a bright, electronic pop fantasy in the tradition of Stereolab or Saint Etienne. "Make Up Talk" is a tense, awkward unpicking of a dysfunctional relationship. With "The Garden" Dal Forno pays tribute to Einsturzende Neubauten. Emotionally eloquent, "The Garden" is also her most subtly psychedelic production to date.
CLAN DESTINE (UK)
CDR 023LP
PRICE: $20.00
CAT #: CDR 023LP
FILE UNDER: ELECTRONIC
AUTUMNS Suffocating Brothers LP
Autumns is the solo project of Christian Donaghey, from Derry, Northern Ireland. To date, Autumns has been responsible for a brace of singles, EPs, and a mini LP, appearing on Soft Power Records, CF Records, Regis's Downwards label, and Clan Destine. Suffocating Brothers is his debut full-length record. Written and produced over the course of six months, it's an album that comes as a momentous and devastating fulfilment of what the Autumns project has outlined with increasingly ruthless intent over the last few years. Vocals reiterate like echo chamber death sentences, drum machines rattle and blister, clear-cut and sharp like broken glass, assaultive grinds of static and blasts of feedback suffuse it all like a ruptured maelstrom of FM interference. Yet, with this harsh sense of ferocity and obliteration comes a reciprocal compulsion for action and release. "I Never Noticed That You Left", "No More Luxury", and "Faceless" all tear into frantic, serrated analog rhythms surrounded by an anarchic chaos of corrupted noise, enshrouded voice, and blistering percussion. At times, these moments resemble the corrosive acid of Phuture and Sleezy D if their more riotous tracks were mired in the machine abuse of Whitehouse or SPK. "Female Model", "Forgotten Hangings", and "Limit Experience" on the other hand reveal the roots of Donaghey's initial inspirations, all shaped in different ways by a portentous strain of post-punk. Where "Female Model" is sinister and stern, a jackbooted dub from the void, "Forgotten Hangings" is Cabaret Voltaire's "Photophobia" reinvigorated by a new voice and a cataclysmic vision, formed of metallic sirens, plundered voices, and hails of climactic hiss. "Limit Experience" is a more fixed agitation but no less caustic, a monochromatic psychedelia for the streets and back alleys you tend to avoid. Elsewhere and throughout, piercing, cavernous gusts of drone augment the disorder, establishing an atmosphere which is at once stark and overwhelming. As a whole, Suffocating Brothers is a record unified by an extraordinary depth and physicality. Includes download card.
COYOTE RECORDS (UK)
COY 018EP
PRICE: $12.50
CAT #: COY 018EP
FILE UNDER: ELECTRONIC
OH91 Shuttle 12"
OH91, having released his debut record with Coyote, Stealth (COY 005EP, 2013), returns to the label with Shuttle. Honing in on a day-dot instrumental grime sound favored by MCs, OH91's work on "Shuttle" is sharp and brutally effective; sirens form the basis of the short intro, as a booming, looping beat -- boosted by tense, anxious strings -- slingshots the track straight into the dance. Dutch producer JLSXND7RS, fresh from producing a number of tracks for Wiley on latest album, The Godfather (2017), throws down a fierce, contorted remix full of warped sounds and eerie, sci-fi bleeps.
D.O.C. (BRAZIL)
DOC 024EP
PRICE: $14.50
CAT #: DOC 024EP
FILE UNDER: ELECTRONIC
JANEIRO & GUI BORATTO, LEO MooDisco 12"
Headed by a Carioca who was blessed with the name of his own city, MooDisco contains a three-track bomb from Leo Janeiro with D.O.C. label boss Gui Boratto and a very remix by Rodriguez Jr. -- a serious track sequence of techno and house beats. Each artist has kept its own trademark. Rodriguez Jr. (Oliver Mateu), shared his unique talent creating a remix for "MooDisco". He is the one half of French electro act The Youngsters. A straight punch EP release with serious beats, deep melodies and the synth keys we just love to listen over and over!
DGTL RECORDS (NETHERLANDS)
DGTL 002EP
PRICE: $14.50
CAT #: DGTL 002EP
FILE UNDER: ELECTRONIC
FORT ROMEAU Untitled II/A Familiar Place 12"
The British talent Fort Romeau gained recognition with his cultivated ear and apprehension of all genres of music, that brought him to add something unique to the widespread spectrum of electronic music, both as a DJ and a producer. "Untitled II" is a luminous house tune, with a soundscape on top that takes you on a journey, while "A Familiar Place" adds a little bit of darkness to the EP. This B-side is made up out of raw elements, a high-tempo kick and hi- hat create a sturdy flow that makes it hard to sit still.
DRONE UK (UK)
DRONE 012LP
PRICE: $19.50
CAT #: DRONE 012LP
FILE UNDER: ELECTRONIC
VON HAZE VII LP
Drone pursues new resonant frequencies with its twelfth release, a tonal, penetrating, and experimental album, Von Haze's VII. VII was recorded by laying full takes of synthesizers and guitar feedback with repetitive melodies as a nod to the tradition of ragas. Each song was written for a specific power center in the body and to engage both active and passive effects of sustained and concentrated sound.
ECHO BEACH (GERMANY)
EB 128LP
PRICE: $25.00
CAT #: EB 128LP
FILE UNDER: ROCK
TON STEINE SCHERBEN In Dub LP+CD
LP version. Includes CD. Even though Ton Steine Scherben never received the international recognition of some of their German contemporaries, the group, founded in Berlin in the late '60s, remains one of the most influential groups from the German counter-culture. In times of krautrock, Kraftwerk, and kosmic music, they combined more traditional guitar-based rock sounds with German protest lyrics that covered a whole range of topics -- often radical and political in the beginning, and quite lyrical and tender in later times. Their singer Rio Reiser also managed a successful German solo career before his untimely death in 1996. The songs and lyrics of Rio and Ton Steine Scherben remain to this day a source of inspiration for fans and current artists in Germany. And their own record label, David Volksmund Productions, remains one of the earliest and still active German independent record labels. The story of how In Dub came into existence goes back about 20 years. Back then, the young Echo Beach label became known for its (still-running) King Size Dub compilation series, which combined dub music from myriads of international collaborators and was sold for a nice and inexpensive price, essentially keeping the interest in all things dub alive. The third volume of that series concentrated on the German dub scene and contained dub -- and reggae -- related songs by some of Germany's biggest artists, such as Die Toten Hosen and Nina Hagen. Another highlight of that sampler was the song "Mole Hill Rocker", a collaboration between Ton Steine Scherben founders Rio Reiser and R.P.S. Lanrue. Ever since then, Echo Beach kept thinking about further collaborations with Ton Steine Scherben. Finally, Echo Beach CEO Nicolai Beverungen and two of his established dub collaborators, Fe Wolter (Di Iries, Dubvisionist) and Alexander Hornbach (Aldubb) got together with Lanrue, this time in order to create dub mixes of songs from all phases of Ton Steine Scherben's career. The group's street-fighting hymn "Keine Macht Für Niemand" gets combined with the rhythm group of Gentlemen's "The Evolution", with additional new guitar sounds by Lanrue and Nina Hagen on background vocals. A love song such as "Wunder" becomes reggae-fied under then hands of Aldubb. Other songs, such as "Filmkuss" and "In Den Tagen" have been completely re-structured at the mixing desk. A dub kaleidoscope that combines the essences of both Ton Steine Scherben and Echo Beach.
EDITIONS MEGO (AUSTRIA)
EMEGO 239LP
PRICE: $29.00
CAT #: EMEGO 239LP
FILE UNDER: ELECTRONIC
UUUU UUUU 2LP
UUUU is a new outfit featuring Edvard Graham Lewis, Thighpaulsandra, Matthew Simms, and Valentina Magaletti. Individually these humans have implanted feathers in caps such as Coil, Dome, Wire, Tomaga, etc. Collectively they form UUUU, a powerhouse construction of fierce and free sonic exploration, as liberating as it is frightening, resulting in a richly rewarding sound. The artists united present a project of exquisite curiosity and confident chaos where the individual thumbprints mesh into a gloriously muscular frenetic free sonic soup. "It's Going All Over The Floor" presents itself as a terse meeting between dance, ambient, abstraction, and improvisation. "The Latent Black Path Of Summons Served" proceeds in a tense energy field where random elements bounce around until locking into a fourth world pattern designed to fall into a dense mass of ecstatic noise. "Boots With Wings" is classic Lewis -- a pop tune from the other side of the mind. UUUU is a schizophrenic seething/soothing masterpiece of a past/present hybrid, equally at home in the club, the home, and the mind. Photography by Antonio Curcetti. Recorded and mixed at Aeriel Studios, Brechfa by Thighpaulsandra; Mastered by Sarah Register.
GIZEH RECORDS (UK)
GZH 078LP
PRICE: $25.50
CAT #: GZH 078LP
FILE UNDER: ELECTRONIC
LINDHOLM, OTTO Alter LP
Alter is the new album from Belgium-based double bass player and electronic producer Otto Lindholm. Divided into four color-inspired, long-form movements, Alter takes off from Lindholm's previous work -- a self-titled album released in 2015 on Icarus Records, and pushes the already abundant palette of sounds even further. This new work is more brooding and hypnotic. A deep, resonating bass is present -- hinting at the likes of Greek, chamber-doom merchants Mohammad, but perhaps with more attention placed upon textures and melody. The record moves at a funereal pace and opener "Fauve" hits abyssal depths from the outset. A bowed melody is coaxed through the throbbing bass with dissonant harmonics drawing you in and holding you close. The ghostly beginnings of "Alyscamps" create an overwhelmingly tense atmosphere where acoustic and electronic elements collide and evolve into a heaving, ceremonious drone. Shafts of light emerge through the fog but the tone remains a haunted one. Closer, "Heliotrope", strikes a more hopeful note. A lighter, more open feel emerges -- bringing to mind early work of The Rachels or perhaps Deaf Center. Alter is a triumphant record in its entirety. Seamlessly moving from light to shade and back again, experimenting in heavy atmosphere, Alter ultimately draws you into its deep and mysterious world. Some words from Otto Lindhom on the album: :My original idea was to work on the melody and the play of the arco, looking for expressive music from this combination. To do it, I first decided to work on 'modes' and their specific color. With these modes I could work on tensions, frictions and color shading. Working on the melody aspect, I was looking to go beyond the romantic, easy listening or sentimentalizing, trying to suggest more than an expression of concrete emotions. Naturally, a kind of impressionist, musical approach appeared to me where I could simply develop and enhance the music I was playing/writing. With my daughter about to born and my strong wish to record new music, this spurred me to work efficiently. I had no time or space for deviations, forcing me to sculpt the music as it came out, enjoying and contemplating a sort of rawness in my play and direction." 180 gram vinyl; Edition of 500.
GLITTERBEAT (GERMANY)
GB 026CD
PRICE: $12.00
CAT #: GB 026CD
FILE UNDER: WORLD
BIXIGA 70 III CD
2015 release. Five years after their 2011 inception, the São Paulo-based Brazilian group Bixiga 70 continues to travel musically forward, only to find themselves more and more at home. The band's aptly named third album, III , is a luminescent and energized admixture of Atlantic cultures. The album's hyper-contemporary dialogue journeys between the sounds and rhythms of Brazil and Africa, and between the band's ten musicians and their distinctive musical identities. Their collective influences include jazz, funk, and Afro-Brazilian music, and stretch further afield into dub and reggae, electronics, cumbia and carimbó, Ethio-jazz, and samba. Bixiga 70's III is a breathtaking rhythmic storm in which inspired solos, harmony and dynamics, and beats and improvisation all mesh together in vital and unpredictable ways. Spanning a joyous danceability, a sharp sense of humor, and committed political reflections, the life-blood of this ten-piece unit is instrumental music, but it is an instrumental music that speaks profoundly. Self-produced by the band in their own studio in São Paulo (and mixed by Victor Rice), all the compositions on III were written and arranged by the entire Bixiga 70 collective. The process of creation is decentralized and acknowledges the importance of each musician in the room. The album was recorded live in the studio to further assure the depth of this collaborative spirit and to accentuate the intensity of the band's sonic experiments. Throughout its nine tracks, styles merge and original syncretisms come to life. The album shapeshifts contemporary Afro-funk, Moroccan cumbia, spiritual jazz, adapted Afro-Brazilian chants, sounds from São Paulo's Black Rio movement, Arabian dub, Malinké drumming, Angolan guitar music, and traditional bamboo fife bands. There is no doubt that Bixiga 70 is one of the guiding voices of Brazil's contemporary instrumental music scene and III clearly demonstrates why. They are a band that deftly searches for untracked and thrilling musical spaces to occupy. And most importantly, they are a band that succeeds in finding them. Décio 7: drums; Rômulo Nardes: percussion; Gustávo Cék: percussion; Marcelo Dworecki: bass; Mauricio Fleury: keyboards and guitar; Cris Scabello: guitar; Cuca Ferreira: baritone sax; Douglas Antunes: trombone; Daniel Nogueira: tenor sax; Daniel Gralha: trumpet.
GB 026LP
PRICE: $23.50
CAT #: GB 026LP
FILE UNDER: WORLD
BIXIGA 70 III LP
LP version. 2015 release. Five years after their 2011 inception, the São Paulo-based Brazilian group Bixiga 70 continues to travel musically forward, only to find themselves more and more at home. The band's aptly named third album, III , is a luminescent and energized admixture of Atlantic cultures. The album's hyper-contemporary dialogue journeys between the sounds and rhythms of Brazil and Africa, and between the band's ten musicians and their distinctive musical identities. Their collective influences include jazz, funk, and Afro-Brazilian music, and stretch further afield into dub and reggae, electronics, cumbia and carimbó, Ethio-jazz, and samba. Bixiga 70's III is a breathtaking rhythmic storm in which inspired solos, harmony and dynamics, and beats and improvisation all mesh together in vital and unpredictable ways. Spanning a joyous danceability, a sharp sense of humor, and committed political reflections, the life-blood of this ten-piece unit is instrumental music, but it is an instrumental music that speaks profoundly. Self-produced by the band in their own studio in São Paulo (and mixed by Victor Rice), all the compositions on III were written and arranged by the entire Bixiga 70 collective. The process of creation is decentralized and acknowledges the importance of each musician in the room. The album was recorded live in the studio to further assure the depth of this collaborative spirit and to accentuate the intensity of the band's sonic experiments. Throughout its nine tracks, styles merge and original syncretisms come to life. The album shapeshifts contemporary Afro-funk, Moroccan cumbia, spiritual jazz, adapted Afro-Brazilian chants, sounds from São Paulo's Black Rio movement, Arabian dub, Malinké drumming, Angolan guitar music, and traditional bamboo fife bands. There is no doubt that Bixiga 70 is one of the guiding voices of Brazil's contemporary instrumental music scene and III clearly demonstrates why. They are a band that deftly searches for untracked and thrilling musical spaces to occupy. And most importantly, they are a band that succeeds in finding them. Décio 7: drums; Rômulo Nardes: percussion; Gustávo Cék: percussion; Marcelo Dworecki: bass; Mauricio Fleury: keyboards and guitar; Cris Scabello: guitar; Cuca Ferreira: baritone sax; Douglas Antunes: trombone; Daniel Nogueira: tenor sax; Daniel Gralha: trumpet.
GB 027CD
PRICE: $12.00
CAT #: GB 027CD
FILE UNDER: ELECTRONIC
LARAAJI Ambient 3: Day of Radiance CD
2015 remastered reissue. Includes lengthy interview with Laraaji. Laraaji's glistening 1980 debut Ambient 3: Day of Radiance has from the beginning been considered an outlier. Though widely celebrated at that the time of its original release (as the third installment in Brian Eno's emerging ambient music series), the album also brought with it an aura of mystification. Where did it fit in? An uncharted synthesis of resonating zither textures, interlocking hammered rhythms, and 3-D sound treatments (courtesy of Eno), Day of Radiance seemed to push open many doors at once, ambient music being only one of them. Though there are certainly aspects of the album that find sonic common ground with other Eno-related "ambient" projects (on the tracks "Meditation #1" and "Meditation #2" in particular), the album is not easily boxed into a singular genre. Day of Radiance also mines the ethereal spiritualism of late-'70s new age music (of which Laraaji is considered a pioneer), the harmonic and rhythmic repetitions of American minimalists Terry Riley and Steve Reich, and traditional global sounds from India and Java (particularly gamelan music). And while Laraaji never explicitly embraced the "Fourth World" theories of fellow visionary and Eno collaborator Jon Hassell, Day of Radiance echoes a kindred exploratory exoticism. In the late '70s Brian Eno had relocated to New York City from London and had begun a period of fertile intersections with musicians in his adopted home. Laraaji recounts how he and Eno first crossed paths: "I was playing [zither] in Washington Square Park and I usually play with my eyes closed because I get into meditative trance states that way, and opening my eyes and collecting my little financial reward from that evening, there was a note, on notebook paper -- it looked like it had been ripped from somebody's expensive notebook -- there was a note that says 'Dear sir, kindly excuse this impromptu piece of message, I was wondering if you would be interested in talking about participating in a recording project I am doing, signed: Brian Eno.'" The album was completed in two sessions; the first one produced the faster, pulsing "Dance" compositions (on the A-side) and the second session yielded something closer to Eno's own ambient constructs -- slow zither washes and waves with more pronounced sound enhancements (on the B-side). While the album is deceptively simple in its construction, closer listening reveals its extraordinary depth of field and its polymath influences.
GB 028LP
PRICE: $23.50
CAT #: GB 028LP
FILE UNDER: WORLD
BOVELL, DENNIS Dub 4 Daze LP
2015 release. 180-gram vinyl. Gatefold sleeve. One of the most revered dub and reggae producers, Dennis Bovell has been leaving his mark on contemporary music for over 40 years. Born in Barbados, Bovell moved to south London at the age of 12 and by his late teens had started a musical trajectory that profoundly influenced Britain's emerging roots, lovers rock, soundsystem, and dub cultures. As a musician, songwriter, and producer, Bovell collaborated with Linton Kwesi Johnson and Matumbi and was notably involved in the late-'70s UK punk/post-punk scene as the producer for The Slits, The Pop Group, and Orange Juice. Bovell has also worked with Marvin Gaye, Ryuichi Sakamoto, Fela Kuti, and Joss Stone. Both under his own name and the moniker Blackbeard, Bovell has created a striking oeuvre of dub albums (I Wah Dub (1980), Strictly Dub Wize (1978), LKJ in Dub (1980)) and has been involved with countless dub mixes and dubwise collaborations. In 2012, he released the acclaimed dub collection Mek It Run. Dub 4 Daze is an album that deeply mines Bovell's inspired catalog of rhythms and sounds. Dennis describes the material as "a collection of different dub mixes I found buried in my archive, and a few newly mixed cuts, done after re-exploring some earlier recorded material. I baked some 2" masters, transferred them to digital and mixed them using an analogue desk." Dub 4 Daze is a richly animated sonic journey that slips and slides between soulful roots ("Eye Water"), down-tempo brass ("Top Level Dub"), 3D mysticism ("Jah Man Dub"), and space echo abstractions ("Physics of Dub"). The album shows Bovell in full command of his craft. "For me, dub means the absolute freedom to express how well an engineer knows his equipment and the piece that's being subjected to the treatment. Just like how the guests at Greek weddings smash the crockery. . . it's fun to be demolishing, but re-building the track all at once, carving a different masterpiece from the same material. . . . a must do in order to maintain my sanity level." The album showcases a plethora of top-flight reggae musicians including guitarist John Kpiaye (Matumbi, LKJ), drummer Jah Bunny (LKJ, Jah Shaka, Augustus Pablo), and vocalist Errol Campbell. Throughout, Bovell reveals the prowess of his own musicianship; on several tracks he both sings and plays most of the instruments himself. Classic dub. Classic reggae. Classic Dennis Bovell.
GB 029CD
PRICE: $15.50
CAT #: GB 029CD
FILE UNDER: WORLD
VA Every Song Has Its End: Sonic Dispatches from Traditional Mali CD+DVD
2016 release. The second volume in Glitterbeat's Hidden Musics series. "If these instruments no longer exist, then we will have lost everything. I do not know how we will pass on our history, because the music itself permits us to know our past, to help us live, even today . . . it is our culture which will die." --Afel Bocoum, Malian musicianMali's traditional life, customs, and art forms (musical and otherwise) are in a steady process of decline. Bamako, the country's vibrant capital, is the fastest-growing urban expanse in Africa and the rapid turn of young people from the village to the city has profoundly affected the place of Mali's ancient musical traditions (musical instruments, songs, oratory, and dance). The repositories of these traditions (elders, artisans, musicians, dancers, healers) are finding it increasingly difficult to transmit their arts to the ascendant, transitory generation. Bamako-based producer and educator Paul Chandler has been documenting the sonic and cultural complexities of Malian traditional music since the early 2000s. Every Song Has Its End is an out-of-time, visceral collection of sounds from Chandler's unparalleled archive. Echoes of these sounds can of course be heard in the urbanized Malian music that has been embraced throughout the world, but the songs, ritual soundscapes, and accompanying images found here are undoubtedly more raw, foundational, and filled with surprise than the Malian music to which many are accustomed. Accompanied by a recording engineer and a camera operator, Chandler has ventured to off-the-grid villages and crossroad towns all across the vast Malian landscape, seeking out practicing traditional musicians and their under-documented and often endangered musics. Immersive and exhilarating, these field recordings and videos offer a glimpse into the intricacies of the Malian musical experience, from the haunting modulations of the mostly female Group Ekanzam and the spiky, electrified drone of Super Onze, both recorded in Mali's remote and embattled northeastern desert region, to the hypnotic, pulsing sounds of the Mianka Cultural Troupe's elk horns (buru) and Ibrahim Traoré's warrior harp (bolon), both recorded over 900 miles away in Mali's more verdant southern hill country. Also includes performances by Group Tagout; Kimsy Bocoum, Afel Bocoum, Hama Sankare; Boukader Coulibaly; Bina Koumaré & Madou Diabate; Kassoun Bagayoko; Sidiki Coulibaly; Inna Baba Coulibaly; and the Cultural Troupe from Nioguébougoula. DVD is PAL format; region-free.
GB 029LP
PRICE: $26.50
CAT #: GB 029LP
FILE UNDER: WORLD
VA Every Song Has Its End: Sonic Dispatches from Traditional Mali 3LP/DVD
Triple-LP version. Includes PAL-format, region-free DVD. 2016 release. The second volume in Glitterbeat's Hidden Musics series. "If these instruments no longer exist, then we will have lost everything. I do not know how we will pass on our history, because the music itself permits us to know our past, to help us live, even today . . . it is our culture which will die." --Afel Bocoum, Malian musicianMali's traditional life, customs, and art forms (musical and otherwise) are in a steady process of decline. Bamako, the country's vibrant capital, is the fastest-growing urban expanse in Africa and the rapid turn of young people from the village to the city has profoundly affected the place of Mali's ancient musical traditions (musical instruments, songs, oratory, and dance). The repositories of these traditions (elders, artisans, musicians, dancers, healers) are finding it increasingly difficult to transmit their arts to the ascendant, transitory generation. Bamako-based producer and educator Paul Chandler has been documenting the sonic and cultural complexities of Malian traditional music since the early 2000s. Every Song Has Its End is an out-of-time, visceral collection of sounds from Chandler's unparalleled archive. Echoes of these sounds can of course be heard in the urbanized Malian music that has been embraced throughout the world, but the songs, ritual soundscapes, and accompanying images found here are undoubtedly more raw, foundational, and filled with surprise than the Malian music to which many are accustomed. Accompanied by a recording engineer and a camera operator, Chandler has ventured to off-the-grid villages and crossroad towns all across the vast Malian landscape, seeking out practicing traditional musicians and their under-documented and often endangered musics. Immersive and exhilarating, these field recordings and videos offer a glimpse into the intricacies of the Malian musical experience, from the haunting modulations of the mostly female Group Ekanzam and the spiky, electrified drone of Super Onze, both recorded in Mali's remote and embattled northeastern desert region, to the hypnotic, pulsing sounds of the Mianka Cultural Troupe's elk horns (buru) and Ibrahim Traoré's warrior harp (bolon), both recorded over 900 miles away in Mali's more verdant southern hill country. Also includes performances by Group Tagout; Kimsy Bocoum, Afel Bocoum, Hama Sankare; Boukader Coulibaly; Bina Koumaré & Madou Diabate; Kassoun Bagayoko; Sidiki Coulibaly; Inna Baba Coulibaly; and the Cultural Troupe from Nioguébougoula. DVD is PAL format; region-free.
GB 030EP
PRICE: $17.50
CAT #: GB 030EP
FILE UNDER: HIPHOP
CHIMURENGA RENAISSANCE Girlz with Gunz 12"
2016 release. Otherworldly sonics, Zimbabwean beats, Congolese guitar ambiance, and political heat from Chimurenga Renaissance, the duo of Tendai Maraire and Hussein Kalonji. Tendai Maraire is best known as part of Shabazz Palaces, which Jon Pareles, writing in The New York Times, called "darkly innovative" and credited with preserving hip-hop's "audacious progressive fringe." Maraire hails from a renowned Zimbabwean musical lineage. His father, Abraham Dumisani Maraire, moved to the United States in the late '60s and helped create a flourishing Zimbabwean music scene in the Pacific Northwest. Maraire's partner in Chimurenga Renaissance, guitarist Hussein Kalonji, is a first-generation Congolese-American born in Washington, D.C. His father, Raymond "Braynck" Kalonji, is a Congolese guitar legend credited with pioneering the rumba/soukous sound. Notes on Girlz with Gunz by Charles Tonderai Mudede: "After spending the night listening to Girlz with Gunz , I spent the day remembering Grace Maseva. She was always cheerful, always smiling, and always making bawdy jokes. For her, sexual organs were a normal part of life. A person must pee and play with something. That's just how things are; a tree has fruit, a baboon has that prideful butt, we have our special business. She would laugh and laugh. She was also a great cook. Always did the greens just right. She also fought in the Second Chimurenga, the war that ended white rule in Zimbabwe. Grace was a trained killer. Grace, who survived a brutal war but not the spread of AIDS, could clean, assemble, and load an AK-47. She knew when to duck for cover, when to charge, and when to fire her weapon. There were many women like her in the War of Independence, and their sacrifice, dedication, and general brilliance is celebrated in Girlz with Gunz . This is the spirit of the work. The collaboration between two very talented American-based African musicians, Tendai Maraire and Hussein Kalonji (aka Chimurenga Renaissance), translates the fire of the revolutionary African woman into a music that's richly and thickly innovative. It is fitting indeed that the most experimental, dazzling, and even dangerous work by Chimurenga Renaissance, a duo that is a part of the trans-African Black Constellation (Shabazz Palaces, THEESatisfaction, Erik Blood), is inspired by women like my cousin, Grace. She was once a girl with a gun. She was trained to kill her oppressors. She wanted to build and live in a better world. Peace always has a price."
GB 031CD
PRICE: $15.50
CAT #: GB 031CD
FILE UNDER: WORLD
BRAHIM, AZIZA Abbar el Hamada CD
2016 release. Western Saharan musician and activist Aziza Brahim's second solo album, Abbar el Hamada (Across the Hamada), is a commanding and compassionate musical statement about, and for, the tumultuous age in which we live. Raised in a Saharawi refugee camp in the Algerian desert, and living in exile for more than two decades (first in Cuba and in Barcelona at the time of this release), Brahim's life and music embodies both the tragedies and hopes of the present-day migrant and refugee experience. As walls and borders are again being raised across the world, Aziza Brahim's passionately sung poetic defiance is especially timely and profound. Brahim's previous album, the resplendent Soutak (GB 009CD/LP, 2014), spent an unprecedented three months atop the World Music Charts Europe, and was the chart's top album for 2014. The album was also selected as one of Songlines magazine's "Top Ten" albums of the year and appeared on several other year-end lists. On Abbar el Hamada, Brahim has consciously extended her reach deeper into the sounds of contemporary West Africa. This move has been reinforced by the introduction of Senegalese percussionist Sengane Ngom and drummer Aleix Tobias (who has studied drumming in Gambia and Senegal) into her band, and the return of Malian guitarist Kalilou Sangare from the Soutak sessions. Bassist and arranger Guillem Aguilar and guitarist Ignasi Cussó also return from the previous band. Recorded in Barcelona in the summer of 2015 with Soutak producer Chris Eckman (Bassekou Kouyate, Tamikrest), Abbar el Hamada is a wholly persuasive example of Brahim's panmusical vision and her most compelling and varied album to date. From the pulsing desert rock of "Calles de dajla" and the Afro-Cuban inflections of "La cordillera negra" (evoking '70s recordings by the Super Rail Band) through the dusky elegance of "El canto del la arena" and the raw balladry of "Mani" (featuring Malian bluesmaster Samba Touré on guitar), the music and lyrics on Abbar el Hamada masterfully reflect the restless, imaginative search for home explicit in the album's title. "Hamada" is the word used by the Saharawi people to describe the rocky desert landscape along the Algerian/Western Saharan frontier where tens of thousands of their people are stranded in purgatorial refugee camps. "For me, Abbar el Hamada (Across the Hamada) is a title that synthesizes our destiny as a country over the last 40 years," Brahim explains. "We are suffering an injustice that condemns us to try and survive in an environment as inhospitable as the Hamada." Innovation, naked truth, humility, and political outcry: these are the raw materials of Aziza Brahim's ever-expanding musical vision. On Abbar el Hamada she fuses and fashions these elements into an unforgettable work that is both deeply inspired and deeply inspiring.
GB 031LP
PRICE: $23.50
CAT #: GB 031LP
FILE UNDER: WORLD
BRAHIM, AZIZA Abbar el Hamada LP
LP version. Includes download code. 2016 release. Western Saharan musician and activist Aziza Brahim's second solo album, Abbar el Hamada (Across the Hamada), is a commanding and compassionate musical statement about, and for, the tumultuous age in which we live. Raised in a Saharawi refugee camp in the Algerian desert, and living in exile for more than two decades (first in Cuba and in Barcelona at the time of this release), Brahim's life and music embodies both the tragedies and hopes of the present-day migrant and refugee experience. As walls and borders are again being raised across the world, Aziza Brahim's passionately sung poetic defiance is especially timely and profound. Brahim's previous album, the resplendent Soutak (GB 009CD/LP, 2014), spent an unprecedented three months atop the World Music Charts Europe, and was the chart's top album for 2014. The album was also selected as one of Songlines magazine's "Top Ten" albums of the year and appeared on several other year-end lists. On Abbar el Hamada, Brahim has consciously extended her reach deeper into the sounds of contemporary West Africa. This move has been reinforced by the introduction of Senegalese percussionist Sengane Ngom and drummer Aleix Tobias (who has studied drumming in Gambia and Senegal) into her band, and the return of Malian guitarist Kalilou Sangare from the Soutak sessions. Bassist and arranger Guillem Aguilar and guitarist Ignasi Cussó also return from the previous band. Recorded in Barcelona in the summer of 2015 with Soutak producer Chris Eckman (Bassekou Kouyate, Tamikrest), Abbar el Hamada is a wholly persuasive example of Brahim's panmusical vision and her most compelling and varied album to date. From the pulsing desert rock of "Calles de dajla" and the Afro-Cuban inflections of "La cordillera negra" (evoking '70s recordings by the Super Rail Band) through the dusky elegance of "El canto del la arena" and the raw balladry of "Mani" (featuring Malian bluesmaster Samba Touré on guitar), the music and lyrics on Abbar el Hamada masterfully reflect the restless, imaginative search for home explicit in the album's title. "Hamada" is the word used by the Saharawi people to describe the rocky desert landscape along the Algerian/Western Saharan frontier where tens of thousands of their people are stranded in purgatorial refugee camps. "For me, Abbar el Hamada (Across the Hamada) is a title that synthesizes our destiny as a country over the last 40 years," Brahim explains. "We are suffering an injustice that condemns us to try and survive in an environment as inhospitable as the Hamada." Innovation, naked truth, humility, and political outcry: these are the raw materials of Aziza Brahim's ever-expanding musical vision. On Abbar el Hamada she fuses and fashions these elements into an unforgettable work that is both deeply inspired and deeply inspiring.
GB 032LP
PRICE: $23.50
CAT #: GB 032LP
FILE UNDER: WORLD
BIXIGA 70 The Copan Connection: Bixiga 70 Meets Victor Rice LP
Record Store Day 2016 release. 180-gram vinyl. Gatefold sleeve. Includes download code. Limited edition of 1000. Bixiga 70 follow their acclaimed 2015 album III (GB 026CD/LP) -- which The Guardian called "imaginative, progressive Afrobeat" -- with a work that looks northward from Brazil to Jamaica and embraces the repeat-echo history of dub music as its inspiration. Producer Victor Rice applies shimmering, kaleidoscopic dub reinventions to tracks from III to ear-opening effect. The music swells, ebbs, flows, deconstructs, and then blissfully reconnects in completely unexpected ways. The result is not merely a companion piece to III; it's a completely new, standalone sonic experience. Victor Rice, the dubmaster on The Copan Connection, is a transplanted New Yorker, residing in São Paulo at the time of this release. His contribution to the Brazilian music scene is massive. In addition to Bixiga 70, Rice's production skills have been sought out by a who's who of established and emerging Brazilian artists including the legendary Elza Soares and the Latin Grammy Award-winner Tulipa Ruiz. But Rice's discography is also chock-full of reggae, ska, and dub productions including a contribution to the dubbed-out Pink Floyd remake album Dubber Side of the Moon. He works his magic in an old-skool, King Tubby style, on a mixing board, with just a couple of effects and an abundance of inspiration and ideas. Rice's studio sits high above the megalopolis of São Paulo, in the famed Edifício Copan, a classic of modernist architecture. His mixing board is pushed against a window, giving one the sense of floating above the beautiful madness of the city. It is a surreal setting, perfect for the creation of shape-shifting, surreal sounds. The Copan Connection: Bixiga 70 Meets Victor Rice is a summit of equals. It is the music of a sensational band meeting the soundworld of a sensational producer. It pushes Afro-Brazilian music into a mind-blowing alternate dimension.
GB 033CD
PRICE: $12.00
CAT #: GB 033CD
FILE UNDER: WORLD
IMAMOVIC'S SEVDAH TAKHT, DAMIR Dvojka CD
2016 release. Musicians often struggle to articulate what it is they're playing, where it comes from, and where they're going. Damir Imamovi?'s Sevdah Takht suffer from no such struggle. Dvojka, the follow-up to their critically acclaimed 2012 debut, is a wonder of clear-eyed thinking, crystalline melody, and deep reflection. Taking its name from "sevda," the Turkish word for "love," derived in turn from the Arabic "sawda," meaning "black bile" (and hence melancholy), sevdah music has been played in the Balkans in one form or another since at least the 15th century. Although the temptation to refer to it as "Bosnian blues" is perhaps too infrequently resisted, its lyrical and musical preoccupations with love, longing, and loss do offer a bridge to other European roots traditions, such as fado, the central concept of which, saudade, is itself related to sawda. Born and raised in Sarajevo, Damir Imamovi? has been steeped in the sounds of sevdah since childhood. Much has been said of his stellar family tradition -- both his father and grandfather remain legends of the form. Since those early days, however, when he would ward off boredom during the siege of the city in the early 1990s by learning guitar chords in his basement shelter, Imamovi? has completely changed the rules of the game. Imamovi?'s art is nothing less than a quiet, steady insurgency within sevdah -- deeply considered work that refuses the seductions of nationalism. It takes the music beyond its birthplace and shows it the world. "Sarajevo," the opening track, puts the familiar sonic inflections of sevdah at the disposal of "the other Sarajevo," the fading and forgotten generations of misfits and radicals that quietly underpinned the cultural and political life of the Bosnian capital. There is elegy throughout the album, of course, but slow-burning ecstasy too, from "Opio se mladi Jusuf-beg" (another one for the Sarajevans among us) to the beautifully supple "Lijepa Zejno," which shows precisely what the recent addition of a violin brings to Sevdah Takht. In between lie songs of hope and heartbreak in a stunning interplay between tradition and innovation, with the album being split more or less evenly between original Imamovi? compositions and songs by authors whose names have long been lost to history. In the hands of a lesser musician, this might be mere archaeology. But behind Imamovi?'s wonderfully maturing voice, and the fun he is clearly having with his custom-made tambur, lies a band of rare, understated accomplishment: percussionist Nenad Kova?i?, whose West-African influences are the perfect gift to sevdah; bassist Ivan Mihajlovi?, playful and deadly serious all in the same bar; and new arrival Ivana ?uri?, whose violin provides the anchor to the sevdah tradition that the title of the album teasingly promises. Produced and mixed by Chris Eckman. Recorded by Milan Cimfe at Sono Studios, Czech Republic, November 2015.
GB 033LP
PRICE: $23.50
CAT #: GB 033LP
FILE UNDER: WORLD
IMAMOVIC'S SEVDAH TAKHT, DAMIR Dvojka LP
LP version. Includes download code. 2016 release. Musicians often struggle to articulate what it is they're playing, where it comes from, and where they're going. Damir Imamovi?'s Sevdah Takht suffer from no such struggle. Dvojka, the follow-up to their critically acclaimed 2012 debut, is a wonder of clear-eyed thinking, crystalline melody, and deep reflection. Taking its name from "sevda," the Turkish word for "love," derived in turn from the Arabic "sawda," meaning "black bile" (and hence melancholy), sevdah music has been played in the Balkans in one form or another since at least the 15th century. Although the temptation to refer to it as "Bosnian blues" is perhaps too infrequently resisted, its lyrical and musical preoccupations with love, longing, and loss do offer a bridge to other European roots traditions, such as fado, the central concept of which, saudade, is itself related to sawda. Born and raised in Sarajevo, Damir Imamovi? has been steeped in the sounds of sevdah since childhood. Much has been said of his stellar family tradition -- both his father and grandfather remain legends of the form. Since those early days, however, when he would ward off boredom during the siege of the city in the early 1990s by learning guitar chords in his basement shelter, Imamovi? has completely changed the rules of the game. Imamovi?'s art is nothing less than a quiet, steady insurgency within sevdah -- deeply considered work that refuses the seductions of nationalism. It takes the music beyond its birthplace and shows it the world. "Sarajevo," the opening track, puts the familiar sonic inflections of sevdah at the disposal of "the other Sarajevo," the fading and forgotten generations of misfits and radicals that quietly underpinned the cultural and political life of the Bosnian capital. There is elegy throughout the album, of course, but slow-burning ecstasy too, from "Opio se mladi Jusuf-beg" (another one for the Sarajevans among us) to the beautifully supple "Lijepa Zejno," which shows precisely what the recent addition of a violin brings to Sevdah Takht. In between lie songs of hope and heartbreak in a stunning interplay between tradition and innovation, with the album being split more or less evenly between original Imamovi? compositions and songs by authors whose names have long been lost to history. In the hands of a lesser musician, this might be mere archaeology. But behind Imamovi?'s wonderfully maturing voice, and the fun he is clearly having with his custom-made tambur, lies a band of rare, understated accomplishment: percussionist Nenad Kova?i?, whose West-African influences are the perfect gift to sevdah; bassist Ivan Mihajlovi?, playful and deadly serious all in the same bar; and new arrival Ivana ?uri?, whose violin provides the anchor to the sevdah tradition that the title of the album teasingly promises. Produced and mixed by Chris Eckman. Recorded by Milan Cimfe at Sono Studios, Czech Republic, November 2015.
GB 034CD
PRICE: $12.00
CAT #: GB 034CD
FILE UNDER: WORLD
M.A.K.U. SOUNDSYSTEM Mezcla CD
2016 release. With their fourth album, the eight-piece M.A.K.U. Soundsystem reflect the US through the eyes and ears of Colombians who've made their homes in New York City. Mezcla is a relentlessly honest record. The music hits the feet and the hips, powerful and overwhelming, while the lyrics reflect the lives the band members live, while embracing darker political questions that don't have easy answers. Every moment of Mezcla mixes the musicians' past and their present. "Let It Go" builds from a percussive root born in Colombia by way of Cape Verde, hits a groove straight out of West Africa, then adds bright retro Moog that comes from a '90s club, and tops it with horns that edge into jazz. It's a perfect culture-clash, the immigrant melting-pot on disc. As Jon Pareles of The New York Times noted, the band merges "Afro-Colombian rhythms with hints of Afro-beat, delivering exhortations as dance grooves." Colombia remains the foundation, but they've erected their own house on top of it, a structure that continues to grow and change. Afropop Worldwide praised the "frantic terrain" the band explores, while NPR's Anastasia Tsioulcas raved about their "driving and gritty energy," exclaiming, "this raw-edged, punk-tinged band explodes with the propulsive force of traditional rhythms and urban restlessness." Mezcla captures the live sound of the band, that thrilling rawness where the rough edges become a vital part of the whole, with plenty of freedom alongside a tightness honed by night after night of gigs. It's passionate and blazing, turning from anger to tenderness, to endurance and hope. Produced by M.A.K.U. Soundsystem. Mixed by Victor Rice at Copan Studio, São Paulo, Brazil. Moris Cañate: alegre drums; Liliana Conde: percussion and vocals; Andrés Jiménez: drums; Juan Ospina: bass and vocals; Felipe Quiroz: synths; Camilo Rodriguez: guitar; Robert Stringer, trombone; Isaiah Richardson, Jr.: clarinet and saxophone; Carolina Olivieros: background vocals.
GB 034LP
PRICE: $23.50
CAT #: GB 034LP
FILE UNDER: WORLD
M.A.K.U. SOUNDSYSTEM Mezcla LP
LP version. Includes download code. 2016 release. With their fourth album, the eight-piece M.A.K.U. Soundsystem reflect the US through the eyes and ears of Colombians who've made their homes in New York City. Mezcla is a relentlessly honest record. The music hits the feet and the hips, powerful and overwhelming, while the lyrics reflect the lives the band members live, while embracing darker political questions that don't have easy answers. Every moment of Mezcla mixes the musicians' past and their present. "Let It Go" builds from a percussive root born in Colombia by way of Cape Verde, hits a groove straight out of West Africa, then adds bright retro Moog that comes from a '90s club, and tops it with horns that edge into jazz. It's a perfect culture-clash, the immigrant melting-pot on disc. As Jon Pareles of The New York Times noted, the band merges "Afro-Colombian rhythms with hints of Afro-beat, delivering exhortations as dance grooves." Colombia remains the foundation, but they've erected their own house on top of it, a structure that continues to grow and change. Afropop Worldwide praised the "frantic terrain" the band explores, while NPR's Anastasia Tsioulcas raved about their "driving and gritty energy," exclaiming, "this raw-edged, punk-tinged band explodes with the propulsive force of traditional rhythms and urban restlessness." Mezcla captures the live sound of the band, that thrilling rawness where the rough edges become a vital part of the whole, with plenty of freedom alongside a tightness honed by night after night of gigs. It's passionate and blazing, turning from anger to tenderness, to endurance and hope. Produced by M.A.K.U. Soundsystem. Mixed by Victor Rice at Copan Studio, São Paulo, Brazil. Moris Cañate: alegre drums; Liliana Conde: percussion and vocals; Andrés Jiménez: drums; Juan Ospina: bass and vocals; Felipe Quiroz: synths; Camilo Rodriguez: guitar; Robert Stringer, trombone; Isaiah Richardson, Jr.: clarinet and saxophone; Carolina Olivieros: background vocals.
HALCYON VEIL (UK)
HALC 012LP
PRICE: $18.00
CAT #: HALC 012LP
FILE UNDER: ELECTRONIC
CITY A Goal Is An Image LP
A Goal Is An Image is City's debut LP for Rabit's Halcyon Veil, providing an elusive yet tangibly bittersweet testament to the Vancouver artist's hybrid of experimental metal and weightless electronics. Further to his Arcadia mix for Halcyon Veil (2016), City distills that release's ideas into 11 naturally tempestuous takes on the digital zeitgeist, ripping away its hi-fi sheen to reveal a reactive ecology of overgrown, semi-organic textures and pranging rhythms wrapped up in chaotic harmony. Getting right under the skin of his thing, Will Ballantyne has realized a mean contribution to the conversation around peripheral club music and its electronic production, morphing its perimeters between computer game and film soundtrack tropes, soundsystem-testing prangs, and styles foreign to the putative club experience. The effect is simultaneously hyperreal and severed from the daily grind; a simulacrum of impossibility animated with physically reactive impact. Across the album listeners are torn in and out of "the box", perpetually reframing his sound between naturally elegant and digitally unreal environments in a way that resonates with the LP artwork. He establishes this upending uncertainty with the gravelly whorl of field recordings, processed textures and floating, Coil-like harpsichord motifs in "Provinces" and "Your Stream", harnessing a sense of struggle against gravity in the buckshot-riddled mass of "Pain/Power" and with searing trance riffs nailed into place on "End Zone" like Lorenzo Senni running a gauntlet of snipers. City's experi-metal impetus bleeds thru most strongly in the glowering poise of "Inevitable", and with needling bite in the towering recursive riffs of "Ffaith", quite literally galvanized through electronic process, leading to the record's most captivating, expansive pinnacle with field recordings and sample pack presets diffused into the otherworldly detachment of "SAR" and his trance dress-down, "Immaculate". As Halcyon Veil's first full-length feature album, A Goal Is An Image arguably epitomizes the label's aesthetic -- unflinchingly upfront and uncannily emotive -- and gives voice to a true outsider spirit that will be recognized by anyone of a similar disposition. RIYL: Lorenzo Senni, Logos, Rabit, Croww. Mastered and cut by Matt Colton at Alchemy.
HALLOW GROUND (SWITZERLAND)
HG 1704LP
PRICE: $25.00
CAT #: HG 1704LP
FILE UNDER: ELECTRONIC
DEDEKIND CUT The Expanding Domain LP
Trance-derived melodies, murky industrial grooves, and all-consuming harsh noise attacks from Dedekind Cut. Created in transit between New York, Seoul, and Berlin and recorded between the fall of 2016 and the winter of 2017. Over 23 minutes, the release shifts from densely layered textures to subtle piano notes and hard-hammering beats, seemingly mirroring the drastic changes of the times in which they were conceived. With the help of Dirch Heather (modular synths), Elysia Crampton (piano), Mica Levi (dubbed piano), Jesse Osborne-Lanthier (synths), as well as Dominick Fernow alias Prurient and Death Grips drummer Zach Hill on percussion, Fred Welton Warmsley III reminds his listeners that now is not the time to give up. Warmsley left behind a career as Joey Bada$$'s producer and his previous moniker Lee Bannon to pursue a more experimental musical approach as Dedekind Cut. It's a conceptual entity that draws on creative collaboration and aims at gathering unique artists under a single musical vision. Amidst the cacophony, a distinctive voice can be heard. The Expanding Domain might sound bleak and unforgiving at first, but it also communicates a hope as well as a desire to resist. After all, there is a reason that this record was created as a loop.
HAUNTER RECORDS (ITALY)
SPCTR 008EP
PRICE: $12.50
CAT #: SPCTR 008EP
FILE UNDER: ELECTRONIC
PETIT SINGE Akash Ganga Remixes 12"
Four remixes of Petit Singe's Akash Ganga (2017) curated by members and friends of the Haunter Records extended family. Danse Noire boss and spiritual explorer Aisha Devi combined elements from all tracks of the album with her own production to assemble "Necromedia". Haunter veteran Weightausend delivers a psycho-dub version of the frantic "OXO", while Zuli (VENT, UIQ) deconstructs the same track turning into a kind of post-human and post-colonial beat he labeled "Astrogangsta". The final track is an alteration of "27.09.87" by Canadian experimenter Jesse Osborne-Lanthier, who let it mutate like a self-sufficient bio-digital organism.
HIPPIE DANCE (GERMANY)
TGR 008LP
PRICE: $16.50
CAT #: TGR 008LP
FILE UNDER: ELECTRONIC
SUPERPITCHER The Golden Ravedays 8 LP
Musically and emotionally, Superpitcher's third full-length studio album, The Golden Ravedays, is a one sound autobiography that exhibits the skill, feeling, and style that the artist has honed over a period of twenty years, musically, and forty-plus-years, emotionally. And full-length it is: The Golden Ravedays is an epic album of 24 tracks stretching over 12 respective chapter albums, released on Hippie Dance sequentially during a one-year period. The eighth piece of The Golden Ravedays of the series introduces two tracks that will take you to the far side of somewhere you've never been before. They are both reminiscent of outer space blues playing spooky games in a dust bowl. Side A features "Tuesday Paris Texas", a tastefully arranged track with vintage sounds passing nonchalantly through a wild western aural landscape. The music is announced like a cowboy movie dual, complete with bar doors swinging on rusty nails in slow motion. Mournful guitar strings swirl over a steady horseback galloping beat, expanding into a full-on-fire dance track. Halfway through, a woman's haunted voice appears and disappears like an eerie siren, a gunshot is fired (was that a gunshot?), a man whispers "what!?". "Tuesday Paris Texas" is in no hurry to give an answer. Side B features "Mirage", a desert sound collage glued to a steady pulse that rolls and rolls, circumventing any destination. "Mirage" is a contour map of no surprising peaks, just undulating valleys of wistful cathodic sound creeks, sometimes veering off to plains in full-view of the moon and in earshot of solitary wolf cries. Like "Tuesday Paris Texas", "Mirage" is testament of Superpitcher's versatile prospecting beyond the elemental sound tools of the electronic music trade.
HISTORY ALWAYS FAVOURS THE WINNERS (UK)
HAFTW 027LP
PRICE: $23.50
CAT #: HAFTW 027LP
FILE UNDER: ELECTRONIC
CARETAKER, THE Everywhere At The End Of Time - Stage 3 LP
The third of a six album cycle cataloguing The Caretaker's fictional first person account of life with early onset dementia, presenting some of the last coherent memories before confusion fully rolls in and the grey mists fade away. In this crepuscular, autumnal phase, recollections phosphoresce, and wilt in advancing stages of entropic decay, steadily approaching a winter of no return. Continuing to mirror the progression of dementia, using nostalgia for ballroom as an allegory of the disease, The Caretaker's musical flow in places becomes more disturbed, isolated, broken, and distant. Singular memories, and all their connotations, begin to atrophy and calcify, crumbling away with each rotation of the record -- sometimes in curt scene cuts, others in quietly breathtaking reverbed fizzles; like tea lights extinguished, never to flicker again. These are the last stages of awareness before you enter the post awareness stages, where those memories become completely detached from comprehension. On Stage 3, the haunted ballroom's repertoire becomes increasingly muddled, peeling off in recursive contrails from the gestures of "Back There Benjamin", to snag on the stylus in starkly reverberant knots on "Hidden Seas Buried Deep", or worn down to calloused nubs such as "To The Minimal Great Hidden", and "Sublime Beyond Loss", all leading up to some of the project's most uncanny detachments in "Libet Delay" and the coruscating brass shimmer of "Mournful Cameraderie", which beautifully suggest the mercurial nature of memory and its recollection. Artwork by Ivan Seal. Mastered and cut by Lupo.
HOUNDSTOOTH (UK)
HTH 081EP
PRICE: $14.00
CAT #: HTH 081EP
FILE UNDER: ELECTRONIC
SPECIAL REQUEST Curtain Twitcher 12"
Special Request returns, taking no prisoners with a fierce battery of snarling, belligerent, machine-funk of the highest order across a six-track EP. Atoms are smashed, vapor clouds sent into the ether, chaos is controlled, tamed, and rendered in six different shades of wrong. Also features a delicious rework by Peder Mannerfelt. Cut and mastered by Matt Colton at Alchemy. Manufactured at Optimal-Media, Germany.
IMPORTANT RECORDS
IMPREC 455LP
PRICE: $25.50
CAT #: IMPREC 455LP
FILE UNDER: ROCK
BARBEZ WITH VELINA BROWN For Those Who Came After: Songs Of Resistance From The Spanish Civil War LP
LP version. On October 6th, sui generis Brooklyn-based band Barbez, in collaboration with singer Velina Brown, release a remarkable tribute to the International Brigades called For Those Who Came After: Songs Of Resistance From The Spanish Civil War. The album, consisting of inventive and moving new renderings of the indelible protest songs of the International Brigades, was recorded live at the Japan Society, in 2016, at the annual reunion of veterans of the Abraham Lincoln Brigade. The highlight of the reunion has always been the singing of these songs, which were led on several occasions by Pete Seeger, a life-long friend of the Lincoln veterans, who recorded many of them for his iconic 1944 album, Songs Of The Lincoln Battalion. Barbez draws on avant-rock, contemporary classical, and folk music styles such as cumbia and flamenco to reinvent iconic songs for a new generation of listeners. The album features clarinetist Peter Hess (Philip Glass Ensemble), Theremin virtuoso Pamelia Stickney (David Byrne), marimba and vibraphone player Danny Tunick (The Clean), guitarist Dan Kaufman (Rebecca Moore), violinist Catherine McRae (The Quavers), bassist Peter Lettre (Shearwater), and drummer John Bollinger (Sway Machinery); with vocalist Velina Brown (San Francisco Mime Troupe) and special guests Dafna Naphtali on background vocals and Sebastiaan Faber on trumpet. It's the first Barbez record since 2013's acclaimed Bella Ciao. Dan Kaufman, the bandleader of Barbez, moonlights as a journalist. Over the course of reporting, he got to know many veterans of the Lincoln Brigade, including the last surviving one, Del Berg, who died at 100 in 2016. "A Las Barricadas" is a fragment of an interview Kaufman conducted with Berg the year before he died. "Viva La Quince Brigade", the Brigade's unofficial anthem, features a fragment of an interview with Abe Osheroff, a legendary Lincoln vet and life-long activist. In October 1938, the International Brigades were sent home. Five months later, Madrid, the Republic's last holdout, fell. Some half million Spanish Republican exiles fled by foot across the border, settling for a time in damp, primitive internment camps on the beaches of southern France. Their plight -- and defiance -- are captured in the image on this album's cover, taken by the renowned war photographer Robert Capa in 1939. Mixed by Martin Bisi (Swans, Sonic Youth, John Zorn); Live engineering performed by Damon Whittemore (Paul McCartney, Andrew Bird); Includes extensive liner notes by award-winning author Adam Hochschild.
JIAOLONG (UK)
JIAOLONG 022CD
PRICE: $12.50
CAT #: JIAOLONG 022CD
FILE UNDER: ELECTRONIC
DAPHNI Joli Mai CD
Earlier in 2017, Daphni (aka Caribou, aka Dan Snaith) released a very special FabricLive mix (FABRIC 186CD) made up of 23 original, unreleased Daphni tracks and four new Daphni edits to widespread critical acclaim. He follows up this mix with the new full-length album, Joli Mai, comprised of extended versions of the tracks from the mix as well as the new, unreleased track "Vulture".
JUST THIS (ITALY)
JT 016EP
PRICE: $14.50
CAT #: JT 016EP
FILE UNDER: ELECTRONIC
SOMNE Metropolis EP 12"
The Italian producer Somne, whose real name is Federico Maccherone, presents his first release of 2017 -- a solo EP marries ethereal, wide-angle synthesis and intricate drum. Nods to classic IDM and ambient sit at the periphery of the recordings, although the main focus is on the propulsive, contemporary techno derivatives -- from warping, half-time opener "Divided Love" -- through to the exacting, peak-time drive of "Endgame". The original version of "Metropolis" conjures up a distinctly brooding sentiment -- a quintessential example of rolling, contemporary electronica, whilst the "Alternate Mix" offers a more direct, cathartic interpretation.
KOMPAKT (GERMANY)
KOM EX099EP
PRICE: $12.50
CAT #: KOM EX099EP
FILE UNDER: ELECTRONIC
VOIGT & VOIGT Speicher 99 12"
Brothers Wolfgang and Reinhard Voigt are rightly considered main initiators of Kompakt's aesthetic, with the prolific output ranging from anti-beat science to richly layered ambient studies or dry-witted techno anthems. As a duo, Voigt & Voigt have been responsible for some of Kompakt's most notorious releases. For Speicher 99, they present crisp belter "Sanfte Grüsse", embroidering a stoic shuffle with mysterious, pitch-happy synth motives. On the flipside lives the post-industrial "Durchdringung", a pulsating soundscape reveling in metallic noises and hypnotic feedback loops. These cuts serve as a powerful reminder of the series' roots in rough-and-ready techno with a twist.
LION PRODUCTIONS
LION 167LP
PRICE: $34.00
CAT #: LION 167LP
FILE UNDER: ROCK
TROYES, THE Love Comes, Love Dies: The Complete Recordings (1966-68) 2LP
"Essential Michigan garage/psych! Propelled by their local chart-topper 'Rainbow Chaser,' Battle Creek quintet The Troyes entered the orbit of bandleader Ray Anthony ('Dragnet', 'Peter Gunn'), laying down a multitude of Fuzztone laced tracks throughout 1966-1967 that, save for one 7" release on his Space Records label, remained unreleased on vinyl -- until now. The Troyes exploded onto the music scene with 'Rainbow Chaser'. Sensing a new phenomenon, famed bandleader Ray Anthony signed the group to his new rock label Space Records. His faith in the band was so big that nearly two albums worth of material were recorded at United Sound (Detroit). Unfortunately, only two singles were issued. Far-out psychedelia, unhinged fuzz and Farfisa garage, moody haunting sounds, face melters (check out 'Corn Flake') -- it's all here. Rare photos, radio surveys, newspaper articles, Troyes memorabilia, and the story of a band that could have been big. Masters meticulously prepared and cut for vinyl. Comes in deluxe tip-on jacket, including photos, newspaper articles, and the story of a band that could have been big. Edition of 500."
MALKA TUTI (ISRAEL)
MALKA 014EP
PRICE: $18.00
CAT #: MALKA 014EP
FILE UNDER: ELECTRONIC
TAPAN Europa 12" 12"
This record, and the imminent full-length release, is dedicated to events in 2015 and 2016. During this time, more than a million migrants and refugees fled their homes in search of a better life. One of the most well-trodden paths on this journey was the Balkan route. This route was not without its dangers, and the dreams of many were dashed by impassible security fences and discordant EU politics. "Europa" is the first single that represents the seed of discontent. It was recorded during long jam sessions in Belgrade. Timothy J Fairplay provides a remix.
MELOPEA DISCOS (SPAIN)
LPPR 014LP
PRICE: $25.00
CAT #: LPPR 014LP
FILE UNDER: ROCK
LOS GATOS Los Gatos (1967) LP
Melopea Discos celebrates 50 years of Argentine rock with the remastered editions of the complete discography of Los Gatos, after 25 years of absence in record stores. After spending 15 years out of the market, and to mark the half-century existence of these anthological records, the band members themselves have decided to publish the complete discography. Remastered by Los Gatos.Los Gatos is the first studio album by the Argentine band of the same name, released on November 11, 1967 by RCA Vik. After the release of the single "La Balsa/Ayer Nomás", released on July 3, 1967, which sold some 200,000 copies (the first major success of Argentine rock), the RCA company decided to capitalize on its success with the release of the first full-length namesake of Los Gatos, which would see the light of day at the end of that same year. The album included the two songs of the simple, plus ten others composed by Litto Nebbia, voice and leader of the group. The material was recorded in the Studies TNT of Buenos Aires, between April and October of 1967. In 2007, Rolling Stone of Argentina placed it in the 36th position of its list of the 100 best albums of Argentine rock.
LPPR 015LP
PRICE: $25.00
CAT #: LPPR 015LP
FILE UNDER: ROCK
LOS GATOS Los Gatos (1968) LP
Melopea Discos celebrates 50 years of Argentine rock with the remastered editions of the complete discography of Los Gatos, after 25 years of absence in record stores. After spending 15 years out of the market, and to mark the half-century existence of these anthological records, the band members themselves have decided to publish the complete discography.Remastered by Los Gatos.Los Gatos, also known as Los Gatos (Vol 2) or Viento Dile A La Lluvia, is the second studio album by the Argentine band of the same name, published in 1968 by RCA Vik. Although known as Vol 2 or Wind Tell The Rain, the album, like the previous one, had no title; and precisely "Wind Dile A La Lluvia" was the big hit. This LP came as the successor to the debut, which included "La Balsa", and did not have the impact of that one, although it served to consolidate the name of Los Gatos in the nascent scene of Argentine rock.
LPPR 016LP
PRICE: $25.00
CAT #: LPPR 016LP
FILE UNDER: ROCK
LOS GATOS Seremos Amigos LP
Melopea Discos celebrates 50 years of Argentine rock with the remastered editions of the complete discography of Los Gatos, after 25 years of absence in record stores. After spending 15 years out of the market, and to mark the half-century existence of these anthological records, the band members themselves have decided to publish the complete discography. Remastered by Los Gatos.Seremos Amigos is the third studio album by the Argentine band Los Gatos, released on November 30, 1968 by RCA Vik. Although the band did not manage to obtain simple singles with this album, as they did with their previous releases, the work is widely considered the best by fans and followers. Posted by the RCA Victor label in its VIK division on November 30, 1968, it's the third Los Gatos album and the last album with its original formation, because during the band's tour in Brazil, Kay Galiffi (guitarist) fell in love with Brazil and settled there not to return to Argentina for 39 years, just for the meeting of the group. This record shows Los Gatos a little more psychedelic than in his previous work (the album that brought "Viento Dile A La Lluvia") in themes like "Tomorrow" or "The Girl Of The Umbrella". They even animate a space rock prototype with "When The Year 2000", which was watered down 30 years after by artists such as Daniel Melero.
LPPR 017LP
PRICE: $25.00
CAT #: LPPR 017LP
FILE UNDER: ROCK
LOS GATOS Beat No. 1 LP
Melopea Discos celebrates 50 years of Argentine rock with the remastered editions of the complete discography of Los Gatos, after 25 years of absence in record stores. After spending 15 years out of the market, and to mark the half-century existence of these anthological records, the band members themselves have decided to publish the complete discography. Remastered by Los Gatos.Beat Nº 1 is the fourth studio album by the Argentine group Los Gatos, released in 1969 by the RCA Vik label. For this album, the band of Litto Nebbia incorporates a young guitarist, still practically unknown, Pappo, who would print a more bluesy and rocky flavor to the group, especially in the following album, 1970's Rock De La Mujer Perdida (LPPR 018LP). A fluid eclecticism plays throughout the album: the beat, Beatles-esque and melodic rock, psych, and the edgy blues, partly because of the incorporation of Pappo, that results in a more determined hard rock. Adding to this the inspirational journey from Nebbia to New York, the new songs denote an evident evolutionary change that goes through the speed mod of "Home", the density blues creeping in "Escúchame, Alúmbrame", and the very psychedelic "Out Of The Law". The Moro-Toth base is full-bodied and comfortable between Cyrus and Pappo; the voice of Litto sounds much harder and mature. There is an interesting exploration of the stereo possibilities (the battery completely thrown for the left channel, for example). The album closes with the extensive "Out Of Law" theme that foreshadows the change of style of Los Gatos; the band was beginning to abandon beat music and psychedelic pop, to delve into more robust and complex.
LPPR 018LP
PRICE: $25.00
CAT #: LPPR 018LP
FILE UNDER: ROCK
LOS GATOS Rock De La Mujer Perdida LP
Melopea Discos celebrates 50 years of Argentine rock with the remastered editions of the complete discography of Los Gatos, after 25 years of absence in record stores. After spending 15 years out of the market, and to mark the half-century existence of these anthological records, the band members themselves have decided to publish the complete discography. Remastered by Los Gatos.Rock De La Mujer Perdida ("Rock Of The Lost Woman") is the fifth and last studio album by the Argentine group Los Gatos, released in 1970 by the RCA Vik record label. After a first estrangement from the band, the rest of the group, except Litto Nebbia, traveled to the United States in search of new musical influences in 1969. This brought enough changes in the band; the group will leave aside the beat rock to transform its sound into something much more bluesy and akin to harder rock n' roll. The songs "Rock De La Mujer Perdida" ("Rock Of The Lost Woman") and "Mujer De Carbon" ("Woman Of Coal"), among others, prove it. This LP with the passage of the years would be considered the best of Los Gatos and one of the best of Argentine national rock. Originally the album was going to be titled "Rock Of The Rotten Woman", but due to censorship problems, they had to change it. According to Nebbia himself, "the record company seemed very aggressive and I changed the title. At that moment I thought it was fine, that the essence was the same." Litto continues: "On the cover, we wanted a woman who responded to the bohemian character referred to in the lyrics of the song. . . . and we found this girl who was working in a boutique in the East Gallery, on Santa Fe Avenue." The first photograph that saw Ciro Fogliatta and Bony for the cover was of a bank of images, in which the model, according to the keyboardist, "was three times as fat and dressed in spectacular black lingerie." He goes on: "We could not get the rights, but we set out to maintain that spirit. It's a very crazy cover, because that story was going around that claimed that the mine of the photo was me, dressed as a woman. A lot of people, if you told them it was me, you threw their morale down. That is very Argentinean."
LPPR 019LP
PRICE: $25.00
CAT #: LPPR 019LP
FILE UNDER: ROCK
LOS GATOS En Vivo Y En Estudio LP
Melopea Discos celebrates 50 years of Argentine rock with the remastered editions of the complete discography of Los Gatos, after 25 years of absence in record stores. After spending 15 years out of the market, and to mark the half-century existence of these anthological records, the band members themselves have decided to publish the complete discography. Remastered by Los Gatos.En Vivo Y En Estudio consists of material recorded between 1970 and 1971 that remained unpublished until 1987. As its name indicates, it is composed of one side recorded in studio, without the intervention of Pappo, with Toth on guitar and Nebbia on bass. The second side of the original edition contained songs recorded live on December 4, 1970 at the Teatro Odeón in Buenos Aires. At the beginning of 1969, Los Gatos separated momentarily. For nine months, all members of the band, with the exception of Nebbia, traveled around the United States, getting to know the local music, listening to the "greats of the moment" and even recording a simple with an American singer, unpublished. In the interim, Nebbia began his solo career, filming the movie The Strange Long Haired and releasing his first solo LP. Los Gatos would return to the following year with Beat Nº1 (LPPR 017LP), with Pappo in the place of Kay. This album clearly shows the two styles: the melodic of Litto (in "Dream And Run") and the rocker that imposed Pappo ("Home"). In the middle of 1970, Pappo left the group to form his own band. Nebbia would then play bass and Toth took the place of the distant guitarist. "We are making another sound to the whole," they anticipated. Nevertheless the luck was already cast: a series of recitals signed the definitive goodbye to this key group of Argentinian music. From that moment on, Litto Nebbia would continue his solo career.
MONOSCOPE PRODUCTIONS (GERMANY)
MPLP 001-2017LP
PRICE: $21.00
CAT #: MPLP 001-2017LP
FILE UNDER: ELECTRONIC
SOFA SURFERS 20 LP
LP version. 180 gram vinyl. The celebration of 20 years of Sofa Surfers presents a selection of new songs and fresh connections, with old companions for all crucial reworks including features by Dälek, Oddateee, Jeb Loy Nicols, and Junior Delgado. In 1997, Transit kicked off a musical journey for the Sofa Surfers that has brought them to the wildest corners of the audio galaxy. Outside, in the year 1997, Dolly the clone sheep and Hale-Bopp the comet were causing an uproar. Meanwhile, the band were tucked away in the studio, tinkering on their very own vision of a dark, cinematic groove. With resounding success: Dorfmeister's remix of the song "Sofa Rockers" catapulted the troupe onto the playlists of a host of international DJs in a flash. And that was just the beginning. Release parties, tours, and remixes were to follow, not to mention numerous movie soundtracks. Large festivals and countless clubs were played in over 25 countries. A retrospective? Not really. Now, the band lean back, open a bottle of champagne, and let a thousand past stories and experiences flow by. 20 years of band history -- now that's a reason to celebrate. But the Sofa Surfers want something more than just a celebration for their anniversary. Instead of a simple "Best of", they've cooked up a very special idea. One could see 20 as a rework and a step forward. A lot has changed; the music business also has different rules than 20 years ago. There are enough reasons for the Sofa Surfers to freshen up the connections with their old companions and deliver a musical oeuvre with a sharp eye for the present and the future. It's not like the songs on 20 weren't still clearly the Sofa Surfers. These new versions, however, are definitely different -- and their various collaborators over the last decades even came together to completely re-record their charismatic vocals. Tighter, without compromise, and crisp are attributes that spontaneously come to mind. In addition to classics and reworks, there are also totally new songs, leading the way in previously unsuspected directions. 20 is clearly not just for diehard fans and companions, it will also captivate new listeners. Features Oddateee, Junior Delgado, Dälek & Dev1, Issi Honi, MC Santana & Rox, and Jeb Loy Nichols. Artwork by transmedia artist Brigitte Kowanz.
MOTOR CITY DRUM ENSEMBLE (GERMANY)
MCDE 1215EP
PRICE: $12.50
CAT #: MCDE 1215EP
FILE UNDER: ELECTRONIC
VALENTINO, PABLO My Son's Smile EP 12"
Motor City Drum Ensemble present a new one from producer Pablo Valentino. On "My Son's Smile", Pablo's son Hugo-João's laughter is over a mellow, summery house track. With a little help from Lyon producer Patchworks, Valentino pulls off one of his most sophisticated productions yet. GE-OLOGY, legendary New York producer, flips it into a more of a peak-time thing, replacing the Fender Rhodes with thick synthesizer chords. "Atlantic's Calling" is one of those signature, late night house tracks that Pablo Valentino has championed throughout the years. "Good Ol' Days" is an homage to the late '90s, but it sounds fresh.
NEW WORLD RECORDS
NW 90002LP
PRICE: $21.00
CAT #: NW 90002LP
FILE UNDER: CLASSICAL
PARTCH, HARRY And On The Seventh Day Petals Fell In Petaluma LP
Performed by The Gate 5 Ensemble: Harry Partch (director), Danlee Mitchell, Harry Partch, Michael Ranta, Emil Richards, Wallace Snow, Stephen Tosh. Limited edition LP release (180 gram vinyl) with previously unpublished bonus tracks + free download card. "'In late 1962 Harry Partch returned to California and began a project that would not only become the bones of a masterwork, Delusion of the Fury, but have a life of its own. In a too-small space within an abandoned Petaluma chick hatchery, Partch gathered the instruments he had designed and built -- new and old -- eager to once again expand the boundaries of his compositional fabric. He learned each individual part as he composed, establishing that it could be played. And On The Seventh Day Petals Fell In Petaluma (1963-64, rev. 1966) was born of his exploration and assembled with that 'minimum of players' over a three-year period. In spite of rough conditions and meager resources Partch's dogged persistence, along with the efforts of his dedicated assistants, eventually succeeded in realizing the 34 verses of expanded duets. With this album we revisit an important work and turning-point, guided by the original 'Statement' Partch wrote for the first commercial release of the piece. Previously only excerpted, it is a voicing of his beliefs that transcends one project to illuminate an entire purpose. We also reprise exquisite notes by the late Bob Gilmore, who distills and explains the story of Petals so clearly and eloquently. No one wants a dead reissue, so by digging into the archives, I am pleased to offer hidden gems. First, The Petals Sessions is an aural glance into the cramped quarters of the recording space, as composer and players labor to bring new notes to life, Harry himself giving direction. The montage ends with a 'test take' by Danlee Mitchell and Michael Ranta that could have easily been a keeper! Finally, we present the original Verse 17. In 1964 Partch wrote two duets that used the Adapted Viola; by the time the piece was finished in 1967, he had excised them. The ending track -- never before released -- brings Harry back to life, playing and recording Adapted Viola for one of the last times. I was completely unaware of this recording until I examined the outtakes and it glows, fifty years on. That Petals ever came to be, like much of Partch's story, stands somewhere between determination and miracle.' --Jon Szanto, The Harry Partch Foundation"
NITSA TRAXX (SPAIN)
NITSA 002EP
PRICE: $12.50
CAT #: NITSA 002EP
FILE UNDER: ELECTRONIC
FERENC VS. EDUARDO DE LA CALLE Collab 12"
The project started with a file exchange between Eduardo De La Calle and Ferenc. They decided to work each track on their own side using only a few isolated sounds from the other. This way none of the tracks could be treated as a full original, but proper remixes of tracks that never existed. A Side is for Ferenc's "Parón Largo", where synthetic strings are omnipresent and time and space unbend. Eduardo De La Calle uses his distinctive signature sound on "Cloaking Tech D Fly D", an obsessive yet beautiful track reminiscent of the Somewhere In Detroit series.
OCCULTATION (UK)
RHEA7E 1056LP
PRICE: $26.50
CAT #: RHEA7E 1056LP
FILE UNDER: ROCK
GRANITE SHORE, THE Suspended Second LP
LP version. The second The Granite Shore album, Suspended Second, is a pop record, albeit an angry one. When writing began in spring of 2016, it dealt largely with anxiety. "Suddenly," says Nick Halliwell, "we were overtaken by what felt like a national self-harming anxiety episode, which then went global." Enlisting cult singer John Howard's voice of a (recording) angel was another step outside the "Indie Ghetto". The album employs a number of metaphors. "I considered picking up where the [2015 debut] Once More From The Top narrative left off, but resisted the temptation," Halliwell adds, "I wanted to focus on hooks, trimming off any fat..." The best pop is all about economy, hence unambiguous songs, like "Where Does The Sadness Come From?", "Outside, Looking In", and "Buyer Beware", sit alongside more expansive material like "The Performance Of A Lifetime", which conflates Brexit with the deaths of two Princes.
OPTIMO MUSIC (UK)
OMLP 012LP
PRICE: $22.00
CAT #: OMLP 012LP
FILE UNDER: ELECTRONIC
FANTASTIC TWINS Obakodomo LP
Optimo Music present the first album by Fantastic Twins (formerly known as The Twins). Fantastic Twins tell the story behind this inspired and beguiling record: "Obakodomo ('Au Balcon Du Monde') is a soundtrack I created for a piece of contemporary dance, performed by two dancers for a young audience from the age of four. It is the story of an imaginary journey in Antartica where two explorers go on an adventure. They encounter a colony of penguins and will progressively learn to understand their habits and respect their environment. Essentially, 'Au Balcon Du Monde' is a metaphor of how to exist next to each other, how to share a territory, how to learn to live together and share resources. The scenography and stage accessories were designed in a minimalistic and non-obvious form to leave all the space for imagination. The penguins were made of translucent material to provide light effects and were programmed to move in a swaying motion, allowing interaction with the dancers and the music. LED system could be wireless piloted. With the soundtrack, I wanted to create an atmosphere that would immediately transport the children into this terra nova -- a poetical space, like a cold sphere, where the strange meets the frightening and the playful. Translating the immense vs. the small, the far-off vs. the near, the collective vs. the individual, the strange vs. the familiar, or the cold vs. the heat. My intention was to follow the thread of the story in a narrative, yet non-caricatural way. Music for children doesn't have to be 'childish'. Children love to be scared or even just challenged. They love to love and react instantly to what they hear through their emotions. Ultimately, the soundtrack aims to provide different levels of 'reading' so that it becomes something more universal. So we, adults, just have to accept the invitation."
PAN (GERMANY)
PAN 080LP
PRICE: $25.50
CAT #: PAN 080LP
FILE UNDER: ELECTRONIC
STILL I LP
Shapeshifting through his vernacular worlds of sound and imagery, Milan artist and musician Still (Simone Trabucchi) defines his practice with a unique, nomadic approach. Previously known as Dracula Lewis, the moniker under which he developed his personal take on "folk" music, he has accumulated a number of releases on various seminal labels, alongside running Hundebiss Records. His Still moniker follows the unearthing of the histories that connect his hometown of Vernasca to Ethiopia and Jamaica, explored under his visual arts project Invernomuto as an in-depth fieldwork that became Negus -- a series of sculptures and installations, a book, and a documentary (screened at Unsound 2016). Negus revolves around a cleansing counter-ritual performed by Lee "Scratch" Perry in the Vernasca square where an effigy of Haile Selassie I was burned in 1936. The documentary then follows a trajectory connecting Italy's overlooked colonial past, seen through personal history, to a reverberation of symbols in Ethiopia and Jamaica. Within Still, Trabucchi connects these research threads and furthers their sonic and linguistic aspects, developing a work in which "computerized riddims" sustain a shared gospel channeled through a polyphony of voices. Six Milan-based African-Italian vocalists and singers voice a complex, overarching past that is both communal and individual. Using the medium of language, the record is a multi-layered with meanings contemplating the historical weight of words. Both the city and the studio became workshops for the shaping of their complex network. Mastered by Rashad Becker at Dubplates & Mastering. Artwork by Simone Trabucchi and Bill Kouligas.
SILENT STREET (UK)
SSR 001LP
PRICE: $23.50
CAT #: SSR 001LP
FILE UNDER: ROCK
MAXIMUM JOY I Can't Stand It Here On Quiet Nights: Singles 1981-82 2x12"
Silent Street is the new collaborative label from Chris Farrell (Idle Hands) and Kiran Sande (Blackest Ever Black). For their first release, they present a compilation of singles by one of their shared musical lodestars: Bristol's extraordinary Maximum Joy. Formed in 1980, by 18 year-old vocalist Janine Rainforth alongside Tony Wrafter, a trumpeter/saxophonist previously affiliated with Glaxo Babies. Wrafter's former accomplices, Charlie Llewellin (drums) and Dan Catsis (bass), completed the original line-up, alongside erstwhile Pop Group guitarist John Waddington. With a youthful confidence and energy that leaps out at you even now, they took their diverse influences -- punk, modern jazz, disco, dub, funk, soul, Afro-beat, and chansons -- and distilled them into some of the greatest, most intoxicating pop music ever made. Together they carved out a story which today stands as a sumptuous feast for anyone interested in the roots and evolution of "the Bristol sound". There are links, back and forth, with The Slits and Dennis Bovell, On-U Sound through to the Wild Bunch, Massive Attack, Smith & Mighty, and Tricky's "Aftermath". Thirty-five years on, it's impossible not to be blown away by their combination of instrumental virtuosity and DIY pluck, and by their fearless application of disorientating dub FX. In terms of open-minded, progressive, and life-affirming music made in the post-punk era, little else comes close. This first ever official reissue of Maximum Joy material is centered around the trio of singles the band released on Y Records in 1981-1982. Their first, "Stretch", became an anthem on the New York club underground, a cult staple at Danceteria and on late-night radio. This compilation gives pride of place to their first B side, "Silent Street/Silent Dub": a languid tribute to long summer nights in St Pauls. Llewellin's mesmerizing one-drop kit and Catsis's outrageously heavy bassline anchor the track, allowing Rainforth's exquisite vocal and Wrafter's trumpet to soar within the expressionistic dub mix. In both subject matter and execution, it is the definitive Bristol tune. "White And Green Place (Extraterrestrial Mix)", "In The Air", and wistful instrumental "Simmer Til Done" also feature; the non-Y bonus is the 12" version of "Do It Today", Maximum Joy's contribution to the Fontana compilation Touchdown (1982). Sleeve notes by Janine Rainforth, Tony Wrafter, and Kevin Pearce.
SKY WALKING (GERMANY)
SKYWALK 003LP
PRICE: $19.50
CAT #: SKYWALK 003LP
FILE UNDER: ELECTRONIC
SOLLMANN & GURTLER Gegen Die Zeit LP
On September 11th, 2015 the audience of the stunning "Rotor" concert series witnessed the first live appearance of John Gürtler and Phillip Sollmann underneath a highway bridge in Offenbach, Germany. Hosted by International Music Institute Darmstadt alongside Institut für Klangforschung Offenbach and HfMDK Frankfurt, the newly formed duo performed an aural conversation on stage within the incredible architectural environment. A year later, an extract of these live recordings became part of the Sky Walking label's compilation 41'36" (SKYWALK 002LP) that now leads to the debut album of Sollmann & Gürtler, Gegen Die Zeit. Phillip Sollmann and John Gürtler met as studio neighbors in the complex "The Meadow", rebuilt in 2011 in Berlin Wedding. Exchanging ideas and instrumental advice ever since, they soon became collaborators. An acoustic version by John Gürtler for Sollmann's scientific techno project Efdemin was the first result of their exchange. Besides his futuristic techno productions, Phillip Sollmann is best known for his sound installations and performances including work on the Harry Partch instruments, the Helmholtz Double Siren, and Bertoia's sound sculptures. Along with Konrad Sprenger, Sollmann is currently working on a unique modified modular organ system consisting of 93 church organ pipes that has been shown Kestnergesellschaft Hannover and Mathew Gallery Berlin -- the headquarter of Sky Walking Records. The multi-instrumentalist and singer John Gürtler co-founded the studio collective Paradox Paradise. The composer is mainly writing and improvising film scores, ranging from electronica to songs and orchestral works. Gürtler has won multiple awards, including Best Song in a Film in 2014 and Best Documentary Score 2015 for Above and Below. The former free-jazz saxophonist returns to his roots as an experimental improviser and producer with the newly formed Sollmann & Gürtler. As the record's title indicates, time seems to vaporize. While Sollmann's ring modulated electric guitar acts mainly as a fragile, percussive voice, Gürtler answers with dense and drifting modal atmospheres. A variety of reed instruments are sent through a cluster of electronic filters and devices. With Gegen Die Zeit, the Sky Walking imprint starts a series of releases that are focused on spontaneous music and live recordings. Artists such as the improvisation group Schluss and Golden Pudel Club's Nika Son will continue the program.
SOUFFLE CONTINU RECORDS (FRANCE)
FFL 031LP
PRICE: $23.50
CAT #: FFL 031LP
FILE UNDER: JAZZ
FREE JAZZ WORKSHOP Inter Frequences LP
Souffle Continu Records present the first ever vinyl reissue of Free Jazz Workshop's Inter Fréquences, originally released in 1973. The Free Jazz Workshop came into being in 1967 but their first album, Inter Fréquences, only appeared in 1973. Unfortunately there is no recorded trace of the group including the first drummer Pierre Guyon before he was replaced by Christian Rollet in 1970. One of the slogans doing the rounds at the time sets the tone: "Aesthetic liberation is but a prelude to the liberation of humanity." The trajectory of the Free Jazz Workshop (which became the Workshop De Lyon in 1975 with the arrival of clarinetist-saxophonist Louis Sclavis) is emblematic of the emancipation of the mindset of certain French musicians during this period. It has been an exceptionally long-lived trajectory a "half-century" as the members say, during which the group -- in Christian Rollet's own words -- went from being "an exploratory workshop who claimed to take no account of the musical certitudes of the majority" to becoming something of a classic institution. Right from this first album it is clear that the group would function as a collective with no designated leader. The legacy and influence of American free jazz can be heard throughout: Albert and Don Ayler, or Ornette Coleman and Don Cherry for the horns of Maurice Merle and Jean Mereu; Cecil Taylor for the pianist Patrick Vollat, absent from the group after the second album released in 1975 La Chasse De Shirah Sharibad (FFL 032LP); Gary Peacock and Barre Phillips for the bass; Sunny Murray or Milford Graves for the rhythmic agitation; but also the Art Ensemble Of Chicago for the collective aspect. This lyrical, incandescent album, alongside those released by François Tusques and the Cohelmec Ensemble at the same period, represents one of the high points of free jazz produced by French musicians. Licensed from Bisou. Reverse printing; 12-page booklet; Obi strip; Edition of 700.
FFL 032LP
PRICE: $23.50
CAT #: FFL 032LP
FILE UNDER: JAZZ
WORKSHOP DE LYON La Chasse De Shirah Sharibad LP
Souffle Continu Records present the first ever reissue of Workshop De Lyon's La Chasse De Shirah Sharibad, originally released in 1975. In France, in the years 1960-1970, musicians pondered over how to transpose the political struggle of free jazz onto a completely different political terrain. One of the first to do so was pianist François Tusques (agitator, theorist and militant) who recorded 1965's Free Jazz (CACK 020LP), and then continued with Le Nouveau Jazz (1967), French equivalents to the American "New Thing". The word spread, and was picked up by the Free Jazz Workshop which became the Workshop De Lyon in 1975 with the arrival of clarinetist-saxophonist Louis Sclavis. Still a source of joy, this lyrically feverish second album maintains a narrative dimension however subtle the textures developed through the contrasting collective improvisations. With their ever-inventive melodicism, the Workshop De Lyon invented an imaginary folklore on this album which is unlike any other. It is a knowing mix of the avant-garde and the traditional, collective playing vying, with panache and complexity, with the inspired urgency of the soloists. Even without filmed images the theatricality and humor of the group's live performances, essential components of their identity can be felt during the long thematic suites which are both expressive and full of joy. What better way to honor their imaginary mentors, Albert Ayler or the Art Ensemble Of Chicago! More, More! Licensed from Bisou. Reverse printing; 12-page booklet; Obi strip; Edition of 700.
FFL 033LP
PRICE: $23.50
CAT #: FFL 033LP
FILE UNDER: JAZZ
WORKSHOP DE LYON Tiens! Les Bourgeons Eclatent... LP
Souffle Continu Records present the first ever reissue of Workshop De Lyon's Tiens! Les Bourgeons Eclatent..., originally released in 1978. The collective methodology of the Workshop De Lyon led to the creation of the Association Searching for an Imaginary Folklore (ARFI) in 1977, their aims were very much a mission statement "encourage improvisation, spread diverse musical styles and provide means of expression to others with similar ideas, establish a folklore..." Their reference was the Association for the Advancement of Creative Musicians (A.A.C.M.) created twelve years previously with the similar idea of providing material assistance to and defending the interests of creative musicians, in order to encourage the emergence of new music. The open-structured ARFI self-produced their music thanks to their own label, on which almost all of the albums of the Workshop De Lyon appeared, from Concert Lave (1980) onwards. Their third album, Tiens! Les Bougeons Éclatent... is a perfect example of how the group sounded when it was released in 1978, about a year after the studio recording. Pianist Patrick Vollat had left but was still very much a part of ARFI (in particular as part of the excellent La Marmite Infernale), so the Workshop De Lyon stabilized to a quartet of Louis Sclavis, Maurice Merle, Jean Bolcato, and Christian Rollet, and already had at the time an unparalleled repertoire. This never ceased to expand, through the meetings and personnel changes, while losing nothing of its generosity, nor showing any signs of aging. This proffers on the Workshop De Lyon a certain universal dignity which honors their original models, Albert Ayler or the Art Ensemble Of Chicago to name but two, transfiguring them into a new, exciting aesthetic approach bursting with openings and exchanges. Irresistible. Licensed from Bisou. Reverse printing; 12-page booklet; Obi strip; Edition of 500.
STAG-O-LEE (GERMANY)
STAGO 111LP
PRICE: $20.00
CAT #: STAGO 111LP
FILE UNDER: ROCK
VA Buzzsaw Joint: Pavinyl - Cut 3 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! Cut 3 comes from Pavinyl, a gent whose ride is a decked-out disco-hearse that, in his words, "puts the fun back into funerals". Vowing to "Keep Music Evil", his club night, Mockers, has had the British market town of Stroud dancing for a decade. Mockers initially played on the musical blur between mod and rock n' roll culture, but now ventures further afield. As does the DJ himself -- his records have hyped hep clubs from Barcelona to New York. On Cut 3, Pavinyl shares 18 exotic pearls all recorded from 1955-1962. From the jungle to the orient, ancient Egypt to Native America -- hold on tight, it's quite a trip! Features: Phil Campos, Glenn And Christy, Hi-Fives, The Space Men, D.C. Washington, The Fables, Lenny Troy, Honey And The Bees, The New Starts, The Jokers, Big Brown, Jack Franklin And The Rock-Its, Buddy Bow, Eddie Hill, Ronny Goode, Lee Richards, Marc Haven And The Aquarians, and Al Nathan.
STAGO 112LP
PRICE: $18.00
CAT #: STAGO 112LP
FILE UNDER: ROCK
VA Coolsville Volume 1 10"
First of two 10"s called Coolsville. Watch out for two volumes of its sister compilation Sicksville. Compiled by Stay Sick, a gruesome twosome of deejays from the nightclubs of Brighton, UK. Established in 2008, they continue to spin the best dancing music from surf to soul, oddball R&B to filthy rock n' roll, garage to punk, 7"s at a time. Their vinyl addiction has meant they have amassed a large collection of sleazy and greasy rock n' roll from the fifties and sixties, including Tarantino surf, proto-soul stompers, swingin' rhythm and blues, and twistin' tittyshakers. Coolsville is a far-out selection of moody Las Vegas grind surf-strumentals and oddball beatnik records from the '50s and '60s. The first side of this platter of wax is full of mean instrumentals for wild cats of the urban jungle. On the flipside, brother, are there some solid gone finger clickers for you to swing and sway to. Bongo-laden beats that you'll dig the most, daddio. This is the righteous stuff for all you jive talkin' jazzbos and beatniks. Features: Ritchie & The Squires, The Champs, Creed Taylor Orchestra, Les Baxter, Jimmy Van Eaton, The Rockbusters, Dave Saville, Johnny & The Debonaires, Bob McFadden & Dor, Frosty & The Diamonds, Bing Day, and Richard Pine.
THE NEXT BIG THING (SPAIN)
NBT 4528EP
PRICE: $11.00
CAT #: NBT 4528EP
FILE UNDER: ROCK
DAHLMANNS, THE Forever My Baby/The Last Time 7"
The Next Big Thing label makes an imprint comeback two decades after the previous "release" to bring you something pretty damn special. Norway's topper-most pop ensemble The Dahlmanns have recorded two brand new Andy Shernoff compositions. "Forever My Baby" features a duet between Andy and Line Dahlmann. Flipside, "The Last Time" might just be the best thing that the Moss Rock City crew has committed to tape thus far. These hit factory caliber nuggets were produced by the "Power Pop Max Martin", that is Christian (Chris Frehley) Jacobsen.
THE TAPEWORM (UK)
TTW 099CS
PRICE: $7.00
CAT #: TTW 099CS
FILE UNDER: ROCK
SUZUKI'S NETWORK FEATURING CHATEAU LAUT, DAMO Ausland Cassette
Damo Suzuki in performance with Château Laut. Recorded at Ausland, Berlin, 2010 by Stephan Laackman. Château Laut's Stefan Fähler writes: "I contacted Damo in 2009. He didn't reply immediately and at one point I just forgot about it... So, it was a huge surprise when he replied, exactly a year to the day later, explaining his email's calendar was weird and he had only just now received my mail. Quickly, we arranged all details for our concert-to-be. We first met a couple of months later, at the airport. We picked him up in the morning and were stoned just an hour later in our kitchen. The energy for the whole day was so peaceful and warm. On the way to soundcheck we saw barricades and police vans on the streets in readiness for 1 May -- a date famous in Berlin for rioting and protest. We joked about this 'predictable riot', marked in calendars for all to see. The gig at Ausland proceeded organically. We shared many beautiful moments, both on and off stage. Damo was so much into the atmosphere and the crowd that, after our main set, we went on-stage a second time. Afterwards, we crashed at our place, downing a couple of whiskeys before going to sleep, happy. We kept in touch. He became something close to a spiritual mentor for me. He gave us contacts around the globe for travels and put me in touch with many nice people. He once said to me, one of the most important things in life is to travel. We were glad he stopped by our place on his journey." Mastered for cassette format by Mark Van Hoen. Illustration by SavX. Edition of 150.
TTW 100CS
PRICE: $7.00
CAT #: TTW 100CS
FILE UNDER: ELECTRONIC
VA A Can Of Worms Cassette
A C120 mixtape featuring exclusive, previously unreleased tracks from 36 artists. Features Achim Mohné, Simon Fisher Turner, Laura Agnusdei, Howlround, Hanno Leichtmann, Cristian Vogel, Autodigest, Andrew Poppy, Othon, SGR^CAV, Tearsov, Saturn and the Sun, Château Laut, Derek Jarman, Richard Torry "Punks", Jasmin Blasco , Marta De Pascalis, Kumo, Parker, Stefan Goldmann, Carl Michael von Hausswolff, John Butcher, Henry Rodrick, Leslie Winer, Watkins/Peacock, Jay Glass Dubs, Mark Van Hoen, Philip Marshall, Le Forbici di Manitù, Christos Chondropoulos, Acid Fountain, Paul H Williams, Offerings For The Cannibal Gods, Leif Elggren, Nigel Wrench, Phil Julian, and Dale Cornish. Cassette only; limited edition of 150. Illustration by SavX.
THE WIRE (UK)
WIRE 405
PRICE: $8.50
CAT #: WIRE 405
FILE UNDER: Misc
WIRE, THE #405 November 2017 MAG/CD
"The Wire Tapper 45: The next volume in our exclusive series of underground music anthologies will be attached to the cover of every copy of the November issue -- 20 new tracks from Nicole Mitchell & Haki Madhubuti, Off World, Geodetic, Ensemble Minisym, Caroline Devine, Matti Bye, and more. Inside the issue... Dan Spicer talks to Canada's cosmic troubadour Eric Chenaux; Jacob Arnold tells the story of Milwaukee's 90s DIY IDM rave scene; Erik Davis hymns reborn Bay Area synthesist Pauline Anna Strom; Can's biographer Rob Young remembers the late Holger Czukay; Maya Kalev meets du jour DJ/producer Call Super; Dan Barrow listens to the sound design of Twin Peaks. Plus: Invisible Jukebox - Mark Wastell; Epiphanies - Susan Rogers on James Brown; Global Ear - Bogota; Inner Sleeve; Unofficial Channels ; Bites - Ahmed, Mike Dunn, Lea Bertucci, Amanda Kramer's Paris Window, Dead Rider."
TOUCH (UK)
TO 103LP
PRICE: $16.50
CAT #: TO 103LP
FILE UNDER: ELECTRONIC
VON HAUSSWOLFF, C.M. Still Life - Requiem LP
Conceptualized (2010-2013), composed and produced (2014-2017) by Carl Michael von Hausswolff in Palma (Majorca) and Stockholm. Still Life - Requiem is a musical piece consists only of sounds emitted and extracted from physical matter using emission spectroscopy as the sole basic technology. Acknowledgements to Linko?ping University (IFM), Sweden. Still Life - Requiem consists of one piece with the same title and is divided up into two to fit the LP format. The piece is, as the title suggests, a requiem and its contents are solely composed by sounds captured from a specific physical solid state material. The composer has used a technique called "emission spectroscopy" whereby the frequencies generated from the material was analyzed and transferred into, for humans, a listenable pitch (between 15 and 14000Hz). This captured organic sound material has been stretched, looped, equalized, and composed to produce the recording. A requiem is a piece of music dedicated to certain sole or several restless souls that wander our worlds looking for a place to call home. A requiem radiates calm, peace and perhaps comfort for tormented spiritual beings -- it's a piece dedicated to promote and insert tranquility and transcendence. This requiem also provides the listener with a certain feeling of connection -- perhaps a connection with the unknown and with the energy field clusters and mental abilities of post-mortem life forms that would be the incorporeal essence of a living being. Carl Michael von Hausswolff (born 1956 in Linköping , Sweden) has a long history within the communities of contemporary music and visual art. His first records were released in early '80s while the most recent saw the light just a few years ago. In recent years, he has been collaborating with Leslie Winer -- (1) (MONO 005LP, 2015) -- and Hans-Joachim Roedelius -- Nordlicht (2017). He has also instigated and curated the collective sound-installation "freq_out" during 2003-2017, which includes artists such as Jana Winderen, JG Thirlwell, Finnbogi Petursson, Christine Ödlund, and others. Artwork and photography by Jon Wozencroft and Carl Michael von Hausswolff. Mastered by Jason at Transition.
UNROCK (GERMANY)
UNROCK 009LP
PRICE: $25.00
CAT #: UNROCK 009LP
FILE UNDER: ROCK
KARKHANA Al Dar Al Hamra LP
Very fine tuned, almost Mediterranean, Middle Eastern mainly string orchestra. A supergroup with members of Dwarfs Of East Agouza, Konstrukt, "A" Trio, Johnny Kafta Anti-Vegetarian Orchestra, etc. Umut Ça?lar, Sam Shalabi, Sharif Sehnaoui, Mazen Kerbaj, Toni Elieh, Maurice Louca, and Michael Zerang unleash a blend of fiery and free psychedelic forms and un-jazz, with various shades and traces of shaabi, tarab, sufi, and post everything -- timeless, rock-free, kraut-jazz. Recorded during a wet, cold and stormy November night in Amsterdam, Netherlands in 2016. Cover art by Mazen Kerbaj. 140 gram vinyl; Limited edition of 500 (one-time pressing).
VINILISSSIMO (SPAIN)
MRSSS 549LP
PRICE: $25.00
CAT #: MRSSS 549LP
FILE UNDER: ROCK
EUPHORIA Euphoria LP
Vinilisssimo present a reissue of Euphoria's self-titled debut album, originally released in 1969. Music genres are labeled for a good reason. They can be of great help when it comes to putting sounds into a few words. This terrific album is usually filed with the "sunshine" tag on it and it is hard to think of a better way to describe the dazzlingly bright songs recorded in 1969 by this American band. The core of the group was formed by Roger and Wendy, an acoustic duo that was a regular performer at New York City's Greenwich Village scene of folk clubs. Two more members, Tom Pacheco and Sharon Alexander, joined them in Euphoria during their brief existence. The band signed to Heritage Records and recorded this fantastic self-titled debut, featuring songs mostly written by Tom Pacheco and led vocally by Roger and Wendy. Their music was built around radiant vocal harmonies and solid arrangements, echoing artists such as The Mamas & The Papas, Free Design, and The 5th Dimension, but with a distinctive lysergic edge. "There Is Now", the opening track, is a beautiful example of the psych twist that eventually spiced up the strongest songs of the album, as is "Ride The Magic Carpet". On the other hand, "Tucson" or "You Must Forget" are dreamy folk numbers that show the band's smoother side. The catchy "Calm Down" makes you wonder about Euphoria's commercial appeal if they had been strongly backed by promotional efforts. However, by the time the LP came out in 1969, this kind of folk-pop sound had become out of fashion, and with live performances of top-selling artists such as Van Morrison, Iron Butterfly, or Sly & The Family Stone, it did not reach decent sales figures. Euphoria disbanded shortly after their only album was released and two new different projects followed, Bermuda Triangle and Pacheco & Alexander, pursuing more contemporary sounds. Presented in facsimile gatefold sleeve and pressed on 180 gram vinyl.
MRSSS 550LP
PRICE: $25.00
CAT #: MRSSS 550LP
FILE UNDER: ROCK
VILLAGE CALLERS, THE Live LP
Vinilisssimo present a reissue of The Village Callers' Live, originally released in 1968. Most people believe hip-hop was born in the late '70s, but after listening to what this band from East Los Angeles was recording in 1968, you will find out that the original beats and breaks were already there a decade earlier. It is not surprising that "Hector", one of the standout cuts on this LP, has been sampled by artists such as Beastie Boys, Cypress Hill, or De La Soul, and The Village Callers' take on the classic "I Don't Need No Doctor" could easily be described as an early drum & bass tune. The Village Callers were born out of a band called Marcy & The Imperials and became very popular in East Los Angeles, playing all the top venues. They brought many different sounds into the mix: jazz, soul, R&B and, of course, lots of Latin percussion. Their manager, Hector Rivera, got a record deal with Rampart's owner, Eddie Davis, that led the band to the studio for their only ever LP. The album was made up of cover tunes such as "I Heard It Through the Grapevine", João Donato's "The Frog", and several Aretha Franklin hits. "Hector", dedicated to their manager and the only original song on the album, was a very cool Latin groove that quickly gained airplay, becoming quite a hit in Los Angeles. They also recorded the first Latin rock version of "Evil Ways", ahead of Santana's, that didn't make it into the album but was released as a separate 45. Unfortunately, the recording career of The Village Callers didn't last too long after they decided to change label management and left Eddie Davis. Also, their powerful Latin sound progressively faded out as the original members were replaced by new musicians, transforming The Village Callers into a rock band. Presented in facsimile artwork and pressed on 180 gram vinyl.
X-RAY PRODUCTION (FRANCE)
XRP 216219EP
PRICE: $15.50
CAT #: XRP 216219EP
FILE UNDER: ELECTRONIC
BIGA RANX & ONDUBGROUND The World of Biga Ranx, Vol. 2 12"
Young dancehall MC Biga*Ranx delivers the second volume of the series of maxis in collaboration with OnDubGround. From the city of Tours (France), just like Biga, this trio imposes itself as the dubstep revelation of the French scene. This maxi begins hard with the title "Set Me Free", a name more than evocative. Biga likes to play codes and oscillates between genres. It once again demonstrates its incredible flow on the track "Depense On My Ting". Two reggae classics revisited with OnDubGround sauce with the titles "Mawdness" and "I Shot The Dubstep".
XRPMAXI 1301EP
PRICE: $15.50
CAT #: XRPMAXI 1301EP
FILE UNDER: ELECTRONIC
BIGA RANX & KANKA The World of Biga Ranx, Vol. 3 12"
It is with the famous producer Kanka that Biga*Ranx chooses to collaborate with on Volume Three.
new releases are also viewable at http://www.forcedexposure.com/new/newindx.html
Forced Exposure, 60 Lowell St, Arlington, MA, 02476, United States, www.forcedexposure.com
 


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