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New music available from Forced Exposure this week includes Main, Locust, Aidan Baker, and Kahn, while old music is due from U Roy, Rodelius, and Bardo Pond.





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DAMIEN DUBROVNIK: First Burning Attraction LP (ALT 008LP) 23.00
Formed in 2009, Damien Dubrovnik is the Danish electronic duo of Christian Stadsgaard (Sarah's Charity) and Loke Rahbek (Sexdrome, Var, Lust For Youth), founders of the Copenhagen-based record label Posh Isolation. In their day-job as label managers, Stadsgaard and Rahbek have been instrumental in establishing the city's prolific and exciting noise/punk community and outgrowing their humble beginnings in noise/industrial culture by attracting a cult/fanatical worldwide following. Working together as Damien Dubrovnik, they have published work across two LPs, a handful of sought-after cassette releases, compilations and notched up numerous performances throughout Europe and Scandinavia. Their third LP, First Burning Attraction, draws explicitly from DIY minimal synth traditions and the canon of European industrial music, resulting in the strongest manifestation of their sound so far. Consisting of six powerful and varied tracks, the album features more of the brooding synth parts and ominous bass throbs that dominated the highlights of previous LP Europa Dagbog -- Europa Diary, yet it feels tenser and more atmospheric due to the application of new acoustic-based sound sources, primitive bass pulses and more disciplined dynamics. Rahbek's vocals, which were previously guttural and wild, appear more restrained here, giving the tracks an alluring air of ambiguity and suggestiveness -- no undirected aggression, but something more thoughtful and introspective instead. Mastered by Viktor Olsson and cut by Grammy Greg at Masterpiece studios in London, 2013.



AUDISION: Chimes EP 12" (AND 017EP) 12.00
Audision return with a slab of colored vinyl. They produced "Chimes 1" for live performance and their new synth Roland JD 800 sounded crystal clear in their studio, but when they practiced for their live set, it played a different sound. "Chimes 2" lets the machines do the talking. "Away" was the beat-less track from their last 12" Up & Away, and Gez Varley aka G-Man created a dancefloor monster out of it. Lastly is a rough and deep house mix from Christopher Rau. On light blue-colored vinyl.


A&L 001CD

STEINBERG, DANIEL: Treptow CD (A&L 001CD) 17.00
Berlin DJ/producer Daniel Steinberg locked himself in his East Berlin studio for a nine-day period of self-imposed exile that ultimately laid the foundations for his opus, Treptow. "For the nine days I didn't speak to a soul except for the pizza delivery guy and completely lost my mind (in the best possible way) listening to some very obscure experimental music from the likes of Ron Geesin, Mark Shreeve, and Trevor Wishart." Long-lauded by Jesse Rose who signed him to his Front Room Recordings label and the likes of Richie Hawtin, Ricardo Villalobos, Luciano and Claude VonStroke, who've supported his tunes, Treptow speaks of a producer enjoying a deep vein of inspiration. Over 14 tracks he has crafted an album filled to the brim with rich, personality-laden electronic music that's indicative of not just the breadth of his production palette, but his passion and commitment towards creating colorful dance music with genuine soul and feeling. To encase oneself in the world of Steinberg's Treptow is to be taken on a trip through the artist's kaleidoscopic musical consciousness, which effortlessly swings from the multi-layered bass grooves and low-slung funk of "Mechanics," to the disco-tinged vibes of "True Romance" and "Joy & Happiness," the latter of which received Beatport's "Track of the Day" upon release in 2012. Famed for his love of crate-digging, Steinberg's pet passion is on full display throughout the album with "Tomorrow," deftly combining jackin' beats with chopped-up vintage funk samples, before moving things southwards, with the tropical Latin vibes of "Pasilda." He also crafts, simple, stunning piano-laden house with aplomb, as album single "Can't Find My Baby" attests to, while reinforcing his ability to produce punchy, crisp tech house with "Let Me Down" and shimmering "Low Rider." A long-time hero of the Berlin club scene with regular appearances at Watergate, Tresor and Suicide Circus, as well as the Fusion Festival, Steinberg was 13 when the Berlin Wall came down. He has fond memories of slipping out of his bedroom window to attend the legendary E-Werk and Bunker clubs, immersing himself in the sounds of Strictly Rhythm, R&S, Low Spirit and Bonzai Records. Such was his passion for the movement that he quickly became the DJ for his school in Treptow making mixtapes for his friends. Years later, it was also in Treptow that he produced his first record in his tiny apartment, and today it's that very former apartment that is the location for his studio and the site of creation for his latest album, making this a fitting tribute.



TOTO LA MOMPOSINA: La Bodega CD (AAR 008CD) 17.50
2009 release. In her native Colombia Totó La Momposina is a cantadora, a diva. She is celebrated as a great singer and performer and, more than that, as a champion of Colombian culture. La Bodega is her eighth album. Like her previous albums, it is a beautifully integrated mix of traditional and new songs, sung in Totó's thrilling voice and accompanied by musicians playing a variety of horns, flutes, stringed instruments and percussion. "A cantadora is born with the gift of singing, the gift of summoning people," says Totó. "A cantadora belongs to the people." With La Bodega she shares her gift with all people. Born into the fourth generation of a family of musicians on the island of Mompos, off the Caribbean coast of Colombia, she grew up with various styles of Colombian folk and popular music, especially cumbia.



VA: Japrock Sampler Volumes 1-5 5CD BOX (BAMBOX 002CD) 57.00
Bamboo presents Julian Cope's top five Japanese rock albums assembled here in an essential 5CD Japrock set. Never before available as a box set. Comes with a 36-page illustrated booklet with extensive sleevenotes, rare photos, and band bios. This is not a sampler of music -- it includes the following full albums: Speed, Glue & Shinki's Eve (1971), Flower Travellin' Band's Satori (1971), Les Rallizes Dénudés' Heavier Than A Death In The Family (recorded mostly in 1977), Far East Family Band's Parallel World (1976), and J A Caesar's Kokkyou Junreika (1973).


BEC 5161353

GARNIER, LAURENT: Jacques in the Box Remixes 12" (BEC 5161353) 14.00
Ed Banger and Laurent Garnier work together once again to give birth to a new remix EP of the track "Jacques in the Box." The first remix, by the French/German Brodinski & Gesaffelstein, offers a rhythmic, delicious and heady collaboration strongly inspired by German influences. On the flip, Chicago Bordelo delivers a clearly dynamic and electric sound, putting forth a new techno take on the track.



ROMARE: Love Songs: Part One EP 12" (ACRE 040EP) 12.50
Romare presents his thesis on the classic love song, drawing influences from yesterday's sounds to craft music for tomorrow. "Your Love (You Give Me Fever)" is a deft fusion of footwork shuffle with vintage texture, already garnering support from Gilles Peterson and Huw Stephens. "Jimi & Faye (Part One)" is a chopped and screwed blues groove, "Taste of Honey (From the City)" is a breakbeat-harvesting anthem saturated in early '90s club-land, and "Hey Now (When I Give You All My Lovin') is a dirt-under-the-nails blues/hip-hop jam.



KAHN: Kahn EP 2x12" (BLACKBOX 032EP) 20.00
Kahn's music draws effortlessly on wide-reaching influences, touching on soulful UK garage, bristling grime and shimmering, technicolor hip-hop. This EP expands beyond grime and dubstep and into more classic Bristol territory, inhabiting a musical space which shares direct lineage as much with Nellee Hooper and the Wild Bunch as it does more recent tropes. Featuring a turn from grime legend Flowdan as well as Rider Shafique and Young Echo emcee Jabu, this is also the first record to showcase Kahn's own vocals.



LEWIS, ALEXANDER: A Luminous Veil LP (BLACKEST 014LP) 19.50
A Luminous Veil is the debut release by Alexander Lewis. Six tracks of heart-sore modern industrial and S-M techno created using synth, microphone, and pedals. Recorded in one take with minimal computer processing or post-production. Limited edition of 500 copies only.



CLOTHILDE: Queen of the French Swinging Mademoiselle 1967 CD (BORNBAD 047CD) 15.50
Clothilde, queen of the "Swingin' Mademoiselles." Why Clothilde? Why not that more star-worthy, internationally-acclaimed Françoise Hardy, or the more akin to the sub-genre, France Gall? Because she's the most characteristic, archtypical French mademoiselle, that's why! Christine Pilzer, even Jacqueline Taïeb before her, both may have been rediscovered first in this style unique to French '60s pop, and Stella also may have been the most out and out "anti-ye-ye" with her slightly anti-establishment and derisive lyrics countering the pop system and establishment, but Cleo's all about text, not that much as a whole production. As such, Clothilde takes the crown. Not only has Clothilde the most natural (albeit unknowingly) disposition as a chanteuse, singing such subversive lyrics with as much second degree detachment as possible but also, the music itself is highly original: inventive arrangements including French horn, musical saw, church bells, barrel organ, marimba, brass fiddle, woodwinds, and busy fuzz guitar amidst all that slapstick comedy-like audio bric-à-brac. Almost avant-garde in concept, it was imagined and produced by Clothilde's impresario, manager and indeed creator, legendary Disques Vogue A.D. Germinal Tenas. This could've only come out of France.


FEELING OF LOVE, THE: Reward Your Grace CD (BORNBAD 050CD) 15.50
Since its beginning, The Feeling Of Love evolved from a one-man-band playing minimal and nihilist garage-blues with a no wave leaning, to a trio still in the garage vibe but with more complexity and strong Krautrock and psychedelic influences. The band, mostly based in Metz (France), comes from the mind of Guillaume Marietta, who was joined by Seb Normal and Sebastien Joly for their first studio album released through Born Bad Records in April 2011. Dissolve Me is the band's Kraut space garage manifesto. Songs stretch out, the drums go more tribal, the synth hammers out his keys on an infinite highway, and the guitar gets lost in delay pedal's fog. One thinks Suicide, Spacemen 3, The Velvet Underground, Can, Syd Barrett. The record has enabled the band to reach a larger audience, to hit the stage of big festivals like Rock en Seine in Paris and to be critically-acclaimed by the French media (front page of Telerama, press articles in Le Monde, Les Inrockuptibles, Noise, Magic, Grazia, etc.) and had many reviews on U.S. and European blogs. Nosey/Vice also shot a documentary about the band. After countless shows all over Europe and two tours in U.S.A., sharing the stage with bands such as Ty Segall, Thee Oh Sees, White Fence, The Intelligence, Girls, Strange Boys, etc., The Feeling of Love now present Reward Your Grace. Even if the songs keep their psychedelic and melancholic garage essence, the band re-think their music by exploring shoegaze and pop territories. Reward Your Grace is a much more light record yet even more accomplished. Something between psych-pop ballads and long trance soundtracks disturbed by sonic blasts.



BOYS NOIZE: XTC (Chemical Brothers/Justice Remixes) 12" (BNR 100EP) 12.50
The Chemical Brothers draw Boys Noize "XTC's" gritty lead bass-line out into a seven-minute electro marathon; you will definitely need water after this ride. On the flip side Justice submerge the buoyant electro-house highs of "Ich R U" in a dark, brooding space, like an evil mutation of their Cross-era sounds. The resulting track is, as per-usual, stadium-scale epic.


BB 127CD

ROEDELIUS: Offene Turen CD (BB 127CD) 17.00
"Offene Türen is a purely electronic album. Without losing himself in their infinite tonal possibilities, Roedelius delights in playing a selection of synthesizers. He even deploys an analog rhythm machine now and then to discreet effect. Roedelius takes great care to steer well clear of any cosmic fog or de-personalized abstractions. Nothing of the sort can be heard, as he focuses intensely and exclusively on the relationships of rhythm, harmony, and melody. Roedelius conjures up their delicate timbres on synthesizer with the greatest of ease. The seasoned electronic musician would have found similar results beyond the reach of his good old Farfisa organ. Offene Türen is an album of electronic chamber music and only someone with as sunny a disposition as Roedelius could be its composer and performer. Indeed, the unfettered Roedelius knew no artistic barriers in the early 1980s, following a turbulent period of personal upheaval amidst the musical revolution going on around him. He began to open up a brand new musical world, venturing forth with typical humility, as quietly and steadfastly as ever. Offene Türen marks a kind of threshold which Roedelius crosses in the moment of its inception: one foot in the glorious 1970s, the other already reaching into the uncharted future of the 1980s. Roedelius did not surrender his musical identity in the process, nor did he modify his inimitable artistic handwriting. Both had attained a level of complexity that perhaps he himself would have found surprising in earlier days. Those who have listened carefully to Roedelius both before and after Offene Türen will appreciate the album's significance. But even leaving such historical reminiscences aside, this music is incredibly vibrant and beautiful. Listening to it now is as great a pleasure as it was at the time of its creation. Clearly, Roedelius has always been an absolute master of timelessness." --Asmus Tietchens

BB 131CD

SOLYST: Lead CD (BB 131CD) 17.00
The second album by Kreidler drummer Thomas Klein -- alias Sølyst -- is a hypnotic journey into the heart of darkness. Foreboding synth patterns, menacing bass lines, driving drum figures, cavernous percussion effects: Sølyst delves into new depths with his tribal Kraut dub. Ten pieces are collected on Lead. The first of these, "Pierbourg," rolls into the unknown with stoic determination, as if feeling its way through an indefinable darkness to leave its mark. A fierce, stomping beat drives straight ahead, unperturbed, leaving no doubt as to its decisiveness. Drums, percussion, synth patterns, delays and skeletal, sparse fragments of melodies characterize the sound over the next 40 minutes. The album docks onto the sonic universe of its predecessor, yet the sound is somewhat clearer and more polished. After a number of euphoric and more relaxed moments, with driving and pulsating pieces of springy lightness and leaden heaviness, the journey ends with "Schnee." The pressure dissolves into a hypnotic, relaxed movement, finding a moderate rhythm, and turns its gaze toward the stars. The physical, with all kinds of percussion, remains essential with Sølyst. Through its conception and implementation, Lead demonstrates just how the scope of this physicality can be explored. Klein's use of drums and percussion becomes a living, driving, urgent source of energy. But the rudimentary melodies and the overall atmosphere are also shaped in large part by the drums. The range of moods alternates between a supercool distance and heated immediacy. Like the different aggregate states of a single substance, the drumming constantly changes its form, and thus its role. The electronic sounds and sequences are run through chains of delays to become dynamic, strongly emotional structures. These are met with the exceptional drumming of Thomas Klein, whose instrument often becomes the actual protagonist. However, the focus is never on ability or virtuosity, but on the tension between these two interlocking components and their extremely lively interaction. The way the acoustic drums and electronic sounds seem to connect, combat and combine is the special, exciting, thrilling aspect of Lead.



SWINDLE: Airmiles (20,000 Miles Later Remix) 12" (AIRMILES 001EP) 11.00
"Airmiles" is the track that helped Swindle enter the electronic music scene back in 2010. Given its name by Elijah on a Rinse FM radio show, and later released on 12" by Planet Mu, it has remained a centerpiece of his and the rest of the Butterz crew's DJ sets. The outro is a perfect balance between high energy club music and jazzy instrumentation. Only available on this limited one-sided vinyl pressing.


CT 101LP

VA: King Of Dub LP (CT 101LP) 11.00
All rhythm tracks by Bunny Lee at Studio One. Tracks: "King Zion Dub," "Super Star Dub," "Graceful," "Rubba Dunza (Clock Tower Mix)," "Jah Angel Of Dub (Clock Tower Mix)," "Blood, Sweat & Dunza Dub," "King, Queen & Minstreal Dub," "Easy Dread & Check This Dub," "Fancy Up A Dub " and "Stalac 80 Dubwise."

CT 588LP

U ROY: Hold On Rasta LP (CT 588LP) 11.00
U-Roy was the only artist to hold simultaneously the top three positions in the Jamaican charts with three consecutive singles. This collection features "Gorgon," "Hold On Rasta," "Deck Of Cards," "War," "Come On Deh," "I Shall Not Remove," "Joyful Locks" and "Dub Of Locks." Presented on a rich, "brown"-colored vinyl.



STORMFIELD: Collapsing System EP 12" (COMBAT 033EP) 11.00
The Collapsing System EP is comes from Combat Recordings label-head Stormfield. The unifying theme for this release is acid, acid and more acid. "Rebuild" is a 140 bpm dark electro beast of broken machine rhythms and huge bass drums underpinning dramatic sci-fi drones and edgy strings. "Collapsing System" goes in a cinematic direction and Defekt turns "Rebuild" into a minimalist, bass-heavy dancefloor track. Errorbeauty reworks "Collapsing System" into apocalyptic acid, and there's also a brutal remix from Nonima.



"Scott & Charlene's Wedding continue with their unique take on tales of the everyday that lit up their debut Para Vista Social Club with a new five-track EP which sees them going that much further both musically and thematically with more fantastic sound bites of everyday life." Comes on red vinyl.



DBC: Pris LP (DAIS 037LP) 19.00
"Blinding white magic in light of the new age opera, the Dangerous Boy's Club bring the heat. DBC has the lips of a killer, the unholy choir of the repentant, and the glamour cast from gold. Known for their history in such outfits as Heroin, Antioch Arrow, and Get Hustle, their debut album Vril on Fast Weapons awoke followers out of their coma. Dais now brings everyone to the altar with their follow up LP, Pris. Sacramental electro synth-rock mixed with glam violence inducing one into a state of bliss and ecstasy. Not from this world, not of this time, but DBC knows exactly what we needed to hear. Making sure that everything will be alright, just give in to the club. Limited edition of 500, soaked in soul." Includes mp3 download.



CYANIDE PILLS: Still Bored CD (DAMGOOD 411CD) 15.50
"The most talked about band at 2012's Rebellion Festival was without a doubt Cyanide Pills with a truly amazing performance that cemented their reputation as one of the UK's best, kick-ass live punk pop/new wave bands. The lads' second album Still Bored is a storming 17 track punk pop blast dealing with alienation, despair, politics and impotence. There's also a punk rock/geography/history lesson with 'Johnny Thunders Lived in Leeds.' Like the previous album, Still Bored was recorded at The Billiard Room in Leeds by Wedding Present producer Carl Rosamond."


CHATHAM FORTS (WILD BILLY CHILDISH): All Our Forts Are with You 7" (DAMGOOD 412EP) 9.00
"This band is a little different to the recent stuff coming from Mr. Childish, for a start he's back on lead vocals, the sound is more akin to The Mighty Caesers/Headcoats with even a little of The Pop Rivets in there as well. A slightly angular, new wave approach."



VUURWERK: Me+One LP (DLR 003LP) 18.00
Brussels-based producer outfit and mystery crew Run Tell Secrecy aka Vuurwerk team up with the Dandelion Lotus label for the official release of their debut LP Me+One. Fueled by a delicately rare DIY IDM esthetic, Me+One holds the distilled drops from the Vuurwerk EPs made somewhere in the darkest times between September 2011 and January 2013. Creating a dissonance between dance music and intimacy, Vuurwerk aims to drench the club experience in a comfortable haze. The limited hand-numbered black vinyl edition is cut and mastered by Sam John (Mount Kimbie, Fantastic Mr. Fox, Little Dragon, Aphex Twin) and wrapped in a beautiful 12" cover.



James Ford and Jas Shaw aka Simian Mobile Disco, have always had an envious ability to transform their sound while staying firmly at the forefront of contemporary music. Their earliest explorations were in an inimitable strain of indie dance that resulted in the now-infamous Attack Decay Sustain Release. With their ever-evolving sound, they went on to release Temporary Pleasure, featuring a plethora of vocals from the likes of Alexis Taylor, Beth Ditto and Jamie Liddell. Most recently, they have released techno 12" compilation Delicacies and 2012's critically-acclaimed Unpatterns, described by XLR8R as SMD's "magnum opus," making it to #2 on XLR8R's end-of-year album chart. This has seen the duo produce an altogether deeper club-friendly sound -- a psychedelic-tinged strain of electronic music which still sounds so singularly and utterly them. This diverse musical excursion has led to Live, an album recorded while on tour in 2012, during a performance in Philadelphia in one take, with no edits. With a background of feverish techno rhythms and bounce as well as some vintage analog electronics, Live perfectly displays the brilliance of SMD, and is being released on their own Delicacies label. Fittingly, this is their first record distributed through the seminal German electronic label, Kompakt. The album is a flawless mix of SMD releases, past and present, with some brilliant re-workings of some of their most infamous tracks. "Cruel Intentions," "Hustler" and "It's the Beat," for instance, all feature with a more fevered and fervent strut, showcasing the duo's effortless way with an infectious beat and a knack for destroying any dancefloor they're put in charge of. The end result is an exhilarating blend of precise electronics, danceable rhythms and joyous aptitude.



This is the long-awaited debut album by David August. This album is an intimate production, realizing the artist's fanatic dedication, of which love in all its facets is the main motive. The listener will find his own emotional journey in it, starting with "Help Me Through," a journey leading to David August's world and soul. It is a defined and compelling universe, offering quite a musical spectrum. The producer, who has been trained in classical piano, uses classical instruments, such as a clarinet in "Hommage." There is a crossover of thought throughout the 14 tracks without being eclectic -- the Hamburg native has a very precise idea of sound, even apart from being played on the dancefloor. Times creates a warm and somewhat organic atmosphere, never dull or with cheap effects, and always to the point. One shivers listening to "Blossom," with its piano parts. "Watch Your Step" is an example of a groove-giant, "Until We Shine" is a fascinating vocal duet, and "Forgive Me If I Bleed" is an epic electronica-outro. The artist's voice is an instrument, too, perfectly suited to the overwhelmingly refined song sound-structures. Times is meant to be explored again and again, functioning on all levels, be it on the dancefloor, the living room, or on earphones.



BEACH BOYS, THE: Surfin' Safari LP+CD (DOK 325LP) 26.00
"Peaking at number 32 on the album charts, Surfin' Safari was the Beach Boys' 1962 debut LP. The original 12-song track list, found here on side A, features the band's first two singles -- 'Surfin'' and 'Surfin' Safari', while side B is made up primarily of rare outtakes from their 1961-62 Candix studio sessions. The two tracks, 'Barbie' and 'What Is a Young Girl Made Of?,' were actually issued as a single in early 1962 under the name of Kenny & The Cadets, and feature a 20-year-old Brian Wilson on lead vocals." Comes on 180 gram vinyl and includes a CD copy of the album.


DC 360LP

SPACEMAN/SUN CITY GIRLS, J.: Mister Lonely LP (DC 360LP) 17.00
2013 repress; LP version, gatefold sleeve. We know you would rather consider the Spring Breakers shaped-disc megamixxx, but WTF? "Jason Spaceman and Sun City Girls employ an instrumental approach for the sounds here, with one or two chanted exceptions. Their music conspires in an exquisite corpse-like fashion -- without knowing what the other was doing, they've each brought half a body to the film, supplying the apparitional and austere sounds of a world in which everyone is something they're not, i.e. the people they dream of being."

DC 486BK

KORINE, HARMONY: A Crack-Up at the Race Riots Book (DC 486BK) 17.00
"'It's about a race war and it happens in Florida. And the Jewish people sit in trees. And the black people are run by M.C. Hammer. And the whites are run by Vanilla Ice. I wanted to write the Great American Choose Your Own Adventure novel.' -- Harmony Korine, addressing a national television audience, 10/17/97. Back in print from Harmony Korine, A Crack-Up at the Race Riots was originally published by Mainstreet/Doubleday in 1998. Korine's first novel presents fragments of a portrait in multimedia: print, photographs, drawings, news clippings, handwriting, a poem, attempted diagrams, clip art -- but mostly text, including hard-luck stories, off-and-on-color jokes, scriptscraps, found letters, free rhymes, drug flashbacks and other missing scenes, exploring the world of show-biz with fingers prying in the cracks and feet set lightly in the black humours of the real ol' world. A Crack-Up at the Race Riots also includes some other semi/attempted/quasi lists/scripts, a few letters from Tupac and a set of eleven suicide notes with room included for your signature. So that's the book in a nutshell. I don't know, maybe you had to be there. But it's back in print, so be there now, what the fuck?" Soft cover, 172 pages. List price: $18.95.

DC 521LP

RISTAGNO, RICH: What Would It Be Like to Be Rich LP (DC 521LP) 19.00
"Detroit is, as ever, a mystery wrapped in a wasteland. After Motown blew out of town, as if on the last chopper out of Danang, the volatile periphery remained intact -- minus its binding barycenter. A young Richard Ristagno was there, naively participating in the riots that cancelled Detroit's application to the echelons of the modern American cities. After hearing about the riots on the radio, he and his Midnight Riders garage band ventured into the periphery, only to get busted for looting. He would be detained again, a year or so later, by Selective Service. Narrowly escaping an uncertain fate in Vietnam, Ristagno served his time in sleepy zones like Fort Knox in Kentucky and German outposts. Returning to Michigan in 1971, without an education or a plan, he found work in the galley of an iconic banquet club named The Rooster Tail. While working the line, slopping sauce on overpriced hunks of meat, he plotted his first recordings. With two original songs in mind, he hit the phone book and found a vanity operation just over the border in Canada. He stamped out what was to be an initial pressing of 500 copies, nearly all of which were sent to radio stations nationwide. After the world failed to beat a path to his door, the initial pressing became the only pressing. He moved on, finding union labor at Wyatt Services, a steel treatment plant, he managed to accumulate the largesse for a more grandiose scheme. What Would It Be Like to Be Rich was to be an autobiographical concept album. In 1981, nearly ten years after his ill-fated single, Ristagno saw an ad in the Detroit News for a recording studio called Soular Sound, and submitted an inquiry about availability. To complete his vision, he would need to hire a band. Not surprisingly owner/engineer Conley Abrams was the bassist of a local funk band called Soular Flight. The studio only existed to immortalize the work of the band, who proudly declared they were 'so high they could touch the sun.' The recordings occurred quickly in 1981. The fusion of Soular Flight's disco tendencies with Ristagno's angsty delivery seemingly anticipates industrial and techno, and reflects contemporaries like The Contortions or DNA. In reality, Ristagno remained blissfully ignorant, and cites influences such as Aerosmith, Fleetwood Mac, and the perennially influential Beatles. Despite a cover concept, Ristagno took the completed LP to Archer Record Pressing and manufactured 100 copies. He had, perhaps, jumped the gun, though he had a cover concept, he didn't have the means to execute the artwork. His initial pressing remained in his parents' basement, completely undistributed, underclothed in just frail paper sleeves. It was the 45 single, strategically planted randomly outside Ristagno's domicile, that saved its doomed younger brother. Michigan rock specialists Daniel Schlosser and Ben Blackwell approached Ristagno and freed his personal opus from private imprisonment. Although the grim worldview presented within seems to beg for isolation, it's not the work of music lovers to enable further isolation." -- Rob Sevier, 2012

DC 549EP

"It's been a long road through time and other things from Get On Jolly to Solemns, but suffice to say, thirteen and some increasingly endless years later, the Bonnie 'Prince' and the Marquis de Tren have not only sat down for another royal audience with each other, but have also several reports from their sessions to share with all of us. That their paths managed to converge after all this long was both incredible and yet inevitable -- after all, the 'Prince' had over the years received compliments about Get On Jolly in the oddest places. And they were the oddest compliments, at that. It led him to wonder. Meanwhile, on the other side of the planet, the Marquis sat in front of his easel, rending the world as he saw fit. With every year that passed, his admiration of Jolly EP had only grown. Would it surprise anyone to know that the missive that restarted it all bore the MdT seal? Or that the correspondence, once followed upon, was nonetheless burned in Bonny's hearth by night's end? Dream on, suckers."

DC 551CD

GRUBBS, DAVE: The Plain Where the Palace Stood CD (DC 551CD) 13.50
"Drag City drops the sixth and latest David Grubbs pop album, The Plain Where the Palace Stood, which finds David once again twining together the diverse strands of his vast interests. Working with Andrea Belfi (drums, electronics) and Stefano Pilia (guitar) creates a sympathetic groupthink that David expects more and greater from in the years to come. The welcome return of his distinctive overdriven guitar tone is a highlight of the record. And C. Spencer Yeh (Burning Star Core) plays some absolutely apeshit violin on two tracks. As in the days of Gastr del Sol, songs float in idiosyncratic, exceptionally unhurried arrangements. The Plain Where the Palace Stood features vocals on just four of the eleven tracks, yet the album as whole flows -- breathes -- effortlessly alongside the most acclaimed releases of his extended catalog, not to mention those of his contemporaries and kindred artists -- Oren Ambarchi, Scott Walker, Talk Talk, and Sunn O)))."

DC 551LP

GRUBBS, DAVE: The Plain Where the Palace Stood LP (DC 551LP) 18.00
LP version.



KANAZAWA/SHINJIRO YAMAGUCHI/HIROYUKI URA, KENICHI: Experimental Music of Japan Vol. 9: Fragments of Sound, Figure of Music CD (OPX 009CD) 25.00
Kenichi Kanazawa held the exhibition "Oto no Kakera" ("Fragments of Sound') and "Workshop" at the Kawagoe City Museum between 2006 and 2010. At the fifth and final exhibition, he did a workshop and performance with Hiroyuki Ura and Shinjiro Yamaguchi. This performance consisted of some fragments, with Yamaguchi adding his own details. According to his explanation, he tried to capture an invisible figure of music through composition using simple rules and styles. Housed in a cardboard paper gatefold sleeve with newly-written liner notes in Japanese and English. Also includes a summary by the artist. Limited to 300 copies.


KANAZAWA, KENICHI: Experimental Music of Japan Vol. 10: Solo Performance CD (OPX 010CD) 23.50
Edition Omega Point presents solo performance pieces by Japanese sound and visual performance artist Kenichi Kanazawa. "Oto no Kakera" ("Fragments of Sound") was based on his participation in an exhibition called Sound Garden in 1987. He cut thick steel plates like pieces of a jigsaw puzzle, concerned with the thematic relationships of iron, figures, and sounds. He attacked the pieces with sticks, and then played with their sounds. Various pitches, tones and resonances of sounds were made from the area and shape of each pieces, extending the world of iron sound richly. This CD is a recording of performances in the exhibition "Kenichi Kanazawa, iron as a starting point 1982-2011." Solo Performance is housed in a cardboard paper gatefold sleeve, with newly-written liner notes in Japanese and English. It also includes a summary written by Kanazawa. Limited to 300 copies.



MAIN: Ablation CD (EMEGO 160CD) 15.50
There has been a recent surge in activity from Robert Hampson, with all manner of solo recordings and performances popping up. It's only logical that he reactivates his beloved Main project. As we all know, Main laid the foundations during the 1990s for much of the love of abstract guitar treatments in electronic music throughout the 2000s. Hampson has teamed up with Stephan Mathieu to create a stunning new album. On Ablation, Mathieu adds extra tonal color and an obscure rhythmic palette to Hampson's exacting treatments and detailed use of layered concrète sounds to create an emotionally-charged and fascinating work. Old fans of Main will not be disappointed, and neither will new followers of experimental audio. Packaged with images by Grebo Gray with layout by Dave Coppenhall, and expertly mastered and cut by Rashad Becker, Ablation is a highlight for the spring 2013 season. Robert Hampson (analogue electronics, concrète sounds, guitar, piano-treatments) and Stephan Mathieu (Farfisa VIP 233, e-bowed phonoharp, radio, percussion-treatment).


LOCUST: You'll Be Safe Forever CD (EMEGO 162CD) 15.50
You'll Be Safe Forever marks the first release from Locust in 12 years. Mark Van Hoen, who made a string of influential releases as Locust on R&S records in the 1990s, all but retired the alias at the end of that decade. In May 2012, Van Hoen was invited to perform a live set on WFMU radio. In order to make the set more spontaneous and add a further dimension, he asked friend and fellow musician Louis Sherman to collaborate. While improvising new material in Sherman's Brooklyn rehearsal studio, it swiftly became obvious that the material sounded like Locust. Inspired by joint explorations with found sound sources and ambient textures, and sharing a pan-dimensional immersion in the length and breadth of analog and digital recording, the duo performed a series of tracks live. This material, combined with previously-recorded tape tracks dating back to 2006 form the bulk of the album. The melancholic depths of electronic music explored in those improvisations, expanded further through subsequent sessions at Van Hoen's Woodstock, NY studio, have resulted in this latest entry in Locust's impressive discography. The record showcases prime examples of Van Hoen's compulsively hypnotic beats and abstracted pop vocals -- already hallmarks of his collected work since 1993 -- manipulating a global variety of samples in Celemony's Melodyne software to weave a unique sonic tapestry, as inviting as it is intricate. Paired with Sherman's evocative synth improvisations -- an immediately visceral element new to Locust -- these collaborators have crafted a shattered landscape that bridges two perspectives of progressive movement in electronic music under a single name. Sherman, an American from Baltimore, comes to the band armed with a vast knowledge of the history of electronic music. This, combined with Londoner Mark Van Hoen's known musical pedigree, maps the complete topography of a landscape -- its shadow and light, depth and height, mesmerizing complexity and ethereal simplicity -- with a break-beating heart and alchemical ear.


EVOL: Proper Headshrinker LP (EMEGO 164LP) 20.00
Ever since Stephen Sharp and Roc Jiménez de Cisneros embarked on the deconstructive process they refer to as "Rave Synthesis," the goal was to come up with odd relatives of well-established sounds in techno culture by constantly messing with the original recipes, expanding the tropes, and hinting at novel paths for contemporary psychedelia. Almost three years after the influential Rave Slime, Evol's fifth album takes the idea one step further. The content of Proper Headshrinker was first presented in public as part of the group exhibition "Recurrence, Repetition, Hypnosis and Ritual," curated by Paul Purgas at Färgfabriken, Stockholm, 6/12/12-1/13/13. In the show, right next to the speakers playing these tracks, the sentence "Like a balloon producing balloons, producing balloons" was printed on the wall in Pantone 805 fluorescent red, the same color used on the cover of the album. As it turns out, the title of the exhibition almost feels like the perfect tagline for Proper Headshrinker. The ten tracks on the album are unlikely techno anthems, stripped-down hoovers, and deformed super-saws driven by extremely simple cyclic patterns. Ten pieces of identical length that focus on continuity, neighborhood, and iteration, but also on sameness, insideness and outsideness. Sharp and Jiménez de Cisneros have used key words such as "slime," "stretching," "sonic Play- Doh," "squeezing" or "folding" to illustrate the notion of homeomorphism (a metaphor borrowed from topology) in relation to the structural developments and the way in which tone bends in their rave synthesis tracks. On Proper Headshrinker, though, this continuous deformation is much more oblique, since the only source of variation in these monolithic structures comes from subtle phase modulations. The resulting straightforward brutality demands deep listening and, as usual, proper playback volume. Mastered by Russell Haswell in Suffolk. Cut by Rashad Becker at Dubplates & Mastering, Berlin.


Ensemble Skalectrik is a side-project of Nick "Ekoplekz" Edwards. Previous emissions include the self-released psycho-geographical abstraction of Snuff Mill Tapes and a homage to Maurizio Bianchi via Feral Tapes. Focusing entirely on spontaneous composition and one-take improvisation, Ensemble Skalectrik represents the most raw, extreme performance-based electronic music in Edwards' repertoire. On Trainwrekz, Edwards has dusted-off his turntables, grabbed a stack of old vinyl (mainly sound effects and easy listening albums), added a selection of sound-shaping devices (filters, equalizers, loop-pedals) and proceeded to record a series of delirious, derailed sonic sketches that sound like nothing else in his rapidly expanding discography. Ranging from the portentous pile-up of "Wrekwahn," the oppressive atmospherics of "Wrekfore" and the serene ornithological drift of "Wreksikz," these half-dozen pieces document the emergence of a highly personalized form of turntablism that incorporates elements of chance, drone, dub, hauntology, musique concrète and free improvisation. Performed and recorded in three sessions during the month of November, 2012. Additional production and mix January 2013. Active participants: Alesis Nano Compressor, BASF Chrome cassette (x2), Belcat Delay, Chance, Danelectro "Reel Echo," Ekdahl "Moisturizer," Electrix "EQ Killer," Electro-Harmonix "The Worm," Muza FD900 "M Ambience," Nick Edwards, Rocktek 6 Band EQ, Stanton STR8-30 direct drive turntable (x2), Yamaha MT3X cassette multi-track and a selection of vinyl LP records.



BLACKASTEROID: Black Acid Remixes EP 12" (EDLX 029EP) 12.50
Defined by its gritty textures, fizzy white noise manipulations and a signature mechanical hum throughout, Black Acid reaffirmed Bryan Black as a formidable one to watch under his revised Blackasteroid guise. Perc, Alva Noto, Len Faki, Angel Costa, and DJ Emerson present a series of pithy reinventions of the EP's three lead tracks: "Black Acid," "Hydrogen" and "Pressure," turning in a thoroughly versatile remix package complete with fresh nuances ranging from peak-time basement material to more pensive headphone moments.


EM 1110LP

YOUNG, ROLAND P.: Mystiphonic LP (EM 1110LP) 20.00
LP version. Mystiphonic is the third release from Roland P. Young on EM Records, following Isophonic Boogie Woogie (EM 1045CD/HJ-LP) which was originally released in 1980 and re-issued by EM in 2005, and the 2009 Istet Serenade (EM 1087CD/LP). Mystiphonic is the fruit of two years of recordings at Young's Isophonic Sound Laboratory in Brooklyn, "comprovisations" which are more electronic than the previous EM releases, and yet this new CD retains Young's emotional life-long horn playing, a romance which began in his youth in Kansas City. Also carrying on from previous releases is the all-encompassing warmth and organic/oceanic feeling of Young's music, a rootedness that has been present since his early exposure to Charlie Parker, on through his San Francisco years and ever forward, linking past, present and future through deep American soil to his world-embracing current music, all united through his "Isophonic" philosophy. The Mystiphonic blend of electronics, percussion and horns is one of subtle beauty, sure to please Young's fans while attracting new admirers.



DESOLATE: Actaeon EP 12" (FAUXPAS 011EP) 14.00
Desolate is back from winter sleep -- with three new tracks exclusively released on vinyl. The record comes with a handmade silkscreen cover and the graphic design concept was developed by Alex Ketzer. Mastering by Redshape.



SPACEMEN 3: Performance LP (FIRE 040LP) 31.00
"180 gram orange vinyl. Recorded in Amsterdam in 1988, the live performance documents a set from the Perfect Prescription tour; the emphasis here is on the group's loud, noisy origins -- only the closing 'Feel So Good' hints at the more subdued atmospheres and textures which emerged as Spacemen 3's primary focus as they approached Playing with Fire."


BLANK REALM: Go Easy CD (FIRE 288CD) 17.50
"Australian psychedelic pop outfit Blank Realm. Go Easy initially came out on a limited edition, vinyl-only run via the awesome tastemaker label Siltbreeze and in Australia on the equally wonderful Bedroom Suck. An incredible blend of psychedelic rock 'n' roll and super-catchy pop smarts."


BLANK REALM: Go Easy LP (FIRE 288LP) 23.50
LP version on pink, 180 gram vinyl.


BARDO POND: Ticket Crystals 2LP (FIRE 291LP) 31.00
"The sixth studio album from Philadelphia's foremost purveyors of psychedelic space rock. Appearing for the first time on double heavy weight vinyl and with brand new artwork by Joy Feasley, Bardo Pond's 2006 album Ticket Crystals exemplifies the quintet's signature doom tempo, multi-layered drones while introducing a lighter pastoral feel."



ULTRADEMON: Seapunk CD (FFE 002CD) 15.50
Formed the band Josephine Collective at 16. Signed to Warner Bros. Records at 17 and left to take off on his own at 18. That's the banging credit openings of music producer and DJ, formerly known as Fire For Effect, now Ultrademon; real name Albert Redwine. Now working at The Center for the Advancement of Transmodern Awareness and studying at Vocaloid School prior to that, Redwine is musically trained in piano and the Kansas-born and now Chicago-based Ultrademon is leading the current and controversial "Seapunk" movement, which emerged from a dream his friend once had. There's no concrete evidence of piracy but pop culture has indeed seen recent splashes of aquamarine: Nicki Minaj painted her skin blue for a Vogue shoot; Katy Perry wore a turquoise bob, Rihanna adopted the design aesthetic and a Google Image search of "seapunk" pulls up a photo of Lady Gaga with a neon blue wig. Seapunk is a mostly internet-based phenomenon, featuring a sort of cyber-punk meets futuristic Mad-Max-on-water attitude meant for those who can surf the gnarliest swells of the world wide wave. Music-wise, Seapunk is a style of electronic music that incorporates bits of '90s house and techno, the past 15 years or so of pop and R&B, and the latest in southern trap rap -- all overlaid with a twinkly, narcotic energy that recalls new-age music, 16-bit-era video games and chopped-and-screwed hip-hop mix tapes in roughly equal measure. Over the years and in rapid fashion, the front man's positive vision of trans-humanism and heightening awareness through music via seapunk has amassed a loyal and cult legion of followers both online and in real life. As a producer, Ultrademon excels in liquid house, techno and bass music drenched in a myriad sea of textures, with liberal drops of acid, anime, 8-bit, conscious referential samples and an unmistakable, individualistic positivity.



JACKSON, WANDA: Funnel of Love/Whirlpool 7" (FRY 020EP) 8.00
Fryers presents two of their favorite sides from "Queen of Rockabilly" Wanda Lavonne Jackson. "Funnel of Love," her ever-popular 1961 rock 'n' roll standard was recorded back in 1961 and covered by every half-decent rockabilly-influenced band ever since. "Whirlpool" has been getting recent spins on the European R&B and soul scene. As always, great care has been taken to make this the best-sounding press of these two tracks. Mastered in Finland where Timmion Cutting Laboratory cut loud, deep, and wide.



BAKER, AIDAN: Already Drowning CD (GZH 043CD) 17.00
Already Drowning, a song-cycle inspired by various myths and folktales about female water spirits, marks something of a departure for Aidan Baker. While still retaining his trademark sense of ambience and texture, the tracks on this album are much more structured and song-oriented, embracing a minimalist post-rock, slowcore style and featuring a different guest vocalist on each track. Guest vocalists include: Clara Engel, Jessica Bailiff, Valérie Niederoest and Maude Oswald (of Toboggan), Joanna Kupnicka, Geneviève Castrée (aka Ô Paon), Liz Hysen, and Carla Bozulich (of Evangelista, The Geraldine Fibbers). All words and music written by Aidan Baker (guitars, bass, flute, drums, trombone, piano, and field recordings), vocal melodies and interpretations/translations by respective singers. Additional musicians: Leah Buckareff (of Nadja -- accordion), Laura C. Bates (violin), Nick Storring (of Picastro -- cello), Carl Pace (of Beta Cloud -- trumpet), and Laura Rodie (alto and soprano saxophones).



HUGO & THE PRISMATICS: The Consequences of Loop CD (GVR 001CD) 17.00
Hugo & The Prismatics release their first album The Consequences of Loop on Goodvibe Records. The album demonstrates Hugo's desire to lay his emotions on the line; the meeting point between his jazz roots and the groovy years of electronic dance music. The result of 15 years of making and playing music, The Consequences of Loop is Hugo's debut solo album inspired by jazz improvisation, and the idea that our lives are a result of loops. Every action creates a new action. Able to distinguish influences as varied as Matthew Dear and Josh Homme (Queens of the Stone Age) on the record, Hugo's rich and varied sonic history comes to the fore on this album, showcasing a raw and natural talent for combining cross-genre music into one effortless sound; a sound you'll be hearing a lot more of in 2013.



DINGER, KLAUS: Japandorf LP (GRON 124LP) 20.50
LP version. "Japandorf is a uniquely magical, optimistic, refreshing and beautiful album. Definitely another Klaus Dinger manifest."



WICKED LADY: The Axeman Cometh CD (GUESS 042CD) 17.00
Repressed. If you are looking for raw, psychedelic hard-rock, look no further -- Guerssen presents the complete recordings (1968-1972) from Wicked Lady, the legendary UK underground power trio led by ace guitarist Martin Weaver, later a member of Dark on their Round The Edges album. The music here was originally recorded in 1968/1969 and features new artwork and liner notes by Weaver, who tells the real (and bizarre!) story behind Wicked Lady for the first time. The stuff of legend, this is a real fest of fuzz, wah-wah and heavy riffs that will blow the mind of any hard-psych collector.


EVERYONE INVOLVED: Either/Or LP + 7" (GUESS 111LP) 33.00
First-ever reissue of this UK private press masterpiece from 1972. Everyone Involved was a hippie collective formed by well-trained musicians, assembled by Alan Wakeman and Michael Klein (Solid British Hat Band) to record a set of environmental protest songs. Some of the members of this London-based recording commune included vocalist Freya Hogue (ex-Sunforest), guitar player Lucinha Turnbull (later with Cilibrinas Do Eden/Rita Lee), and bass player Arnaldo "Liminha" Filho (Os Mutantes) among others. Either/Or is a perfectly played and professionally recorded album (something very unusual for a private pressing). Top-notch psychedelic folk-rock/acid-folk with male-female vocals, flute, electric-acoustic guitars, bass, drums and some freaky/weird arrangements/effects. The album is now also famous for including "A Gay Song," which is probably the earliest known example of a pro-open gay song. The original pressing of 1,000 copies was never distributed or sold at stores, all the copies were given away for free (even to people passing on the street!). One of the members even buried a large number of them in a time capsule in the Amazon rainforest. Needless to say, the original album has been a highly sought-after artifact since the early days of obscure psych-prog record-collecting. This reissue reproduces the original embossed cover and includes repros of the two rare inserts, including the giant fold-out poster with new liner notes and info printed in the reverse. Also included is a repro of the Save Piccadilly 7" single released in 1972, featuring a non-album track: "The Circus Keeps on Turning." Remastered sound from the original master tapes. Limited release of 500 copies only.


HB 052CS

TERMINATOR 2: Terminator 2 Cassette (HB 052CS) 8.50
"We know what you're thinking: 1) This is the greatest band name of all time. And 2) They must have Schwarzenegger motifs throughout the album. The first assumption is undoubtedly true. The second is not." Limited to only 250 copies on cassette assembled with a lyrics scroll and laser cut slip cover.


MERZBOW: Takahe Collage CD (HBDIS 060CD) 11.00
"A dynamic bouquet of densely crafted sonic structures and a soaring achievement for experimental music. This is Merzbow's seminal release." Limited to 500 copies in a DVDigipak.



TERROR DANJAH: Hardwired CD (HDR 001CD) 14.00
Terror Danjah presents Hardwired, a showcase and a statement of intent for his Hardrive label in 2013 and beyond. Hardwired highlights their best material so far, tracks that have been getting battered at the legendary collaboration club night they put together with Butterz in London at Cable. The focus on the club runs throughout, opening with a previously-unavailable version of Terror Danjah's "Full Attention" which was a summer radio smash back in 2011. Champion has gone from strength to strength since debuting with the Motherboard EP back in 2011, with "Crystal Meth" on Butterz and three releases on his own Formula label, including the anthem "Lighter." With a release on Shy FX's Digital Soundboy around the corner, a lot of new ears will pick up on his signature style. D.O.K. has released two singles on Hyperdub and has been producing for the emerging young MC talent in the grime scene. Hardwired offers a rare opportunity for solo D.O.K. material to be let out of his possession, as he notoriously retains most of his music for his DJ sets. P Jam released the Anger Management EP on Hardrive and "Arizona Skyz" is one of the highlights of the album, which also featured on Elijah & Skilliam's Rinse 17 compilation. Along with his crew, Terror has brought in a host of top talent to share the disc with. Falty DL, Bok Bok and Royal-T contribute fresh remixes to the Hardrive catalog. Kode 9's "Ice" is another rare treat for the enthusiasts. Swindle provides "Funktion," linking back up with Terror Danjah for the first time since he remixed him on Planet Mu. Joker and Terror's collaboration "Gully Goon Estate" also features, throwing back to a time when grime and dubstep were as closely sonically-linked as ever.



ADR: Chunky Monkey CD (HIP 024CD) 10.00
"Chunky Monkey is the latest release from ADR, the avatar of Aaron David Ross, multimedia artist and member of the critically acclaimed Gatekeeper duo. Lauded as 'bright, erotic and alive' by The New York Times, ADR has demonstrated his spirited, panache production style across a variety of projects over the last several years. He now readies his sophomore solo LP Chunky Monkey for release this spring. A collection of airtight compositions which flex a range of influences, Chunky Monkey recalls the smoothness of big beat, trip hop, and reggae against the hard swing of acid jazz. It fuses the silky cheese of Musak with the melancholy plush of jungle and downbeat. Through precise and idiosyncratic blends, ADR conjures a sound for shopping malls to space stations; a shark-eyed jest downloaded from the fractured fizz of new consumerism."


ADR: Chunky Monkey LP (HIP 024LP) 15.50
LP version.



VA: London Is the Place for Me: Afro-Cubism, Calypso, Highlife, Mento, Jazz -- The Music of Young Black London, 5 & 6 2CD (HJR 061CD) 21.00
At last, fresh installments in Honest Jon's acclaimed, much-loved series: open-hearted, bittersweet, mash-up postcards to the here and now, from young black London. As then, calypso carries the swing. There are four more Lord Kitchener songs -- in consideration of his wife leaving him for a GI, cricket umpires, a fling onboard an ocean-liner and West Indian poultry -- besides a hot mambo cash-in, cross-bred under his supervision, and an uproarious, teasing Ghanaian tribute to him in Fanti by London visitors The Quavers. Other calypsos range compellingly from the devaluation of the pound through jiu jitsu, big rubbery instruments, football fans, heavyweight champ Joe Louis and the sexual allure of English women police. The Mighty Terror contributes the woe-begotten, cautionary tale of his beloved Patricia's change of heart. Ambrose Campbell is back, with six more shots of prodigal, limber, melancholic, visionary West African highlife. Also the Rolling Stones favorite Ginger Johnson with a percussive Latin scorcher; and Mona Baptiste with some wonderful, soulful exotica. Jamaican mento makes its first entry in the series, with a brace by Tony Johnson: a drily witty drinking-song, and a love-letter to Marilyn Monroe. Also finally getting some dues, the path-breaking Latin-African-jazz experiments of Ghanaian drummer and percussionist Buddy Pipp, with spine-tingling playing by the great Jamaican saxophonist Joe Harriott. Expert jazz idioms course sophisticatedly through all the selections, which include a straight-up, South London version of Duke Jordan's "Jordhu," something from Dizzy Reece's soundtrack -- brokered by Kenneth Tynan -- to the British crime film Nowhere to Go, and a trio of magnificently hybrid, hard-swinging instrumentals led in turn by master-guitarist Fitzroy Coleman, Kitch's innovative arranger Rupert Nurse, and trumpeter Shake Keane -- named after Shakespeare because of his love of poetry -- from St. Vincent. The CDs are beautifully presented as miniature books, saddle-stitched, with 40 pages of rare, precious photos of the musicians and their social milieu, and in-depth commentary; the LPs are housed in gatefold sleeves with a full-size booklet.


VA: Mukunguni: New Recordings from Coast Province, Kenya CD (HJR 068CD) 14.50
Field recordings of the Mijikenda tribes, made in different spots in and around Mukunguni village, coastal Kenya, throughout September 2011: mostly healing music (especially for mental problems), but also love-songs, and spiritual contributions to weddings and burials; mostly in the Sengenya style which evolved in the early 20th century, adding pace, new Tsikitsi rhythms and extra drums to the traditional Dumbwi forms of the Duruma tribe. Besides the Sengenya drums -- bumbumbu, dahdahe, chapuro, vumi, ngoma -- there are lungo and dena (metal rings), kayamba (raft rattle), njunga (bells), ukaya (metal tray), bamba (metal guiro), and bottle-tops. Our album opener is solo dena, played to sound like a bat and heal the village sick, with the ear for frequency and timbre of a stringent minimalist. There are the piercing, reeded nzumari oboe and bung'o horn, sounding like fierce free-jazz improvisation; and two gently stunning marimba solos, with complex, overlaid melodies and rhythms, played in polyphonic accents, almost like talking drums. Most of the recordings here are songs, with strong tunes, robustly delivered, different solo voices leading the group -- to heal; to chase away Pepo Mlume, the devil who poisons the imagination; to get you on your feet, dancing; to celebrate dowry payments and weddings; to bring the Mijikenda cultural inheritance to life. Matatizo (trans. "Worries") -- was recorded spontaneously at a bus-stop, waiting for a ride: it's a Swahili love-song, with a plaintive female vocal performed to the accompaniment of five or so people rubbing their palms together in tight rhythmic patterns. Includes photos and the musicians' own introductory notes, snatches of translation, and brief track-by-track commentary.



HAIKU SALUT: Tricolore LP (HDIF 009LP) 19.50
LP version. "Debut album by Derbyshire trio who use accordions, trumpets, glockenspiels, pianos, loop-ery, and laptop-ery to create gorgeous instrumental music in the vein of Múm and Yann Tiersen. Haiku Salut are a trio from the Derbyshire Dales who describe themselves as a 'baroque-pop-folktronic-neo-classical-something-or-other.' Influenced by the evocative film soundtracks of Yann Tiersen and Benoît Charest, the genre-melting electronica of Ametsub and early Múm, and the impressionistic writing of Haruki Murakami, Tricolore is a startlingly ambitious debut: hypnotic, atmospheric, informed by a love of repetition and a desire to unpick that repetition from the inside. 'The most intriguing, unique, remarkable sound I've heard in such a long time' -- Bethan Elfyn." Includes download code.



GRIER, JASON: Clouds CD (HEMK 024CD) 15.50
HEM leader Jason Grier's own experimental pop-funk, featuring Julia Holter and Lucrecia Dalt. Clouds is a little novella of an album; a sphinx-like meditation on fate, circumstance and the oddities of being a perpetual traveller. Fittingly, it was recorded in three years and three cities; between 2009 and 2011 in Los Angeles, San Francisco and Berlin. Grier carried the drafts around like a travelogue, and the resulting compositions read like an accumulation of curiously juxtaposed sounds and notes-to-self about the fickle nature of fate. Using deconstructions of private-press bedroom soul music as a skeleton, Grier fleshed out nods to kosmiche, '70s Eno, Janet Jackson, and Jodeci, Terry Riley, drone music, Renaissance organ music, and medieval composers like Petrus de Cruce and Josquin des Prez. He first crafted an original set of grooves, then deleted beats and notes until just-so-little of the original syncopation could be felt. In the resulting void, he sought out hovering musicologies emerging like clouds in tension with nothingness. In "Karma," the gorgeously sparse duet with Julia Holter, the void is filled by one of the album's many field recordings, sourced from a badly-scratched "soothing sounds of nature" record picked up along the way in a San Francisco thrift store. The vinyl hiss creates a double-irony, but more importantly serves as a kind of "springtime mist" where the tensions nothing/something, sure/unsure, and I-love-you/I-love-you-not come in and out of focus. Grier composed the vocals following a medieval technique called "hocket," where a single melody is traded between performers. The result is a love poem that may or may not belong to the same heart, that may be spoken by indifferent voices, or by two people of one mind. Contrast this to the title-track, where bubbling, fizzing energy propels a sardonic exchange between a hapless dreamer (Grier) and a hip stoner (portrayed by Lucrecia Dalt). The dreamer can never convince her that doing what comes natural is extraordinary. But ultimately, both agree "that all you really ever need is in the sky" -- be it a sky filled with dreams or smoke. Between "Karma" and "Clouds" sits ecclesiastical funk ballad, "The Rules." Here Grier claims that fate isn't our maker; it's just a hitchhiker riding our lives to some far off place. The song's A-B-A structure, with a deadpan verse repeat after four minutes of tantric build-up, echoes its theme of eternal return. This probably best sums up the movement of Clouds. We get nervous peering at the void (which is always the true form of "what comes next") even though we're certain to encounter something familiar. You keep meeting the same souls over and over again. And it's quite nice.



DJ RASHAD: Rollin 2x12" (HDB 070EP) 24.50
"Chicago Footwork don DJ Rashad releases his Hyperdub debut and these four tracks show him at his unpredictable best."



EXPO '70: Where Does Your Mind Go? Cassette (IMMUNE 011CS) 7.00
Repressed. "2010 album. Second cassette edition of 50 copies. Pro-dubbed chrome tapes with full color J-cards and pro-printed cassette shells. Also included is a free download coupon."


EXPO '70: Journey Through Astral Projection Cassette (IMMUNE 012CS) 7.00
Repressed. "2012 album. Second cassette edition of 50 copies. Pro-dubbed chrome tapes with full color J-cards and pro-printed cassette shells. Also included is a free download coupon."


SOUSA, TIAGO: Samsara CD (IMMUNE 029CD) 14.00
"Portuguese composer and pianist Tiago Sousa follows his 2011 album Walden Pond's Monk with his first solo piano record, Samsara. While Walden Pond's Monk featured Sousa on piano accompanied by clarinet and percussion players, Samsara allows the playing of Sousa to take center stage. Samsara is an intricate record, built on a complex narrative that's anchored on this oriental philosophical concept -- a bold and emotive piece that stands through its carefully managed balance between opposites. Samsara is, for several oriental cultural manifestations, the repetitive and re-occurring cycle of life, death and rebirth; it stands for a continuous drift through the various modes of existence. For Sousa, then, Samsara works as a metaphor for the flux of human creativity and how it influences our perception of reality while at the same time positing new challenges and difficulties."


SOUSA, TIAGO: Samsara LP (IMMUNE 029LP) 16.00
LP version.


SMALDONE, MICAH BLUE: The Ring of the Rise CD (IMMUNE 030CD) 14.00
"Smaldone's latest on Immune features much full band accompaniment, exploring sonic reaches of early '70s era Neil Young, or Richard and Linda Thompson's first albums, with electric guitars and homemade tube amplifiers, as well as Micah's familiar acoustic finger-stylings. The Ring of the Rise continues Micah's relentless efforts to mine future truths from the past, this time hauling out a slab of marble spanning the 1950s through the 1970s, veined with slapback echoes, plate reverbs, tube equipment, and hefty old American iron. The sounds are both new and familiar, tugging at a collective consciousness particular to our era, where the past clamours for reconciliation with the future."


SMALDONE, MICAH BLUE: The Ring of the Rise LP (IMMUNE 030LP) 16.00
LP version. Includes download card.



WILD SMILES: Tangled Hair/Sweet Sixteen 7" (INV 118EP) 9.00
"'Tangled Hair' has already received plays on Zane Lowe as his 'Next Hype' record. Roa"'Tangled Hair' has already received plays on Zane Lowe as his 'Next Hype' record. Rob Da Bank, Phil & Alice, and Huw Stevens (Radio 1) have also played the track, as has Jon Kennedy (XFM). It has been featured on the This Is Fake DIY and The Line of Best Fit. 'Sweet Sixteen' was The Fly's 'Track Of The Day.' Wild Smiles make the sort of fuzzy, fucked-up yet super-melodic rock that can trace its roots through alt legends J Mascis and Bob Mould, the immaculate power-pop of Teenage Fanclub and Big Star, all way back to The Velvet Underground and The Beach Boys."b Da Bank, Phil & Alice, and Huw Stevens (Radio 1) have also played the track, as has Jon Kennedy (XFM). It has been featured on the This Is Fake DIY and The Line of Best Fit. 'Sweet Sixteen' was The Fly's 'Track Of The Day.' Wild Smiles make the sort of fuzzy, fucked-up yet super-melodic rock that can trace its roots through alt legends J Mascis and Bob Mould, the immaculate power-pop of Teenage Fanclub and Big Star, all way back to The Velvet Underground and The Beach Boys. An early fan is Portishead's Geoff Barrow, who is putting out this debut single on his hugely respected Invada Record label."



VA: The Conet Project: Recordings of Shortwave Numbers Stations 5CD (IRD TCP1) 72.00
Irdial announces the release of The Conet Project: Recordings of Shortwave Numbers Stations, TCP/1111": Special 5CD Edition. This will be a limited edition shrink-wrapped package containing: 1. The original 4 Conet Project CDs in their own quadruple jewel case. 2. Three black-and-white postcards. 3. One full-color postcard. 4. The extended 80-page booklet in its own jewel-case. 5. The new 5th CD in its own jewel case with its own new full-color booklet.The Conet Project is one of the most influential and important collections of recordings ever released to the public. Its original release in 1997 was unprecedented and completely unexpected. No one had heard of "Numbers Stations" before The Conet Project, and its release baffled everyone who heard it. But it struck a chord. The unique sonic qualities and astonishing variety of The Conet Project's recordings, combined with the clandestine origin of Numbers Stations and the meticulous research in the accompanying booklet combined to form a release that resonated strongly with people from a wide variety of backgrounds. Now 15 years later, Irdial-Discs is re-releasing this ground-breaking and legendary work in a new updated edition, featuring a fifth disc containing a set of 26 carefully selected examples of Shortwave "Noise Stations" sourced from the private tape archive of Akin Fernandez, the Conet Project's creator. If shortwave radio transmissions were nested like a Matroska, the outermost doll would comprise the ordinary government-licensed broadcasts that transmit propaganda and music. Next down would be the licensed Hams and Utility Stations used by shipping, weather and hobbyists. Then come the Numbers Stations; the unlicensed and unacknowledged communications from government agencies to spies in the field. Innermost of all of these are the completely abstract "Noise Stations" that have no point of human reference, other than that they can be heard. These Noise Stations sometimes consist of irregular and rare data-modes, and as such can be put into a context, but in other instances, Noise Stations have no plausible explanation at all. Some are clearly being transmitted because there is a carrier wave and are not natural Earth or space noises, but the content of the signal is without any obvious utility. For example, we present a recording that consists only of a loosely rhythmic "clacking" sound, that is similar to a man playing claves. When live on air, this broadcast went on for hours without interruption, only to suddenly cease without any discernible message of any kind. Another example is track No. 2, for which we have no explanation. It was only heard once, went on without interruption for at least three days, and then disappeared. It appears to be a highly complex encrypted data mode of some kind, but is unlike any sound normally associated with data modes. A true mystery. As is the case with Numbers Stations, it is very unlikely that some of the more odd Noise Station examples on Disc Five of The Conet Project will ever have a good explanation provided to the public. This is to be expected. After 15 years, the Numbers Station mystery has barely unraveled, save for some isolated glimpses into the mechanics of their operation. Irdial is privileged to be able to present one such rare and extraordinary revelation with "TCP/1111" which can be seen in the booklet of Disc Five. Irdial has obtained photographs of an actual Numbers Station voice machine, as was used in many of the former Communist Block countries. This event is without precedent. Somehow, a German man managed to buy a set of these voice generators, and Irdial has obtained photographs from him of the outside and inside of one of these machines. This machine's function is to play sampled voices under the control of a 7-bit ASCII punched paper tape. It is made of widely-available commodity electronic components, and the manufacturer's name does not appear on the casing; only two serial numbers "3 2620" and "Nr.8515" and a handwritten "X1.85" appear on the back of an access panel, with English lettering indicating the rear connector functions. The emergence of this machine raises many questions. Who designed and manufactured it? Who sold it? Why were these machines not destroyed after the decommissioning of the stations? And of course, this is only a tiny fraction of the larger picture. Numbers Stations and Noise Stations are a problem and a phenomenon that is ongoing, and that will continue to perplex and fascinate listeners and the curious for decades to come.


JBJ 1043EP

MILBURN, AMOS: I Done Done It/Greyhound 7" (JBJ 1043EP) 11.00
Two killer Jump work-outs from one of the leading voices in the transgression from R&B to rock and roll. Amos Milburn shot to fame in the mid-'40s and then went on to carve something of a niche making booze blues number. Here, Amos is in a mainly sober if playful mood as he sings along with snappy lyrics about the fairer sex to a red-hot backing ensemble on "I Done Done It," while on "Greyhound" he pleads wistfully for the famous bus to bring his sweetheart home.


SIGN OF FOUR, THE: Hammer, Anvil & Stirrup 2x10" (JMAN 056LP) 20.00
Double 10" version. Oscillating and reverberating chaotically through sonic orbs and polyphonic sound textures, The Sign Of Four is a new creative concept from the Natural Yogurt Band's Miles Newbold. Hammer, Anvil & Stirrup is the debut album from The Sign Of Four on Jazzman Records and is spread exquisitely across 2x10" LPs in hand-printed sleeves and a digipack CD. Recorded live at Chicken Shack studios in Nottingham, real musical instruments are used to create a swirling jungle of throbbing palpitations, evoking the spaced-out vibes of an unsound mind. It's an infectious fermentation of debauched instrumental chaos, sometimes calming, but often unnerving, that will leave the listener bewildered, wide-eyed and gasping for more. Housed in a hand-printed sleeve.



VA: This Is How We Roll CD (LDN 036CD) 16.50
This Is How We Roll is a new chapter for the Keysound family; a compilation of 14 exclusive cuts and VIP versions reflecting a new wave of hungry, talented but under-recognized producers building their own sounds. The tracks weave a path between dubstep, grime, synth experiments, jungle, and UK funky, without ever entirely falling into any of the overt patterns of these existing genres. There's light and absence of light, color and shade, tenderness and anger, strangeness and familiarity -- there's even a club-banger whose drums run backwards. Artists include: Visionist, Beneath & Wen, Samrai, Double Helix, Epoch, Dusk + Blackdown (feat. Farrah), Android Heartbreak, Fresh Paul, Mumdance & Logos, Gremino, Rabit, E.m.m.a., and Moleskin.



ETHIOPIANS, THE: Freedom Train LP (KSLP 043LP) 14.00
The Ethiopians are one of the great vocal groups to come out of Jamaica. Lenard Dillon, (b. 9 December, 1942, Port Antonio, Jamaica) the founding member of The Ethiopians, began his singing career at Clement "Coxonne" Dodd's Studio One. Initially he recorded under the name of Jack Sparrow, and backed by The Wailers, cutting "Ice Water" and "Suffering in the Land." Under The Wailers' encouragement, he went on to form his own vocal group, recruiting singers Stephan Taylor and Aston "Charlie" Morris to become The Ethiopians. They cut "Live Good," "Why You Gonna Leave Me Now" and "Owe Me No Pay Me." Although receiving favorable response, Aston Morris decided to leave the band and the remaining pair carried on and cut "'I'm a Free Man" and "Don Dead Already" and "For You." On meeting contract builder Leebert Robertson, a session was booked for Treasure Isle Studios. The session produced their seminal "Train to Skaville" track, which became an immediate hit in Jamaica and in the UK in 1967, reaching #40 in the charts. They also cut "Engine 54," which became the title of their debut album. Its follow-up "I Need You/Do It Sweet," did not fare so well and the band moved over to Sonia Pottinger's stable, where they cut "The Whip/Cool It Amigo" which revived their fortunes and proved another big hit for the band. This release includes the full Slave Call set, "Ethiopian National Anthem," "Slave Call," "Guilty Conscience," "Hurry On," "Culture," "Obeah Book," "Let It Be," and "I Love Jah," alongside some of the band's early hits including the original version of "Train to Skaville," "Engine 54," "Everything Crash," "Reggae Hit the Town," and "The Selah." An interesting set to remind us what a great group The Ethiopians really were.



CENTIPEDE: Septober Energy 2LP (MJJ 358LP) 36.00
"An ambitious, four-movement suite, led by Keith Tippett and produced by Robert Fripp in 1971. This 50-piece orchestra brought together the best British musicians of the day, including members of Soft Machine, King Crimson, and Nucleus, as well as jazz musicians Gary Windo, Mark Charig, Elton Dean, Karl Jenkins, Nick Evans, and Ian Carr. Despite having been released over 30 years ago, Septober Energy remains a force to be reckoned with, and while the 85-minutes of music often resembles that of KC or SM, it also brings in elements of free jazz and contemporary classical music. Finally reissued on double gatefold vinyl and featuring the original artwork."



COMA: In Technicolor CD (KOMP 106CD) 15.50
Following two acclaimed EPs on Kompakt and more than a year of meticulous preparation, the bar has been set high for Marius Bubat and Georg Conrad aka Coma, who present their album debut In Technicolor. You'll hear them answer all expectations with an ingeniously-composed collection of triple A tracks, constantly shifting from club to pop culture and back. Spiked with brilliant guest performances from the likes of Vimes, Roosevelt, Ada and also MIT's frontman Edi Winarni, Coma's debut full-length gives you a panoramic view over Cologne's new school revamping of the city's sonic skyline. Purveyors of fine Cologne stomp since 2007, Coma knows how to incite a crowd. They have won over fans almost immediately with their personal blend of pop-infused electronics, and have been hailed as Cologne's next big thing. With their ridiculously catchy synth riffs, album opener "Hoooooray" and follow-up "Maybach" perfectly showcase the balance between club functionality and its counterpart, a kind of pop-styled playfulness found everywhere on In Technicolor. Tracks such as "Cycle," "Maximal Minimal" and "The Great Escape" certainly owe much to the crowd's demand for epic melodies and huge build-ups, but find themselves framed by free-spirited workouts like the stoically sung "Les Dilettantes," the angular "Out of Control," or that little melancholic masterpiece just titled "#." Laying out a richly adorned network of influences, In Technicolor is also a direct result of Coma's collaborative approach: maintaining their own studio in Cologne since 2008 allowed for the multitude of cameos by like-minded artists such as Vimes, Ada, Roosevelt and MIT's Edi Winarni, which were all recorded on-site. The most impressive part? It all holds together perfectly, going back and forth between expressive songwriting and infectious grooves, readily spawning massive hits like vocoder ballad "My Orbit" or the longing "Missing Piece." With the serene wisdom of final track "T.E.D.," the album comes to a fitting end, leaving the audience with one of the most engaging album experiences to have in 2013.



CLOCKWORK: B.O.A.T.S. (Based on a True Story) CD (LAD 009CD) 17.00
Italian duo Clockwork release their first full-length album on the highly-acclaimed label, Life And Death. B.O.A.T.S. (Based on a True Story) is an album that surpasses their already quality releases while accomplishing the rare task of actually telling a story as you ride through it from beginning to end. With a maturing production style and an ever-eclectic taste, Clockwork have done some serious work and made a techno album with both a modern sound and an old soul. Featuring some guest appearances by friends and label-mates Chasing Kurt, Avatism, Clarian North and Tale Of Us, as well as a some top quality mixing work by Francis Harris and beautiful album artwork by artist David Terranova, this album is an impressive debut that certainly lives up to the high standards Life And Death has set for itself from its very beginnings. Tracks such as "Places" are filled with shuffled breakbeats and emotional synths, others are more textured soundscapes energized by drums. There are tracks that set the urban jungle is its landscape where the dancefloor dominates. Other tracks such as "False Matters" launch us even higher into the techno stratosphere, with nods to Detroit and Underground Resistance, but never losing the unique sonic footprint that Clockwork have created throughout the voyage. This is a varied and unique record, filled with solid grooves and raw energy that strikes a deep emotional chord.



RODRIGUEZ: Cold Fact LP (LITA 036LP) 20.00
LP version, 2013 additional repress. Deluxe 180 gram pressing, heavy jacket.



MANZANERA, PHIL: Remixes Volume 4 (Theo Parrish) 12" (LNCC 004EP) 33.00
Volume 4 sees Detroit legend Theo Parrish twist and rework Phil Manzanera's tough electronic jam "Impossible Guitar" into a signature Theo Parrish dancefloor workout. Embossed sleeve art with printed innersleeve. 180 gram vinyl one-sided release.



PRAXIS: Profanation Preperation For a Coming Darkness 2LP (MOD 005LP) 20.50
"Profanation features the core trio of Praxis: Buckethead, Bill Laswell, and Brain trading information with various musicians, including a slew of guest lead vocalists, including Iggy Pop, Mike Patton, Serj Tankian, Killah Priest, and others."



K-X-P: K-X-P II CD (MELO 084CD) 15.50
Finland's finest are back with something truly epic. Where K-X-P's 2010 debut was an exercise in Kraut-tronica, K-X-P II finds the band unleashing their inner pop deviance. This is an album full of rock 'n' roll shamanism, glam-punk madness, grinding dance music, electronic Motörhead techno -- and a bit of Krautrock, too. K-X-P comprises frontman Timo Kaukolampi (electronics, vocals and the "K" in the band's name) plus Tuomo Puranen (bass, keyboards and the "P" in the band's name) and drummers Tomi Leppänen and Anssi Nykänen (the "X" -- for the mystery). While Tomi is a permanent feature of the band and the two drummer line-up is a studio-only affair -- it has been known to happen live on rare occasions. Born from the ashes of seminal Finnish groups Op:l Bastards and And The Lefthanded. This record was written in Berlin and completed in Helsinki. Timo travelled to the German capital in search of solitude. "In Berlin I was totally alone, a nobody in the shadows of this city. It offered new challenges for me to break through; a jungle of concrete and, the antithesis of myself: absolute hedonism," he says. The band recorded in converted cinemas and traditional studios, surrounding themselves with vintage equipment, analog electronics and -- for the first time -- analog step sequencers. Before K-X-P, Timo worked in the Xenomania pop factory, where he composed for -- among others -- Annie, who appears as a guest vocalist on K-X-P II. While The Misfits' early recordings, devotional chants, PiL and Bad Brains have been added to the band's list of musical influences, lyrical influence still comes from a dreaming place. Housed in a digipak.



LANSING-DREIDEN: The Dividing Island LP (MEX 112LP) 23.00
"The final reissue is 2006's dense and ambitious The Dividing Island which was lauded by Pitchfork for morphing from 'nighttime neon new-wave, replete with spitting drums, Caucasoid-funk breakdowns' into 'mellow soul... and watery drone.' The mysterious, oblique nature surrounding Lansing-Dreiden has not only earned them critical acclaim but an appropriately cult-like fanbase. As the company has stated, 'all projects are fragmentary, mere stones in a path whose end lies in a space where the very definition of 'path' paths.' These reissues seek to illuminate these paths for original and new listeners alike." Numbered edition of 500 copies.



VANO, PATRICK: Reflections EP 12" (MFP 063EP) 12.00
Patrick Vano's latest productions show that he's grown out of his bedroom studio and local DJ residencies. It's time to take the next step. This current four-tracker gives an insight into what's to be expected from his forthcoming full-length The Other Side of Me. Dapayk puts his stamp on the EP with a distinctive remix, and he's absolutely convinced that Patrick Vano will forge his own path.



MILES: Faint Hearted 2LP (LOVE 081LP) 25.50
Miles has been releasing material on Modern Love for a decade, first as one-half of Pendle Coven, then on his own as MLZ, and eventually pairing up with Sean Canty to record as Demdike Stare. In between he's also pursued more experimental terrain under the Suum Cuique moniker, produced jungle for the HATE project and (together with Andy Stott) taken on the occasional release as Millie & Andrea for Modern Love sub-label Daphne. He is also an admired, exhilarating DJ, and his sets have been known to span a broad spectrum of electronic music, from the obscure UK techno of labels like Radioactive Lamb and Irdial, to classic Chicago house, Detroit techno and -- most importantly -- early '90s jungle and breakbeat, feeding into his love of the most uncompromising end of the Italian experimental movement, musique concrète, synthwave, and contemporary noise. After more than 10 years of producing, Faint Hearted is his debut solo album -- an exposition of Miles' love of electronic music in all its shapes, harnessing his fidgety production style into one expansive, restless set of tracks. The album opens with the filtered and looped jungle mutation of "Lebensform," through to the minimal, barely-noticeable bass-shifts of "Irreligious," the classic Plastikman-infused looped ruffage of "Status Narcissism" and the padded bliss of "Sense Data," coming across like a lost Move D production from the classic Studio Pankow era. The second half opens with "Rejoice," a slowly-unfurling 4/4 variant that sounds like a more technofied and electric take on his work with Demdike Stare, while "Archaic Thought Pattern 1" invades a sequence of strings and bass notes with blasts of white noise, sounding like something off Aphex Twin's Donkey Rhubarb EP rebuilt by Mika Vainio. The set ends with the evocative field-recorded sequence "Queuing" and the ambient futurism of "Loran Dreams," in some respects the straightest, most affecting nine-minute stretch yet from a producer who is seemingly unable to settle or stand still. Mastered and cut by Matt Colton, pressed at Pallas.



DUMP: I Can Hear Music 3LP (MORR 114LP) 32.00
Gatefold triple LP version with full-color innersleeves. Reissue of the legendary second album by the solo project of James McNew (Yo La Tengo) from 1994. Re-mastered by Bob Weston (Shellac, Mission Of Burma). This album has not been available for ages and is now released on vinyl for the first time. Contains bonus material. "Some people complain that friends today are made with mouse clicks -- as if it was more personal in the '90s. James McNew, for example, became a good friend of mine in 1994. Never mind I hadn't even talked to the guy -- hell, he covered Jandek AND the Silver Apples. We had so much in common. James McNew is a fan boy. If the name-drop-list ranging from Albert Ayler to Young Marble Giants included with his first 45 didn't tell you that, the blazing in his eyes when a name like The Shaggs was uttered, certainly did. Yet McNew is not obsessed with obscurity but with music. When his debut album Superpowerless (MORR 115CD/LP) appeared in 1993, the choice of covers ranged from Sun Ra to that tune Audrey Hepburn serenaded to millions of movie-watchers, 'Moon River.' While McNew's high, sexy voice might be 'superpowerless,' his ears certainly are not. It's been the intimate sound of a four-track recorder that tied these different angles of his eclectic taste together. Yes, Dump was part of the lo-fi-generation. Nothing makes that clearer than the bonus tracks to his follow-up album I Can Hear Music. Recorded during the infamous Dutch Fast Forward Festival in 1994 in -- naturally -- a living room, it contains all that was great about the few short moons of tape-hiss: collaborations triggered not even remotely by virtuosity (had Chris Knox ever played trumpet before that afternoon?); cardboard boxes as bass-drums; the victory of enthusiasm over perfection (have Half Japanese been covered with more empathy?); Barbara Manning. The only thing that wasn't quite right about these first two Dump albums was the format. But as justice doesn't know age, it's good to see these CDs finally being pressed on vinyl. They deserve it. --Gregor Kessler, Hamburg, December 2012


NN 008LP

PERE UBU: Live at the Longhorn -- April 1, 1978 2LP (NN 008LP) 27.50
Double LP version. The three vinyl sides of Pere Ubu Live at the Longhorn are as much an indispensable live rock album as Modern Dance is an indispensable studio album. The show consists mainly of material from the Modern Dance album, only rocked out and swinging, more raw-nerved yet seasoned than their studio counterparts. What becomes apparent, especially on repeated listens, is how well-made this music is, how the drama and comedy flows within the modules of each song, how the songs fit together to give an audience an experience that -- while sharpened to paranoia and sensitive to harsh realities -- is as ineffable as it is concrete.

NN 026LP

METZGER, PAUL: Tombeaux LP (NN 026LP) 18.50
LP version on 180 gram vinyl. Tombeaux, the much-anticipated new album from Paul Metzger, marks our alchemist's third appearance on Nero's Neptune, following critically-acclaimed contributions to labels like Locust and Honest Jon's. Metzger summons the spirits of musical Appalachian forefathers, guitarist Django Reinhardt and classical sitarist Nikhil Banerjee, among others, weaving a peerless, highly individualistic music that sounds unlike anyone but himself. Metzger's playing doesn't imitate raga structures so much as use those modal figures as a starting point. He employs dazzling, breviloquent string-plucks on the main banjo strings, while producing rhythmic, droning textures on the cross-strings of an added bridge. Some have suggested similarities to the works of John Fahey or Sandy Bull, but Metzger's modus operandi doesn't constitute a mirroring of those styles; rather, he composes and operates apart from their music, in an insular and altogether separate universe. In the process, Metzger transcends and expands the lexicon in a wholly organic manner.


NW 80742CD

VAN NOSTRAND, BURR: Voyage in a White Building 1 CD (NW 80742CD) 15.00
"This long-awaited recording includes three extraordinary works by one of America's most original and forward-thinking composers -- all of the works included here were composed between 1966-1972. The music of Burr Van Nostrand (b. 1945), although born from, and deeply rooted in, the anti-war counterculture avant garde of the 1960s and '70s, remains as strikingly fresh and timeless today as when it was first performed. Van Nostrand's music is marked by an acute sensitivity to instrumental color and texture, extreme sonic contrasts, gestural freedom, and a signature ensemble fluidity achieved through the use of very precise and detailed conventional notation combined with extraordinarily beautiful graphic notation, resulting in music that places very high technical demands on the performer and at the same time allows for the flexibility and freedom of improvisation. Each work on this disc presents a catalog of extended techniques that would widen the eyes of even the most dedicated Lachenmann enthusiast, but is also infused with a pluralistic view that vividly reflects the time and place of composition -- Boston and New Haven at the height of the Vietnam anti-war movement. Spellbinding textures abound in this music -- the textures draw you in, take you to a faraway place, then return you to your current time and location, utterly transformed. This disc includes three works that represent the extremes of his output, from the most graphically notated and improvisational, 'Voyage in a White Building 1,' to the most structured and fully notated, 'Fantasy Manual for Urban Survival,' with 'Phaedra Antinomaes' located somewhere in the middle of these two extremes." Performed by Robert Stallman, flute; Jay Humeston, cello; Herman Weiss, prepared piano; Paul Severtson, violin; NEC Chamber Ensemble, Anthony Coleman, conductor.



FRIEDMAN & JAKI LIEBEZEIT, BURNT: Secret Rhythms 5 2LP (NON 035LP) 25.50
Double LP version. This the fifth release in Burnt Friedman & Jaki Liebezeit's Secret Rhythms series. Central to the Secret Rhythms concept is Liebezeit's radical drum code in unison with Friedman's range of archaic metal percussion and synth instruments. The two musicians live and studio collaboration has led to eight striking new tracks which, at durations between 3 and 5 minutes, conform to standard expectations in length at least. Jaki Liebezeit numbers among the world's foremost drummers. Between 1968 and 1978, playing as a founding member of the legendary Can, he produced rhythms to be heard nowhere else, anticipating by many years the loops of modern club music. His delicate and peerlessly precise drum sound is audible in countless studio productions by a range of artists from Conny Plank to Jah Wobble. But by the early 1990s Liebezeit felt he had exhausted the possibilities of conventional drums. He made a radical break, and began to re-define, or re-invent, what drumming was about. Simplicity became a core principle for Liebezeit and collaborators like the Cologne formation Drums Off Chaos, or the electronic musician Burnt Friedman, who is noted for his richly detailed, groove-heavy productions. Friedman explains his reasons for seeking to meet up with Liebezeit in 2000 apart from the happy coincidence that both artists were living in Cologne: "I knew his work with Can and loved his drum sound and the post-Can developments. Above all I was interested in complex rhythmic grooves and assumed Jaki would be the ideal partner for live sets. This passion for odd time signatures and the uncommon is a driving force behind the Secret Rhythms project." Includes a remix by Romain Sygroves and Friedman.


OM 018EP

GOLDEN TEACHER: Bells from the Deep End 12" (OM 018EP) 15.50
Repressed; no longer in silkscreened sleeve. Golden Teacher started life as a studio collaboration between Glasgow's noise punk trio, Ultimate Thrush, and Glasgow's all-analogue house duo Silk Cut. Their sound is hypno-psych voodoo groove -- imagine Arthur Russell's Dinosaur L jamming with Bobby O, K Alexi Shelby, Liaisions Dangereuses, Imagination, some voodoo drummers, and Sly & Robbie.



NILMMNS, CARLOS: Cupid and Psyche EP 12" (ORN 025EP) 14.00
Atmospheric and raw analog cuts between classical composition and old school deep house.



VIRGINIA: Loch & Hill EP 12" (OSTGUT 065EP) 12.50
Virginia releases her first solo 12'' for Ostgut Ton, featuring four tactile, pushing and lovingly-produced tracks, exploring some of the different zones that she explores while DJing. A DJ for many years, with her roots in the Munich scene, Virginia is now a resident at Panorama Bar, and continues to bring her soulful, expressive sound to clubs around the world, often layering live vocals over tracks as she plays. This is upfront music with heart, clarity, and longevity.



LESLIE'S MOTEL: Dirty Sheets LP (OSR 004LP) 25.50
This unreleased U.S. album from 1972 is now available on vinyl for the first time. Originally from Louisville, KY, Leslie's Motel line-up included several members from The Oxfords as well as Blues Project drummer Roy Blumenfeld. They played explosive, bluesy hard-rock with powerful vocals and stunning guitar/organ, in the same vein as early Allman Brothers or Ten Years After. Remastered sound from the original master tapes. Includes an insert with liner notes and rare pictures. Pressed on 180 gram vinyl.



ALVAREZ, ALIX: Elixr EP 12" (OVM 228EP) 14.00
Since his remix of Shlomi Aber's "NY Dreamer," which hit the top of the Beatport deep house sales chart, Alix Alvarez has been working on his debut release for Ovum, the Elixr EP. This release shows the diversity of Alix's amazing production skills and the end result is a spectacular four-tracker that effortlessly glides from the deep and warm vibes of "No Loss" to the jittery vocal skills of "Treat Me," via the analog gem "BDRK" and Josh Wink favorite "Champion Sound."


PJ 001EP

J DILLA: Anthem/Trucks 12" (PJ 001EP) 13.00
"Pay Jay Productions, Inc. was the company James Dewitt 'J Dilla' Yancey founded in 2001 to house his production company and his publishing company. The estate of James Yancey has revived Pay Jay as a functioning imprint, and is announcing its release of J Dilla's long lost vocal album, The Diary. The first single features 'Anthem' and 'Trucks' -- two of the songs J Dilla recorded in late 2001 and early 2002 as he put the finishing touches on what was supposed to be an album featuring his raps over production by the likes of Madlib, Pete Rock, Nottz, House Shoes, Karriem Riggins, and others. These two tracks, however, were produced by Dilla himself and come straight from multi-track masters found on 2" tape shortly after Dilla's passing in 2006. These songs have been mixed by engineer Dave Cooley, who worked extensively with Dilla during his years in Los Angeles. Using his original demo mixes as his guide, Cooley attempted to finalize Dilla's vision for these tracks, while keeping all of the elements that Dilla had in place in his original demos present. Rounding out this 12" is Dilla's original mix of 'Trucks,' discovered as a two-track demo mix. We've included this mix as it features an alternate version of Dilla's vocals and a third verse not found on Dilla's final sessions for this song."



DISCO DOUBLES: Demons (Darshan Jesrani Mixes) 12" (PERMVAC 104EP) 12.00
Disco Doubles is the disco brainchild of Italian producers Gilberto Caleffi and Erio Simonini. While the original "Demons" (featuring D'Mia) on the mic, has already been released, Permanent Vacation now presents two rare versions from the other side of the ocean by Darshan Jesrani, co-founder of the legendary Metro Area. Jesrani's main mix is a classic boogie/garage vocal cut in the finest prelude tradition. The "Spit-Roast" dub is a bit more reduced and works the groove out for maximal dancefloor action.


PIL 6011CD

THIRD POWER, THE: Believe CD (PIL 6011CD) 17.00
This hard-hitting Michigan three-piece emerged from the same fertile scene that spawned the MC5, The Stooges and SRC, and have been described as "Detroit's answer to Cream." Their sole album briefly appeared in 1970, and has gone on to be acclaimed as one of the finest psychedelic hard rock albums of its era. It's presented here, gloriously remastered and complete with biographical notes and both sides of their ultra-rare debut 45 as bonus tracks, making the set a must for all fans of hard psychedelia.



SPRINGINTGUT: Where We Need No Map CD (PING 037CD) 17.00
Andi Otto alias Springintgut presents his third album, Where We Need No Map. Since his last record, Otto has invented a new instrument. His "fello" is a cello with movement sensors attached to the bow with corresponding software. The development has already been tested at STEIM in Amsterdam in 2007. Since then, Otto has achieved vital refinements of the system, cooperated with artists in various fields as diverse as choreographers in Macedonia, theater in Nigeria, and techno DJs in the Berghain Kantine in Berlin and at the Fusion Festival. He has even played the instrument solo on different continents. For this album, Otto takes the fello to his studio in Hamburg for the first time. He records his instrument which has until today only been presented live on stage. In these fello sessions, the bow gestures immediately modulate and process the amplified cello sound. In the subsequent edits, he selects and cuts these sessions and merges them with other styles, such as skweee, house, and jazz. Springintgut's trademark sound, this unique playfulness, is present throughout, while the live-processed cello adds an unrivaled deepness. The artist's expeditions even add more color. Two tracks have been recorded in India. The lead voice on "Bangalore Kids" is a field recording of a schoolboy in Cubbon Park, Bangalore. Andi Otto spent three months in Japan as an artist-in-residence in the Villa Kamogawa in Kyoto. During this period, he produced the more contemplative tracks on the album, like "Kamogawa Cycling" and "Western Kyoto." In Sri Lanka he met Sasha Perera, the voice of Berlin's dub-techno band Jahcoozi, and they recorded two songs together. Especially on "Bullet," one can sense the lazy, muggy, peaceful heat of the afternoons in which this beautiful track has been composed. These stories may help to locate the music's origins but still the sound of Where We Need No Map points us to unknown territories.



COE/THE PRECISIONS, JAMIE: Cleopatra 7" (POPC 120EP) 8.00
Two classy R&B numbers conjured in ode to that famous old queen of the east, Cleopatra, a historic muse who has inspired artists and musicians to channel their inner sense of exotica for thousands of years. Jamie Coe's take on "Cleopatra" is an uptempo dancer with classy production, lavish string accompaniment and a cool, laid-back, swaggering vocal turn from Coe himself, while vocal group The Precisions give us a drama-laden piece full of atmosphere and soul.


PT 8008CD

AMAZING BLONDEL, THE: And a Few Faces CD (PT 8008CD) 17.00
This renowned UK folk band are known for playing a multitude of medieval and Elizabethan instruments, but their rare debut features a more stripped-down sound. Made by the duo of John Gladwin and Terry Wincott shortly after heavy rockers Methuselah disintegrated in 1969, it appeared in the UK only in April 1970, and makes its long-awaited return to CD here, together with background notes.


QA 005CD

BETTING ON THE MOUSE: Betting on the Mouse CD (QA 005CD) 17.00
This is the first international album by the Copenhagen and Berlin-based band Betting On The Mouse and the fourth album on Questions & Answers. Betting on the Mouse is the brainchild of singer/songwriter Martha Marie Skou. With a background in various fields of the Copenhagen creative scene, Martha Marie Skou is somehow the anchorwoman of the band with members Xian Foo (brother of Sharin Foo/Raveonettes) (drums), Kristian Haarløv (guitar), and Jonathan Aardestrup (bass). Betting On The Mouse formed in 2009 and have since played several concerts around Denmark. In 2011, they released their first EP and were applauded wildly by public decision-makers all over. Danish music magazine Undertoner wrote: "It is early in the year, but I can already predict that BOTM is competing to become this year's record. A truly excellent debut." Betting on the Mouse is intense modern alternative pop with organic instruments and much love given to electronic detail. With an almost brutal honesty, the songs invite you into a universe of dysphoria, but lifted and driven by desire and playfulness. Martha Skous' crystal-clear, seductive and charismatic voice brings her audience a sense of hope, yet celebration while the lyrics center around much of today's everyday urges: restlessness, passion, the fear of life slipping through your hands, and the need to accomplish something.


RT 1021CD

VA: Klute Original Motion Picture Soundtrack CD (RT 1021CD) 17.00
The rare soundtrack to Alan J. Pakula's celebrated thriller was due to be issued in 1971, but had its release cancelled. Composed by Michael Small, it's an outstandingly atmospheric collection of pieces that touch on jazz and funk, and makes its long-awaited return to CD here, together with background notes.


RS 092LP

MCCANN, SEAN: Prelusion LP (RS 092LP) 17.00
The definitive version of this triptych of tectonic drift originally released as a CD-R on Sean McCann's own Recital label in 2011. "Our Silhouette," which blankets the whole of the first side with jewel-like piano runs and distant fading synths, may be one of the artist's most elegant moves. The reverse holds two tracks of long-form organ/string plateaus that float elegantly in space, refracting light and sound in patterns around the head.


SS 014LP

VA: Harafin So - Bollywood Inspired Film Music from Hausa Nigeria LP (SS 014LP) 16.00
LP version. First-ever international release of film soundtrack tunes from Northern Nigeria -- where the film industry is modeled on Bollywood. Autotuned robotic vocals combine with frenetic drum machines and pitch-bending synths for a singular hybrid of local styles and Indian influence. Featuring smash hits by Hausa superstars Fati Niger, Abubakar Sani, and the exuberant Sani Danja. Limited edition of 1,000 copies. Includes insert with liner notes.



VECTOR LOVERS: iPhonica CD (SOMA 101CD) 15.50
This is Martin Wheeler aka Vector Lovers' first full-length release since 2011's compilation Electrospective, featuring 16 new tracks from the electro-ambient producer. Although marking a return to the synthetic melodies and "Kraftwerk-in-Tokyo" influences of Vector Lovers' eponymous 2003 debut, this album takes a strikingly different route in terms of its production. As the title suggests, iPhonica was composed, mixed and produced entirely on Martin's iPhone 4. Developed over a period of 10 months, the album was made with nothing more than an iPhone and a pair of Sennheiser HD25 headphones. Numerous locations would stand in as makeshift recording venues, including train carriages, a doctor's waiting room, cafes in Berlin, off the beaten track on the Yorkshire moors, and Martin's back garden. Blip Interactive's Nanostudio app became Martin's weapon of choice for synthesizing, sampling and composing the 16 tracks that make up iPhonica. This album celebrates 10 years of the artist's Vector Lovers project and more solemnly marks the end of it also.


SM 045LP

EXPO '70: Virtually from the Unknown LP (SM 045LP) 18.00
"Expo '70 is mainly known for being the work of Justin Wright with the occasional contribution of other musicians, primarily dabbling in drone, krautrock, psychedelic rock and kosmische music. This new release features a trio line-up of Wright accompanied by Aaron Osborne and Mike Vera. Rounded out by bass and drums, a heavier doom-inspired psychedelic journey from the drop of the needle takes the listener into the inner tangled web of sound and locked grooves from the rhythm section allowing Wright to express washes of textures and breaking loose on more rock-esque guitar playing. As the needle drops onto side B, 'Closet Full of Candles' opens as a huge Sabbathy riff and get's into stoner rock territory and quickly becomes dismantled by a wash of psychedelic jamming."



VA: Acid Mysterons Invade the Jackin' Zone: Chicago Acid & Experimental House 1986-93 Vol. 1 2LP (SJR 266A-LP) 27.50
Gatefold double LP version, volume one. Artists: Acid Wash, Risque Rythum Team, Armando, Phuture Pfantasy Club, Mr. Fingers, J.M. Silk, Pleasure Zone, James "Jack Rabbit" Martin and The Children. Includes download code.


VA: Acid Mysterons Invade the Jackin' Zone: Chicago Acid & Experimental House 1986-93 Vol. 2 2LP (SJR 266B-LP) 27.50
Double LP version, volume two. Artists: Acid Wash, Devotion, The Unknown, The Housemaster Boyz, Cool McCool, Mr. Fingers, Rocky Jones, Adonis, Virgo and Bizzy B.


VA: Acid Mysterons Invade the Jackin' Zone: Chicago Acid & Experimental House 1986-93 2CD/BOOK (SJR 266CD) 31.00
"Heavyweight legendary acid house music figureheads such as Larry Heard, DJ Pierre, Spanky, Marshall Jefferson, K-Alexi, Farley 'Jackmaster' Funk, and more all feature in Soul Jazz Records' new highly stylised album compilation of Chicago acid and experimental house music from 1986-93. This album comes as a 2CD set edition complete with outsize graphic novel and card slipcase."



GHOSTFACE KILLAH: 12 Reasons to Die LP (STE 110LP) 21.00
"The sounds of classic 36 Chambers-era RZA meld with Portishead and the Italian film music of Ennio Morricone on 12 Reasons to Die, the new album from Ghostface Killah and Adrian Younge. This project is a daring, full-length Crime/Horror concept album. 12 Reasons' executive producer and Ghostface's longtime Wu-Tang Clan collaborator The RZA, refers to the album as 'groundbreaking' in the hip-hop genre. Ghostface Killah's prominence in hip hop has grown steadily over his 20-plus year career -- including recent high-profile appearances on Kanye West's Cruel Summer, RZA's The Man with the Iron Fists soundtrack, and the new Wu-Block album -- 12 Reasons catches the gifted MC at the height of his lyrical prowess."


GHOSTFACE KILLAH: 12 Reasons to Die - Instrumentals LP (STE 112LP) 21.00
Instrumental version of 12 Reasons to Die.



MANN, CHICO: Magical Thinking CD (SNDW 051CD) 15.50
Displaying his mastery over an arsenal of studio weapons and synthesizers, Chico Mann (aka Marcos Garcia) scores his fifth album against a backdrop of pop sensibilities and guest vocalists. The album draws as much on '80s funk, boogie, and electro as merengue and Afro-beat. A member of Antibalas as a multi-instrumentalist and guitarist, Garcia has previously worked with the likes of TV On The Radio, The Roots, and Dam Funk, as well as remixing Little Dragon and Alice Russell. His LP Analog Drift (2010) was released through Wax Poetics Records, an album that he toured throughout the U.S. Jon Pareles (The New York Times) praised his live show's "far-reaching electronica" that had the ability "to dissolve decades, along with borders."


SP 007LP

2013 repress. Container is a recent moniker of Nashville, Tennessee resident Ren Schofield, who has been actively shifting about the U.S. playing shows and releasing cassettes on his mysterious I Just Live Here imprint for a long while now. Known primarily for his God Willing project, a disjointed, confusing maze of crude oscillator, tape, and guitar, Ren has established himself as a staple in the East Coast underground. Here we have a new experiment in electronic beat-oriented music. This is no standard fare, however. It glows with a vision all its own, completely isolated and separate, making it difficult to place in the awkward world of the "genre." The sounds are a thick stew, congealing new ideas and naive experiments into something in the ballpark of the new super-weird Wolfgang Voigt 12"s, abstract and minimal in nature with time-stopping tendencies . Take those 12"s and send them through the garbage can, tape loop, reel-to-reel experiments of Ake Hodell's "220 Volt Buddha" or that weird track with a lawnmower by Charles Amirkhanian on the first Slowscan volume and we might be getting closer. This music, by being so unruly and defiant of any kind of trend, has created a fresh fusion we have not heard until now. "Application" introduces you to Container in the most suitable way. A confusing anti-rhythm accompanied by eerie, unidentifiable tones before a collapse of metallic drum sounds washes you out into the minimal, motorik "Protrusion." The flip takes off with intense feedback squeal and more light speed rhythm, leading into "Overflow," the album's wildest, most textural piece. "Rattler" leaves the listener absolutely baffled and flipping the record over again to try to figure it all out as this record makes no sense to anybody but its creator. The experimental nature of this album alone warrants its vinyl release; however, the fine detail and unique structures will have you waiting for the next Container 12". Mastered and cut at Dubplates & Mastering, Berlin, July 2011. Design and layout assistance by Mike Pollard.

SP 023LP

BEE MASK: When We Were Eating Unripe Pears LP (SP 023LP) 20.00
Repressed. "The seven pieces on this LP were developed over a period of about five years; 'Rain in Coffee' is built on a Hyperborean Trenchtown-era demo, while 'Pinq Drinq' -- sorrel, for the record, and neither guava nor antacid as certain wags have already ventured -- was reanimated directly from the cutting-room floor, 11th hour, 2012. As a whole, they should probably be considered the proper 'sequel' to Canzoni dal Laboratorio del Silenzio Cosmico, extending that record's preoccupation with the dream interiors of post-1965 Fellini and synthesizing (pun very much NOT intended) it with Elegy for Beach Friday's fascination with the lush and abject facets of advanced gastronomy and the embrace of the recursive, solipsistic, simultaneously expansive and claustrophobic universe of the sampler on Vaporware/Scanops. However, in direct contrast to each of those prior works, When We Were Eating Unripe Pears draws more deeply on formal ideas from the history of records than any Bee Mask release to date. Toward this end, most of its constituent tracks were hammered into their finished shapes 'on the road' throughout 2011 and 2012. Those of you who heard me on tour in the United States, Canada, Australia, and Japan, and particularly at Voice of the Valley, the Bunker, and Labyrinth played a part in the process of shaping this material and so may well experience the shock of the familiar. When We Were Eating Unripe Pears was recorded in Cleveland and Philadelphia between 2007-2012. It was edited and mixed at Tranquility Base in Summer 2012, mastered and cut by Rashad Becker at Dubplates and Mastering, and pressed by Pallas Group. The first 300 copies are on translucent green vinyl. Mark Price did the photography and layout. Special thanks are also owed to Jason Anderson, Katherine Brady, Matt Carlson, John Elliott, Lawrence English, Daniel Lopatin, and Alex Moskos, without whose perspectives this would be a very different and much lesser beast." --Chris Madak, Philadelphia, October 2012



49 AMERICANS, THE: We Know Nonsense CD (STAUB 123CD) 17.00
Long-awaited reissue of the second full-length album from 1982 by late 1970s/early 1980s UK DIY super-group The 49 Americans. The main instigator behind The 49 Americans was Andrew "Giblet" Brenner, who assembled a loose, disparate group of musical/non-musical practitioners as an experiment in equality and democracy. This democracy included David Toop, Steve Beresford, Max Eastley, Lol Coxhill and Peter Cusack (coming out of the anything goes improv scene), Nag And Bendle of The Door And The Window, Viv Albertine of the Slits, Vivien Goldman, Giblet's mum, and many more. The CD version comes as a lovingly-assembled career-spanning compilation. It features the complete original We Know Nonsense album as well as 23 (!) bonus tracks taken from The 49 Americans' first album E Pluribus Unum (1980) and their 7" The 14-Track Single (1979). A 20-page booklet contains "The Incompleteable Story of The 49 Americans." The Wire listed We Know Nonsense in their legendary list of "100 Records That Set The World On Fire (While No One Was Listening) + Extra 30 Records": "Not many of those visiting the London Musicians' Collective venue in Camden Town during the late 1970s, and hearing the free improvisers active therein, would have conceived the idea of recording an album of happy-go-lucky pop songs with them. But that's exactly what American expat Giblet (alias Andrew Brenner) set out to do, and so here are 17 doo-wop, disco and samba ditties produced and co-written by David Toop and Steve Beresford. Musicians include Lol Coxhill, Peter Cusack, Max Eastley, Viv Albertine (of The Slits), and Etta and Eddy Saunders."


STH 2065LP

MADVILLAIN: Madvillainy 2LP (STH 2065LP) 18.00
2004 release. "As individuals and in collaboration with other artists, MF Doom and Madlib have each been responsible for tons of great, grimy underground hip-hop. Even still, Madvillainy was a lightning-in-a-bottle moment, a preternaturally perfect pairing of like-minded talents who somehow managed amidst mountains of pot smoke to submit a brilliantly whole-cloth work of surrealistic shit-talk and superhero fantasia." -- Pitchfork


SA 017EP

KANGDING RAY: Tempered Inmid 12" (SA 017EP) 15.50
Kangding Ray presents an EP defined by dexterity, balancing the deepest drum with the most celestial synth, weaving a legend of both menace and tenderness. Possessed of an underlying hiss, the title-track dampens its muscular beat with a fabric of warm melodies. "Dimien Andesso" shuffles with a considered high-end and off-kilter pads. "Nuis Octury" is twisted into a fever that Ray eventually tempers. Closer "Ezerb Altren" conjures the image and emotion of an underground lake: depth, resonance, and total, glacial serenity.


SR 340CD

PALESTINE/Z'EV, CHARLEMAGNE: Rubhitbangklanghear 2CD (SR 340CD) 18.00
For the second time in 20 years Charlemagne Palestine and Z'ev performed together, and this was the first time they recorded it. Part of the Sub Rosa/Laboratoire Central sessions, this is unreleased material from Charlemagne's lair -- a place now called "Charleworld," where both fellows spent three days in June 2010. "I first started to play the bells while at a high school for music and art in the '60s at St. Thomas Church across the street from the Museum of Modern Art in Manhattan. I played every day for years. In the '80s I met Z'ev in Amsterdam. I'd known him for 20 years before he suggested one day that we perform together, which we did at Lem Barcelona in 2007. Later after seeing and hearing the carillon at my studio in Brussels he suggested that we perform and record together there, which we did in 2010. Here's/hearsz what we did." --Charlemagne Palestine

SR 340LP

PALESTINE/Z'EV, CHARLEMAGNE: Rubhitbangklanghear LP (SR 340LP) 15.50
180 gram LP version. Limited to 500 copies; on white vinyl.



B-TRACKS: Flightless 12" (SUPPLY 005EP) 12.50
B-Tracks, aka Soren Jahan and John Barera, present their third release on their own Supply Records imprint. "Down" opens the record with an upfront theme track rooted in driving house music. "Heavy Skies" is a melancholic and disco-tinged dancefloor cut. "Flightless," a compelling and breezy house cut, rounds out the A-side. On the flip-side, "Discrete Time" is a deep, tough techno house track. Finally, "Plateau," an engrossing, cerebral techno cut, just may be one of the duo's strongest works to date.



LX ONE AND YOUNGSTA: Responsibility/No Cure 12" (TEMPA 074EP) 11.00
Youngsta returns with a two-track 12" through Rinse in collaboration with LX ONE. Together, LX ONE and Youngsta have created some of the leanest and deadliest tracks in the Tempa back catalog. "Responsibility" stands as an exceptionally minimalist cut: little more than metallic percussion, flickering dub chords and a hulking bass line that tears through the mix like a wrecking ball. "No Cure" heads off on a techno-leaning flex, matching plunging subs with rolling percussion, offering an entirely more propulsive companion the A-side's crushing weight.



MILLIMETRE: Sex Dreams of the I Ching Cassette (TTW 052CS) 8.00
Millimetre is Terence J. McGaughey, who has made critically-praised radical pop music with this moniker since 2004. Millimetre has released four albums -- Love Won Out (2005), Obsidian (2007), Heliography (2009), and 13 Homes (2011), all on Orectic Records. Millimetre writes: "Sex Dreams of the I Ching started out as six love songs with strange, fragmented structures that had titles inspired by readings from the I Ching. I didn't know what to do with them, but kept returning to them over and over -- they had an uncanny quality while being totally dissonant and broken. One day I found some recordings I made on a four-track years ago with a WEM Copycat -- mostly my vocalizations looped endlessly -- and out of curiosity played some while playing the love songs in the background. That's more or less how it began. A fortnight later, all six songs morphed themselves into drones and then, with some minor embellishments, and unfolding melodies, the titles magically fit the new music. Sumetha and James added their parts and the album was done -- no mixing required. As a listener, you may find this album is perfect for playing in noisy environments." --Terence J McGaughey, London, September 27, 2012.


GALLON, RAY: Nam June Paik - A Work for Radio Cassette (TTW 053CS) 8.00
This hour-long compositional documentary was produced for the CBC Radio Series "Signature," and was originally broadcast on April 28, 1979. It was nominated for an ACTRA award for best radio documentary of the year. It is the result of a remarkable creative collaboration by artists such as John Cage, Charlotte Moorman, Philip Corner, and Nam June Paik himself with the author. Interspersed throughout the portrait are audio realizations by Ray Gallon of conceptual works by Nam June Paik. Thanks also to Lorne Tulk for remarkable engineering and creative contributions, and to Digby Peers for the courage to broadcast it. Ray Gallon has been a communicator for over 40 years, half of that time as a radio producer and audio artist. Although he had a classical music education, Ray gravitated early towards the avant-garde, and was fascinated by musique concrète, electronic music, so-called progressive jazz, and the multi-track experiments of the rock revolution in the '60s. His first exposure, on television, to the work of John Cage came very close to the moment when he wandered into a cinema by chance, and saw Fellini's 8 1/2. The one-two punch of these experiences left him delirious for the rest of his life. As a radio producer, he has worked in almost every department at CBC Radio except hard news. He was nurtured by Glenn Gould's experiments with "compositional documentaries," and developed his own style, inspired by Gould's work. In the late '80s, Ray's focus turned towards new media, communications art, and computers. After moving to France in 1992, he continued to produce audio art and radio while teaching courses in new media and working as a technical communicator. Ray is currently a researcher with The Transformation Society, and shares his life between Barcelona, Spain, and the Languedoc region of France.


NORMAN CONQUEST, THE: Myriad Cassette (TTW 054CS) 8.00
Myriad is a post-apocalyptic love story comprised of 10,000 tracks of recorded audio, yielding a great wall of sound. Unfolding over 31 minutes, the piece features over 150 performers on 200+ instruments including the Persian santur, various ARP/Buchla/ Moog analog synthesizers, gamelans (handmade by Lou Harrison), classical strings, timpani, harpsichord, and percussion. Myriad is performed by a veritable "world orchestra." A small portion of some of the illustrious musicians who recorded for this piece: Blixa Bargeld, Fred Frith, Zeena Parkins, Agnes Szelag and Marielle Jakobsons (of Myrmyr), William Winant, Jon Porras and Evan Caminiti (of Barn Owl), Gregg Kowalsky, Ellen Fullman, Carla Kihlstedt, Matthias Bossi, Shahzad Ismaily, Chris Cutler, Theresa Wong, Jefre Cantu-Ledesma, Jozef Van Wissem, Luciano Chessa, Stuart Dempster, Wobbly, Jacob Felix Heule, George Chen, and Søren Kjærgaard. The Norman Conquest (TNC) is a composer, performer, and improviser influenced by the art of sound engineering. Utilizing unconventional recording practices, the recording studio is TNC's instrument. TNC performs as a sound manipulator and vocalist in Cosa Brava (with Fred Frith, Zeena Parkins, Shahzad Ismaily, Carla Kihlstedt, and Matthias Bossi) and Dokuro (with Agnes Szelag). As a recording engineer, some of the artists that TNC has worked with include Barn Owl, Elliott Sharp, Gregg Kowalsky, Ellen Fullman, Stuart Dempster, Marielle Jakobsons, and Blixa Bargeld (of Einsturzende Neubauten). TNC's recordings can be found on such fine record labels as Tzadik, Thrill Jockey, Type, Intakt, Important Records, Root Strata, Ambiances Magnetiques, and Digitalis Recordings.


POTTER, COLIN: The Fights of the Sound Cable Cassette (TTW 055CS) 8.00
So, things have gone full circle. Colin Potter's first cassette was released in 1980 and here we are around 33 1/3 years later, observing the release of another cassette. The intervening period has seen a number of developments. The ICR label was inaugurated and still continues today, having released over 70 cassettes, records, and CDs. IC Studio was established soon after and has been operated by Potter (almost) continuously since the early '80s, at a number of locations. There, Potter has recorded, mixed, and produced a wide array of projects. He has gained a reputation for innovative mixing and sound processing, working with artists such as Current 93, Fovea Hex, Ora, Organum, Monos, Andrew Chalk, Jonathan Coleclough, Paul Bradley, Darren Tate, and, most notably, with Steven Stapleton on many albums by the renowned Nurse With Wound. Several solo works have been released, as well as many collaborations. For reasons best known to himself, he decided to try his hand at live performance and is astonished to be still allowed to do so. The second side of the cassette is actually a recording of a rehearsal for such an event and is documented, if only to prove that he does in fact actually plan ahead for these things. The first side is an exercise in mathematical repetition patterns, by someone whose counting is somewhat dubious.



BARN OWL: V CD (THR 321CD) 14.00
"Barn Owl has always specialized in devotional darkness, pushing desert rock into previously unexplored, murky territories. V marks a shift in approach for the duo of Jon Porras and Evan Caminiti. The pair augmented their arsenal of guitars and effects with an array of electronics, vastly expanding the album's sounds and textures. Special attention was given to implied rhythms nestled within dense slow building environments, giving the album a rhythmic presence, albeit one that is buried beneath intricate layers. Theirs is a ghostly rhythm, almost beyond reach."


BARN OWL: V LP (THR 321LP) 19.00
Gatefold LP version.


LIFE COACH: Alphawaves CD (THR 329CD) 14.00
"Life Coach is Phil Manley (Trans Am, The Fucking Champs, Oneida, Jonas Reinhardt) and Jon Theodore (Mars Volta, One Day as a Lion) with guest appearanc¬es from Isaiah Mitchell (Earthless, Golden Void) and Michael Elrod (Date Palms, The Alps). Alphawaves was written as a singular piece, each song flowing into the next, forming a dynamic musical narrative. The record is propulsive with a sense of forward motion never receding; it is telling that when performing live, Life Coach plays the album to completion."


LIFE COACH: Alphawaves LP (THR 329LP) 18.00
LP version.


ZOMES: Time Was CD (THR 330CD) 14.00
"Time Was marks a new stage in the evolution of Zomes. The album marks the first recordings of Zomes as a duo and the first time an album was recorded in a studio and not on a cassette deck. It all began when Asa Osborne was performing at the Perspectives Festival in Sweden, where he met Hanna through a mutual friend in the Skull Defekts. During Osborne's performance, Hanna, a vocalist, ended up improvising along with the music with stunning results. The strength of the collaboration is instantly apparent from the opening notes of the wistful 'Loveful Heights.' Hanna's voice floats freely above Asa's keyboards, his modal organ riff acting as an anchor. While previous Zomes releases have stuck closely to either improvisation or itinerant explorations of melody and rhythm, Time Was unifies these approaches."


ZOMES: Time Was LP (THR 330LP) 17.00
LP version.


PARISH, JOHN: Screenplay 2LP (THR 331LP) 19.00
Gatefold double LP version.



RAINBOW ARABIA: F.M. Sushi CD (TNP 008CD) 17.00
This is the follow-up to Rainbow Arabia's critically-acclaimed debut LP on Kompakt, Boys and Diamonds (KOMP 088CD/KOM 217LP). Exploring a strange ecosystem balanced with equal parts tech-noir and Adriatic light, Rainbow Arabia land on a new world with their second full-length album FM Sushi. Vaporous FM-synthesized melodies streak across the planet's neon sky, disintegrating into its plush, hypnotic atmospheres. Two musical vectors simultaneously approach 1985 and 2025, intersecting briefly in the present. Their Weirding Modules* are armed with sounds reminiscent of Orchestral Manoeuvres In The Dark, Tangerine Dream, Vince Clark, and Jan Hammer. Rainbow Arabia prepare for a war of wavelengths where amplitude and timbre arrive at a sunset-lit shore, emerging from a white Ferrari, armed to the teeth, and prepared for action of Miami Vice magnitude. Tiffany's mercurial pop vocals float into a cavernous section of the subconscious, draped with plush tapestries of sound. With the addition of Dylan Ryan (Icy Demons, Cursive, Herculaneum, Michael Columbia), they have another force contributing to the evolution of their sound. Ryan's drive on tracks like "River's Edge" and "Three Moons" possesses a spellbinding motion where the listener is engaged by the rhythm; pushed, pulled, and pleased by cymbals, dropped into the mix like stones skipping over a still, mirror-like lake with treated delicate ambience. With its choir-like synths, analog sequencing and new age saxophone solos, FM Sushi is determined to set a crystalline path into a future filled with colors that mankind has named only in dream. *The Weirding Module is a sonic beam weapon that translates certain specific sounds into attacks of varying potency. The sounds that the device translates into attacks are presented as being somewhat rare.


RAINBOW ARABIA: F.M. Sushi LP (TNP 008LP) 19.50
LP version.



JOHNSON, PLAS: Downstairs/Blue Jean Shuffle 7" (TTSHAKE 110EP) 8.00
"Downstairs" is a super-cool popcorn instrumental from the man who is probably best known for playing the instantly recognizable tenor sax line on the theme tune to the Pink Panther. There is indeed more than a hint of that famous theme to "Downstairs," a jaunty, swinging number with "crime jazz" undertones. On the flip-side, "Blue Jean Shuffle" is a straight-ahead honking rock & roll romper.


UW 009LP

SPIEGEL, LAURIE: The Expanding Universe LP (UW 009LP) 19.00
2013 repress. "The LP reissue mirrors the original track-listing, but adds 'A Folk Study' to the end of Side A to further even out the sides. A download code for lossless or lossy download of the entire 2CD version is included. The Expanding Universe is the classic 1980 debut album by composer and computer music pioneer Laurie Spiegel. The pieces comprising The Expanding Universe combine slowly evolving textures with the emotional richness of intricate counterpoint, harmony, and complex rhythms (John Fahey and J. S. Bach are both cited as major influences in the original cover's notes), all built of electronic sounds. These works, often grouped with those of Terry Riley, Phil Glass, Steve Reich, differ in their much shorter, clear forms. Composed and realized between 1974 and 1977 on the GROOVE system developed by Max Mathews and F.R. Moore at Bell Laboratories, the pieces on this album were far ahead of their time both in musical content and in how they were made. Each of the included works broke new ground, pioneering completely new methods of live interaction with computer-based logic - ways of creating music that are now reaching the heights of their popularity with Ableton Live, Max/MSP and other interactive music software entering mainstream music production." Packaged in a tip-on LP sleeve with original artwork.



BIBIO: A Tout a l'Heure 7" (WAP 342EP) 7.00
"Limited edition 7" from Bibio. 'À Tout à l'Heure' is the first single from the full length Silver Wilkinson. The 7" features B- side 'Bequeath,' exclusively available through this release."


WG 013CD

HAGELSTEIN, RUEDE: Watergate 13 CD (WG 013CD) 17.00
The next Watergate compilation is numbered with the myth-enshrouded 13 -- a burden taken on by long-standing resident Ruede Hagelstein. The collection contains known classics and new gems. The mix starts off with a dreamy, melancholic track by Prins Thomas and develops an enormous deepness, which is masterfully broken by technoid soul-funk. Mike Dunn's Chicago-house-bomb "Phreaky MF" is mixed with the soulful Tone Of Arc anthem "Soundsail," peaking with Shlomi Aber's "Foolish Games." One of the highlights is definitely Henrik Schwarz's "Take Words in Return," remixed by Carl Craig. Ruede himself contributes two exclusive tracks -- "A.R.G.O.," a collaboration between him and Emerson Todd and "Up the River." And he couldn't have chosen a more beautiful outro than M83's "Where the Boats Go." Altogether, Ruede Hagelstein composed a fantastic and light-footed mix. Other artists include: Fabio Alampi, Alan Fitzpatrick, Don Disco, Chris Wood & Meat, Strangers In Heaven, Jonny Cruz, Amine Edge, Marco Resmann, RAD, Fischer & Kleber, The Cheapers, Paskal & Urban Absolutes, Byron Stingily, Marshall Jefferson, Salt City Orchestra, Manuel Tur, Losoul, Aartekt, Lower Dens, Steve Moore, The Drifter, The Pyramids, and James Zabiela.



MOIRE: Never Sleep 12" (WDNT 003EP) 12.50
Three track EP with a remix by Actress. "Werkdiscs are proud to announce the debut EP Never Sleep from London based producer Moiré. This is the result of a lack of sleep -- the obsessive expressions of a mind inspired by the city and the scene that has surrounded him for a long time."


WL 001LP

OS MUTANTES: The Sixth Finger (Singles, Rarities and Outtakes, 1965-1968) LP (WL 001LP) 29.00
"The Sixth Finger (originally the intended title for the second Os Mutantes album, which was refused by their record label) collects unreleased and live tracks, outtakes, and advertising jingles. Most of the tracks are taken from masters. Here you'll find Os Mutantes at their wildest, rawest, and most psychedelic. Featuring many different and longer versions of some of their famous tracks. Housed in a striking cover, featuring a picture from the cancelled 'mutant' photo sessions for their second album."

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Last Updated on Sunday, 14 April 2013 22:17  


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