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Forced Exposure New Releases for 5/27/2013

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New music is expected this week from COH, The Black Dog, Múm, and Justin Walter, as well as old music from Itadi, Ethiopians, Lee Perry, and Boogie Down Productions.


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MUM: Toothwheels 7" (ANOST 041EP) 7.00
Electronic pop fruitcakes múm return with a single, before coming up with a whole new album later in 2013. "Toothwheels" starts off with echoes of their millennium-era rhythms, which morph into shadows. Flourishing strings and teeming arpeggios elevate the track, which spins along in a cyclical motion before being washed away. The lulling vocals disguise the song's fatalistic lyrics, evoking an eerie sense of immateriality. "Cranes Like Ships" is built around booming electronic beats and confused synthesizers, but it's a much happier affair.


N 033LP

JOASIHNO: A Lie LP (N 033LP) 17.50
LP version with die-cut front cover. The rectangular fields surrounding, shaping, and defining the upper Bavarian village Joasihno call home turned out to be a significant influence and defining factor during the duo's recording sessions for their sophomore effort A Lie. Former sole mastermind Christoph "Cico" Beck (Aloa Input, Ms. John Soda) and his new bandmate Nico Sierig (Missent To Denmark) have referred to them before, and apparently these fields work pretty much like blank sheets -- just waiting to be filled with Joasihno's shapeshifting, rather circular, meandering, and free-floating tracks that are full of surprising little twists and turns. The opening track of Joasihno's second album feels a bit like a plane's smooth landing at sundown. The air is shimmering, and suddenly there's this new thirst for action upon touchdown. Further down those fields, they present a sound that seems to bolt and shoot off into the wind -- "Oh Boy!" -- but also staying true to its melancholy undercurrents reminiscent of the Matt Marque. Elsewhere, Joasihno even live up to Cico's last name when "Some Light" indeed sounds a bit like Beck Hansen trapped in the garden of intricate beats. Over the course of the LP, the duo weaves a vast array of influences ranging from world music to minimal and back -- Cico mentions Reich, Glass, Ligeti, and Nancarrow when asked about his key influences -- into an electro-acoustic tapestry of sound that includes hypnotic layers, surprising melodies almost reminiscent of The Strokes, and some fine home-made soundtrack material that would make any super-8 collection look even better. On this album sonic snapshots and moments hum like an old-school slide show -- in fact, you can almost feel the shimmering air against your skin.


AU 5029CD

HEAD MACHINE: Orgasm CD (AU 5029CD) 17.00
Taped by psychedelic rockers the Gods (as Head Machine) at the tail-end of 1969, shortly before they morphed into Toe Fat and then Uriah Heep, this British underground rock classic features plenty of wailing guitar from Ken Hensley, and powerful drumming from Lee Kerslake. Extremely rare in its original form, it makes a welcome return to CD here, complete with background notes.


AUS 1347EP

GLIMPSE: True South EP 12" (AUS 1347EP) 12.50
Aus Music continue to push further forward into 2013 with another collection of carefully-curated tracks from the London-based producer, Christopher Spero. Over the course of the past 10 years, Glimpse has established himself as one of the most unique, versatile and imaginative producers around, gaining support along the way from Carl Craig, Levon Vincent, DJ Koze, Scuba, and Jackmaster, amongst others. The UK producer is back with a five-track EP titled True South, with remixes from Tom Demac and South Soul Project.



VINCENT, STEFAN: Conflate EP 12" (BALANS 010EP) 14.00
Amsterdam's Stefan Vincent unleashes these four gems into the world. Both "Conflate Four" and "Five" are about as trippy as it gets, reminding us of the golden '90s era of psychedelic Detroit and Berlin techno. Stefan showcases a different side of himself on "Fool Me Again" and "Welder." Two downtempo, electronic, ambient cuts. "Welder" embraces futuristic synths and abstract, alienating sound design, while "Fool Me Again" is Detroit melancholy at its best: try and not get goosebumps.


BAM 7007LP

ITO, AKIRO: Japanesque LP (BAM 7007LP) 22.00
Keyboardist and former member of the Far East Family Band, Akira Ito embarked on a solo career making what has been described as "floating electronics," using a medley of analog synths, guitar, bass, drums, and choral vocals. He released Japanesque in 1981; an album considered to be illusionary mind music at its finest and rarest. It's a gorgeous, mellow, floating, cosmic album, perhaps like a more organic Kitaro. Ito lends his sonic signature sounds of cosmic rock to full effect on Japanesque, reminding us why the Far East Family Band were considered to be the foremost innovators of early electronica. Digitally-remastered and presented on 180 gram vinyl for the first time.


BEC 5161375

CHRISTINE AND THE QUEENS: Nuit 17 a 52 12" + CD (BEC 5161375) 14.00
Christine And The Queens is a French solo artist. Nuit 17 à 52 extends the fantasy about metamorphosis and its consequences. The smart ravings of vogue-ing can be found in her screams during "The Loving Cup." "Starshipper" is a monstrous song, between major chords and minor split. The title-track of the EP is also the most piercing. Christine reinvents "Photos Souvenirs," a William Sheller song, with a feverish flow that transforms the original melancholy into an unknown rage.



BEDROOM COMMUNITY: Everything Everywhere All the Time/The Whale Watching Tour 2DVD (HVALUR 014DVD) 34.00
Pierre-Alain Giraud's documentary film Everything Everywhere All the Time follows Sam Amidon, Ben Frost, Nico Muhly, and Valgeir Sigurðsson on their collective tour, showcasing the music they've collaborated on and released individually under the Bedroom Community umbrella. We witness Giraud's fly-on-the-wall perspective through rare footage of recordings at Greenhouse Studios in Iceland, backstage and tour-bus activity, volcanic disruption and interviews with the artists. In 60 minutes Everything Everywhere All the Time explores the dynamic between these four highly individual artists. It provides a fantastic insight into the inner workings of a small artist-run label and a collective that has been hailed as "the best record label in the whole of Iceland and maybe even the entire world" (Drowned in Sound). The Whale Watching Tour is a 115-minute concert film focused around the grand finale of their 2010 tour, as they are joined on stage by violist Nadia Sirota, violinist Una Sveinbjarnardóttir, bassist Borgar Magnason, and trombonist/singer Helgi Hrafn Jónsson. The concert was filmed at the National Theatre of Iceland and features performances from many Bedroom Community classics. A concert by Daníel Bjarnason and his ensemble is the exclusive bonus feature on this double DVD disc. DVD1: 61 minutes. DVD2: 115 minutes. Language: English. Double-sided NTSC/PAL format DVDs for worldwide use, region free.



PYE CORNER AUDIO: Superstitious Century 12" (BKEDIT 005EP) 16.50
The Head Technician cruises up with his first 12" maxi single, presented on Boomkat Editions. Since Type's reissue of his Black Mill Tapes last year, PCA has had praise coming from all angles: whether it's for his slick-but-sleazy, Carl Craigian lustre, the BoC-like melodic hooks, or his beautifully full bodied analogue production; he's really hit a collective soft spot dead on. We were keen to hear him attempt something slightly more club-wise, and, et voila, we now have Superstitious Century. Opener "Vorticism" is a real peach, steeped in nostalgia for early '90s UK house with the rosy-cheeked, wide-eyed essence of Smokebelch and classic AFX (it almost sounds like something off the first Analogue Bubblebath EP) distilled to a spine-tingling brew, and neatly contrasting with the subtle, slo-mo balearic build of "Zero Centre" to complete the A-side. Turn her over for the extended and seductively oily, oriental chug of "Wasted Evolution", which has become a bit of an anthem at our monthly Haxan gatherings, and there's the blissed out arpeggios of "End of all Eras" to bring us safely in to port, like some lost outtake off Boards of Canada's Music Has the Right to Children.



LARK: Goodbye Man 7" (CARE 715EP) 11.00
After the critical success of I Don't Go (CARE 106LP), which saw Lark front man and songwriter Karl Bielik go solo for a creative regression into a more unhinged psychological sound space than his full band debut ,Goodbye Man sees Bielik return with a beautifully succinct work of minimal coldwave.



AQUARIUS HEAVEN: Parallela Mundi 12" (CCS 076EP) 12.00
The collaboration between dOP's resident beatsmiths Damien and Clement is reignited, sending Brian's gravelly vocals in a myriad of directions that make for one of the most ambitious singles Circus Company has ever shared. "Slow Love" welcomes the legendary princess of electro, Miss Kittin, to inject her icy, new-wave vocals into a brooding, sensual repartee with Brian over the simmering, late-night stomp of the 4/4 beat. This EP sees dOP return to their hip-hop production roots without forsaking the dancefloor.


C&S 013EP

STIP, VALENTIN: Angst 12" (C&S 013EP) 15.50
Limited to 300 copies. Four tracks by Valentin Stip, plus a Hugo Bocca remix.



WERKRAUM: Unsere Feuer Brennen! CD (CSR 049CD) 16.50
Originally released in 2004. Debut album from a band who created excitement across the whole scene, having only appeared on a handful of extremely rare compilations at the time of their first release. A genius mixture of industrial, neo-folk, ambience and neo-classical. Aided by Lady Morphia (UK) and Harvest Rain (USA). This is the second unlimited edition. Comes in a jewel-case with brand-new gold on black artwork. Contains two bonus tracks -- "Wir Rufen Deine Wölfe" (taken from the compilation of the same name) and "Blutsommerland" (taken from the vinyl-only release Eternal Soul).



VA: Brand New Wayo 2LP (CRZR 1001LP) 21.00
2013 repress. Subtitled: Funk, Fast Times and Nigerian Boogie Badness 1979-1983. "With this release, Comb & Razor Sound launches its exploration of the colorful world of popular music from Nigeria, starting with the post-disco era of the late 1970s and early 80s. The years between 1979 and 1983 were Nigeria's Second Republic, when democracy finally returned after twenty-three years of uninterrupted military dictatorship. They were also the crest of Nigeria's oil boom, when surging oil prices made the petroleum-producing country a land of plenty, prosperity and profligacy. The influx of petrodollars meant an expansion in industry and the music industry in particular. Record companies upgraded their technology and cranked out a staggering volume of output to an audience hungry for music to celebrate the country's prospective rise as global power of the future. While it was a boom time for a wide variety of popular music styles, the predominant commercial sound was a post-afro beat, slickly modern dance groove that retrofitted the relentless four-on-thefloor bass beat of disco to a more laidback, upbeat-and-downbeat soul shuffle, mixing in jazz-funk, synthesizer pop and afro feeling. At the time, it was still mostly locally referred to as 'disco,' but has since been recognized as its own unique genre retrospectively dubbed 'Nigerian boogie.' A Brand New Wayo: Funk, Fast Times and Nigerian Boogie Badness collects 15 pulsing Nigerian boogie tracks in a lovingly compiled package chronicling one of the most progressive and creative eras in the history of African popular music." Gatefold sleeve.



ALLEN & ABAYOMY AFROBEAT ORQUESTRA (FEAT. BNEGAO), TONY: Meus Filhos Afrobeat Rework 10" (COMET 060EP) 12.50
After their concert in Rio at Circo Voador, Tony Allen, his musicians, and the Abayomy crew ended up in a studio in Santa Teresa for a stellar session recording live the famous Jorge Ben's song "Meus Filhos" to celebrate the meeting between Africa and Brazil. The Abayomy Afrobeat Orquestra is formed by 13 musicians who use their Brazilian references and geniality with bright musical sounds, Afrobeat strength and hypnotic, infinite groove. Includes a remix by Robin Leduc.



HVL: Flats EP 12" (VYGR 001EP) 12.50
Voyager's first release signifies a notable move away from the traditional and varied 130 BPM sound of its sister label The Crescent, drawing on deep house, ambient and dub techno influences. Kicking off is a fantastic three track special from rising Georgian talent, HVL. Across the Flats EP, HVL showcases his musical ability and tight production ethic in three carefully-crafted tunes with both headphone and dancefloor appeal. Extremely limited collectible vinyl run with handmade illustration from Brendon Monroe.



NO REGULAR PLAY/CNNR: Cmm0001 12" (CMM 001EP) 14.00
Loosely associated with a collective of New York-based musicians, Cut Mistake Music's first release comes from the hearts and minds of the label founder Cnnr (Connor Whiriskey) and No Regular Play (Nicholas Debruyn & Greg Paulus). Future projects will come from our wider community of gift giving artists: producers, jingle writers, classically-trained cellists and violists, theater sound designers and visual artists. All release artwork is commissioned specifically for the music it will contain. Lisa G. Bauer, ( a Brooklyn-based artist, provides the magic for Cmm0001.



LOW SEA: Remote Viewing CD (EDDA 033CD) 15.50
"The sound of Spacemen 3 and Mazzy Star being thrown into the most tranquil ocean, leaving the listener pining for the inevitable beautiful songs to emerge from below." This is Low Sea and their album that they appropriately describe as grey disco. It is synth pop of a very European nature, shot through with a bolt of blue. The duo, Bosnian-born Billie and Bobby D from Liverpool first met while living in the United States. Billie had spent her early years in Bosnia until the war broke out in former Yugoslavia, during which she fled to live in San Francisco (and was initially unwillingly part of a cult). In stark contrast, Bobby took a more insular route to their path, one involving an endless headphone cycle of A-ha, Cocteau Twins, 808 State, and My Bloody Valentine. Having released a mini-album on U.S.-based Lefse Records (How To Dress Well, Neon Indian) they conspired with Dell'Orso Records with a view to releasing a narcotic pop album having bonded over a love for AR Kane, New Order, and Lali Puna. Much of the album was recorded and self-produced in their current residence, a cottage overlooking the light house and harbor in an isolated fishing village on the Irish coast. However, Low Sea had to pinch themselves when the legendary Stephen Hague (Pet Shop Boys, New Order, PiL) agreed to mix some of the tracks on the album, including the title track, "Remote Viewing." You can understand why Stephen Hague was interested, though. Like many of his records, Low Sea's music is insular euphoria, one born out of 4AM cigarettes, nostalgia for the future and a melancholic happiness. Low Sea's music has been described as like "Julee Cruise on sedatives" and this is certainly true of the album's center-point "Acid Ocean," an extraordinary torch song as forlorn as Kim Novak dropping into the Bay. Elsewhere, "Sentimental Games" sounds like Altered Images on board the Trans European Express while the seasick lo-nrg of "Breathing In Too Fast" is like the orphan child of Vivien Goldman and Joy Division. This is the sound of Low Sea.



ROBERTS, JOHN: Fences CD (DIAL 028CD) 17.00
After the unanimous global acclaim of Glass Eights (DIAL 022CD/LP), John Roberts returns with Fences, his second full-length offering on Dial Records. From elegantly-dusted chamber pop and semi-psychedelic acoustic musings to turgid orchestral dancefloor fillers, Roberts creates a beautifully collaged symphony of recorded violins, cellos, cracked guitars, detuned pianos, faded samples, broken drum machines and manipulated answering machine cassettes. Fences is informed by the effects of travel on the brain: produced over the span of a year in various countries, it is in large part a recollection of what the mind chooses to imprint upon itself, and what physical sensations are dragged to the surface during a re-examination of those particular experiences. It is a deeply personal recorded exercise in free association resulting in a sort of sedated fever-dream: plucked and bowed strings reverberate densely through thick air against weighted Persian rugs, while the voices of white-lacquered synthesizers cry out along the marble tiles of empty palace corridors; yellowed nylon guitar strings are rhythmically pounded against microphones between the mirrored walls of a hotel bathroom, their distorted signals captured and warmed on VHS cassettes before being ejected and thrown into the brackish water of a worn bathtub. Gathered and dried off, these aural relics are patched together into a delicate piecemeal -- patent leather next to cashmere next to plastic next to lace -- with visible seams but impeccable stitch-work. With Fences, genres are either disregarded completely or shredded and re-sculpted into unfamiliar amalgamations. Pop songs are gutted and disemboweled before eventually being given a new skin of collaged features stretched tightly across their frames; the tired bones of dance music are stamped and shattered into shards, melted and re-pressed into pleasurable moments of introspection spotted with outbursts of anthemic extroversion. Roberts chooses to focus here on the unpredictable nature of the mind, weaving recalled experience with minor works of fiction. This is music from the forgotten film scores of discarded laser discs; the sound of memories re-quilted into slabs and thin-sliced into patterns which, when played back, conjure visions of the past and materialize impossible moments of déjà vu for instances of the future not yet experienced.


ROBERTS, JOHN: Fences 2LP (DIAL 028LP) 23.00
Gatefold double LP version.


DT 030EP

MIRROR PEOPLE: Kaleidoscope 12" (DT 030EP) 14.00
200 copies. Limited edition 12" on yellow vinyl. Discotexas return with Mirror People's sterling "Kaleidoscope" featuring a brand-new remix from Psychemagik. The original "Kaleidoscope" is a bubbling and funk-fueled disco outing and Xinobi turns in a superb reworking flush with bright piano stabs and stirring brass parts. Next up we have a brand-new version from Psychemagik that plays on arpeggiated synth lines, rich, warm bass and shuffling percussion. The EP closes with "Machines," a techy and taut production that reflects its title.



BLACK DOG, THE: Tranklements CD (DUST 038CD) 17.00
The Black Dog have been gathering their thoughts, passions, and anger, reflecting it into their music, sometimes as part of a larger picture or concept, sometimes just focusing on one subject. Tranklements is such a great Sheffield word, it means "a collection of objects, often precious to the owner." Everyone has a collection of tranklements somewhere. Tranklements is a body of work created as 16 unique and individual tracks. Each one is its own little object, something created to externalize, explain and express the world the band find themselves in. It encompasses many thoughts, emotions and desires and there is an individual story and internal message behind each. They've all been discussed and fought for. However, The Black Dog don't really want to explain them -- they don't expect those personal rationales to translate to others. They would rather you gaze upon the objects yourself and come to your own conclusions. Nobody likes to be told what to think. In many ways, their work with the Electronic Supper Club project has helped them to reconnect with many things and each other. The creative talent and desires of the younger generation have never gone away. The real underground is still as vibrant as ever, not lost to false values, over-sized egos and ladder-climbing brands. The Black Dog have always respected that energy and individuality that exists beyond the bland compliant mainstream. The truth is, they have always felt like the awkward outsiders.



HASWELL & YASUNAO TONE, RUSSELL: Convulsive Threshold CD (EMEGO 142CD) 15.50
Russell Haswell (UK) and Yasunao Tone (Japan) have a rich history of exploring the extremes of sound and technology, where they intertwine and where the potential lies for deviation from the function intrinsic to their design. Both artists have undertaken years of rigorous exploration of sonic phenomena via the production of music tools. The constant shift in synthesis and production over the decades has only provoked further challenges, resulting in an excited means of exploration and consistently new and challenging results. Over the course of his practice, Haswell has disentangled the limits of Digital Audio Tape (DAT), the Sound Designer II software, Xenakis' UPIC system and analog synthesis systems in a relentless pursuit of the new in the known. Yasunao Tone's audio investigations have regularly placed him within the systems and processes he has developed to generate works. His Wounded CD works and his interactions with data entry and software interfaces, such as graphic tablets in 495.63 (2007) and his MP3 Deviation software employed on this release all provide a path whereby the human input creates a juncture in the "normal" operations of the tools at hand. Convulsive Threshold is the result of years of research and experimentation. Haswell's systems of hybrid analog/digital audio generation are one of the starting points for the Convulsive Threshold collaboration, and in part define its sonic palette. The results of his synthesis become subjected to Tone's MP3 Deviation techniques, modified and manipulated in response to deviated MP3 files. The results are a glorious spiral of sound, space and dynamics, a hyperactive Mandlebrot set which exudes relentless reconstruction, chaos and as a result, presents an entirely new form. Convulsive Threshold forms a dialogue which sees two of the most recalcitrant sound artists active today coming together as one. CD release packaged in LP sleeve.


COH: RETRO-2038 CD (EMEGO 172CD) 15.50
COH is the moniker used by Ivan Pavlov from Russia for more than a decade. COH is also the Russian word for "sleep." Yet, do not be deceived -- RETRO-2038 is much more of a deep space than a deep sleep. The second COH release on Editions Mego is a true delight to behold, inviting as it does its exploration of electronic sound in minimalism, futuristic pop and the uncharted territories in-between. Ranging from digital updates of Giorgio Moroder's pulse experiments to menacing, lingering LF tones, with occasionally scattered outbursts of jovial noise and glimpses of tonal interstellar disco, RETRO-2038 precisely engraves each of its components with a melodic line and a rhythmical pattern, often beatless. The album as a whole is a work of profound playfulness, at once whimsical and deeply seductive. It opens a crisp crystalline cosmos of its own, rich with unknown objects dancing through ominous orbital auras and smooth gravitational fields. Like a cyber-organic spacecraft moving through dark matter, RETRO-2038 looks back with a warmth as it heads towards its future with abiding optimism. After all, the future can't wait. Artwork by Tina Frank.



DJ VAS: Re-Edits & More Vol. 2 10" (EDR 018EP) 12.50
DJ Vas is primarily known as a member of pioneering '90s French house band, Kojak, one of the fourth most popular acts in France alongside Daft Punk, Air, and Cassius. For this specific project, DJ Vas practiced the very special game of soul-funk and disco edits. Four new tracks made for the dancefloor, finely cut and re-produced in complete new versions. Tracks by Gil Scott Heron, Herbie Hancock, DJ Vas, and James Mason.


EM 1111CD

KUUPUU: Sous Juju 2CD (EM 1111CD) 23.50
A collection of darkly shining northern diamonds, Sous Juju is a 2CD compilation of the musical work of Kuupuu from her first releases in 2003 up to previously-unreleased material from 2012. Kuupuu, known by her parents as Jonna Karanka, is a self-taught musician and visual artist from Finland who inhabits a semi-magical world where the mundane and the mysterious meet and make wonderful music together. Using tapes and loops, instruments both traditional and modern, Kuupuu's blend of low-tech electro-acoustics and high-north songcraft is charming, surprising and unique. Sous Juju gathers her self-released material, plus pieces culled from vinyl, cassette, and CDR on American and European labels, as well as an unreleased piece and a 2012 vinyl remix from EM Records. This is a fine opportunity to hear the early work of an artist who promises to continue to enchant us well into the future. Housed in a cardboard gatefold paper cover, including archival pictures of her previously-issued items and liner notes written by the artist in English.

EM 1112LP

KUUPUU: Sisar LP (EM 1112LP) 23.50
EM Records is pleased to present Sisar ("Sister" in English), from Finland's Kuupuu, a multi-talented musician and visual artist. This vinyl-only release shows her continued evolution, a developing style, more electronic, but still full of her charm, whimsy and unique sense of contrast and layering. Dreamy pop tones blend with abstract sound works, menace with mesmerism, loops and beats anchor otherworldy etheric excursions, electronic sound melds with acoustic warmth and is earthed by folksy colors. Kuupuu's fans will be intrigued but not upset by these latest developments, and new listeners will be converted.

EM 1113LP

FINIS AFRICAE: A Last Discovery: The Essential Collection, 1984-2001 2LP (EM 1113LP) 27.50
Gatefold double LP version. Contains two bonus tracks not found on the CD version. Finis Africæ (or Finis Africae): words redolent of mystery and myth, of Europe looking out to new lands, new worlds, new times. And so it is with A Last Discovery, the work of Spaniard Juan Alberto Arteche Guel, and his musical co-adventurers, recorded between 1984 and 2001. After 15 years of musical success in Spain with his band Nuestro Pequeño Mundo, Arteche was ready to experiment with new ideas, and with the purchase of a four-track reel-to-reel recorder he did so, exploring imaginary global music-worlds with a core of like-minded explorers. The group, dubbed Finis Africæ by JAA after reading Umberto Eco's The Name of the Rose, where the term refers to forbidden books and hidden knowledge, released seven recordings over an 18-year period, the best of which are compiled here. Finis Africæ was part of the "new wave" of Spanish music which gradually emerged after the end of the Francoist regime. Using modern electric instruments and traditional acoustic instruments from many cultures blended together via studio alchemy, a magic which grew even stronger with the acquisition of a 16-track recorder after their second release, Finis Africæ created an outward-looking musical multiverse, an unclassifiable amalgam encompassing elements of folk traditions from all over the world, skillfully and lovingly shaped into an inclusive pan-global whole. Deeply influenced by African music, the group's reverberant, organic minimal funk will appeal to DJs as well as all who yearn for the loving warmth that comes with the embrace of global possibilities. With liner notes in Spanish, English and Japanese by JAA, A Last Discovery, is the first release by Finis Africae outside of their native Spain. Come take a retrospective journey of discovery where new worlds await.



ARNALDS, OLAFUR: Variations of Static 10" (ERATP 008EP) 19.50
2013 repress on vinyl; 10" version; originally released 2008. This is the follow-up EP to Ólafur Arnalds' debut release for Erased Tapes, Eulogy for Evolution. While keeping the classical foundations of his debut album, on Variations of Static, Arnalds incorporates crackling electronics and the dead voice of a machine; like vague memories of a tradition lost within the digital age we all live in. It comes with a free download voucher for the 11-track Erased Tapes Collection I compilation to celebrate the label's 1st anniversary.


ARNALDS, OLAFUR: Found Songs 10" (ERATP 017EP) 22.50
2013 repress on vinyl; 10" version; originally released 2009. Ólafur Arnalds created the 7-song series Found Songs -- recording a song a day for 7 days and instantly making each track available via Twitter. With artwork contributions from fans via Flickr, this modern release awakens memories of a tradition that seemed lost in the digital age we live in. Ólafur conceived Found Songs as a way to collate several lost-and-found musical sketches and ideas in a "very challenging, but fun" series. The experiment offers its listeners an intimate insight into Ólafur Arnalds' creative world. The songs are different from Arnalds' previous output -- comprised mostly of shorter piano suites and electronics-embellished, string-led ruminations.


ARNALDS, OLAFUR: Dyad 1909 10" (ERATP 019EP) 22.50
2013 repress on vinyl; 10" version with digital download code; originally released 2010. A contemporary dance score for award-winning British choreographer Wayne McGregor inspired by Sergei Pavlovich Diaghilev (1872-1929). Ólafur was approached by the world-renowned and critically-acclaimed choreographer Wayne McGregor to create a 30-minute score for his ambitious new work Dyad 1909. The dance piece, inspired and created "In The Spirit of Diaghilev," premiered at the Sadler's Wells theater in October 2009 and became an unpredictable and much talked-about 5 nights of live music, dance and visuals.


ARNALDS, OLAFUR: Living Room Songs 10" (ERATP 037EP) 22.50
2013 repress on vinyl; 10" version with album download code and four inserts; originally released 2012. Icelandic contemporary composer Ólafur Arnalds created and released a new song, one per day for one whole week during the month of October 2011. The songs were recorded and filmed live in the living room of his Reykjavik apartment and released instantly for free as streamed videos and mp3 downloads. Arnalds invites the audience into the comfort of his living room, where the songs were recorded live with the whole process filmed.


MELNYK, LUBOMYR: Corollaries 2LP (ERATP 048LP) 31.00
Deluxe double LP version with die-cut sleeve and printed innersleeves. Ukrainian pianist Lubomyr Melnyk -- the pioneer of Continuous Piano Music -- presents his first release on UK label Erased Tapes. Entitled Corollaries, the album was recorded and produced by Peter Broderick with the additional help of Nils Frahm and Martyn Heyne. Erased Tapes founder Robert Raths knew it was time to share the great musical legacy of Melnyk, to which he simply responded: "Where were you guys when I was thirty?" Melnyk is a true innovator, exploring new directions in contemporary music. Classically-trained and greatly affected by the minimalist movement in the early 1970s, the Ukrainian pianist developed his own unique language for the piano, named after the principle of maintaining a continuous, unbroken stream of sound. Melnyk has shown a remarkable devotion to the instrument, always striving to discover new ways of composing music in the continuous mode. His focus is on the actual sound of the piano as much as the harmonies and melodies of the music. Playing rapid and complex note patterns made Lubomyr one of the world's fastest concert pianists. His virtuoso piano technique forms overtones that blend, collide or even create new melodies in rare moments, and thereby shape the composition beyond its original form. In the artist's own words: "My first encounter with Peter was at the Ambient Festival in Cologne, when I came into the cathedral where he was playing along with Nils. I was amazed and enthralled by the beauty and power of their music. The colors and majesty of the cathedral coupled with their music made it a great experience I will never forget. Some time later, Peter contacted me with an invitation to come visit him in Berlin and try creating some music together. I had not played improvisation with other ambient musicians before, having worked solo for all these past years. So it was such a relief to start playing at his studio and hear his wonderful input. He was adding a beautiful and delicate dust cover of sounds and pearly effects that cast a lovely sparkle over the piano music -- I loved it. It was a thrill to hear Continuous Music in some new clothes! And with the addition of Nils and Martyn, we all felt the beautiful spell of the communal flow as the music carried us into wonderful spaces." The album artwork and design was created by American contemporary artist Gregory Euclide, known for his cover art for Bon Iver's self-titled album.


EX 138CD

EX & BRASS UNBOUND, THE: Enormous Door CD (EX 138CD) 14.00
"The Ex are sometimes described as 'experimental trance-dance avant-afro-punk improv music' and no one knows what descriptions this metamorphosis will conjure up. The Ex plan to unleash a new wild and combustible album in collaboration with four of the world's most powerful horn players for some in-the-red swing time. Brass Unbound comprise Swedish force of nature Mats Gustafsson (sax), Chicago jazz heavyweight Ken Vandermark (sax), Italian wild card Roy Paci (trumpet), and boundary busting classical/futurist Wolter Wierbos (trombone). The line up is dexterous and dangerous, as players, improvisers, and entertainers, this group are nothing short of phenomenal. Expect fireworks."

EX 138LP

EX & BRASS UNBOUND, THE: Enormous Door LP (EX 138LP) 16.50
LP version.



ARRUDA, LUCAS: Sambadi CD (FVR 080CD) 15.50
Lucas Arruda was born in 1983 in a Brazilian state called Espírito Santo, near Rio de Janeiro. Coming from a musical family he started playing and listening to music at a very young age. At the age of 13, he was also already playing professionally. After studying electric guitar and playing in various bands, Lucas' passion quickly turned to Rhodes and keyboards, expanding his musical range of skills. At the same time he started a project called Du Black with his older brother Thiago, quickly receiving various local support from people such as Ed Motta, William Magalhães (Banda Black Rio), Robert Lamm (Chicago), and Brazilian soul legend Hyldon. From their growing notoriety, the band began to work with various other artists and singers such as Tamy Macedo and boss nova legend, Leila Pinheiro, leading Lucas to build a recording studio with Thiago in 2011. Now two years later, here comes Sambadi, the first solo album by Lucas Arruda. On this recording he also teamed up with Fabricio di Monaco (Modo Solar), who clearly became a fundamental member. Sambadi is highly-inspired by Rio de Janeiro. As for the musical side, the album almost sounds like a tribute to long-time heroes like Stevie Wonder, Curtis Mayfield, Marcos Valle, Azymuth, or Robson Jorge and Lincoln Olivetti. Digipack limited CD edition.


ARRUDA, LUCAS: Sambadi LP (FVR 080LP) 23.50
Deluxe 180 gram vinyl version, housed in an old-school tip-on jacket.


HAWA: Damages/Beam Me Up 7" (FVR 082EP) 9.00
Jennifer "Hawa" Zonou bathed from a young age into the world of the Afro-American music. Her songs reference Memphis sounds and cross genres between soul, folk, and even rockabilly. The sound of her upcoming album also harkens to the Staple Singers, Isley Brothers, and Shirley Ann Lee, labels like Hi Records, Sun, or Stax, and finally great producers like Willy Mitchell, Jack Nitzsche, and Phil Spector. Hawa is sensitive and deep, and as a result, her songs are intense and elegant.


FP 036EP

LIONHEART BROTHERS: The Drift 12" (FP 036EP) 12.50
Full Pupp takes us on a trip to the darkest side of disco with three suspenseful takes on the Lionheart Brothers' "The Drift." Frisvold & Lindbaek lull you in with swaths of billowing, ghostly sounds and warped strings. The Morten Oby and Prins Thomas version presents a psychedelic onslaught of stoner rock, Italian horror soundtrack and progressive electronics while Prins Thomas' "Diskomiks" takes it sweet time with spine-tingling aural ingredients over a straighter beat.



VA: Heidi Presents Jackathon Jams Featuring Jesse Perez and Jimmy Edgar 12" (HPJJ 003EP) 12.00
Heidi calls upon Miami bad-boy Jesse Perez and Detroit maverick Jimmy Edgar for the third installment of Heidi's Jackathon Jams. Turning up the heat ghetto booty style, Jesse delivers three original stompers of bump and grind with Jimmy Edgar twisting his unique sound into "Interracial Booty Calls" while still paying tribute to the scene's originators.



MANCO, BARIS: Sakla Samani Gelir Zamani LP (GUESS 112LP) 25.50
In 1976, Bar?? Manço released his third album, which was actually also a compilation of songs previously released on 45s, as happened with his debut. For this LP release, and basically because of contractual reasons, Guerssen are presenting this compilation to you with a few changes: two of the original songs are not there, and instead they have added four new ones. So, what we get here is a scorchin' collection of funky psychedelics done the Turkish way that will knock you out. Big Bar?? beats them all, the King of Anadolu Pop. Remastered sound. Includes an insert with liner notes and photos. Pressed on 180 gram vinyl.


GF 005EP

DIE & ADDISON GROOVE: Keyhole/HydroPump 12" (GF 005EP) 12.50
This is what happens when two scientists of the Bristol bass continuum collaborate. "Keyhole": Have you ever stayed awake for three days straight? This track runs in a parallel universe to our own, a bit like being in a hole you can't get out of. "HydroPump": Die & Addison Groove force-fed the SP1200 with a secret '90s nutrient formula, creating the pair's first-ever collaboration. No spider mite here.


HYR 7117CD

CRIMEA X: Another CD (HYR 7117CD) 17.00
Italian post-rock and cosmic disco duo Crimea X present their second album, Another. It explores the same laidback yet spaced-out sounds as their last effort, laced with intergalactic guitar riffs, wobbly pianos and skewed synth patterns that DJ Rocca (aka Lucca Roccatagliati, producer for Daniele Baldelli, Ajello and Dimitri From Paris' partner in the Erodiscotique project) and Jukka Reverberi (Giardini di Mirò) have championed since first getting together. In that time, the pair have become hugely admired cult figures in their respective worlds, pioneering sounds and garnering adoring support wherever they go. First singles from the album such as "Yev" have already been doing the rounds, finding favor with musicos like Andrew Weatherall, Ivan Smagghe, Justin Robertson, and Tim Sweeney, while the album itself was produced by Norwegian legend Bjorn Torske who spent 10 days in the studio with the duo before returning home to mix it in Bergen. Best-known for previously touring with Biosphere, releasing house and techno for a range of legendary labels and, as a disco producer, inspiring the likes of current darlings Todd Terje, Prins Thomas, and Lindstrøm with his past albums, this is the first time he has produced an album with another band in this way. "Floor Dance Track" for example, is a chugging, Italo-licked affair that builds in waves of lush sound, taking cues from far outside the usual electronic realms. "Dream is Gone" pairs all sorts of alien sounds with the delicate vocal tones of Reverberi and "Portable Water" is a slowed and purposeful sad song that's stuffed with doe-eyed emotions and awash with instrumental artistry. Elsewhere, Rocca's flowery flute lines lace up tracks like "Summer Rain" and bring an air of downbeat introspection to proceedings. There are plenty of shiny, glossy efforts like "A Present" nestled along the way, too, where vocals act as much like an extra instrument and texture as anything else. Meanwhile, it's tracks like "A Haunted Love" that will likely become big hits with their acute end-of-the-night vibes, ditty pianos, rousing synths and dreamy, soaring vocals. It's the sonic richness and depth of layers that makes this album such an arresting listen: nothing sounds familiar but at the same time it never grows too alien or abstract not to love.


HC 024CD

ITADI: Itadi CD (HC 024CD) 17.00
Hot Casa presents a tremendous Afro-soul album recorded in Togo in 1977 by Itadi Bonney. This rare album was created by a four-piece band formed and led by Itadi. Recorded live in Ghana at the radio station and remixed in Togo, this album is a really stunning fusion of funky arrangements, jazz inspirations and typical Togolese rhythms, sung in English, Mina, and Akposo. The message was political, calling for African unity against dictatorship, which obliged Itadi to move to Washington DC during the '70s. Itadi Bonney, a native of Togo, West Africa, is an international musician who is a composer, arranger, vocalist, and guitarist. Itadi's music is a blend of Ghana's highlife and soul, creating a sparkling, undulating and eminently danceable wave of melodies and rhythms, punctuated by funky keys and layered with smooth vocals and harmonies. Itadi has toured France, Ghana, Benin, The Ivory Coast, Nigeria, and the U.S. Officially licensed and includes an interview with the artist.

HC 024LP

ITADI: Itadi LP (HC 024LP) 23.50
Deluxe 180 gram vinyl LP housed in an old-school tip-on jacket.



BALLROGG: Cabin Music CD (HUBRO 2515CD) 17.00
The unique and distinctive woodwind/double bass duo Ballrogg previously released two critically-acclaimed records, but on Cabin Music we encounter an entirely new version of the band. The most obvious change is that the duo has now become a trio. The new member of the band is guitarist Ivar Grydeland (Huntsville, Dans Les Arbres), and he has brought a new sound arsenal, fresh perspectives and new moods to the group. The duo was originally established in 2006 by saxophonist Klaus Holm (Murmur, Trondheim Jazz Orchestra) and double bassist Roger Arntzen (In The Country, Chrome Hill) as a means of exploring the music of Eric Dolphy in a format that has been stripped down to its bare essentials. The two musicians delved into tunes from heroes such as Paul Bley, Ornette Coleman, and Jimmy Giuffre, and eventually began composing their own material. Their love of Morton Feldman's introverted and subdued chamber music and contemporary European music has been apparent since their second album, Insomnia (Bolage), released in 2010. Ballrogg presents a very personal type of chamber music with roots in jazz and free jazz. The group's palette has been further extended on this album, with music that evokes the sounds of both guitarist Bill Frisell and the Chicago band Town & Country. The group has maintained its intimate form of expression, but has infused the music with new warmth. Perhaps with the title Cabin Music, the band is hinting at the intimate nature of the music. Recorded by Øystein Frantzvåg at Parachute Studio, Oslo. Mixed and mastered by Giuseppe Ielasi. Members include: Klaus Ellerhusen Holm (alto saxophones, clarinet, electronics and field recordings), Roger Arntzen (double bass), Ivar Grydeland (pedal steel guitar, acoustic guitar, banjo, radio).


SLIGTER, JESSICA: Fear and the Framing CD (HUBRO 2516CD) 17.00
In 2010 the Dutch singer-songwriter Jessica Sligter released her critically-acclaimed debut album, Balls and Kittens, Draught and Strangling Rain, on the Hubro label under the name of JÆ. Journalists compared her to Will Oldham, Linda Perhacs, Josephine Foster, Scott Walker, and Morrissey (!), to mention only a few. Now, for her second album, Jessica is leaving the name JÆ behind her and is fronting the project under her real name, Jessica Sligter. In 2011, she released the film-inspired rock album Window's a Fall with a side project, Sacred Harp, but her solo project has always had priority. Jessica has toured extensively in the USA, Scandinavia and Western Europe, and has built up a group of devoted fans. It is not improbable that this new album will expand her number of followers considerably. Jessica still commutes between Norway and the Netherlands, and Fear and the Framing, was recorded with friends from the music scenes in Oslo, Bergen and Amsterdam. Sligter has a unique ability to form intriguing band constellations and to bring out the distinctive qualities of each musician. Jessica has taken a number of radical steps, musically speaking, since her previous solo album. While her debut was folk-infused and acoustic, this album is more electric and sombre. Jessica's characteristic vocals remain the primary focus, but there is something ominous in both her lyrics and the massive, atmospheric soundscape. Fear runs as a theme throughout the lyrics of the album, and the musical scope ranges from utterly naked to more dramatic and abstract songs and moods. Fear and the Framing is a courageous album from a distinctive singer-songwriter of substance. The album was produced by Jessica Sligter, recorded by Juhani Silvola and Jessica in Oslo and Amsterdam, and mixed by Randall Dunn (Splashgirl, Earth, Boris, Black Mountain) at Avast Studio, Seattle.


MOSKUS: Salmesykkel CD (HUBRO 2518CD) 17.00
Hubro is proud to present the debut recording of the exceptionally talented young piano trio, Moskus. The musical roots of the group are firmly planted in the fertile earth of chamber jazz, but have been nourished by everything from hymns to the films of Ivo Caprino, from the music of Paul and Carla Bley to late-night skiing trips in the mountains, from post-rock to French pancakes and gospel. Pianist Anja Lauvdal, bass player Fredrik Luhr Dietrichson, and drummer Hans Hulbækmo have been part of the creative milieu in the jazz department of the Trondheim Conservatory of Music. Anja and Hans have already made a name for themselves as part of the critically-acclaimed rock bands Your Headlights Are On and The Avalanche/Snøskred. In 2011, Moskus was the first jazz band to win Grappa Record Company's annual "Debut Artist Award." Moskus combines a personal and mature mode of expression, normally found among much older musicians, with youthful energy and unprejudiced openness. The band has a dynamic presence, alternating effortlessly between uninhibited playfulness and introspective solemnity, between free improvisation and composed material. The three members of the group function as equals, and they all contribute as composers. The album Salmesykkel ("Hymn Bicycle," referring to the harmonium/reed organ/pump organ) was recorded in January 2012 at the legendary Atlantis Grammofon Studio, one of the oldest studios in Stockholm, with technician Micke Herrström.


GRYDELAND, IVAR: Bathymetric Modes CD (HUBRO 2519CD) 17.00
Bathymetry is underwater topography. A bathymetric chart provides information on the condition of ocean or lake floors, for example, their depth. Bathymetric Modes is the solo debut by Ivar Grydeland. He is probably best known as a member of the improvisation-based bands Huntsville, Ballrogg, and Dans Les Arbres, but also plays together with the idiosyncratic pop artist Hanne Hukkelberg and the rock band Last Heat. The idea of doing a solo project has been evolving for many years, and the recording process took place over a long period of time. The result is a warm and personal instrumental album that shows new sides of Ivar Grydeland as a musician. The album consists of six compositions from the period 2007-2011. The two melodic, guitar-driven opening numbers are followed by more abstract, sound-focused compositions in which the compact graphic synthesizer Tenori-on plays a key role. "The design, limitations and possibilities of the synth inspire minimalist, repetitively patterned music," says Ivar. "Using this repetitive, digital sound tapestry as a basis, I have tried to elicit and enhance melodies and moods with a variety of acoustic instruments." The music on Bathymetric Modes is richly image-laden, and alternates between dynamically driving and calmer and more static pieces. This album could appeal to fans of Terry Riley and Jim O'Rourke. Members include: Ivar Grydeland (Tenori-on, guitars, banjo, pedal steel guitar, mandolin, ukulele, zither, keyboards), Xavier Charles (clarinet and "vibrating surfaces"), Marius Tobias Hoven (trombone), and Jonas Howden Sjøvaag (snare drum).


1982 + BJ COLE: 1982 + BJ Cole CD (HUBRO 2522CD) 17.00
BJ Cole can without a doubt be called a living legend. He has been an active musician since the early 1970s within a wide range of genres from pop and rock to jazz and more experimental music. His list of credits is substantial and impressive, to say the least. He has played on albums and toured with Sting, T. Rex, Bjørk, Emmylou Harris, Elton John, Iggy Pop, R.E.M., Brian Eno, Luke Vibert, David Sylvian, Roy Harper, and countless others. The group 1982 had discussed often, over a long period of time, that it would be exciting to invite a guest to play with them. This would help them develop as a band and explore new terrain. Nils Økland suggested BJ Cole. They had played together by chance a few years earlier on the initiative of BBC 3 Late Junction presenter Fiona Talkington. Without having played together before, the four musicians entered the Grieg Hall studio after a light lunch and recorded for an entire day. All the musicians were placed in the same room, the same way 1982 had recorded their previous albums. BJ Cole brings a new sound dimension to the music of 1982, and the soundscape plays perhaps a greater role on this album than on previous ones. But above all, this is intriguing music with a solid basis at the point of intersection of many different genres. Fiddler Nils Økland comes from the world of folk music, and is internationally-recognized for his innovative style of playing. He has released solo albums on the ECM and Rune Grammofon labels to rave reviews, and was a member of the Christian Wallumrød Ensemble for many years. Sigbjørn Apeland plays church organ and harmonium, and holds Norway's only doctorate in ethnomusicology. He is renowned for operating in the borderland between folk music, church music, and improvisation, and has played with musicians such as Håkon Kornstad, John Stevens, folk singers Åsne Valland Nordli, Berit Opheim Versto and Agnes Buen Garnås, electronica innovators Alog, and noise duo Golden Serenades. Drummer Øyvind Skarbø studied with Terje Isungset and has made study trips to Nigeria and Cuba. He currently plays with Bly de Blyant, BMX and Håkon Kornstad. The album was recorded and mixed at the Grieg Hall together with technician Davide Bertolini.



COX & JON RUNDELL, CARL: Pure Intec Two 2CD (PID 001CD) 23.00
Intec re-launch the Pure Intec series with Pure Intec Two -- the long-awaited follow-up to the hugely successful first volume released back in 2004. CD1 is mixed by Carl Cox himself, bringing a whole load of unheard remixes from his acclaimed album, All Roads Lead to the Dancefloor by some of Intec's finest, plus others from outside the label, including Jim Rivers, Ben Sims, Yousef, Guti, Tomy DeClerque, Joel Mull, Nicole Moudaber, Sharam, Chris Count, Pyramid, Layo & Bushwacka!, and Loco Dice. CD2 comes courtesy of Jon Rundell -- this is his first compilation and it features forthcoming tracks from Intec by artists from the label, brought together exclusively for the first time. Artists include The Junkies, Victor Vera, Nicole Moudaber, Daryl Stay, Dosem, Pirupa, Alex Sibley, Marco Bailey, Carlo Lio, Tomy DeClerque, Mark Reeve, Ben Sims, and Jon himself, with Digital Primate.



HOULE & MISS KITTIN, MARC: Where Is Kittin? 12" (ITEM 022EP) 12.00
A collaboration between Items & Things label boss Marc Houle and techno/electro legend Miss Kittin. This six-track EP features two original tracks, as well as remixes from Dubfire, John Foxx & The Maths, and with two further edits from Miss Kittin herself. Building on the disco-not-disco, industrial and new wave influences of Houle's Items & Things album Undercover, the two originals on Where Is Kittin? demonstrate the wide-ranging influences and potent pairing of the production duo.


JPR 82802LP

WIPERS: Youth of America LP (JPR 82802LP) 19.00
2013 repress. Authorized reissue of the 2nd Wipers album, originally issued in 1981. "Simply obliterating any conception of the Wipers as a mere punk band, Greg Sage released this follow-up to Is This Real? in 1981 -- a sophisticated, overwhelming response to the evil times marked by the turn of the decade. Broken up into six long songs, Youth of America is a much colder, harrowing experience than the teen angst of their debut. Vocally, Sage comes off as sleep-deprived and forsaken, snarling not only at his own predicament but at the predicament of the entire world. The centerpiece of the album is the title track, a dire ten minutes of paranoia and angst that gave Sage the space to showcase his wildest, darkest playing yet. As bassist Brad Davidson and drummer Brad Naish hold the same hypnotic rhythm for the entire song, the guitar careens and swoops with such a frantic energy, it seems as though it's the only thing keeping Sage alive in the maelstrom of sound. It's a fitting commentary that the exacting, post-punk legends Mission of Burma and squalling, noisy thugs The Melvins both saw fit to cover the track. Jackpot Records have kept to the high standards set by our previous reissues (The Wipers' Is This Real? and the self-titled Beauregarde LP), and Youth of America is pressed on high-quality vinyl at RTI and packaged in a sturdy, old-fashioned tip-on sleeve. The tracks have been mastered from original tapes by Greg Sage himself, and the cover is identical to the original sleeve as issued in 1981."


KK 071LP

RITORNELL: Aquarium Eyes LP (KK 071LP) 15.50
LP version. Aquarium Eyes is the second album by the Austrian duo, Ritornell. Their debut, Golden Solitude, was released in 2009 on Karaoke Kalk. Acoustic and electronic sounds merge on Aquarium Eyes. Paying great attention to detail, Ritornell recorded at various locations (the studio of Patrick Pulsinger being one of them). The results are gently woven into their very own world of sound. Defamiliarized by subtle electronic manipulation, instruments such as piano, double bass, vibraphone, kalimba, and accordion develop a surprising life of their own, only to be consequently swallowed up by the hissing and buzzing of electronic devices. Gleaming, multi-layered electroacoustic drones, isolated organic sounds, and sophisticated textures complete the intricate arrangements. On Aquarium Eyes, Ritornell tackle the art of songwriting for the first time: Vienna-based vocalist Mimu sings, whispers, and sighs golden threads through some of the fragile sound structures that Gerold and Eigner assembled with intuition. The duo also collaborated with vocal artist Didi Bruckmayer on the track "Tremble." "Music Box" is a conceptual piece: under the direction of Richard Eigner, 20 people simultaneously turn the levers of their music boxes: melodies of musical history blend into a sparkling confusion of sound. With their interpretation of Roxy Music's "In Every Dream Home a Heartache," Ritornell give it a twist: the guitars from the original have been replaced by a string trio.


KH 9004LP

VELVET UNDERGROUND, THE: At the End of Cole Ave. - The Second Night 2LP (KH 9004LP) 31.00
The Velvet Underground were arguably at their live peak in late 1969. Lou Reed, Sterling Morrison, Maureen Tucker, and Doug Yule (who'd replaced John Cale a full year previously) had developed into a sensationally tight and adventurous quartet, and this show -- the second of two recorded on consecutive nights before a tiny audience in Dallas, Texas -- is considered by many of their fans to be the finest surviving document of them in performance. Comes on 180 gram vinyl and includes insert with background notes.



ETHIOPIANS, THE: Freedom Train CD (KSCD 043CD) 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. Two more hits followed "Stay Loose Mama" and "The World Goes Ska," after which the band decided to return to a trio, adding Melvin "Mellow" Reid to the line up. The band hit another run of successes with producer JJ Johnson "Everything Crash," "Gun Man," "Hong Kong Flu," and "The Selah." Many hits followed, leading the band to work with a variety of Jamaican producers -- such tracks as "I Want to Be a Better Man," "Conquering Lion," "Fire a Mus Mus" Tail," and the timeless "Reggae Hit the Town," to name a few. Two albums Reggae Power (1969) and Woman Capture Man (1970), pulled a lot of these tunes together. Sadly, Taylor was killed in 1975 after been struck by a van in a road accident. Dillon returned to Port Antonio till 1977, when he was persuaded to return to Treasure Isle studios with producer Niney The Observer and cut the rasta-based album Slave Call. Additional members who joined for this album were Bro Fatty, Bro Ewing, Bro T, Mello, and Hychi Dread. An album that showed all the Ethiopians' magic had not been lost. This release includes the full Slave Call set, "Ethiopian National Anthem," "Slave Call," "Guilty Conscience," "Hurry On," "Mus Follow Babylon" (CD-only), "Train to Skaville" (1977 version, on CD-only), "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. CD includes two bonus tracks.


PERRY, LEE: At WIRL Records LP (KSLP 044LP) 14.00
LP version. Lee Perry's time at WIRL Records, later to be renamed Dynamic Sounds Studios, was a very productive time in his career. A run of great singles and the shaping of a new sound, the beginning of what we know today as reggae . Lee Perry (b. Rainford Hugh Perry, March 28, 1936, Hanover, Jamaica) began his entry into the music business at the age of 16. He moved up to Kingston Town and working around various sound systems, before finding employment at Coxonne Dodd's Studio One, in the late '50s early 1960s. Perry started out as a record scout, organizing sessions and supervising auditions at Dodd's record shop on Orange Street, helping to make hits for Delroy Wilson and the Maytals, which would lead to his own vocal records released through Studio One, the musical backing for which came from legendary Studio One house band The Skatalites. Another important relationship for Perry, his first recordings with Bob Marley, came in the form of the Wailers, also providing backing, alongside the Soulettes who featured Rita Marley, cutting such tunes as "Chicken Scratch" around 1965/1966. This tune was also to provide him with one of his future nicknames, "Scratch." A dispute over credits and money saw Perry leave Studio One and work with various producers including Clancy Eccles and J. J. Johnson, before arriving at the door of producer Joe Gibbs in 1967. Here he would write songs and produce hits for artists such as Errol Dunkley and the Pioneers. A tune cut during his time with Gibbs voiced a snipe at fellow employee Dodd, a trademark that would become an outlet for his frustrations in the business. This particular tune "The Upsetter" would also provide another moniker and a name for his label. Again, lack of musical credit and financial reward saw Perry move on to WIRL (West Indies Records Limited) Records, working alongside manager Clifford Rae, who would provide studio time and pay for pressings in return for helping to promote and distribute WIRL product. This period at WIRL saw some inspired work from Perry. "Run for Cover" was another musical blow to a previous employer, Coxonne Dodd, and featured the Sensations on backing vocals and Lynn Taitt's guitar-picking skills. "People Funny Boy" was a massive hit for Perry going on to sell over 60,000 copies. Perry worked up a new style with Clancy Eccles, who would come under attack himself on "You Crummy." "Set Them Free" was an answer recording to Prince Buster's "Judge Dread" (which had featured Perry on it) -- a plea to the judges in Jamaica that handed out extremely harsh sentences. The track was cut on the same rhythm as "Run for Cover." "Django Shoots First," inspired by the Spaghetti Western film of the same name, features Sir Lord Comic. "Night Doctor" was a hit instrumental that featured the organ talents of Ansel Collins and "Something You Got" was a cover of a USA R& B track by Chris Kenner and "Wind Up Girl" was cut at the same session. "Water Pump" was a rude-style track that was cut later and originally released in 1974, as was "People Sokup Boy," a later version of "People Funny Boy." "Labrish" was one of the first great talk-over tunes that features Lee Perry and producer Bunny "Striker" Lee talking about the political situation in Jamaica, originally released in 1973. Bunny Lee would play a major part in Lee Perry's career around this time and they were very close, often sharing sessions and rhythms. Here we have a collection of music born out of a time spent at WIRL Records, providing an important chapter in Lee Perry's career and indeed to the story of reggae itself.



BLEACHING AGENT: Contour Grip 12" (KOMISCH 014EP) 12.50
Bleaching Agent makes his Komisch debut with an unforgettable three-tracker. "Compere" sees the shadowy producer stray into a space inhabited by Shed's "Equalized" project, but Bleaching Agent's blasts of icy chords and insistent percussion, coupled with its wiry, skipping rhythm make for a more forceful, austere result. "Jain" has shades of classic Beltram as a ferocious low-end writhes menacingly over waves of jittery hi-hats and percussive ticks. "Twwpk" sees Bleaching Agent pare back his sound; spooky stabs and cheesewire percussion build and drop.



TEJADA, JOHN: Somewhere 12" (KOM 264EP) 12.00
Once again, John Tejada ups the ante, delivering highly nourishing chows for your daily shellacking needs, with a powerful 12" that starts to nestle in your ears the very moment you drop the needle. "Somewhere" dispatches a robot sleuth to hunt down the ghost in the machine. However, what started as a simple recon mission quickly evolves into a deliciously pumping affair set for utter dancefloor destruction. "Elsewhere" is a slow-burning heartcore stepper hiding its massive bass line in full sight.


SCHWELLENBACH, GREGOR: Spielt 20 Jahre Kompakt CD (KOMP 108CD) 20.00
From the borderlands between faux pop and cheerful science comes Cologne's multi-instrumentalist Gregor Schwellenbach, who separated 20 label classics from their dance roots and re-recorded them as chamber music. The sophisticated arrangements, which the studied composer Gregor Schwellenbach writes for everything, have been primarily adorning the landscapes of theater, film, radio and television so far. Now, the master of over a thousand instruments has submitted his pop-experimental expertise for Kompakt's back-catalog, radically shifting up some of the numerous evergreens hiding in there. Not only aficionados of musical synthesis are likely to rub their ears in wonder, when internationally-celebrated techno bangers like Voigt & Voigt's "Vision 03" or Mayer/Voigt's "Less Than Zero" suddenly beguile the frequency spectrum as beatless, melancholic piano miniatures. The multi-talented musician also gets help from other, equally adept artists, who put their personality and virtuosity in the service of the unusual task at hand: with flutist Dorothee Oberlinger, a veritable star of the classical music scene enters the stage, but also guitarist Christian Buck or harpist Jane Berthe are well recognized in their respective fields, normally performing the likes of Steve Reich and Claude Debussy to a delighted audience. The instruments used in the recordings happen to be stars, too: for example, there's a rare GDR-built keyboard called "Weltmeister Basset" that contributes to a re-arranged "Everlasting" from Kaito, an old studio harmonium whose hypnotic whisper can be heard on Closer Musik's revamped "On Two Three (No Gravity)," or the epic "Kyai Sangu" used for Voigt & Voigt's "Gong Audio," a Gamelan orchestra found at Cologne's Rautenstrauch-Joest museum. Usually, Kompakt's weapon of choice is the straight bass drum, with its minimalist beauty fueling their dialectics. But they never wanted to become strict guardians of an imagined holy grail, a fact clearly recognized by Gregor, who gives a new voice to each of the selected tracks, in order to be able to tell new stories. With surprisingly rephrased acoustic versions of seminal tracks like Jürgen Paape's "Triumph" (for prepared piano), Justus Köhncke's "Was Ist Musik" (for string quartet), or Closer Musik's "Maria" (for piano), the artist makes some pretty bold assertions while managing to retain the core of the experience -- the melody, the hook, the feeling -- while making it shine in new splendor. Deluxe hardbound packaging with a booklet of sheet music.



STARS OF THE LID: Avec Laudenum LP (KRANK 059LP) 14.00
2013 repress. "The first vinyl release in the U.S. for this, the fifth SotL album, originally released by Sub Rosa in 1999 and then reissued by Kranky in the fall of 2002. A pivotal album in their career, this marked the first time the duo completely stepped away from the more abstract sound pieces of earlier albums and engaged with the more symphonic and compositional approach that has become the forte of their more recent recordings."


2013 repress, originally released in 2004. "An LP-only release of material from Keith Fullerton Whitman's archives that doesn't fit aesthetically with his upcoming Multiples studio album. The theme for the album is 'ensemble works', that is a combination of instruments played by Whitman himself with no computer interaction. Each piece was recorded in one of the different apartments Whitman has rented since he lived in Boston."


PAN AMERICAN: Quiet City LP (KRANK 065LP) 14.00
2013 repress, LP version; originally released 2004. "Quiet City is the fourth album from Mark Nelson's Pan American project and combines the computer-centric approach of The River Made No Sound with the organic instrumentation that marked Nelson's work in Labradford and the first two Pan American albums. Three of the eight tracks were recorded with Charles Kim (Sinister Luck Ensemble) and feature upright bass, drums, trumpet and flugelhorn. Nelson even sings a bit. The rippling electronics and muffled beats of the first three Pan American albums are still there; distended into elegiac, resonant, wavering, and ambient song craft"


WHITMAN, KEITH FULLERTON: Schöner Flußengel LP (KRANK 071LP) 14.00
2013 repress, originally released in 2004. "Consisting of material with a decidedly dark mood overall, the new album embodies Whitman's considerable musical scope. With tracks recorded using vocals, computer, clarinet, synthesizer, record player, microphone, bell and guitar the album traverses grittier and more complex territory than its predecessors. The six tracks veer from multi-fi drone to computer-guitar-piano trio."


WALTER, JUSTIN: Lullabies and Nightmares CD (KRANK 179CD) 13.00
"'Though the album title Lullabies and Nightmares suggests music thematically rooted in sleep, the debut full-length from Brooklyn-based/Michigan-bred trumpet player and composer Justin Walter owes more to a sense of emerging. After years of touring, random gigs and session work as a gifted player, Walter emerged with a sound that rendered all of that almost inconsequential. Spending a couple years intensively exploring the EVI, or Electronic Valve Instrument, a 1980's synthesizer/horn hybrid, he eventually worked out webs of bubbling loops made on the instrument, processed trumpet and fragmented electronics. Following a few low-key cassette releases and solo loft performances, Walter took the project into the studio, working with Erik Hall and drummer Quinn Kirchner to create a more controlled statement. Building on the loops and textures of the EVI, the album incorporates phasing patterns, the occasional motoric churn of dubbed out drums and considerate passages of trumpet improvisation, calling on Walter's years of experience as an improviser. Longer pieces are bridged by truncated interludes, wandering between modes that are by turns spooky, restless and sublime. The nightmares are there, with dissonance and panic on the heels of redemption in almost every song, but they're there only to be awoken from. The lullabies pass by quickly, too. The album moves naturally through its meditative cycles in a constant state of emergence.' -- Fred Thomas -- Presenting the debut album from longtime Nomo member Justin Walter. If this was a vintage Nonesuch label release, it would come with some dry title such as Music for Electronics, Trumpet, EVI and Percussion. The recordings here are anything but dry, instead being an exhilarating interface of the human and machine."


WALTER, JUSTIN: Lullabies and Nightmares LP (KRANK 179LP) 14.00
LP version.



VA: The Lifesaver Compilation - Vinyl Extraction 12" (PLAYRJC 024EP) 14.00
The 12" Lifesaver Compilation vinyl extraction, including tracks by Roman Flügel, Lauer, Tuff City Kids, and San Laurentino.



MAIA, TIM: Nobody Can Live Forever: The Existential Soul of Tim Maia 2LP (LBOP 067LP) 24.50
2013 repress; Gatefold double LP version.



METHOD OF DEFIANCE: Nahariama 4th Column LP (MOD 010LP) 20.50
LP version. "The second instrumental offering from Method of Defiance, Bill Laswell's international music collective of interchangeable columns. Nahariama continues the thrust forward. This time with guests - cornetist, Graham Haynes (son of jazz icon, drummer, Roy Haynes), keyboardist, Robert Burger (John Zorn, Lou Reed, and Laurie Anderson), Senegalese master percussionist, Aiyb Dieng with DJ Krush returning. Hard drum 'n' bass, space-dub, mutant-funk - courtesy of Bernie Worrell (Funkadelic), flashes of electric Miles Davis drift across ambient soundscapes over a massive low-end assault below. Disorder with a meaningful coherence of detail and urgent resonance."



JOALZ: Hello Darkness My Friend 12" (SCRIBE 001EP) 14.50
Joalz presents Hello Darkness My Friend, a four-song EP featuring actress and singer Mary Tsoni, known for her role in the Oscar-nominated film Dogtooth. The band here emphasizes the psychedelic side of its rock influence from the early Krautrock days of Amon Düül, Can, Faust, and Aphrodite's Child. The music here weighs a balanced conflict between basses, guitars, electronic analog synthesis and Tsoni's theatrical performance. Includes a stunning interpretation of Screamin' Jay Hawkins' "Alligator Wine."



HRENO: Frank Barns 12" (MEANDER 012EP) 14.00
Excellent vibrant rhythm adventures from promising new Canadian artist Hreno. He serves us far-out North American techno trax and feel-good Larry Levan disco-induced house bliss. Frank Barns can be found in music, incarnated through restless rhythms, obscured samples, recordings from the field, and timeless interludes. Cinematic hands are extended, so as to reach maximum centrifugal force. In the artwork, you will find analog forms. Full-cover handmade silkscreen prints and nature's reflection surround the release, completing it.



MILES: Unsecured 12" (LOVE 084EP) 16.50
Miles' returns with a half-hour EP of new material more squarely aimed at the floor with four darkened, robust variants. "Blatant Statement" slowly emerges from a rough alignment of metallic percussion and abrasive stabs you'd most likely associate with Vatican Shadow, before super-warm bass stabs shifts the perspective. "Technocracy" delivers an oozing house deconstruction, while "Infinite Jest" revolves around an industrial cacophony somewhere between technofied Pete Swanson and a sweaty Kassem Mosse. "Plutocracy" is a bleached-out warehouse chug surrounded by a submerged choral arrangement.



VA: Drive Original Motion Picture Soundtrack 2LP (MOND 005LP) 31.00
"Nicholas Winding Refn's neo-noir love story Drive first hit theater in September 2011 and was instantly revered as one of the best films of the year by both audiences and critics alike. A signature component of the film's success is credited to an eclectic soundtrack comprised of various retro '80s pop songs and an eloquently blended synthesizer score composed by Cliff Martinez. When Refn had first approached Martinez to compose the score, the Danish director gave the former Red Hot Chili Peppers drummer a collection of moody songs which would eventually find a permanent home within the movie. Martinez set out to create a score that blended these songs into a homogenous aural tapestry. One of the signature sounds he employed is a rare and unique instrument called the Cristal Baschet. It's a large contraption featuring a metal frame with 54 chromatically tuned glass rods protruding from its base. Each individual glass rod is delicately rubbed with moistened figures that cause the rods to vibrate. The result is a hauntingly beautiful sound that beguiles the listener's ear. The Cristal Baschet can be heard throughout the score including the track 'Rubber Head,' 'I Drive,' and 'Wrong Floor.'" Also includes Kavinsky's "Nightcall" (REC 065EP). 180 gram vinyl, comes in a gatefold sleeve. Limited stock, one per customer.



2ND SEQUEL: Vibrations 2LP (MOVIB 001LP) 25.50
Moving Vibrations is the newest label to orbit the Planet Gong universe, already home to 100% Pure, Intacto Records, Remote Area, and Area Remote. The Amsterdam-based record label was founded in 2012 by Shirley Asafo-Adjaye and Dylan Hermelijn (also known as 2000 And One). The label has its musical focus on timeless dub and deep house, taking a journey across ambient and more experimental influenced electronica. Moving Vibrations holds exclusivity in highest regard, with a focus on special artwork by Amsterdam-based illustrator and fashion designer Shannon Martin and package design by Sandy Huner. The roster carries mainly new and upcoming talented artists from all over the world. Moving Vibrations proudly presents its very first album release and the debut album from 2nd Sequel. In the heart of Verona's cobbled streets in Italy, you'll find the studio of a very talented producer, Alessandro Coletta aka 2nd Sequel. Highly inspired by his greatest love -- music, he's been tucked away into the depths of night crafting his album -- Vibrations, presenting 10 deep, delicate and luscious tracks. From the alluring groove and vocal sensitivity of "Chillin' With Friends" -- to the downtempo tranquility of "Twenty Nine," or the everlasting brilliance of the harmonious lead single "Vibrations" -- each creating an intense and mysterious vibe that feeds the moment with movement. 2nd Sequel is a rising star that first burst into the producing scene back in 2010 at the tender age of 17. Sparkling with talent, his high-quality, versatile productions radiate across deep house, new school electronica and old school influences of pop and garage, creating a stellar sound that's fresh and uniquely original.


MR 320LP

OLYMPIC: Everybody! 2LP (MR 320LP) 25.50
Gatefold double LP version. Olympic were given their name in 1963 while they were regularly performing at one of the "hippest" venues in Prague of that time, the music club Olympik. They were no newcomers, though. Since the late 1950s they had been playing in legendary rock'n'roll groups like Sputnici, Samuels, and later Karkulka. In June 1963, the Big Beat Quintet -- an offspring of Sputnici featuring three future Olympic members -- had even recorded one of the first genuine rock'n'roll singles for the Supraphon label. But the actual launch of their unprecedented professional career was November 11, 1963 when Olympic debuted as the house band for the first rock'n'roll musical "Ondrá? podotýká" at the renowned Semafor Theatre. This early line-up comprised about seven musicians, including a saxophonist. In the spring of 1964 Olympic entered the Supraphon recording studios for the first time, and they instantly made Czech music history again. The resulting "big beat" series of 7" singles was released in collaboration with the popular Mladý svet (trans. Young World) magazine, with Olympic backing top Czech vocalists on four records out of five, including Eva Pilarová and Karel Gott. Olympic initially continued to work for Supraphon as a backing band on several singles whenever the fashionable rock backbeat was required. Yet for themselves they had chosen another pioneering path: instead of slavishly performing cover versions of Western hits like the majority of other Czech beat groups, they began to write and sing their own songs with Czech lyrics. In 1967, the group was offered to record the first-ever Czechoslovak profile beat album. The recording sessions took place between January and October 1967, and the LP was released in early 1968. The second Supraphon album, Pták Rosomák (trans. The Bird Wolverine), was recorded in December 1968 and January 1969. Apart from loads of hip psychedelia, it also included earlier hits like "Krásná neznámá" and the title-track, and again it was an enormous success on the domestic market. Later that spring, the bassist and main lyricist quit the group. He was replaced by Jan "Papírek" Hauser. The band revisited France to work on a new record but it was eventually cancelled (it remained unreleased until 2011). After considering emigration at first, Olympic returned to Prague in August 1969, in spite of the cheerless political situation. Since they weren't a band with many "offending" messages or with an overly rebellious attitude, the communist censors let them carry on. "Kufr" was a hit in late 1969, and even bigger hits followed in 1970 in the form of more pop-oriented songs. Jedeme, jedeme (trans. "Riding On, Riding On") was their third album for Supraphon, recorded in September 1970. It contained fresh versions of several songs originally written for the previously-cancelled French LP, and it shows a slight shift towards progressive rock. Compiled and annotated by Luká Machata.

MR 329LP

LOS SAICOS: Demolicion: The Complete Recordings LP (MR 329LP) 21.00
LP version with a 12-page full-color booklet with extensive notes and unseen photos. "With only six singles released between 1965 and 1966, and from an apparently remote place such as Lima, Peru, Los Saicos created a raw, wild and visceral sound, the Southern Hemisphere equivalent of the garage rock that was coming out of the U.S. Northwest at the same time. Theirs is the same DNA shared by The Sonics, The Cramps and Black Lips. This release compiles all their recordings and tells their amazing story. This snarling maelstrom of nihilism was cut in Lima when the rest of the world was wetting itself over The Beatles, direct links to both The Stooges and The Cramps here and several more equally-enthralling combos. The latter spawned several generations of individuals who would dig deep to previously (mostly) unheard seams of music and other forms of culture that have since become part of the mainstream fabric. Another strong case of the same kind of happenstance to my mind is that which preceded the much-vaunted 'punk' explosion of the '70s. The unhinged nature of the song titles is one thing, but after you become acclimatized to the inherent strangeness, other aspects become apparent. The rhythms and the way the guitars chime and twang to offset the howling are no mere approximations or interpretation. Chemistry is by far a more important factor in the gestation of sound than proficiency or ability. There's a point where nature takes over and in kicks the call of the wild. The individuals have no other option than to just go with it. I don't know about you, but I have an intense dislike of artists that are nothing more than a modular, cookery book approximation of what somebody reckons might be a hipster record collection. This is decidedly not a case of that. Primitive to the point of primordial, Los Saicos are an important benchmark. Not were. Who ever thought there could be a combo out there in Peru that would make The Sonics sound like Simon and bloody Garfunkel? There is quite possibly some other music out there, someplace, that could well make us re-address this consideration, but until then, cherish this short course of Saicotherapy." --Lindsay Hutton

MR 7253EP

LAS CHINAS: 23 de Enero/Chicos en la Calle 7" (MR 7253EP) 8.50
The first demo from 1981 of Las Chinas, an all-girl band from Madrid. Spanish new wave pop at its best.

MR 7254EP

FUZZ, THE: Air/Cold Stares 7" (MR 7254EP) 8.50
Two tracks by The Fuzz, a new Memphis band made up of Harlan T. Bobo, Jack Oblivian Yarber, Bruce Saltmarsh, and Jeff Dutton.

MR 7255EP

NIAGARA: Maggie McGill/Sister Ray 7" (MR 7255EP) 8.50
Two covers by Destroy All Monsters vocalist Niagara backed by a band including Dan Kroha (Gories, Demolition Doll Rods) and Jeff Meier (Rocket 455, ex-Detroit Cobras).


ND 004EP

"The centre-piece of a Jeri-Jeri live performance, 'Bamba,' is its tribute to the Senegalese anti-colonialist and spiritual leader. The groove is rock-steady, slow-burning, hard funk, a kind of fatback Mbalax, in no mood to be messed with. The pulse is easier to follow than usual, like writing on the wall. Backed by the full band, Mbene's singing is devoutly heartfelt, with affirmative responses from the Mboup brothers. Near-eight-minutes; twinned here with its full instrumental version. Plus two sketches, with talking-drums to the fore, no sabar drums three players, with Yatma's solo overdubs. On the first, Assane's electric guitar affects a game of catch-up; on 'Leumbeul' the talking-drums play three beats to the bar (so to speak), the full drum-kit plays four, and different keyboard overdubs switch allegiance back and forth."

ND 005EP

ERNESTUS PRESENTS JERI-JERI, MARK: Gawlo (feat. Baaba Maal) 12" (ND 005EP) 13.00
"'Gawlo' is a rolling, resplendent tribute to griot life. 'Gawlo' is Fula for 'griot.' Spear-headed by none other than Baaba Maal. Superbly expressive interjections by a trio of talking drums are especially lucid on the instrumental version. On the flip, 'Lignou Mome' is an exhilarating straight-no-chaser of galloping drums, bad-minded bass and layered guitar; before 'Ndeye Gueye' wraps up proceedings with a third instrumental, propelled by terse, hypnotic figures on guitar and marimba synth. With the drum-kit unattended, octogenarian legend Doudou Ndiaye Rose features on lead sabar."


NN 023LP

BROTZMANN & HAMID DRAKE, PETER: Solid And Spirit 2LP (NN 023LP) 29.00
Recorded on April 18, 2010 at Clemente Velez Center, New York City. German free jazz saxophonist and clarinetist Peter Brötzmann: alto and tenor sax, B-flat clarinet, tarogato. American jazz drummer/percussionist, Hamid Drake: drums and percussion.

NN 025LP

KOERNER, SPIDER JOHN: Spider John LP (NN 025LP) 18.50
This vinyl-only album fills a crucial gap in the evolution of legendary folk artist Spider John Koerner. Recorded in between 1965's Spider Blues and 1969's Running, Jumping, Standing Still (with Willie Murphy, both released on Elektra), Koerner is captured here live and unaccompanied at The Ash Grove in Los Angeles, bringing to light an exciting and previously-undocumented period in the career of Spider John. The excellent recording captures Koerner at the absolute peak of his guitar-playing powers. Rounding out this crucial slab of wax are two songs recorded in 1966 in New York City, previously only available on an elusive British single. Accompanied by Al Kooper on guitar, Felix Pappalardi on bass, and Roy Blumenfeld on drums, "Won't You Give Me Some Love" and "Don't Stop" (the latter with Tony Glover on harp) represent Koerner's first, brief excursion into rock and roll terrain. The results sound not entirely dissimilar to Dylan's Highway 61 period material -- not surprising, given Kooper's presence. This release is not only a fascinating addition to the canon of one of this country's national treasures, but is also one of his strongest overall efforts. Strictly limited vinyl edition of 500 copies.


NA 5100LP

VA: Enjoy the Experience: Homemade Records 1958-1992 2LP (NA 5100LP) 28.00
Gatefold double LP with a 20-page booklet of extensive liner notes. "Selections from the Sinecure Books publication Enjoy the Experience: psych, funk, folk, jazz, lounge, boogie and straight-up-weirdness from American private press albums. Enjoy the Experience: Homemade Records 1958-1992 is the inaugural offering from Sinecure Books. (The hardcover book version: SI 105BK) is the most comprehensive overview of the American 'private press' movement from the latter half of the 20th Century that could possibly be assembled. Now-Again Records is pleased to distribute a 2LP anthology of psych, funk, folk, jazz, lounge, disco, boogie and just-plain-weirdness culled from the the book's selections. Take note: this is not a novelty freak show. Contained in this anthology are examples of some of the most highly regarded rock, soul, jazz, funk and singer/ songwriter albums from the '60s through the early '80s. From the awkward-yet- talented to the genius-yet-bizarre, one thing unites all musicians presented here: they sincerely hoped to become stars, they committed themselves to record, and they left themselves vulnerable to an industry not understanding of nuance, not appreciative of character. While Enjoy The Experience the book details a forceful American cultural experience that stands in juxtaposition to the mainstream even as its creators attempted to infiltrate it, Enjoy the Experience the album shows the breadth of American creativity in a compelling, start-to-finish listen. Not all of it is easy to digest, but this music is essential to the 20th century American experience." Artists: Circuit Rider, Gary Wilson, Jade, Heitkotter, The Invaders, The Muzzy Band, Carol-Leigh & Hank Mindlin, Gary Schneider, Joe E., Medico Doktor Vibes, Ray Harlowe & Gyp Fox, Arcesia, Boa, Michael Farneti, 33 1/3, Silk & Silver, Russ Saul, Dennis The Fox, Bob Harrison and Vinny Roma.



ROLANDO: D & N's EP 12" (OSTGUT 066EP) 12.50
Rolando releases his second 12" for Ostgut Ton, serving up three new tracks that solidify his reputation as someone who still pushes forward. "D & N's" proves that the loop-master is still true to his Detroit heritage, even though he resides in Scotland now. "We Will" embodies a mantra-like magic -- nervous, penetrating and restless, it's a stirring techno gem. "Filthy" is an elaborate devil of a club track that puts a deep final marker onto this well-rounded EP.



IVORY: Ivory LP (OSR 005LP) 25.50
Ivory's self-titled album was originally released in 1968 on the Tetragrammaton label and it sank without trace. A West Coast psychedelic sound much in the vein of Jefferson Airplane (in fact, it was produced by the Airplane's great genius himself, Al Schmitt) fuelled by ultra-loud fuzz guitar, organ, and beautiful femme vocals. File next to other obscure psych classics such as Yankee Dollar, Peanut Butter Conspiracy, and Neighb'rhood Children. First time ever vinyl reissue. Remastered sound. Includes an insert with liner notes. Pressed on 180 gram vinyl.



RUDIMENTARY PENI: Pope Adrian 37th Psychristiatric CD (BOOBOO 005CD) 14.00
"First of all six Rudimentary Peni releases to be reissued, remastered from the original analog tapes. Pope Adrian 37th Psychristiatric is a concept album by the band Rudimentary Peni, originally released in 1995. It has been rumored that the album was written while lead singer/guitarist Nick Blinko was being detained in a psychiatric hospital. The subject matter of the album is purported to be based on the delusions Blinko was experiencing at the time, particularly the idea that he was to assume the Papcy, and become Pope Adrian 37th, the second English pope in history. CD comes in gatefold wallet with 16 page art book."


RUDIMENTARY PENI: Pope Adrian 37th Psychristiatric LP (BOOBOO 005LP) 29.00
LP version. First time ever on vinyl. Comes on 180 gram black vinyl with a gatefold sleeve, full-sized 16 page book of Nick Blinko artwork, a bonus poster, and a digital download code.



DJ KOZE: Kosi Comes Around CD (PAMPA 009CD) 11.00
Now in 2013 shortly after dropping DJ Koze's sophomore album Amygdala, Pampa Records is proud to finally re-release the sold-out masterpiece Kosi Comes Around, alongside two bonus tracks. It was back in 2005, shortly after having erupted over the past year with a slew of 12" singles that have captivated DJs world-wide, the current insanity over his alter-ego Adolf Noise, and least we forget, one of the most adventurous mix CDs of all time, 2004's All People Is My Friends, DJ Koze moved forward with his highly-anticipated, solo debut full-length entitled Kosi Comes Around. This may sound overly dramatic to state, but DJ Koze was truly there to give the world a piece of his mind -- and the facts were blatantly presented on this album. Stefan Kozalla aka DJ Koze was a revolutionist and proved beyond reasonable doubt on Kosi Comes Around that nobody else was able to load music up with so much madness yet balance it gingerly with love and warmth. He possessed a true determination to bring house back to its utopian place once again, conjuring old school phantoms. Kosi Comes Around was his manifesto -- a call for all milquetoasts of the world to stand up and unite.


VONDELPARK: California Analog Dream - The Robag Wruhme Remixes 12" (PAMPA 015EP) 12.50
London trio Vondelpark have received accolades for their debut full-length album Seabed. Now DJ Koze calls upon Robag Wruhme's magic touch to bring the band's hushed tones out of the bedroom and onto the dancefloor. With "Moppa Habax NB," Robag takes certain elements of the original of "California Analog Dream" -- most notably the bittersweet vocals and gentle guitar strumming -- and weaves them around a functional house stomp. Robag shifts Vondelpark's pop tune further into dubbed-out DJ tool territory with "Habay Latoff NB."



VA: Superlongevity 2LP (PERL 010LP) 22.00
2013 repress. 1999 compilation featuring "8 exclusive and brand new tracks by all Perlon artists": B. Wild, Ricardo Villalobos, Dimbiman, Markus Nikolai, Pile, Pantytec, Narcotic Syntax, Hombre Ojo. Mostly exclusive tracks to this release, only 2 of these show up on the Superlongevity double CD mix.


RIC Y MARTIN: Froebelalicahue 12" (PERL 017EP) 14.00
2013 repress, originally released in the year 2000. Ric Y Martin = Ricardo Villalobos & Dandy Jack. "A mindbending sound experiment. 2 crispy soundmonsters, that will most def shake you into oblivion. Both track were recorded during a trip through South Chile where Ric Y Martin used to live before they recently moved to Berlin."


VILLALOBOS, RICARDO: Bredow 12" (PERL 022EP) 14.00
2013 repress; originally released 2001. "Bredow" (later found on the 2002 release Love Family Trax), plus "Damm3"


MELCHIOR PRODUCTIONS: Different Places 12" (PERL 058EP) 14.00
2013 repress. "Grandmaster Thomas Melchior steps along in his lightfoot manner. Although with a somehow decent melancholic note, the two deep and reduced tracks should show a similar effect as the announcement 'we give away iPods for free on the dancefloor.'"



ECHOLOGIST: The Mechanics of Joy 12" (PRG 031EP) 12.50
Prologue is very excited to introduce Brendon Moeller as Echologist with this massive, deeper-spacing, bleepy, acid-oriented vinyl. This EP is simply brilliant and Brendon completes the Prologue rooster in perfection. Let us swing together on the dancefloor.



MIDNIGHT JUGGERNAUTS: Memorium 12" (REC 103EP) 16.50
This EP is the first taste of new material from Midnight Juggernauts. Situated at a self-styled nexus between genre and era, their new output may be described as warm-hearted cold wave, interstellar harmonies, and early 1950s house, steeped in the darkness of dusty giallo soundtracks, audio spomeniks at once futuristic and rustic -- a bold musical future envisaged through a soundtrack to a forgotten Eastern Bloc Tarkovsky film, sifting through the ruins of LPs past.


RS 7001LP

SUICIDE: Suicide LP (RS 7001LP) 12.00
2013 repress. Official 1999 reissue of the first Suicide LP from 1977, on the original Red Star label. Digitally remastered, iconic cover art intact. Beyond-essential late '70s underground listening which has carried near boundless influence. "Suicide were Alan Vega (voice) and Martin Rev (electronics). Classic punk-electronic trance that sounds as intense and vivid as ever and unlike some of their peers from the era, still as dangerously futuristic." This edition contains two extra tracks not on the original LP: a remix of "Cheree," and "Keep Your Dreams."



PIEETE, ANTON: Culture 12" (REJ 028EP) 12.50
Rejected welcomes back Dutch techno music maestro Anton Pieete for another killer double track EP fresh out of Amsterdam. Known for his straightforward, contemporary take on techno, Pieete once again fuses together experimental synths, high-octane rhythms and rigorous patterns on this 12". "Culture" showcases a futuristic twist with a digital pattern lead, electric synth and a warping bass line, while "Cotton" throws up classical elements of house with its airy synth lead and warm bass both bouncing off a solid tech pulse.


REL 3025CD

THEM: Them in Reality CD (REL 3025CD) 17.00
In 1971, following the departure of his bandmate Jerry Cole, bassist Alan Henderson joined forces with U.S. guitarist Jim Parker and drummer John Stark to make this lost power trio classic -- the last to be issued under the legendary Them moniker. It opens with a searing medley of the Them classics "Gloria" and "Baby Please Don't Go," boasting superb interplay and savage psychedelic guitar throughout. Elsewhere, Stark and Parker flex their songwriting muscles on a series of powerful compositions, and even an acid-folk number. Like its equally-overlooked predecessor, this lost classic is guaranteed to find favor with fans of top-end garage rock.



ROYAL-T: I Know You Want Me EP 12" (RINSE 024EP) 11.00
Royal T's first release for Rinse since 2012's Rinse Presents: Royal T finds the young grime producer in fine, rowdy form. "I Know You Want Me" is a powerful, future-shocked hybrid that melds the swing of speed garage and two-step with grime's bumpy bass blasts. "Saints" is a classic, handclap-led grime tune, driven along by pirouetting synth arpeggios. "Inside the Ride VIP" inverts "Inside the Ride," turning it into a chaotic, scattergun version of the focused original. "Koopa Shell" is where grime atmospheres meet trap rhythms.


KODE9: Rinse: 22 CD (RINSE 031CD) 15.50
Rinse: 22 marks the beginning of a new era for Rinse FM's iconic mix CD series. Where previous installments have featured only DJs who regularly play on the station at the time of release, the mix series now casts its net wider. Future installments will also feature DJs who are respected pioneers of the sounds that Rinse FM plays and represents, and Kode9 -- founder of the iconic Hyperdub label, and with his long personal involvement with Rinse FM -- is an ideal figure with which to make that transition. The mix is a vibrant snapshot of the DJing approach he's been developing recently, drawing from an ever-broader range of styles. It opens with bounding, sub-heavy house and funky, before tracing an almost subliminal increase in tempo through trap-inspired hip-hop instrumentals and footwork. The mix is a thrilling and visceral exploration of rhythm and texture, where eddies of percussion and rogue rips of sub-bass swirl around and into one another, keeping the mix in continual, anxious motion. Grimey strings and gloopy synth melodies from DVA and Champion curl around Jam City's juddering rhythms and the soured bass-blasts of Joy O's anthemic "BRTHTT." Later, RP Boo's sinister "Steamidity" sharply cuts across into angular footwork territory for a final frenetic half-hour of rhythmic free-for-all, where DJ Rashad is a key presence, his tracks dicing soul samples into expressive new configurations. Three brand-new Kode9 tracks appear on Rinse: 22 -- of which "Uh" is set to be released as an accompanying single, backed with a brand-new exclusive track. Artists include: Burial, Theo Parrish, Morgan Zarate (feat. Roses Gabor), Titonton, Alex Parkinson & Chris Lorenzo, Funkystepz, Terror Danjah & Champion, Kuedo, Visionist, Dexplicit, Faze Miyake, The Bug (feat. Flow Dan), Cashmere Cat, Rustie, S-Type, DJ Manny, Uncon Sci, Bleep Bloop, DJ Earl, Sam Binga & Addison Groove, DJ Spinn, Freshmoon, DJ Manny, and Phil.



WHITE HILLS: Heads On Fire CD (LAUNCH 029CD) 16.50
2013 repress. Overdue reissue of Heads On Fire, the out-of-print second album by New York's White Hills. Since this release, their first for Rocket, the band have gone to release several very highly regarded albums for Thrill Jockey. Ever changing and always striving to push the envelope, White Hills' album Heads On Fire finds the band playing a heavier style of space-rock. Relentless and punishing, the album kicks off with the spacey swirl of the song "Radiate" and ends with the speed-laden blast of the track "Eternity." Along the way, a mesmerizing blend of growling fuzz/wah guitar, pounding bass, sprawling synth, and chaotic drumming doses one's head three sheets to the wind. Whether it be the mere one-minute track "Return Of Speed Toilet" or the 26+ minute "Don't Be Afraid," the listener will be taken on a ride through a world that is all-encompassing from beginning to end. The band started in New York as a solo project by Dave W. Since then it has turned into a trio, with Ego Sensation (bass) plus various drummers which has included Kid Millions of Oneida fame. Like Oneida, White Hills also share a love for a hard rock stripped of its bombast -- their heavier, dirtier, earthier influences contend with airier atmospheres while combining steadiness with spacious, soaring guitars. These heads are always on fire.


TEETH OF THE SEA: Your Mercury CD (LAUNCH 040CD) 16.50
2013 repress. Teeth Of The Sea return with Your Mercury, their colossal second LP. Balanced elegantly between electronic exploration and incendiary psychedelic freakout, these 46 minutes showcase a band whose expansive mindset has birthed a unique sound, more dynamic, adventurous and vividly atmospheric than ever before. Your Mercury exists on a strange and beguiling astral plane, whereby the boundaries between the synth odysseys of the '70s, the guitar-noise-fuelled infernos of the '80s, horrorscore schlock, Reich-ian repetition, and a whole plethora of other cathode-ray and speaker-stack birthed epiphanies are blurred into one futuristic and fearsomely coherent whole. Teeth Of The Sea, the most exciting psychedelic band in the UK, have spun into a brand new orbit. In the vein of: Eno, Goblin, Emeralds, Butthole Surfers, Ash Ra Tempel and Liars.


RJ 6500EP

TOLBERT: I've Got It/Lucky Man 7" (RJ 6500EP) 8.00
"Founded in 1963, Rojac Records was Jack Taylor's attempt to capture the musical pulse of Harlem. Throughout the '60s (and into the '80s) the imprint released a steady stream of releases. Whether they were hits or near hits they're all exceptional in quality. Now select Rojac (and sister label Tay-Ster) singles are once again available for a limited time. This time around, the last ever single released on Rojac, Tolbert's 1982 offering 'I've Got It' backed with 'Lucky Man.'"


BIG MAYBELLE: Quittin' Time/I Can't Wait Any Longer 7" (ROJ 118EP) 8.00
"Founded in 1963, Rojac Records was Jack Taylor's attempt to capture the musical pulse of Harlem. Throughout the '60s (and into the '80s) the imprint released a steady stream of releases. Whether they were hits or near hits they're all exceptional in quality. Now select Rojac (and sister label Tay-Ster) singles are once again available for a limited time. First up in the series; Big Maybelle's 1967 offering 'Quittin' Time' with 'I Can't Wait Any Longer' on the B-Side."



KALABRESE: Independent Dancer CD (RUMP 002CD) 15.50
Sacha Winkler aka Kalabrese is a curious tastemaker and bold musical force that dares to tread the murky waters between indie and electronica, playfully emphasizing vocals on song-based productions and presenting an album that pushes the limits and portrays dance music in a peculiar and natural way. Inspired by blues, funk, and all those beautiful dancers and tragic heroes of the night, Independent Dancer is laced with curiosity and fever-inducing productions. Following his 2007 debut album Rumpelzirkus (STATT 002CD), a critically-acclaimed project that was followed by performances at infamous festivals like Sónar, Mutek in Montreal, and Transmediale in Berlin, as well as playing nearly every club basement in Europe with his live-project Rumpelorchester, Kalabrese returns with a masterpiece. Sounding like a soundtrack from James Murphy (in fact Kalabrese played back-to-back with the LCD Soundsystem lead man in 2012) and Nicolas Jaar, who featured his epic blues solo "Desperate Man" on his own Resident Advisor podcast, Independent Dancer commences with an almost euphoric and certainly unpretentious spirit. "Purple Rose" steps out downbeat with Sarah Palin, the newest Rumpel discovery, singing an astonishing duet with Kala, an almost country-like creation with ringing bells from the Alps and a hypnotic house beat crashing behind. Kalabrese recruits friend and mentor, A.C. Kupper (who also designed the cover) to sing "Let the Good Times Roll," taking his falsetto voice and overlaying chunky beats and a captivating synth-line, inspiring the urge to dance in only the most sincere way. Independent Dancer varies in tempo and rhythm throughout, from the wonderful airy ballad of "Stone On Your Back" with its cello parts played by Dominik Löhrer and light bossanova rhythm, juxtaposed with "Wanzka," an active, swinging Afro-groove gem with mind-blowing, lyrical brass parts courtesy of Michael Flury and Benjamin Danech. Guest singer Khan from Berlin can be heard on the hypnotic, Arabic-inspired bonus track "Feeling Me" and also on "Desperate Man," on which Rumpel-member Marton di Katz rocks a crazy groove with bass line sensations. Towards the conclusion, Kalabrese extols the Sihl Valley with "Sihltal," a punchy disco tune spiked with melancholy and expressing a soft wish of togetherness. At all times, Independent Dancer orbits the moment, encapsulating where the dancer unites with the music and forgets the rest of the world.


KALABRESE: Independent Dancer 2LP+CD (RUMP 002LP) 23.00
Gatefold double LP version with a CD version of the album.



MUNGO'S HI FI (FEAT. YELLOWMAN & MR WILLIAMZ): Dubplate Master 12" (SCRUB 007EP) 14.50
Mr. Williamz has been in high demand since appearing on Mungo's last album Forward Ever. Those clamoring for more will not be disappointed with his brand-new lick, this time a combination with Yellowman, and when the bass line drops and the vocals kick in, it's like cool runnings all over. The flipside carries a straight carnival-style dancefloor instrumental, along with a half-time swing version with a totally different groove and a dutty, dutty bass line.



YOUANDEWAN: Times 12" (SECRET 009EP) 12.50
Secretsundaze presents a sublime EP from Yorkshire-bred Younandewan. "Times" is deceiving with its melodic flourish and sweet vocal samples, yet lurking underneath are techno undertones with a heavy, dusty and almost industrial kick. "Be Dark" also has the same thuddy kick but this time, moody synths and mysterious spoken words wash over the groove. "Squared" goes for a more soulful and garage-y sound, and "What You Mean" illustrates Ewan's deft touch, combining sweet vocal snippets and classy sound design.


SX 035EP

SHOCK: The Fucker/Dr. Smegmatic 12" (SX 035EP) 14.50
Shock -- the confounding "noise/free jazz/what the?" label run throughout the '90s by ex-Skullflower/Whitehouse/Ascension man Stefan Jaworzyn -- is back with a new series of limited 12"s. This is a 30-minute introduction to the new world of Shock, a jarring departure observing lessons in repetition from Brion Gysin's calligraphic paintings to Cabaret Voltaire's Three Mantras to '90s minimal techno, and with an incredible cut by Noel Summerville that picks up every detail of the mostly analog synth manipulations.



CARN, DOUG: Revelation CD (SDGBJ 1216CD) 15.00
Doug Carn's third album for Black Jazz, Revelation (1973), is as compulsively listenable as his previous outings. The keyboardist-composer-arranger-bandleader is on top of his game -- Jean Carn returns to handle the vocal parts, the hired jazz players (including rising saxophonist René McLean and trumpeter Olu Dara) are more than capable, and Carn's songs convey altruistic messages that he deemed vital to the success of his distinctive brand of soul-jazz music. René McClean (alto saxophone, tenor saxophone, flute), Walter Booker (bass), Buddy Williams (drums), Nathan Page (guitar), Olu Dara (alto horn, trumpet, vocals), Doug Carn (piano, vocals), Earl McIntyre (bass trumpet), and Jean Carn (vocals).


FRANKLIN, HENRY: The Skipper at Home CD (SDGBJ 1217CD) 15.00
Jazz-man Henry Franklin, widely respected for his service to the finest jazz players, brought that ineffable quality called soulfulness into play when he made his first record for producer George Porter at Black Jazz, The Skipper. Not unexpectedly, his follow-up affair titled The Skipper at Home teems with the same jaunty uplift. In sync with Franklin's musical spirit on the second recording are returnees Charles Owens on saxophone, Oscar Brashear on trumpet and Kenny Climax on guitar along with several new faces: trombonist Al Hall, Jr., soprano saxophonist Kemag Sunduza, drummer Leon "Ndugu" Chancelor and keyboardists Kirk Lightsey (a Black Jazz regular) and David Durrah.


KEYS, CALVIN: Proceed with Caution! CD (SDGBJ 1218CD) 15.00
Whereas the earlier black jazz album Shawn-Neeq had its share of riff-based funk, Calvin Keys' second outing Proceed with Caution! (1974) sticks close to straight-ahead jazz verities with the 30-something guitarist in the studio with seven similarly young, on-the-rise musicians including Charles Owens (saxophones, flute), Oscar Brashear (trumpet), Al Hall Jr. (trombone), Kirk Lightsey (electric piano), Henry Franklin (bass), and Leon "Ndugu" Chancler (drums). Keys can really play the guitar, easefully and intelligently with unfaked feeling. The man rivets our attention at all times. "Proceed with Caution," like the other tracks an original composition, is a veritable feast of organized craftmanship, with a dreamy, chord-based Wes Montgomery mode at the song's start and finish bracketing long passages of fast, driving licks originating in bebop. Rendering flute and electric piano solos almost superfluous, Keys conjures up musical drama that invites multiple listens. Next up, "Tradewinds" finds the Omaha native treasuring the piece's attractive melody before embarking on creative flights that herald his certainty of purpose. A similar assurance marks his urgent playing in aptly-titled "Effulgence," which also benefits from trombone, electric piano, and soprano saxophone solos. Startlingly, about a minute into this song, emanated revelations beginning channeling through his fast fingers on the strings; Something similar can be heard from transcendentalist Carlos Santana in parts of his Welcome and Love Devotion Surrender albums, both released around the same time as Proceed with Caution!.


HAYNES, ROLAND: 2nd Wave CD (SDGBJ 1219CD) 15.00
In a fair and reasonable world, Roland Haynes would have compelled more attention than he did when his jazz-funk record 2nd Wave appeared on Black Jazz in the mid-1970s. Not to say the keyboardist was totally neglected back then, but he and other plugged-in pianists of his stylistic inclination (such as label-mate Doug Carn, Hampton Hawes, Don Grolnick, Larry Willis, and Gordon Beck) existed in the deep shadow cast by jazzman-turned-jazz-funk powerhouse Herbie Hancock, whose records with the Head Hunters lit up the R&B and pop charts. Also eclipsing Haynes were other widely-known wizards of the electronic keyboards: Chick Corea (Return to Forever), Joe Zawinul (Weather Report), Bob James, and Ramsey Lewis, all sponsored by major record companies. Musicians include: Henry Franklin (bass), Carl Burnett, Kirk Lightsey and Roland Haynes (keyboard).


EATON, CLEVELAND: Plenty Good Eaton CD (SDGBJ 1220CD) 15.00
Cleveland "Cleve" Eaton is a member of the Alabama Music Hall of Fame, right there with Nat Cole, Wilson Pickett, Martha Reeves, Jerry Wexler, The Blind Boys Of Alabama, and a few dozen other notables. "I don't play like nobody else," he told The Birmingham News when inducted in 2008. "I do my own thing. It's absolutely Alabama." Eaton's Plenty Good Eaton, recorded in Curtis Mayfield's soul Chicago at Chess Recording Studio with local hired-guns and first out in 1975, belongs to the R&B genre, even though there are side paths into soul-jazz. The lushly arranged "Chi-Town" proceeds from a cloned "Shaft" introduction into a lushly-produced funk romp with Eaton's upright bass guiding a chicken-scratch funk guitar, electronic keyboards, strings, horns, and a female singer or two. With Eaton's acoustic bass typically prominent in the mix, and with Ed Green's violin steering its melodic course, "Keena" exists as a happy union of R&B and disco. In spite of lame repetitive chants of its title, "Moe, Let's Have A Party" makes the right dancefloor moves with a funk groove that popular bands like Rufus and the Ohio Players wouldn't mind claiming as their own. Cleveland Eaton (bass), Kenneth Prince (electric piano), Ernest Johnson (guitar), Odel I Brown (organ, electric piano), Morris Jennings (percussion), Derf Raheen (percussion, flute), Arie Brown (tenor saxophone), Artee "Duke" Payne, Edwin Daughtry (tenor saxophone, flute), John Watson (trombone), Steve Galloway (bass trombone), and Bobby Christian (vibraphone).


CARN, DOUG: Adams Apple CD (SDGBJ 1221CD) 15.00
Further distanced in time from John Coltrane's spiritual new-jazz and the influential second Miles Davis quintet, Doug Carn showed a close affinity with R&B when recording his fourth and final Black Jazz album Adam's Apple. Sharing his interest in R&B was a platoon of committed, resourceful jazz musicians including young star-in-the-making Ronnie Laws, who had worked with Earth, Wind & Fire before that band's big commercial breakthrough. Of the others, ace guitarists Nathan Page and Calvin Keys had acquired intimacy with the soulful properties of African-American music of the time, performing with the premier jazz organist Jimmy Smith. Musicians include: Gerals Brown (acoustic bass), Darrel Clayborn (Fender bass), Big Black (congas, percussion), Harold Mason (drums), Calvin Keys, Nathan Page (guitar), Doug Carn (keyboards, vocals), Dick Schory, Gene Russell (producer), Ronnie Laws (saxophone), Thurman Green (tambourine), John Conner, and Joyce Greene (vocals).



SONIC AESTHETIC, THE: New Districts 12" (SONICA 001EP) 14.50
After years of hiding behind multiple aliases and all-too-clever back stories, International Feel head honcho Mark Barrott finally slid back the curtain at the start of the 2013 to present his new moniker The Sonic Aesthetic. This EP continues the mission to further the agenda of guerilla resistance and maverick thinking against what he calls "the sausage waveforms" of overly compressed 21st century production & hermetically-sealed life. New Districts consists of three sultry cuts that move with elegance and grace through mellow house and Balearic templates.



HVOB: Always Like This 12" (SVT 102EP) 12.50
HVOB's Always Like This has been #1 in the iTunes Dance Charts in Austria, #3 in Germany, and #3 in the Beatport Deep House Charts. HVOB's cover of the track by British indie rock band Bombay Bicycle Club mixes warm synth pads with soft beats, while Anna Müller's distinctive voice puts an entirely new spin on the original. Oliver Koletzki and Andhim have both made powerful remixes of their version as well.


SA 018EP

ZEITGEBER: Body Out Body In 12" (SA 018EP) 12.50
Zeitgeber is a project that sees Lucy and Speedy J exploring roots and limits on this 12" for Stroboscopic Artefacts. "Body Out" is floor-ready techno with a twist. The textures that lie beneath feel like they're just as important (if not more), slithering and twittering away in constant dialogue with the just-slightly-off-the-grid beat. "Body In" is the inverse of the A-side, a slow-moving chorus of indescribable ambience. A perfect taster of the uncompromising sounds yet to be heard.


SR 349CD

SEEWALD/MICHAEL GREBIL, ZAHAVA: From My Mother's House CD (SR 349CD) 15.50
Following up on their 2005 Tzadik release Scorched Lips, Zahava Seewald and Michaël Grébil have delivered a new collaboration exploring more intimate spaces. From My Mother's House is haunted from within by a sustained breath that unfolds through Jewish poetry. This work can be experienced like a novel, a piece of prose, a Hörspiel, an introspective form of cinema for the ear. The music unfolds in layers, like entangled photographic impressions. Field recordings, poems, film quotes, instrumental music, document archives, and concrète sounds are conjured up in a disorganized fashion, on a single plane of existence. Each element contributes to the whole, with the same basic intention: all these worlds coincide and exist in a single space, forming what could be called a sonic Menschmozaik. Images emerge and intermingle to form deeper, more complex pictures, through a series of associations. And this flow of conscience carries a dialogue where the voice of the living answers the voice of the dead, sonic matter being their point of contact, a ferryman, an intimate landscape; a gleaner harvesting layers of memories buried in the past along with still-fresh layers deposited by the present. Sound becomes a receptacle for the word, and the voice becomes the contemplator of the landscape getting sketched. Then, base lines get drawn, like so many themes developed by the poetry: the long thread of generations unfolding, parentage, the dialogue between a mother and her daughter, the daily life, the trite, the terrible, death, barbarism, beauty, innocence, the mother tongue. Sehnsucht.

SR 368CD

New Series Framework is an extension of Sub Rosa's Concrete Electronics Noise, a mix-up of unusual conceptions of sound material by young unknown composers, well-known not-so-young composers and old but clever composers. Limited editions. For Lith, Francisco López and Aernoudt Jacobs shared their original sound recordings from the Brazilian Amazon, Mexico, and the UK and created four compositions with each other's recordings. Francisco López is internationally-recognized as one of the major figures of the sound art and experimental music scene. Over the past 30 years, he has developed an astonishing sonic universe, absolutely personal and iconoclastic, based on a profound listening of the world. Destroying boundaries between industrial sounds and wilderness sound environments, shifting with passion from the limits of perception to the most dreadful abyss of sonic power, proposing a blind, profound and transcendental listening, freed from the imperatives of knowledge and open to sensory and spiritual expansion. He has realized hundreds of concerts, projects with field recordings, workshops and sound installations in 60 countries of the five continents. His extensive catalog of sound pieces (with live and studio collaborations with over 100 international artists) has been released by more than 200 record labels worldwide, and he has been awarded three times with honorary mentions at the competition of Ars Electronica Festival. Aernoudt Jacobs' (1968, lives and works in Brussels) work is both phenomenological and empirical. It originates from acoustic and technological research and investigates how sounds still can yield sonic processes which will trigger the perceptive scope of the observer. His work focuses on a central question: how can the complexity, richness and stratification of our direct, daily environment be translated into something that can really be experienced?


SF 013LP

MARTINE, TUCKER: Brokenhearted Dragonflies: Insect Electronica from Southeast Asia LP (SF 013LP) 18.50
There is a legend in Burma stating that swarms of male dragonflies gather to join in choruses of high-pitched tones to court their mates. The ones that don't succeed in mating eventually scream so loud that their chests explode and they drop dead to the ground. These recordings are a tribute to this legend. Droning cicadas, dragonflies, and other insects display their charm as masters of the high frequency airwaves, recorded live and unprocessed by Tucker Martine in the lush settings of Laos, Thailand, and Burma. Enter the supernatural world where entomology and electronica converge in a tropical hallucination of alien sound. Anyone who has ever wondered if these strange symphonies could be recorded or preserved as precisely as they sound in the field need look no further. Martine has done it and you will be transported to the exact experience one would encounter in these mysterious lowlands. Limited edition LP pressing of the long out-of-print CD from 2004, comes with a beautiful tip-on jacket, including an insert with photos and liner notes by Hakim Bey and Alan Bishop.



TRUTH: Devil's Hands/I Belong 12" (TEMPA 076EP) 11.00
New Zealand's Truth -the duo of Andre Fernandez and Tristan Roake -- put an expansive, cinematic twist on the deeply-rooted sounds of pure dubstep. Crushing bass pressure and all-pervading sensations of dread remain the hallmarks of their sound. This is the duo's second release for Tempa, and offers a pair of intricate, smoky and ocean-deep dancefloor riddims. "Devil's Hands" plays off a delicious tension between sweet and sinister, and "I Belong" pushes that dichotomy to even further extremes.


AG 055CD

DJ OLIVE: Thwis CD (AG 055CD) 17.00
Thwis is a warm bass journey through the untraveled back streets of Brooklyn's underground future dub landscape. Though you can hear the rootsy lovers feel, Thwis is not a derivative dub record but a truly original reflection from one of Brooklyn's loved underground producers. Thwis follows in the footsteps of Olive's classic Bodega release and his work with New York's legendary electronic trio We?. There is little distortion on the bass and the kick is soft and warm, making for a velvety sunrise vibe throughout. The snare is surprisingly absent, but then suddenly shows up like an old friend. Smokers Delight mixed with Boards Of Canada mixed with Rhythm And Sound, Thwis puts its arm around your shoulder and walks you through the party with a calm, inviting smile, making your body wander around the unicorn bass while the vintage analog synth tickles your head.


TSQ 2905LP

VA: Turn Me Loose - Outsiders of ''Old-Time'' Music LP (TSQ 2905LP) 16.00
LP version. "Frank Fairfield curates another reissue of 78 rpm records - this time with the help of a few of his collector friends. The collection focuses on some of the most seldom acknowledged varieties of Anglo-American vernacular music. You'll hear unusual performers, uncommon instrumentation and great fiddlers from California to Ohio, New Mexico to West Virginia. Forget Americana, this collection shows Anglo-American down-home music as it actually was and in many cases (although largely unrecognized) still is. With painstaking audio restoration by the great Michael Kieffer."


TEG 75506LP

DEL THE FUNKY HOMOSAPIEN: No Need for Alarm 2LP (TEG 75506LP) 21.00
2005 release. "After breaking out of the Bay Area underground scene in the early '90s Del the Funkee Homosapien made a radical turn with his sophomore release, 1993's No Need for Alarm. Casting aside the familiar G-funk vibe of his debut, perhaps as No Need was produced without the involvement of his cousin Ice Cube, he moved into a jazzier -- some would say more East Coast -- direction on this project. The verbal content on No Need shifted as well, moving away from comic interludes and towards a focus on battle raps. No Need for Alarm was produced with his Oakland based Hieroglyphics Crew with Domino, A-Plus, and Casual all contributing beats making the record one of the three 'Hiero Golden Age' releases (along with Souls of Mischief's '93 til Infinity and Casual's Fear Itself)."

TEG 76547CD

BOOGIE DOWN PRODUCTIONS: Man & His Music CD (TEG 76547CD) 16.00
"For those who know the story of the Bridge Wars, there's some irony found in the fact that Scott La Rock, representing the South Bronx, was born in Queens; though he did relocate to the South Bronx at a very young age. After graduating high school La Rock spent four years in Vermont at Castleton College where he earned varsity letters in basketball, but more importantly for the world of hip hop he became more and more enamored with music. On graduation he returned to New York and began working as a DJ and as a social worker at the Franklin Armory Men's Shelter in the Bronx. It was at the shelter that Scott met Kris Parker and the duo formed Boogie Down Productions. The rest, as they say, is history. Roughly a year after the tragic shooting death of Boogie Down Productions founder, DJ and producer Scott La Rock, B Boy Records, and KRS-One issued this special remix album, Man & His Music (Remixes From Around The World). Billed as a 'Limited Edition Collector's Classic' the project was released in a limited run -- briefly available in the '90s -- and now after years of being unavailable reappears as a tribute to one of the genre's early pioneers."

TEG 76547LP

BOOGIE DOWN PRODUCTIONS: Man & His Music 2LP (TEG 76547LP) 21.00
Double LP version.



FIELDS, LEE: My World CD (TSCD 007CD) 16.00
2009 release. "Lee Fields & The Expressions have successfully created a unique and personal sound that can hold court with the bands they set out to emulate. However, what they've created in the process goes beyond just a carbon copy of a sweet soul music from the '60s and early '70s. The formula has remained the same but the style has been adapted for the ears of youngsters whose experiences with soul began with Amy, not Al, Otis and Marvin. Thirty years of retrospection has colored this cross-generational melding of the minds. It sounds odd on paper, but the results are classic: hip hop-reared record collectors come full circle to produce an album of beautiful soul music with one of the progenitors who made it all possible."


LP version.



UK DECAY: New Hope for the Dead CD (UKDEC 002CD) 17.00
Post-punk band UK Decay's first full-length studio album in 30-years. New Hope for the Dead is a heavy, sonic assault built upon the politics of dissent. Produced by rock legend Chris "The Dark Lord" Tsangerides, the new songs cover a wealth of subjects, from the fracturing nature of society and the twin evils of extremism and bigotry, to the lack of engagement by today's generation and the attraction of things that ultimately harm us. "We're not here for a nostalgic reunion, we're here because we've got something to say," says singer Abbo. "There's been three or four generations of music since we split up but no one's really taken up the mantle of kicking against a world of apathy, discrimination, and totalitarianism." Long-hailed as one of the godfathers of post-punk, UK Decay reformed after a hiatus of three decades. Since then, they have played to audiences across Europe and have been well-received by a new generation of fans, alongside those who saw them the first time around. "We're finding our voice resonates with old and new alike," says guitarist Spon. "It's a new time but the same problems exist. We've always been a political band, but one that's able to reference human passions, too. The new album encapsulates all of that and presents it with a sound that's the best we've ever achieved."



VA: R&B Hipshakers Vol. 1: Teach Me to Monkey 2LP (VAMPI 150LP) 25.50
Repressed. 2LP version. The first volume in a new Vampisoul series -- an uptempo and danceable collection of '60s R&B and early soul from the Federal and King vaults, compiled by renowned DJ Mr. Fine Wine ("Downtown Soulville," WFMU). Most tracks have never been reissued. "When compiling Vampisoul's dip into King Records' deep, deep rhythm-and blues vaults, I realized that I'm a sucker for the sounds of '61. And, well, '62 too. Not that other years slightly earlier and later aren't represented as well, but, fully a quarter of the tracks herein are from 1961. What happened then? President Kennedy happened then, for one thing, inaugurated on January 20th. Also: chimps and their perhaps marginally more civilized human cousins in space; Roger Maris eclipsing the Babe, albeit with a conceptual asterisk; Jets vs. Sharks on the West Side; the Cold War in full swing; a hot war in Vietnam just starting to smolder, though few Americans had even heard of the place yet. And brilliant black musicians making timeless records for a Cincinnati, Ohio family of labels -- gibbling and gobbling down Broadway, implanting indelible, stinging guitar lines in the public consciousness, and making folks do the ginger snap like there was no tomorrow, which I'm sure there didn't always seem to be. This collection of genuine King and Federal R&B sides encompasses crazy dances, intense guitar instrumentals, inspired forays into mind-altering whimsy, timeless odes to male horniness, and hook-filled, honest-to-goodness love songs. For a raucous and potentially life-changing R&B dance party in a box, though, you'll find Teach Me to Monkey to be just the thing." --Mr. Fine Wine; WFMU's "Downtown Soulville," New York City, 2010; Artists include: Willie Wright, Hank Ballard, Lulu Reed, Little Willie John, Lloyd Nolan, The "5" Royales, Little Mummy, The Valentines, Eugene Church, Charles Brown, El Pauling, Roy Milton & His Orchestra, Freddy King, The Drivers, Carol Ford, Little Bobby Moore, Little Emmett Sutton, Willie Dixon, Johnny Watson, and Eddie Kirk.


VA: R&B Hipshakers Vol. 2: Scratch That Itch 2LP (VAMPI 151LP) 25.50
Repressed. 2LP version. This is the second volume in Vampisoul's series featuring rockin' R&B and early soul from the King/Federal/DeLuxe catalog circa 1956-1967 -- 20 terrific dance cuts selected by genre expert DJ Mr. Fine Wine ("Downtown Soulville," WFMU). "We clawed our way into the King Records vaults again to come up with more virtuosic instrumentals ('Marsanova' rhymes with 'bossa nova,' more or less, if you pronounce organist supreme Hank Marr's surname with the right accent; Freddy King raises Mr. Marr two dance crazes on 'Bossa Nova Watusi Twist'); more classy love songs with a hook ('Burnt Toast And Black Coffee,' besides being the epitome of that particular sub-subgenre, is highly elusive and expensive on an original Federal 45 and much in-demand in the R&B dance parlors of Western Europe; kudos to the gong banger on the plaintive 'You Have My Blessings'); more unholy dances ('Monkey Tonight' is one of Eddie Kirk's more restrained performances, believe it or not; this compilation's title track describes a dance that, like so many of the worthwhile ones, might get you escorted from your high-school prom in handcuffs if you tried it); and more holy nonsense ('My Name Is Puddentane,' declares the prolific and wonderful Lula Reed, an earthily appropriate reply to Hank Ballard's to-the-point pick-up line 'What's Your Name'; if 'Whiz-A-Shoo-Pepi-Dada' meant anything, would it get your hips shaking quite so violently?). Then there's the record that's almost always in my DJ box, one of my favorite 45s ever -- so exciting when its drums and taunting female chorus kick in over a loud system in a sweaty club, only to be answered by Johnny Watson's blistering voice and guitar: 'I say, I love you.' The women singing 'Get them women off your mind' -- confusingly, I can't get them off my mind. And the capper? A strong contender for Greatest Song Ever, in its best incarnation: Otis Redding's 'Shout Bamalama.' The custodians of the King vaults couldn't come up with this recording for us; for some reason, they found only a tamer mix. I had to dub it off my well-worn 45 (speaking of scratches!)." --Mr. Fine Wine



INLAND: The X EP 12" (VIDAB 003X-EP) 12.00
Tracks from Inland you will only find here on colored vinyl. No digital release. If you're one of those Rapidshare upload motherfuckers who steal the food out of our fridges and spit on our kids' educations, beware: our Caucasian friends will find you.



On 180 gram vinyl with a full-color printed innersleeve. "Groundbreaking" doesn't even begin to describe PiL's album from 1978. Surrounded by polemic on its release, this is arguably where post-punk started. Released in December 1978 after the Sex Pistols' break-up, First Issue is considered by many to be the first post-punk album. After the punk hangover, John Lydon set out to create a new sound that would stand apart from what other contemporary bands were doing, fully aware that it wouldn't be understood by many of his old followers. For this he counted on the help of ex-Clash guitarist Keith Levene, first-time bassist Jah Wobble, and Canadian drummer Jim Walker. It was a bold and risky artistic move towards the future, which drew from Krautrock, prog rock, dub and disco rhythm overtones, all involved in a sinister atmosphere. Despite this radical change, the disconcerted punk fans could still hear echoes of the Sex Pistols in tracks such as "Public Image," "Attack," and "Low Life." The recording took place in different studios and was fraught with problems as the band soon ran out of money. The LP was deemed too uncommercial for the U.S. market despite some parts being re-recorded and its release there was cancelled, and it sparked controversy in some countries due to the lyrics of "Religion." It sounded like nothing else at the time and confounded public and press alike, but today First Issue stands as a truly innovative album that challenged the music of its time.


MAGAZINE: Real Life LP (MRSSS 521LP) 25.00
The debut album by Magazine is one of the essential albums of the late '70s, a record which defined the music of its time and still sounds as original and innovative today. Following his departure from Buzzcocks in 1977 after the release of the Spiral Scratch EP, Howard Devoto formed Magazine with John McGeoch, Barry Adamson, Martin Jackson, and Bob Dickinson, who would soon after be replaced by Dave Formula. Already in 1977, Devoto felt that punk as a genre could constrain what he wanted to express musically, and with Magazine he aimed to create a framework in which to obtain a broader range of free and daring results. Although tracks like "Shot By Both Sides" and "Recoil" are still related to Devoto's immediate past, the influence of Roxy Music, David Bowie's Low and Krautrock can be heard in the tight and dynamic sound of Real Life and its dark and brooding mood. Magazine's debut is a key album to understand the music produced during that period and much of what would come later, and today it sounds as direct, uncompromising and intense as 35 years ago.


THREE O'CLOCK, THE: Sixteen Tambourines LP (MRSSS 522LP) 25.00
The Three O'Clock were a key member of L.A.'s Paisley Underground movement and Sixteen Tambourines is one of the great lost pop gems of the 1980s. The band will reunite for the first time since 1988 to play at the Coachella Festival in April 2013. Although Michael Quercio, The Three O'Clock's singer, came up with the term "Paisley Underground" to refer to the Los Angeles music scene that included bands such as Rain Parade, The Bangles, The Dream Syndicate, and Green On Red, his band's story is not nearly as well-known as that of their contemporaries. Formed in 1981 as The Salvation Army, their first recordings bore a clear psych-pop/garage influence and overtones of their home city's punk legacy. After changing their name due to legal reasons, the band released the Baroque Hoedown EP in 1982, where they started to shift towards a more polished pop sound, without abandoning their Nuggets origins. Sixteen Tambourines, from 1983, was the culmination of that evolution, helped by Earl Mankey's sleek production. The LP is a work of perfect pop music that draws from '60s beat, power-pop, psychedelia, bubblegum, baroque pop, etc. It contains a splendid version of the Bee Gees' "In My Own Time," which is matched and even surpassed by the band's own compositions. There would be other albums after they left Frontier and signed with IRS and Prince's (he was a fan) Paisley Park Records, but Sixteen Tambourines is the shimmering LP that should have given The Three O'Clock the same success-level as their friends The Bangles, and deserves to be rediscovered by anyone who loves pop music. On 180 gram vinyl with insert.


VM 091LP

FOSSATI, IVANO: Il Grande Mare Che Avremmo Traversato LP (VM 091LP) 34.00
"Among the many ones who left their band to pursue a solo career in the '70s we find Ivano Fossati. In 1972 his group Delirium had become very popular, thanks to 'Jesahel,' the song they presented at the Sanremo Festival in February: it became a real chart-hit 45 RPM, a very unusual thing for a progressive rock band. But commercial success didn't stop Fossati from leaving Delirium and releasing in 1973 his debut album, under the name of Alberto Ivano Fossati - Il grande mare che avremmo traversato ('The big sea we would have crossed'), a mainly acoustic LP, suspended between old prog moments ad songwriting, all mixed with orchestral and Latin/ethnic elements, accompanying his peculiar voice. A poetic and suggestive LP, which will capture the attention of the most demanding Italian prog fans too. Released on CD paper sleeve in 2004 by BTF/Vinyl Magic, Il grande mare che avremmo traversato is now reissued on LP by the same label. The vinyl transfer has been made for the first time with the DMM technology (direct metal mastering), with the aim of offering an even better sound quality on 180 gram vinyl."

VM 115LP

PAGANI, MAURO: Mauro Pagani LP (VM 115LP) 34.00
"In 1976 multi-instrumentalist and music writer Mauro Pagani left PFM, at the peak of their career, to start a brand new solo career. He probably felt the need to get away from the progressive rock clichés and a hectic on-the-road touring life, and therefore preferred to be free to record anything he wanted without restrictions or compromises. We're talking about his eponymous debut LP, originally released in 1978 by Ascolto record label: a magnificent and surprising album, where Pagani could finally show his love for popular/ethnic music, something difficult to put into PFM's compositions. Almost every of his former band mates, anyway, plays in this record, together with other great guests such as Area - first of all, their incredible singer Demetrio Stratos - and the female vocalist Teresa De Sio. This album still sounds amazing today, the first of a long series of releases for Mauro Pagani, who led to the legendary 'Creuza de mä' - composed with Fabrizio De André - in 1984. Released on CD paper sleeve in 2006 by BTF/Vinyl Magic, Mauro Pagani is now reissued on LP by the same label. The vinyl transfer has been made for the first time with the DMM technology (direct metal mastering), with the aim of offering an even better sound quality on 180 gram vinyl."


VF 001LP

JULIUS, ORLANDO: And The Afro Sounders LP (VF 001LP) 20.00
2013 repress; LP version. "Orlando Julius has been a well known name on the West African music scene all through the 1960s and 70s. His early work was recorded in the Philips studios under the strict supervision of their house producers who were putting an emphasis on a pleasant and swinging sound that was jugging along in a pleasant way, bridging big band highlife music with American soul. In 1972 and 1973, Orlando Julius and his band The Afrosounders visited the legendary ARC Lagos studio of Ginger Baker and what OJ and the gang put to tape there was an entirely different beast: They recorded an album packed with unadulterated, funky Afrobeat of the heaviest caliber. For the first time, Orlando and his band were able to really let loose and showcase their full power with an unfiltered impact. They laid down six epic tracks that, from a funk or Afrobeat perspective, definitely count as Orlando's strongest work but it seemed that Philips were not too happy with this result. They completely botched the distribution of this record and while Orlando's earlier and later work has all been re-issued over the past years, this, his best record has remained under the radar and virtually unknown to the worldwide community of African music lovers. Now this record is re-released with its original artwork and extensive liner notes written by Orlando Julius himself, including loads of great vintage photographs." Includes a 12-page booklet.



ESSER, DARKO: Out of Context EP 12" (WLTD 021EP) 14.00
Wolfskuil label boss Darko Esser releases a conceptual EP, Out of Context. We all can relate to the feeling of being out of touch with our environment and the people around us. Darko translated these abstract feelings into a soundtrack in three parts ("Space," "Time," "Translation"), and the result is a soundtrack that is quite moody, hypnotic and multi-layered. It's dub and Detroit-techno, Esser style. These are melodies wrapped in abstract sound design, with both a happy and sad atmosphere.



VA: Brazilian Guitar Fuzz Bananas 2LP (WPFC 102LP) 19.00
2013 repress. Deluxe gatefold 2LP version; 2nd pressing, no longer contains the (marginally viable) 3CD glasses. "The giant 24 page full color booklet contains a wealth of imagery and detailed annotation and liner notes in both English and Portuguese." Artists: Celio Balona, Loyce E Os Gnomes, The Youngsters, Serguei, Fabio, Tony E Som Colorido, 14 Bis, Banda De 7 Legues, Ton E Sergio, Ely, Com Os Falcoes Reais, Marisa Rossi, The Pops, Loyce E Os Gnomes, Piry and Mac Rybell.


VA: Psych Funk Sa-Re-Ga! 2LP (WPFC 103LP) 21.00
2013 repress. Deluxe gatefold 2LP version with 20-page booklet. Subtitled: Seminar: Aesthetic Expressions of Psychedelic Funk Music In India 1970-1983. "Indian music has become a global musical language but its South Asian roots remain strong, diverse and local. As with our introductory anthology of this kind (Psych Funk 101 -- WPFC 101) this anthology covers the 'golden years' of the movement, from approximately 1970 until 1983. Much of the music on this compilation springs from the Bollywood film industry; composers such as R.D. Burman and the brothers known as Kalyanji Anandji, whose work makes up much of this anthology, recorded and released an inordinate amount of soundtracks. That experiments in the fusion of India's classical traditions of Hindustani and Carnatic music, folk music such as bhangra and dandiya and Western psychedelia and funk music would occur at some point is only natural. Also included are off the beaten path Indian experiments in psych funk -- for example, two songs from the Simla Beat garage-psych albums, and an oft-heard Deep Purple cover by the ground-breaking Atomic Forest -- and examples of the Indian psych funk influence on European 70s musicians. Throughout the extensive liner notes, WPFC attempts to broaden the definition of global psychedelia: the early researchers who first coarsely defined the genre - and limited its subgenres -- did so at the same time that these experiments were first issued. That they would obscure these contributions to the global psychedelic canon is understandable. But it is time to correct this oversight."



VA: Imitating Life EP 12" (XVI 001EP) 11.00
The first vinyl offering from XVI Records, featuring two tracks lifted from their most recent 10-track compilation XVI Records - Volume Two : Imitating Life and two standout tracks from the label's back-catalog: "British Princess" by My Panda Shall Fly and Will Ward/Decyfer - "Hoarder." The A-side launches headfirst into Real's "Don't Need Ya Love," a bright, upbeat house/garage crossover. Also included is a track from Liston -- an '80s boogie-infused party-starter.


YM 012EP

VA: Mayan EP 12" (YM 012EP) 12.00
Yellow Machines are proud to present the Mayan EP. "Sahkil" by Scanone is a 1993-inspired old school-style UK hardcore number with a modern-day production approach. FX remixes Scanone's track with an exclusive vinyl release and smashes it. Pure darkness. Be scared. Dexorcist steps up with "Sunstorm," which tried-and-tested, is a proper old school-inspired gem. Jerome Hill unloads a funky yet relentlessly dark vibe with apocalyptic vocal samples on "The End."

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