Forced Exposure New Releases for Week of 4/13/2020

New music is due from Die Wilde Jagd, Mako Sica & Hamid Drake, and Seahawks while old music is due from Elephant Ch√¢teau.

FORCED EXPOSURE MAILORDER UPDATE
NEW RELEASES FOR THE WEEK OF 04/13/2020
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BEWITH 077LP
PRICE: $29.00
CAT #: BEWITH 077LP
FILE UNDER: ROCK
SEAHAWKS Island Visions (KPM) LP
Jon Tye and Pete Fowler have been making music as Seahawks for a decade now. Given the sounds they've been exploring over those ten years it was a cosmic inevitability that they would be asked to contribute to the catalog of the legendary library label KPM. They replied with Island Visions, an exploration of sound for vision where they construct "audio micro-worlds to explore and inhabit," a way to transport the listener away from the everyday without the bother of getting on an airplane. Mostly recorded at The Centre Of Sound in Cornwall, with additional recording at Studio 34 in London, Jon and Pete's travelling companions on this particular trip were boogie wunderkind Sven Atterton on fretless bass and keys, Nick Mackrory on percussion, and the Seahawks live team of Dan Hillman and Alik Peters-Deacon. From the grooves of Brian Bennett to the moog vibrations of Mike Vickers, the lush textures of Les Baxter to the experimental sounds of Delia Derbyshire and David Vorhaus, this new music channels sounds and moods from across the KPM universe. Like many KPM suites, this is a record of two distinct sides. The sunrise of side A brings a deep meditation, a journey within to renew the jaded self. Side B refreshes with cocktails by the pool and a chance to groove away the evening at some sunset beach party before dancing under the stars in the house of dreams. Pete's cover for the LP is part map, part postcard; the track descriptions on the back help guide the way. 2020 marks ten years since Ocean Trippin', the first Seahawks release, and Island Visions is the perfect distillation of the sounds, sights, textures, and moods that Jon and Pete have been exploring over the last decade -- sunrise to sunset condensed to two sides of an LP. The normal rules of space and time don't apply here. This is the first time Be With has worked with Seahawks, but individually Jon and Pete have been members of the extended Be With family since forever (Pete did those posters for our Ned Doheny tour and worked with Jon on the vinyl version of Hatchback's Colors Of The Sun). Mastered by Balearic engineer of choice Simon Francis, cut by Pete Norman and pressed in the Netherlands by Record Industry, the sonic frequencies of these Island Visions have been precision tuned and encoded for optimum traveling conditions.
BUREAU B (GERMANY)
BB 328CD
PRICE: $17.00
CAT #: BB 328CD
FILE UNDER: ROCK
ELEPHANT CHATEAU Dreamings & Offshore Drilling - Pearls And Turtles CD
Dreamings by Elephant Ch√¢teau has infected quite a few music diggers. And Veith Stauffer already wrote in 1998 on Offshore Drilling, "One of the most underrated albums in the history of experimental rock music in Switzerland." After a 30-year delay, the productions of Elephant Ch√¢teau are now available again. With the title Dreamings & Offshore Drilling - Pearls And Turtles" Bureau B combine the 12" maxi released in 1985 and the CD/LP Offshore Drilling released in 1990. The recordings show the work of Elephant Ch√¢teau in a variety of different formations with various guest musicians, recorded between 1982 and 1989. Well-sounding film music ("Le Fin"), free jazz experiments ("J'aime Rien") and ambient electronics ("Nebellied") up to the showpiece "Wir Fangen Mit Der Arbeit Anfangen", a German monolog spoken by the American artist Marlene McCarthy, accompanied by a sensual crackling sound backdrop. Elephant Ch√¢teau emerged from this collaboration with Marlene McCarthy, as a loose formation for a performative publication of texts. The core consisting of Max Spielmann (guitar, keyboard), Johannes Vetsch (bass, vocals, keyboard) and until 1986, Christian Schaffner (guitar, vocals, percussion) continued working afterwards. With Franziska Strebel (drums, percussion), it became something like a band, with the claim to record credible intellectual rock music. They exploited the sound spectrum of the '80s, from analog synthesizers and rhythm machines to samplers and digital effects units without technoid coldness, but full of emotion, melancholy and unacad
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