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FORCED EXPOSURE MAILORDER UPDATE
NEW RELEASES FOR THE WEEK OF 09/09/2024

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PRICE: $28.00

CAT #: WHYT 077LP

FILE UNDER: ROCK

Meaning shifts throughout Martha Skye Murphy's debut album Um with songs that meld moments of baroque beauty with crashes of electronic noise, employing textures that are by turns organic and artificial, hi-fi and lo-fi. Collaborations with the likes of Claire Rousay and Roy Montgomery are finely intertwined with the fruits of rigorous studio sessions with producer Ethan P. Flynn. Lyrically Martha conjures images inspired by everything from Ancient Roman hand-binding torture to a Fred and Ginger tap routine. The listener is catapulted across landscapes and left disoriented. "First Day" consists of individual notes recorded remotely on different instruments across Texas, New Zealand and London, coalescing into one hovering chord around a field recording Murphy took while wandering New York. It's telling that when Marta Salogni, who mixed the album, first heard Um, she commented that it was like experiencing a memory of an experience that hadn't yet happened. As a vocalist Murphy has a rare talent for transformation, from her intimate, cracked whispers over the hypnotic drift of "Theme Parks," to her piercing disembodied wails as "Kind" implodes into a cataclysm of electronic noise. Elsewhere, she offers little more than a distracted hum. In the studio, she and co-producer Ethan P. Flynn focused on maximizing those vocal capabilities by teasing out different personas. On the crystalline "Pick Yourself Up," part of which she wanted to sound like a lullaby, she cradled objects as she sang in order to draw out the maternal. It would be an oversimplification to say that Murphy inhabits different characters on the record. Rather, she extracts different characters from the depths of her own psyche who gesture towards the fact that "the self" is ultimately a vague and impermanent thing. She can be both exorcist and orator.

 

PRICE: $28.00

CAT #: WHYT 080LP

FILE UNDER: ELECTRONIC

The Tumbling Psychic Joy of Now is a ritualistic and expanding collaborative album between Holy Tongue and Shackleton. Holy Tongue are a trio composed of Valentina Magaletti, Al Wootton, and Susumu Mukai. Accomplished musicians in their own right, they combined to create psychedelic, free-form, high energy, spiritual dub-dance music across a trilogy of critically acclaimed EPs and their debut album Deliverance and Spiritual Warfare. Their high energy live performances invoke the experimental dub of On-U-Sound, the frenetic rhythms of 23 Skidoo, Liquid Liquid, and ESG, and the spiritual energy of free jazz. The trio's dynamic collaboration extends in their meeting with Shackleton, one of the most original and critically lauded voices in electronic music. Shackleton has moved from the depths of the early 2000s dubstep underground to a diverse range of international collaborations and commissions over the last two decades. After honing his hypnotic beats on the cult UK record label Skull Disco, his unique rhythmic touch is now heard on some of the most adventurous and progressive projects that have emerged from the European dance scene in recent years. Shackleton's work explores conceptual and spiritual themes with an emotional depth beyond most artists working in European dance music today, and his visions of inner space, apocalypse and dread are more-timely than ever before. This record was conceived after Holy Tongue and Shackleton shared a festival line up in Sweden. Holy Tongue were initially keen to get Shackleton to remix one of their existing tracks but they soon decided to have a project together and work on some fresh new music, allowing Shackleton to do something more creative with it in the studio. Thus, Holy Tongue recorded a collection of raw material in the studio and sent it to Shackleton. The result is far more than the sum of its parts. A psychedelic, ritualistic, dub trip, oscillating between the maximal and the minimal, the internal and the external, the micro and the macro, ecstasy and agony, all The Tumbling Psychic Joy Of Now.

 

PRICE: $19.00

CAT #: AMT 041EP

FILE UNDER: ELECTRONIC

Even as a relatively new face on the scene, Boaksi, isn't a stranger to longer format releases. The budding Zurich based producer made a splash with his first two releases Under The Pavilion and I Thought It Was Yesterday which featured remixes from Soela, Louf, and Al Zanders. Now he debuts on Seb Wildblood's all my thoughts label with a four-track emotionally visceral EP titled Keep Movin'. The title track, "Keep Movin'," takes a dynamic approach, layering creamy pads and impactful percussion with subtle dub techno influences that create a refreshingly deep groove, propelling a carefully positioned vocal sample into the forefront. "Didn't I," leads with a beautiful, progressive melody that evokes a sense of yearning, and the ever-relatable Romanticism of the club. Delicately triggered chords dance off the wonderfully unpredictable drum patterns, while Boaksi's minimalist vocals add a touch of human emotion. "Running Out Of Time" takes a more introspective turn, featuring distant, detuned textures that set the stage for a bed of soft, distorted pads. Stripped-back percussion allows the climbing arpeggios to take center stage, building to a cleansing break that allows the atmosphere to expand before settling back into a warm, percussive groove. The EP closes with "Wanna Be With You," another emotionally intelligent piece that showcases Boaksi's prowess for crafting captivating soundscapes. Elemental drums and breathtaking, climatic chords provide the foundation for a beautifully free-forming synth arpeggio that flutters playfully around an unforgettable vocal hook.

 

PRICE: $26.00

CAT #: VIRUS 523R-LP

FILE UNDER: ROCK

"Available on limited blood red vinyl. Formed in Las Vegas in 1980, M.I.A. moved to Orange County in 1981 and started playing shows at the infamous Cuckoo's Nest. They first appeared on the classic Last Rites for Genocide and M.I.A. split LP (Smoke Seven) in 1982. They quickly became known for their energetic live shows, blending fast, guitar-driven hardcore with singer Mike Conley's unique melodic voice and the trademark Southern Californian punk sound. After a show with the Dead Kennedys, Jello Biafra offered to release their next album, Murder In a Foreign Place on his Alternative Tentacles label in the summer of 1984. 'In the final days of December 1983, M.I.A. played a show in Las Vegas supporting the Dead Kennedys,' Guitarist and vocalist Nick Adams recalls, 'It was one of those underground DIY shows, in a dark warehouse space with a wall broken out to make it bigger, the result of kids willing to do just about anything to be with their friends and hear the music they loved. It was nearly broken up by the police (the Butthole Surfers were not allowed to play) but the Dead Kennedys got to do their set. M.I.A. had made an impression, though, and Jello Biafra offered to release M.I.A.'s next album on his label Alternative Tentacles. The record was also done in DIY fashion, with the band self-producing the resulting album.' The band went on to release two more records, Notes From the Underground (National Trust 1985) and After the Fact (Flipside 1987), re-issued as a 2LP set in 2023 by French label Modern City. Sadly, singer Mike Conley passed away in 2008 following a tragic accident; but original members Nick Adams (guitar, vocals), Paul Schwartz (bass, vocals) and Larz Pearson (drums) perform as a three piece. Now to mark the album's 40th anniversary, Alternative Tentacles and Modern City have teamed up to bring you Murder In a Foreign Place in 2024. With a total of 19 tracks, the re-issue includes the original album along with two studio out-takes and the full Greencarton demos. Unreleased track 'Help Me Up' appears here for the first time ever! No matter if you have original copies of Murder In a Foreign Place, or just discovering M.I.A. for the first time, this album is a must for any collection! It's an incredible re-issue for an indispensable album."

 

PRICE: $30.50

CAT #: BEC 5614225

FILE UNDER: ELECTRONIC

The principles of pleasure radiate a knowing, carnal heat throughout the genre-fluid sound of LSDXOXO. His decade of dedication to the sensibility of underground club culture has brought forth club classics interwoven with pop music hooks and subversive, tongue-in-cheek lyrics. After four years of what LSDXOXO, real name RJ Glasgow, calls a period of "healing and self-discovery," he is consolidating his multiplicitous sound with one compelling masterstroke: the debut album Dogma. Dogma marks a complete paradigmatic shift: it is a poetic and fantastical performance, a route for deep escapism through an expanded musical palette including piano and guitar, and a deeply personal confessional through a fresh approach to song-crafting. Within Dogma, RJ meditates on the interlinked qualities of fame, infamy, lust and submission, as he rediscovers a pure, unadulterated approach to music-making, all the while adopting a futurist approach to pop music appreciation. RJ's unmistakable signatures -- the smutty dancefloor caller, the maker of irresistible bangers, the latter-day electroclash and DnB nostalgist -- take on even more shades and intricacies. The lead single "Ghost" reaches beyond RJ's Philadelphia origins to find itself in the deep south, in a sultry fever dream of coquettish R&B featuring backing vocals from close collaborator Kelela. Elsewhere on the album futuristic love, pensive pop earworms, evocative vintage dance styles and sleazy club tracks intermingle. While the Dogma era will eventually explore remixes and reworks, the album is RJ's purest embrace of himself and his artistry. RJ first garnered attention as LSDXOXO in New York City with his on-the-pulse Soundcloud edits and then as part of the cult GHE20GOTH1K collective. His DJ sets and productions quickly earned him acclaim across globally-linked underground scenes. His decision to shift from sampled vocals to picking up the pen and microphone pushed his reach out to the stratosphere; his association with XL Recordings via the Dedicated 2 Disrespect EP in 2021 was a turning point for the burgeoning superstar. Also featuring Rochelle Jordan.

 

PRICE: $18.00

CAT #: BBM 001EP

FILE UNDER: ELECTRONIC

As an extension of his highly successful Big Beat Manifesto series on Public Possession, currently standing at Volume XI, Eden now opens up his garden to invite some friends. The BBM label hosts a series of releases that are close to his heart. Secret D.J. tools, meditative seances and more. Kicking off the new label is young fellow kiwi Colter Carson, delivering five stellar dance songs. Already tested and approved this mix of heavy percussion, quirky baselines and large synths will be just the right treat for all fans of the Big Beats!

 

PRICE: $16.00

CAT #: BJR 101CD

FILE UNDER: WORLD

Citron Citron is back! The ethereal sister-and-brother duo has worked hard over the past two years on their new album Mar?eternelle. Maintaining their majestic compositions, dual lead vocals, and home-made organic sound machinery, Citron Citron delves deeper into their sonic universe, singing about daily life, death, and love with the same poetic and personal vibe. Recorded in their home studio, and with a rare '70s EMS synth handed down from their respected avant-garde artist grandfather Rainer Boesch also making an appearance, Citron Citron's light touch is an analogue charm, measuring up to the giants of the genre's history. Its title, Mar?eternelle, is a compound word coined by the duo and translating as "eternal tide." It references the continuous cyclical flow of existence -- day and night; life and death -- and how they, you and I structure our lives around this.

 

PRICE: $29.50

CAT #: BJR 101LP

FILE UNDER: WORLD

LP version. Citron Citron is back! The ethereal sister-and-brother duo has worked hard over the past two years on their new album Mar?eternelle. Maintaining their majestic compositions, dual lead vocals, and home-made organic sound machinery, Citron Citron delves deeper into their sonic universe, singing about daily life, death, and love with the same poetic and personal vibe. Recorded in their home studio, and with a rare '70s EMS synth handed down from their respected avant-garde artist grandfather Rainer Boesch also making an appearance, Citron Citron's light touch is an analogue charm, measuring up to the giants of the genre's history. Its title, Mar?eternelle, is a compound word coined by the duo and translating as "eternal tide." It references the continuous cyclical flow of existence -- day and night; life and death -- and how they, you and I structure our lives around this.

 

PRICE: $23.50

CAT #: BUBBLES 002LP

FILE UNDER: ELECTRONIC

2024 repress. Bestselling second album from 2009 with eleven songs recorded in Mexico, no overdubs, no effects. Rules followed the successful debut album Dreams from 2006. The song "1517" was used in the video game FIFA 10.

 

PRICE: $16.50

CAT #: BB 454CD

FILE UNDER: ELECTRONIC

After dipping into the archive to deliver a series of essential reissues, Bureau B continue to encourage the chaotic brilliance of Faust with an LP of brand-new music curated by originator Zappi Diermaier and a band of musical friends, including fellow founder Gunther W?sthoff. Over the years Faust has become many things, each as separate as the fingers, but as together as the hand which makes up their eponymous fist. From 1971 to 1974 the Hamburg band blazed a bold sonic trail, helping to create the distinct and delirious strand of German music we've come to know as Krautrock. Uncompromising, innovative and experimental, their releases in that period, and the stories accompanying their creation, are nothing short of legendary, and the fact that after a hiatus, the band returned and remained active in a variety of separate and simultaneous incarnations is entirely fitting for these musical revolutionaries. On Blickwinkel, Diermaier's incarnation embrace synchronicity and chance in order to capture the moment in a six-track snapshot of industrial churn, unsettling ambience and psychedelic motorik. Sonically and politically, Blickwinkel is a profoundly Faustian venture, a communal project based on democratic ideals which eschews external influences to create something entirely out on its own. As with the previous LP, Daumenbruch, the journey started with Zappi behind a drum kit at the home studio of his neighbor Dirk Dresselhaus AKA Schneider TM (bass), alongside electronics whizz Elke Drapatz (drum effects). The trio embarked on a session of instant composition, playing wordlessly with a deep empathy to each other as well as the energy in the room. While the Daumenbruch session, which took place in the midst of lockdown, delivered three long-form pieces, this two=hour spell served up six diverse tracks, an audio analogue for the speed of life post-lockdown. Drones, delays, clatter and clang came from all corners -- in fact, only Uwe Bastiansen (Stadtfisch) added melodies, lending long distance support to Dirk Dresselhaus' insistent bass sequences, and channeling the magic of their moment into potent pagan tonalities. The stylistic definitions are constantly disrupted by unexpected guests -- baroque strings, impish horns, found sound breakdowns, or else mind melting phasing and flanging -- each offering a new combination on this radical and forward-facing record.

 

PRICE: $26.00

CAT #: BB 454LP

FILE UNDER: ELECTRONIC

LP version. After dipping into the archive to deliver a series of essential reissues, Bureau B continue to encourage the chaotic brilliance of Faust with an LP of brand-new music curated by originator Zappi Diermaier and a band of musical friends, including fellow founder Gunther W?sthoff. Over the years Faust has become many things, each as separate as the fingers, but as together as the hand which makes up their eponymous fist. From 1971 to 1974 the Hamburg band blazed a bold sonic trail, helping to create the distinct and delirious strand of German music we've come to know as Krautrock. Uncompromising, innovative and experimental, their releases in that period, and the stories accompanying their creation, are nothing short of legendary, and the fact that after a hiatus, the band returned and remained active in a variety of separate and simultaneous incarnations is entirely fitting for these musical revolutionaries. On Blickwinkel, Diermaier's incarnation embrace synchronicity and chance in order to capture the moment in a six-track snapshot of industrial churn, unsettling ambience and psychedelic motorik. Sonically and politically, Blickwinkel is a profoundly Faustian venture, a communal project based on democratic ideals which eschews external influences to create something entirely out on its own. As with the previous LP, Daumenbruch, the journey started with Zappi behind a drum kit at the home studio of his neighbor Dirk Dresselhaus AKA Schneider TM (bass), alongside electronics whizz Elke Drapatz (drum effects). The trio embarked on a session of instant composition, playing wordlessly with a deep empathy to each other as well as the energy in the room. While the Daumenbruch session, which took place in the midst of lockdown, delivered three long-form pieces, this two=hour spell served up six diverse tracks, an audio analogue for the speed of life post-lockdown. Drones, delays, clatter and clang came from all corners -- in fact, only Uwe Bastiansen (Stadtfisch) added melodies, lending long distance support to Dirk Dresselhaus' insistent bass sequences, and channeling the magic of their moment into potent pagan tonalities. The stylistic definitions are constantly disrupted by unexpected guests -- baroque strings, impish horns, found sound breakdowns, or else mind melting phasing and flanging -- each offering a new combination on this radical and forward-facing record.

 

PRICE: $34.00

CAT #: DE 314LP

FILE UNDER: ROCK

"Dark Entries picks up Severed Heads yet again for Ear Bitten, a double LP reissue of some of the band's earliest material. As originary Aussie industrial legends -- although founder Tom Ellard would balk at being branded as such -- Severed Heads shaped the continental subcultural sound with their kitchen electronics, chaotic tape loops, and quietly infectious nursery-rhyme-esque melodies. In 1979 Ellard, Richard Fielding, and Andrew Wright abandoned the moniker Mr. and Mrs. No Smoking Sign and adopted the edgier name Severed Heads 'to pretend to be an industrial band such as Surgical Penis Klinik & Throbbing Gristle.' Noise-rockers Rhythmx Chymx had placed an advertisement in a local shop looking for a band to share the costs of pressing an LP. The Heads set about recording a Dadaist racket on a pair of open reel dictaphones and a cassette deck using a TRS-80 computer, Kawai Synthesizer 100F and Korg Mini Pops drum machine. Ear Bitten was released in 1980; original copies now fetch obscene sums, in part due to most of Severed Heads' copies perishing in a fire at Richard's home. The band's next endeavor was a cassette titled Side 2, a collection of free-form experiments fashioned as Ear Bitten's second side. For this reissue, Dark Entries has collected both Ear Bitten and Side 2 on the first disc, presenting the album in its full form. Disc two includes the original first version of Ear Bitten, which was only unreleased because it was recorded in a format not suitable for pressing. The album comes in a gatefold sleeve designed by Eloise Leigh and includes photos, liner notes, and reproductions of the original Xerox inserts from the 1980 issue. Ear Bitten delivers 22 tracks of pain you can dance to!"

 

PRICE: $27.50

CAT #: DLC 015LP

FILE UNDER: EXPERIMENTAL

De La Catessen offers the first re-release in over 40 years of the long-lost soundscape composition Sounds Like Work, initially privately released on cassette in 1978, by South Australian composer and scholar, Chester Schultz. Drawing from material recorded in late 1976 in the workplaces of members of the Maylands Church of Christ congregation, subsequently edited at the electronic music studio of Adelaide University in early 1978, Sounds Like Work has an oddly contemporary cast, given both the sophistication and intelligence of its composition, and the ever-relevant address of the meanings of the "working environment" that Schultz explores here. Doing this via sound, however, reveals plenty of previously unnoticed, or under-recognized, things about peoples' lives at work. Schultz's composition is refreshingly free of direct polemical or political intervention, though there is a subtle undercurrent of critique of the way the workplace makes us both suffer, and conform to expectation. Schultz's questions about the workplace -- what it does to the worker; the ways the worker tries to wrest control of the working day; work's alignment, or not, with our inner private lives and beliefs -- are poetically explored through lyrical editing, curious juxtaposition, and an unerring ability to know when to 'leave things be.' There's also an understanding here that the socio-cultural context of sound has both its specificities and its generalities. The voices heard here could be from nowhere other than Australia, yet what they speak of, and the everyday sounds they're surrounded by, could come from most anywhere. Schultz's approach to the use and understanding of sound via the soundscape came predominantly from reading and listening to R. Murray Schafer, and you can certainly hear the implications of Schafer's thinking in Sounds Like Work. It also recalls other, loosely analogous compositions, like Luc Ferrari's acousmatic tour de force, Presque Rien. Most of all, though, Sounds Like Work is a startling composition, one which subtly redraws the histories listeners long been told about Antipodean avant-garde sound.

 

PRICE: $26.00

CAT #: JACK 054CV-LP

FILE UNDER: ELECTRONIC

Color vinyl version. Milan's Palalido, 1981 crackles with Kraftwerk's Computer World tour. Robotic rhythms, neon lights, anthems like 'The Model' and 'Numbers' ignite. A time capsule of synthpop mastery, future sounds live.

 

PRICE: $22.50

CAT #: JACK 054LP

FILE UNDER: ELECTRONIC

Milan's Palalido, 1981 crackles with Kraftwerk's Computer World tour. Robotic rhythms, neon lights, anthems like 'The Model' and 'Numbers' ignite. A time capsule of synthpop mastery, future sounds live. Also available on color vinyl (JACK 054CV-LP).

 

PRICE: $46.50

CAT #: CREP 100LP

FILE UNDER: ELECTRONIC

More than two years after the release of Impress?es de Outra Ilha, Discrepant's head honcho returns home under his birth name with the appropriately titled Exotic Immensity. Conjured from the seeds of an exhibition of dioramas at Le Bon Accueil in Rennes, this double LP feels quietly epic in scope, a sprawling travelogue through imagined scenarios and what if possibilities. Discarding the more-rough around the edges collages of previous works under a myriad of aliases, Cardoso's approach here is more meticulously composed, with seamless transitions within his own personal soundworld giving way to this hallucinated landscape of field recordings, subtle electronic tweaks, cascading patterns, queasy ambiences and k?smiche-like synth harmonies. Perfectly embodied in Evan Crankshaw's cut up poem, filled with occult and sci-fi references such as Agrippa's Book of the Occult, William Blake's Book of Urizen, Dr. Moreau, or '50s pop-science books, the music on Exotic Immensity transverses time and cartography in a deeply personal matter, from the cricket-like textures and reverse loops of "R?plica(s)" until the closing moments with the touching chord progression and mangled voices of "P? Nuno." In-between, the foghorn meets bass clarinet melody of "Ossos" recalls the unassuming but essential harmonic patterns of Laurence Crane, surrounded by an almost percussive sheet of field recordings that drift into the gliding synth tones of "Desumaniza??o (I & II)" until tape orchestral swells carry listeners into the aether. "Aqu?rio Novo Mundo" brims in an undisplaced cartography, from electronic marimba stabs to synth choirs, the call of the loom to labyrinthine keyboard harmonies and underwater radiance. The muffled looped rhythmic sequence of "Imagem/Miragem," cut by the glow of cascading synths doesn't offer a reply. Nor does it need to.

 

PRICE: $12.00

CAT #: EMK 008CD

FILE UNDER: ELECTRONIC

A blend of Emika's neoclassical descending melodies, signature breathy, female vocals, icey pianos, heavy sub-bass vibrations and layered hazy beats. Sat between her life in moving-boxes, wedged between them surrounding her upright piano in an unfurnished empty-sounding room in her in-laws house. Haze was made with voice-memo recordings of her piano and voice on her phone, edited and mixed on her laptop in headphones. Little loops in Ableton, lyrics, sadness and melodies, just like Emika's real-life in boxes. Sounds like a mix of Thom Yorke, Burial, Nils Frahm, all swirled together in a colorful yet creamy mix.

 

PRICE: $16.00

CAT #: ESPDISK 5109CD

FILE UNDER: JAZZ

Volume 1. One might think that an album titled Louis Armstrong's America is a tribute to the famed trumpeter, and certainly he's a focus here, but a normal tribute would feature compositions by him, or at least associated with him. Allen Lowe doesn't operate in the realm of the predictable, though; instead, the concept -- powered entirely by Lowe compositions -- takes in not just Armstrong's influence but also the evolution of jazz starting with influences (not all jazz) on Armstrong and continuing to the end of his five-decade career in 1971 -- which means that even Albert Ayler is touched on in this wide-ranging album (heck, even indie-rock icon Steve Albini is referenced). In his liner notes, Lowe quotes himself: "I think that Louis Armstrong may have been the first true post-modernist, picking and choosing between a hierarchy of personal and public musical sources and tastes, but without any concern for the way in which hierarchy acted on all of this in terms of class and even, ultimately, race (e.g.; think of Armstrong's reverence for opera and the way it effected his broad and classically expressive method of phrasing). So he fits all the definitions of post-modernism, even as a kind of anachronistic vessel for so much that was still to come not just in jazz but in all of American popular music, in particular but not only through the mediation of black life and aesthetics. Black song, vernacular and popular, is amazingly flexible it its ways and means of expression, lyrically, rhythmically, and sonically." Personnel includes Aaron Johnson, Frank Lacy, Ray Anderson, Lewis Porter, Ray Suhy, Will Goble, Rob Landis, Brian Simontacchi, Rob Landis, Loren Schoenberg, Ethan Kogan, Ursula Oppens, Nick Jozwiak, Colson Jimenez, Kresten Osgood, Matthew Shipp, James Paul Nadien, Jeppe Zeeberg, Marc Ribot, Huntley McSwain, and Andy Stein.

 

PRICE: $16.00

CAT #: ESPDISK 5110CD

FILE UNDER: JAZZ

Volume 2. One might think that an album titled Louis Armstrong's America is a tribute to the famed trumpeter, and certainly he's a focus here, but a normal tribute would feature compositions by him, or at least associated with him. Allen Lowe doesn't operate in the realm of the predictable, though; instead, the concept -- powered entirely by Lowe compositions -- takes in not just Armstrong's influence but also the evolution of jazz starting with influences (not all jazz) on Armstrong and continuing to the end of his five-decade career in 1971 -- which means that even Albert Ayler is touched on in this wide-ranging album (heck, even indie-rock icon Steve Albini is referenced). In his liner notes, Lowe quotes himself: "I think that Louis Armstrong may have been the first true post-modernist, picking and choosing between a hierarchy of personal and public musical sources and tastes, but without any concern for the way in which hierarchy acted on all of this in terms of class and even, ultimately, race (e.g.; think of Armstrong's reverence for opera and the way it effected his broad and classically expressive method of phrasing). So he fits all the definitions of post-modernism, even as a kind of anachronistic vessel for so much that was still to come not just in jazz but in all of American popular music, in particular but not only through the mediation of black life and aesthetics. Black song, vernacular and popular, is amazingly flexible it its ways and means of expression, lyrically, rhythmically, and sonically." Personnel includes Aaron Johnson, Frank Lacy, Ray Anderson, Lewis Porter, Ray Suhy, Will Goble, Rob Landis, Brian Simontacchi, Rob Landis, Loren Schoenberg, Ethan Kogan, Ursula Oppens, Nick Jozwiak, Colson Jimenez, Kresten Osgood, Matthew Shipp, James Paul Nadien, Jeppe Zeeberg, Marc Ribot, Huntley McSwain, and Andy Stein.

 

PRICE: $25.00

CAT #: GET 54037LP

FILE UNDER: ROCK

2024 repress. LP version. "Before he developed into a star composer and arranger, Tom Scott was an ambitious 19 year-old saxophonist looking for his big break in 1967. The opportunity came when legendary jazz label Impulse paired Scott with 9-piece vocal group The California Dreamers and allowed the young musician to take the helm as a band leader, with The Honeysuckle Breeze as the spectacular result. This rare and long out-of-print album features Scott leading a stellar lineup of sessions players -- Bill Plummer (sitar), Glen Campbell (guitar) and Carol Kaye (bass) among them -- through warm, smooth versions of songs by The Beatles ('She's Leaving Home'), Donovan ('Mellow Yellow'), Joan Baez ('North') and Jefferson Airplane ('Today'), which many will recognize from it's sampling in the Pete Rock & CL Smooth classic 'T.R.O.Y.' Resurrected, refurbished and remastered by the talented folks at Get On Down, this special release is pressed on 150 gram vinyl for optimum audio quality and is presented in a paste-on gatefold packaging featuring high-gloss artwork reproduced from the original jacket design."

 

PRICE: $24.00

CAT #: HTRA 045LP

FILE UNDER: ROCK

Toronto-based musician and producer David Psutka aka ACT! presents his latest project Face to Face, Day by Day for his own Halocline Trance imprint. This is Psutka's third album proper as ACT! following the release of the "sonic mixtape" Universalist in 2018 and the augmented reality soundtrack Grey Matter AR Snapchat Compositions in 2021 (HTRA 015LP). "Everything on Face to Face, Day by Day began as an improvisation," Psutka says. "Openness to accidents and the emotional complexity that comes from centering them in composition has become important to my work, and helps the music go beyond the possibility of what is playable, imaginable. I also wanted to channel adventurous solo pop records of the 1970s and '80s, like Yasuaki Shimizu, Jon + Vangelis, and Stevie Wonder. These came from an interesting era in commercial music as studio production techniques became increasingly formalized as compositional devices, like AMS RMX16 percussion sounds and early digital stereo effects." In addition to ACT!, Psutka has released music with numerous projects including Anamai, Egyptrixx, and Ceramic TL, and he has collaborated widely with artists such as Junior Boys, Ipek Gorgun, and Kuedo, as well as Jessy Lanza (2016) and an official remix for Massive Attack's Hymn of the Big Wheel (2012). The contributions on this album, from Robin Dann and Ben Gunning, reflect the deeply collaborative nature of the Halocline Trance label and the Toronto creative scene more broadly. In 2015, Psutka launched Halocline Trance as a home for his various sound projects, events and collaborations. Now a creative collective and label, it has grown to include a diverse array of artists including Casey MQ, Xuan Ye, Myst Milano, Colin Fisher, and others. The label is described as "genre-agnostic" and conceptually open, supporting work across a wide spectrum of creative fields including soundtrack recording, AR design and traditional artist albums. Their impeccable roster also includes, theorist/improviser Eldritch Priest, and AR/VR artist Karen Vanderborght.

 

PRICE: $17.50

CAT #: HEIST 087EP

FILE UNDER: ELECTRONIC

Dam Swindle return to Heist in excellent form with a four-track EP in their signature style. The iconic Amsterdam duo returned to the studio after their much-lauded Minor Fools EP, where the lead track "That's Right" became one of the most heartwarming tracks 2023. The guys are known for their ability to bend different styles into something very much their own and their newest addition to the Heist catalog is no different. The Touch Me Again EP sees them go from sample-heavy house to classic '90s piano-driven tracks with a touch of acid and it's one you don't want to miss. The record starts with "Touch Me Again," a house jam with chopped vocals, energetic synth stabs and a big breakdown. Add to that a touch of acid and you've got a follow-up to their Phonica hit of 2023. "Hang On" takes you back into classic Swindle territory, with their signature sampling style and knack for finding those lush vocals. The synth chops and bassline give the track its upbeat energy and the distant filtered pads move in an ever so subtle way, that there's always something new happening while keeping the attention on that catchy main hook. On the flip, the guys take things a bit deeper with emotive vocals and introverted keys layered over a steady groove on their track "The Joy of Melancholy." Fast-forward to the drop and all that energy comes free with a huge piano break, which propels the track into a blissful "hands-in-the-air" dancefloor moment. The EP closes with "Forever and Ever," a gospel-inspired deep house tune full of organ hits and off-kilter sample chops. This four-track EP gives you jam upon jam upon jam and sees Dam Swindle solidify their position as the go-to artist in the house scene and keeps them at the forefront of electronic music.

 

PRICE: $14.50

CAT #: IMR 052CD

FILE UNDER: ROCK

In 2024, fans were treated to the first new music from Trentem?ller since 2022. A new single, "A Different Light," showcased a stunning blend of prismatic space rock and folk. For anyone wondering if it foreshadowed the release of a full-length, In My Room now presents Dreamweaver. Featuring ten tracks that traverse Trentem?ller's many musical strengths, Dreamweaver also represents an obvious artistic leap, treading new ground while retaining the overall plot. Tracks featuring vocals come courtesy of Iceland's Disa, who has been in Trentem?ller's fold since the Memoria tour. Dreamweaver's nylon string-led opening track, and first single from the album, "A Different Light," contains many of Trentem?ller's trademarks: exploring dichotomies, musical shadowplay, Nordic frigidity, and warm waves. It opens the door for the steady, hypnotic "Nightfall," with its tetherless vocal, wistful guitars, and early morning desert chill. Ostensibly keeping a ruminative pace with the previous two tracks, the song and, by extension, album soon opens up as the rest of the elements drop into place with a grand, luxurious burst. With the hatch blown off of the portal, the noisy "I Give My Tears,' driven by its glissed and fuzzy bass line, pours into the void. It's followed by its sibling, the most chaotic track on Dreamweaver, "Behind My Eyes." Arriving as a piece of noise rock pandemonium, "Behind My Eyes," can't be contained in its plush vault. A whip-crack snare and convulsing guitars smash against each other in the song's verse chamber. The tension builds, as the particles collide, pushing past the point of critical mass, kicking off the chain reaction which is the chorus. At times it harkens back to the proto-gaze tracks that gave birth to dream pop, at others it newly defines what that is. There's no time to contemplate it, though, as the song disintegrates in a microphonic feedback instant. A respite follows with the somnambulistic pair of "Hollow" and "Empty Beaches." Then, a moment of intensity returns as the soaring textures and tribal drum bursts of "In A Storm" take control, before being taken out with the ambient slo-core of "Winter's Ghost" and "Closure." This diptych wraps up an album which certainly feels on-script for Trentem?ller, but is also much more psychedelic than previous offerings.

 

PRICE: $27.00

CAT #: IMR 052LP

FILE UNDER: ROCK

LP version. In 2024, fans were treated to the first new music from Trentem?ller since 2022. A new single, "A Different Light," showcased a stunning blend of prismatic space rock and folk. For anyone wondering if it foreshadowed the release of a full-length, In My Room now presents Dreamweaver. Featuring ten tracks that traverse Trentem?ller's many musical strengths, Dreamweaver also represents an obvious artistic leap, treading new ground while retaining the overall plot. Tracks featuring vocals come courtesy of Iceland's Disa, who has been in Trentem?ller's fold since the Memoria tour. Dreamweaver's nylon string-led opening track, and first single from the album, "A Different Light," contains many of Trentem?ller's trademarks: exploring dichotomies, musical shadowplay, Nordic frigidity, and warm waves. It opens the door for the steady, hypnotic "Nightfall," with its tetherless vocal, wistful guitars, and early morning desert chill. Ostensibly keeping a ruminative pace with the previous two tracks, the song and, by extension, album soon opens up as the rest of the elements drop into place with a grand, luxurious burst. With the hatch blown off of the portal, the noisy "I Give My Tears,' driven by its glissed and fuzzy bass line, pours into the void. It's followed by its sibling, the most chaotic track on Dreamweaver, "Behind My Eyes." Arriving as a piece of noise rock pandemonium, "Behind My Eyes," can't be contained in its plush vault. A whip-crack snare and convulsing guitars smash against each other in the song's verse chamber. The tension builds, as the particles collide, pushing past the point of critical mass, kicking off the chain reaction which is the chorus. At times it harkens back to the proto-gaze tracks that gave birth to dream pop, at others it newly defines what that is. There's no time to contemplate it, though, as the song disintegrates in a microphonic feedback instant. A respite follows with the somnambulistic pair of "Hollow" and "Empty Beaches." Then, a moment of intensity returns as the soaring textures and tribal drum bursts of "In A Storm" take control, before being taken out with the ambient slo-core of "Winter's Ghost" and "Closure."

 

PRICE: $26.00

CAT #: IFEEL 087LP

FILE UNDER: ELECTRONIC

?le Flottante is Mr. Beatnick?s fifth album, following 2023's Joy In Variation (including the notorious cover of "Love on a Real Train") and his well-received off-beat collaboration with London-based avant-garde agitator Richard Greenan -- Coasty -- this is his first contribution to the International Feel trademark. Probably best known for some big deep house revivalist tunes circa 2013 on the now dormant Don't Be Afraid record label, Beatnick now converts that aural quality and dimensionality into the Balearic system. ?le Flottante takes its name from the tastiest French pudding of Mr. Beatnick's childhood holidays. The name, also a jeux de mots -- floating island -- hinting at the album's inspirations and sense of identity, as a danceable soundtrack to a fictional island. Explored with high intensity and over a yearlong process, the sounds of the well-worn, but never-failing Balearic universes were a mind-expanding influence. Think of genre staples like Software, Manuel Goettsching, Mark Barrott, Len Leise, Don Carlos, Gaussian Curve, Joan Bibiloni, or Yasuaki Shimuzu. ?le Flottante tries its very hardest to avoid being any one thing in particular. At one point, it is a gentle beach walk accompanied by polyrhythmic drum plod and flourishes of Guzheng. At another, the infamous James Yancey septuplet swing is repurposed against a marimba melody that wouldn't be out of place in one of Link's forest adventures. Elsewhere, there are the bellows of distant whales, touches of Italian dream house and a splash of vintage madchester, all working to create a space that feels both familiar and loaded with well-worn tropes, but with its own quirky sense of personality, facets which are often attributed to Mr. Beatnick's holistic b-boy approach. This is his understanding of a Balearic (b-boy) stance. Just with a float instead of a freeze.

 

PRICE: $31.00

CAT #: MIG 2451LP

FILE UNDER: ELECTRONIC

2024 restock. "Megatone is the third studio album by Klaus Schulze's side project, Richard Wahnfried, released in 1984. On this album, Schulze collaborates with Michael Garvens, Axel-Glenn M?ller, Ulli Schober, Michael Shrieve and Harald Katzsch. During the eighties, the German synth legend Klaus Schulze pursued his solo adventure, working at the same time for his Wahnfried project. This Megatone brings something new to his usual 'kosmische musik'. A new element appears once again after the classic Time Actor; the presence of a singer (Michael Garvens). The voice appears in the modern and 'mechanical' electronic piece called 'Angry Young Boys'. Schulze synth explorations are also sustained by guitar parts and sequencers, drum-machines. This vast and epic cosmic 'trip' mixes pure atmospheric realms (the synth strings) with perpetual, repetitive drum rhythms. Megatone is a deep electronic album but not as abstract or as meditative as before. The electronic pulsations and the pop arrangements put Schulze's music into a more 'mainstream' level."

 

PRICE: $29.00

CAT #: MIG 741LP

FILE UNDER: ROCK

2024 restock. "When the band Agitation Free came together in 1967 as a result of the merging of two Berlin rock groups, one of the most interesting groups in a dawning independent German music scene was created. With their improvisations between rock, jazz and new music, Agitation Free - soon relegated to the not so flattering category of 'krautrock' - made musical forays into areas that few of their fellow German musicians had ever penetrated."

 

PRICE: $18.00

CAT #: MSK 012EP

FILE UNDER: ELECTRONIC

Following a ten-part series of unannounced artist records and a spectacular high-concept album on Mask Records, label head ZentaSkai returns to the imprint for his next solo vinyl-only release, Bob. The A1 sees the Berlin-based ZentaSkai combine a dusty, taped white noise feel with subtle, swirling dub chords as its high-end propels the track forward. It's a stunning and evocative piece before the A2 continues with minimal drums and electric acid bleeps, a smooth organ lead completing its gorgeous soundscape. On the B-side of the Bob EP, ZentaSkai joins forces with long-time collaborator Sebastian Klenk. It follows their "Apeiron" track on ZentaSkai's 2023 Architecture Of The Mind LP, among other joint work, and sees them deliver a near-twelve-minute track that is a true masterpiece. The track takes listeners through found-sound texture samples, intricate drum patterns, crunchy breakbeats, and more beautiful dub melodics. Bob is another fantastic listening experience on Mask Records, already supported by Satoshi Tomiie, Raresh, and Laurent Garnier.

 

PRICE: $32.00

CAT #: MKY 027LP

FILE UNDER: ROCK

2024 restock. "Arriving on the Japanese music scene during the Beatles-inspired cover band boom of the late '60s, Jacks instantly distinguished themselves from their fluff-peddling, copycat peers with stripped-down, original compositions, nihilistic lyrics and raw performances. Their tenure was short -- '67 to '69 -- but Jacks managed to cut a handful of singles and two albums in that time, the first of which, Vacant World, is now widely considered in Japan to be one of the greatest rock albums the country has ever produced. The combination of Yoshio Hayakawa's arresting baritone and austere guitar work, drummer Takasuke Kida and upright bassist Hitoshi Tanino's jazzy, loose interplay, and lead guitarist Haruo Mizuhashi's searing fuzz leads was alchemical, and Vacant World captured the band at the peak of their powers. Some have described Jacks as the Velvet Underground of Japan -- a singular, revolutionary group that had little commercial success in their day but whose influence and legend grows exponentially with each passing year. The comparison is apt. Unlike VU, however, Jacks remain largely unknown outside Japan, and Mesh-Key hopes this first-ever officially licensed international release does something to fix this injustice. Available in the US for the first time. Vinyl only release, with film-laminated tip-on jackets, and 6-page, full-color booklet."

 

PRICE: $28.50

CAT #: MP 073LP

FILE UNDER: ELECTRONIC

Vanat?hi by Kiwanoid is a technopagan concept album. The track titles refer to the word "nothing" in various languages. The sonic landscape is crafted using deprecated tools: a first-generation 4-bit laptop, the DOS operating system, and a tracker program. Inspired by glitch aesthetics, the sound palette includes clicks, error noises, and low-bitrate techno sounds. Initially, the structures of the pieces may appear complex and chaotic. This electronic thicket might seem abstract, cold, and inaccessible, yet upon closer examination, it reveals a plethora of diverse species, coming across as somewhat nostalgic and warm, evoking surreal associations. From beneath towering sequoias peek pixelated ferns, LED eyes are blinking from below the undergrowth, and against the backdrop of a crackling campfire and cave paintings, a lively stomping of microchips unfolds. Sudden contrasts, sharp cutting edges, a tachycardic bass drum engine, and irregular polyrhythms make themselves physically felt. Elsewhere, haunting lo-fi textures, hidden ambient drones, mysterious hums, and obscurely garbled samples offer introspective breathers. The dynamic range of the music is favorably extensive, and the raw imperfections of the sound are unmasked by reverb effects or other generic tools. Interwoven throughout are outsider rhythm loops, which could find a home at an alien rave party or a hobgoblin honky-tonk. Various human voice samples build a bridge to the listener, allowing them to embody a cyborg-like experience. While each twist and turn remains unpredictable, these diverse approaches align in complementary patterns and stochastic regularities, making the whole surprisingly coherent, despite its chaos. The album doesn't bore the audience with intentionally irritating compositions or pseudo-complexity -- it demands attention, but doesn't try to outrun its listeners.

 

PRICE: $32.00

CAT #: MOM 051LP

FILE UNDER: JAZZ

Modern Obscure Music presents Sakuraza, a live album featuring Eiko Ishibashi (flute and electronics), Jim O'Rourke (electronics), Kei Matsumaru (alto saxophone), Tatsuhisa Yamamoto (drums), and Giovanni Di Domenico (piano). Recorded at the Sakuraza jazz club in Kofu, Japan, this dynamic and sophisticated performance blends jazz, electronic music, and pop elements. Giovanni Di Domenico, a frequent visitor to Japan, organized this June 2023 concert with long-time collaborators Ishibashi, O'Rourke, and Yamamoto, and invited saxophonist Matsumaru. The warm, intimate setting of Sakuraza provided the perfect backdrop for their unedited, improvisational session. Sakuraza captures the deep musical connection and spontaneity of these artists, offering an immersive auditory experience. Recorded on June 14, 2023.

 

PRICE: $36.50

CAT #: ML 036LP

FILE UNDER: ELECTRONIC

Double LP version.Monolake: "My studio is my shelter, I feel comfortable there, surrounded by wonderful inspiring machines. A small cozy room where ideas emerge, mature, morph, and solidify into their final shape. Studio is the result of spending time in that space. The album's intention is simple: Presenting a beautiful personal musical journey. The creative process in itself matters to me, the interaction with my instruments, the accidental discoveries, the successful execution of a vision and anything in between. Most of the tracks on this album got revised countless times, and then even more, once I knew in which context and order I wanted to arrange them. I have been living with my music for months now, listening, thinking, changing, diving deeper and deeper into each piece. I love albums, they are a beautiful long-form format where each part has its place, a journey from the start till the end. Each piece has its own story, its own flavor and history. Some of them have been with me since a while already. There is material which I created years ago for installations and music derived from previous audiovisual works, all completely ripped apart and rearranged multiple times. During their creation my pieces often turn into something completely different, they repeatedly shift from one state to another until they become solid. What I consider a core element at the beginning might be later discarded completely, and a little detail in the background might become the essence. Many explorations ended in the trash bin before the results had a chance to be part of Studio. Things did not fall into place, did not feel right. Other compositions had to fill the void instead, some created quickly in a rush of inspiration, some slowly, shy, questioning their significance. This album did not come into existence in a hurry, it took as long as it needed. I used the time to walk around my creations, to listen to them from the distance, physically, mentally, with friends, in all kinds of different contexts. I tried to understand what I just did. I started to see patterns, hidden motifs, things that were buried in between too many layers of sound. What is essential? What is ornament? I reduced, rearranged, added again. The closer I got to the final state of Studio the more clarity I found..." Composed, mixed and produced by Robert Henke, 2024.

 

PRICE: $28.00

CAT #: NA 5228LP

FILE UNDER: JAZZ

2024 restock. "Reissue of the sought-after deep/spiritual jazz album, the first time it's been pressed from the master tapes. All analog lacquer by Bernie Grundman. Liner notes delving into the history of Hamilton and this special album. Bobby Hamilton founded the band Anubis in Syracuse, New York, and they put out their awesome 'Ecology' single on Charles Bazen's Salt City imprint. It's a highlight on the Soul-Cal anthology Now-Again issued in 2012, something akin to Terry Callier and Gil Scott Heron's most soulful works. Shortly after issuing that single, Bobby put together the Bobby Hamilton Quintet Unlimited and recorded and issued Dream Queen in 1972. The last clean copy Bobby Hamilton had, he sold to the musician Jamie XX in 2021 for a princely sum. Few originals will ever surface again -- its original run of 500 units having disappeared into the ether decades ago. This is your chance to hear a masterwork of deep, spiritual jazz lacquered directly from its original master tape in an all-analog transfer by the legendary Bernie Grundman. Dream Queen's story is told for the first time in extensive liner notes by Torii McAdams. Dig deeper and expand."

 

PRICE: $32.00

CAT #: OBSM 019LP

FILE UNDER: ELECTRONIC

Italian artist Fedele unveils exciting project Depth Of Being, which again finds him exploring all new electronic music realms. The 11-track album arrives on his own label Obscura and is his first since going solo. Fedele is a key part of the underground scene and has been working alone for the last three years since his departure from Agents of Time. He has truly made his mark in that time with music on the likes of Ellum Audio, Tiga's Turbo Recordings and his own Obscura. This superb new album is a mix of stylish progression from the signature sound Fedele is known for while the other side of the album dives more into the experimental world, using more vocals than before.

 

PRICE: $43.50

CAT #: OKNR 005R-LP

FILE UNDER: ELECTRONIC

All your favorite System Olympia songs in one vinyl record. Every version is slightly different. Limited edition. New slightly different cover.

 

PRICE: $42.00

CAT #: OMANARCHO 001LP

FILE UNDER: ROCK

Limited 2024 restock. Anarcho punk was the one sub-genre of punk that emerged in isolation from the rock n' roll establishment. During its pioneering days of the early 1980s it thrived in opposition to the music industry, existing as a fiercely underground alternative to the bands, labels and venues of the commercialized mainstream punk scene. It continues to do so. Anarcho punk represented one of the last truly underground and autonomous music movements ever witnessed and remains a movement that has never sold out and has never gone away. The major differentiation between the anarcho punk acts and the more traditional punk outfits was that for the former, albeit often more due to musical limitation than intent, the message was more important than the music. Standard song structures were often dispersed with in favor of a relentless lyrical polemic accompanied by a similarly uncompromising aural assault. As the scene grew, so did the diversity of records that emerged under the anarcho punk umbrella: from D&V (drums & vocals) to the proto-EBM synth-pop of Belfast's one-man Hit Parade and the Dadaist Beefheart hybrid of The Cravats. In later days the two biggest acts of the scene, Flux of Pink Indians and Crass themselves, both released LPs which had more in common with improv Jazz than hardcore punk. The resounding victory of anarcho punk is that it is now the unifying soundtrack to a culture of resistance that spans Scotland to Indonesia and remains without compromise. It is still as removed from mainstream music and oppositional to conventional culture as it was over forty years ago and shows no sign of changing. Quite the opposite: the more popular anarcho punk becomes the less it has to engage with the music establishment and the more control it can enjoy. In 2023, that message remains as uncompromising as ever. This is a double vinyl retrospective compilation of some of the most radical music ever made, a musical force that changed lives. Covering the years 1979-86 and including classic tracks from Crass, Poison Girls, Flux Of Pink Indians, The Mob, Zounds, Annie Anxiety, The Ex, Alternative TV, plus ten more, all newly remastered by iconic punk mastering engineer Daniel Husayn. It has been lovingly compiled by JD Twitch and anarcho legend Chris Low and was ten years in the making. There are also a couple of previously unreleased mixes included. It comes as a high-quality double vinyl pressing, and has a full color sleeve with back and front images designed by the legendary Gee Vaucher. Also features Honey Band, Andy T, Alternative, The Apostles, Lack of Knowledge, Hagar the Womb, and Chumbawamba. Includes six-page fold out poster on one side with detailed sleeve notes, recollections and essays on the other side.

 

PRICE: $28.00

CAT #: PD 041LP

FILE UNDER: SOUNDTRACK

In 1969, both Anthony and David were at the start of their respective careers and both were inspired by the ideas of the avant-garde and the new technologies becoming available to them. David experimented with the various techniques being explored in the medium of film making and Anthony tested the limits of what could be done with tape recorders. It was an open and co-operative exploration. The results of their first collaboration was the film Mare's Tail -- an unusually long 2:30 hour film of non-linear multi layered audio visual collage filmed in a wide variety of locations interspersed with texts coming from readings and talks, Kabalistic texts, recorded phone calls, loops, children's voices and other found material. The musical dimension is mainly supplied by various struck objects/noise/feedback/field recordings and samples. There are instruments too and listeners even get treated to a small section of what was to become a Slapp Happy tune. The blurry dreamscape/nightmare that slowly unfolds is laden with late '60s delirium. The original master tapes are long gone and all that remains is the audio track on existing copies of the film and various bits of the makeup tapes, most of which were used (but some not), in the final cut. The low grade 16mm audio track (a degraded source to begin with) is further worn with age, subsequent duplication and repeated screenings. It all adds to the haze -- a quality that David would have most likely approved. Edition of 500 numbered copies.

 

PRICE: $20.50

CAT #: PC 1990LP

FILE UNDER: ROCK

Limited 2024 repress. The Cure, Disintegration In Leipzig, live in Germany on August 4th,1990. FM broadcast.

 

PRICE: $18.00

CAT #: PP 113EP

FILE UNDER: ELECTRONIC

ddwy the duo from London is back on Public Possession. Naomi and Ronan aka Nangi and Inner Totality continue to impress with their blend of organic, rhythmic dance music. Mystic vocals intertwine with layers of cosmic melodies. This record is a must for Balearic D.J.s, but will likely also be played out in sleazy dark basements or pubs in the British countryside. You'll place it, people will embrace it. That's a guarantee!

 

PRICE: $22.00

CAT #: RRS 121LP

FILE UNDER: ROCK

2024 repress. Adventurous southern California punk trio Agent Orange was the first band to mix surf rock with punk. The group was formed in1979 in Placentia, a small town close to Fullerton and Anaheim, by front man Mike Palm on guitar and lead vocals, Steve Soto on bass, and Scott Miller on drums. That early line-up recorded the classic version of "Bloodstains" in 1979 as a demo produced by Daniel R. van Patten (of the group Berlin). A year later it was included on the seminal Rodney On The Roq compilation album released by Posh Boy Records. Meanwhile, James Levesque had replaced Steve Soto (Adolescents) and the new line-up released their own self-produced and self-released 7" EP in 1980. A year later, the group signed with Robbie Fields' Posh Boy Records for their debut LP, Living In Darkness, co-produced by Fields and former Simpletones guitarist, Jay Lansford. The album was recorded at Brian Elliot's store front studio in North Hollywood (a few years before Elliot struck gold writing Madonna's "Papa Don't Preach"). A milestone in California punk rock history. Includes five bonus tracks. Black vinyl.

 

PRICE: $17.50

CAT #: RB 004-1EP

FILE UNDER: ELECTRONIC

The onus of proof regarding deepness is a rather peculiar one. Even if one presses all the right buttons, quotes the correct sources and applies the textbook techniques, often something seems to be amiss. The elusive producer Mute never had that problem. Blessed with a sound of his own, that seems to stem from within and can be called deep house without the genre's strait-laced demeanor, his aesthetic includes a distinct feel for boogie and disco tropes. Case in point: "Lost." Placed as a B2, it is the secret start of Direct Cuts II and more prominent on this new edition of a classic Running Back record. Molded into an extended disco version by Gerd Janson with unused parts of the original recording session, it something like a curveball deep house disco song, according to the motto: "you and me, we can be like a whole universe!" Hard to resist and even harder not to like if you have the slightest interest in prelude records, Diana Ross songs, or Tee Scott mix techniques. "Basics," "Vibes," and "Driver's License" push further into the world and musical mindset of Mute. Originally released in 2006 as the fourth outing of the label and the second (and his last one to date) of the elusive artist, it is still as remarkable as on its first release. Carefully rescued from the original DAT tapes, all re-edited by Gerd Janson and remastered by Lopazz, it's available again in a clear and present portraiture of its original intent. Early adopters like Danny Krivit and the Idjut Boys can't be wrong.

 

PRICE: $17.50

CAT #: SCOOP 081EP

FILE UNDER: WORLD

Vibronics teams up Koko Vega in the Dub Cupboard Studio to create this epic heavyweight instrumental Sound System style dub style track. Orange vinyl and presented in a thick clear plastic cover.

 

PRICE: $28.00

CAT #: SCR 240LP

FILE UNDER: ROCK

LP version. Orange color vinyl. Three Quarter Skies -- the new band formed by Simon Scott from Slowdive -- present their debut album Fade In. It was recorded by Simon and mixed with the help of elusive Flying Saucer Attack mainman Dave Pearce. The eight-track album includes the singles "Crows" and "Leave A Light On," a Nick Drake cover and brand-new versions of "Holy Water" and "Pieces Of Roslin," which was originally released on 2023's introductory EP, Universal Flames. While that grew out of a semi-improvised live recording, the new album is as focused as it is ferocious; a cohesive body of work that came together after a fertile creative period following the death of Simon's mother earlier this year. "My creative well was already beginning to overflow and losing my mum pushed me over the edge," says Simon. "I didn't want to write pretty tunes, or sentimental and saccharine music about love or pretend how happy and healthy the world is. Three Quarter Skies' songs are angry, noisy, turbulent, stubborn and petulant." As a result, Fade In is a heavy listen -- opener "Slight Betrayal" has a nagging sense of motion sickness before the fuzzy hopefulness of "Leave A Light On;" there's the post-new normal rumble of "Superwoman," the feedback folk of "In The Night" and "Crows," with its "vivid and surreal" attempts to process grief.

 

PRICE: $20.50

CAT #: SVVRCH 058LP

FILE UNDER: JAZZ

2024 repress; reissue, originally released in 1957. A multi-instrumentalist who reconfigured jazz many times during his long career, Yusef Lateef came to prominence in the late 1950s, after having toured with Dizzy Gillespie. Jazz Mood dates from 1957, when his quintet had some of Detroit's finest, including Alice Coltrane's brother Ernest Farrow on bass and future Jazz Messenger Curtis Fuller on trombone. The use of an argol on "Metaphor" and a rabat and finger cymbals on "Morning" point to Lateef's Islamic grounding and his belief that music serves a higher purpose; this edition has bonus track "Passion," from the equally excellent Before Dawn (1957). Rich, deep, and varied, this is required listening for all serious jazz heads.

 

PRICE: $13.50

CAT #: RELTIME 009CD

FILE UNDER: ELECTRONIC

The fourth studio album -- Pain Matters -- by Rico Friebe came totally unexpected to him as well as it comes to you now! Deeply affected by personal occurrences within the further realms that already spawned Anthems For A Lost Generation (RELTIME 008CD), Rico fell into an abyss where anything became possible -- anything raw, spell-binding, meditative and bold as Pain Matters.

 

PRICE: $34.00

CAT #: RELTIME 009LP

FILE UNDER: ELECTRONIC

LP version. The fourth studio album -- Pain Matters -- by Rico Friebe came totally unexpected to him as well as it comes to you now! Deeply affected by personal occurrences within the further realms that already spawned Anthems For A Lost Generation (RELTIME 008CD), Rico fell into an abyss where anything became possible -- anything raw, spell-binding, meditative and bold as Pain Matters.

 

PRICE: $20.00

CAT #: TRESOR 360EP

FILE UNDER: ELECTRONIC

030313 -- Berlin/Detroit, the fundamental techno union. Now Carhartt WIP, whose roots can be traced to Detroit, Michigan, join forces with Tresor for a collaboration that celebrates the enduring spirit of two music metropolises. Referencing the early '90s compilations like Tresor II -- A Techno Alliance, they present a 12" mini compilation with exclusive material from both cities. The compilation opens with "I.D.L.E.," a lost Model 500 track, of essential funk that touches the techno soul of The Motorcity, with trippy melodies and cosmic drilling traversing electrified Mojo freeways. It's followed by another true Detroiter: Ectomorph's "Searching (Live At Globus)," a first extract from their live set at Globus in 2021, which BMG and Erika played on borrowed equipment after Erika's case was lost on a flight. The A-Side stays in Detroit and finishes with "Your Body," an exclusive track by AMX, also known as The AM, one of Detroit's freshest funk techno sensations. She carries on the mentorship mindset by having learned from two of the greatest: D.I.E. and Scan 7. "Your Body" is a classic techno feel swinger, where subtle chords meet drum machine funk in the spirit of early Detroit techno. DJ Stingray 313 opens the B-Side with a bang. Precisely hacked techno, full of dark funk and that special industrial jack, that the man in the mask has made his own. A total "Dynamic Instability." Magic and furious. The thrill continues with "Metal Goat," by JakoJako, one of Berlin's brightest synth sensations. She provides an introspective grower that slowly evolves into a fast-paced techno grinder, laden with micro shifts and magic twists. The final tune comes from Erik Jabari, a newcomer from the 030 zone, emerging from the Hard Wax peers with haunting modular synth techno -- a feverish minimalistic trip of motorized kicks. DJ Pete performed as spiritual guidance on this one. It's floor proven. An overall cachet of 030313 -- the small compilation with a huge techno heart.

 

PRICE: $35.00

CAT #: TWOGTL 101LP

FILE UNDER: EXPERIMENTAL

2024 restock. The Young Gods release a record with Two Gentlemen, Play Terry Riley In C. Needless to say this is a fertile meeting between two monuments who have helped shape the cutting-edge music of the last few decades. Terry Riley, born in 1935, is the cornerstone on which a considerable number of artists have relied to liberate their relationship to the process and methods of creation. In the same way, The Young Gods revolutionized, from the second half of the 1980s, their relationship with rock music by converting guitars into samplers. Composed and premiered in 1964, In C is a major piece in the contemporary music repertoire of the second half of the 20th century, and a pivotal moment in its history. The score for In C is reduced to 53 musical phrases, which each musician must repeat in the order in which they appear, as many times as he or she wishes; the instrumentation is not specified; the impetus for the performance is not given by an orchestral direction, but by the musicians listening to one another. A perfectly open work, In C was the first work to offer a successful synthesis of repetition and variation. The Young Gods first approached In C in 2019 at the invitation of Benedikt Hayoz, director of the Landwehr wind orchestra in Freiburg -- this resulted in a performance of the work with 85 musicians. Other approaches were made with Ensemble Batida, a Geneva-based contemporary music collective, with the dance company Alias, and with the documentary filmmaker Peter Mettler, for his film Petropolis. In this album, The Young Gods offer a new interpretation of In C, as a trio and with their own sound vocabulary -- electronic instruments, drums, and guitars. They have chosen to follow the score and Terry Riley's indications, while allowing for some additional freedom, for example in terms of managing the sound intensity -- which evolves, in several long cycles, from almost silence to eruption and back again. They have also chosen to maintain a constant tempo throughout the live performance by building up a hypnotic flow and a continuous musical presence that meanders and oscillates in perpetually changing rings and atmospheres that transform in a perfectly fluid manner. By developing through a series of crescendos and decrescendos, by playing on the repeated addition and removal of musical phrases, by working sensitively on the sound quality (timbre, grain, alterations) of its elements, the piece aligns a series of ascents, ecstatic plateaus and lulls that give the work as a whole all the characteristics of a living form. Double LP version includes CD.

 

PRICE: $30.50

CAT #: UNSPLP 002LP

FILE UNDER: ROCK

Friendship Is Deep, Golden Shoulders' second album. A collection of smartly observed, witty indie pop songs. In 2004, California-based indie band Golden Shoulders followed up their highly acclaimed debut with their second album, Friendship Is Deep. Now, on the twentieth anniversary of its release, the album most requested by their fans for a vinyl release is finally set for one on Unspun Heroes. Described as "one of the great semi-lost albums of the 21st Century", the album showcases singer, songwriter, and band mainstay, Adam Kline's knack for lyrical hooks and penchant for catchy melodies. But, like friendship, this is deeper than its pop sensibilities might suggest. From the moment the opening track "I Will Light You On Fire" opens with its simple piano refrain and vocal harmonies you know you're listening to something worthy of further exploration. From this building of tension between its temporary aural chaos and the beauty that ultimately emerges, you'll be hooked. Yet, scratch beneath the surface and you'll find this is an album that carries with it a political, pro-peace, and pro-humanity message, albeit somewhat more satirical than you might expect of a band hailing from America's West Coast. This is particularly notable on tracks such as "Golden Soldiers" and the "Committee," where Kline's turn of phrase and wit shines through, cleverly weaving words so they create detailed poetic mosaics. Golden Shoulders is a loose and ever-changing lineup of international talent, with Kline as the kingpin and sole songwriter. Given the pedigree of those whose talents grace the album -- among them, Todd Roper and Greg Brown (Cake), Josh Klinghoffer (PJ Harvey, RHCP, Pearl Jam), Neal Morgan (Joanna Newsom, Fleet Foxes), and Dan Elkan (Broken Bells) -- it's no surprise the compositions and attention to detail present in each and every one of the 14 songs is top notch. It's this pleasing mix of accomplished individuals, and their mishmash of influences, which lend a pinball effect to the set of stylistically diverse songs on Friendship Is Deep. Collectively though, the music you'll hear has a focus, one that channels late '90s Brendan Benson, the poppier side of '80s Violent Femmes, and even the mid-'60s flair of the Beatles' Rubber Soul.

 

PRICE: $36.50

CAT #: WSR 002LP

FILE UNDER: WORLD

The journey continues. Now, the second Want Some Record release is the first album of The Mighty Cavaliers from Kenya. This record is another masterpiece of Kenyan funk-influenced music at its best. The songwriting is not from just one musician; every musician contributed songs and music, which makes it very special. You can hear the different musical influences, and every track has its own personality. Fisherman was released twice before, in 1976 and 1978. Now, it's time to spread this wonderful music to the world again in a very limited edition of only 500 pieces, with a brand-new cover design.

 

PRICE: $16.00

CAT #: WWSCD 024CD

FILE UNDER: ELECTRONIC

2023 restock. Wewantsounds present a reissue of Ryuichi Sakamoto's first solo album Thousand Knives Of, originally released in 1978 on the sought-after Better Days label. Save for a small-scale release in 1982, this is the first time the album is being released on vinyl outside of Japan. 1978 was a key year for Japanese music. Haruomi Hosono, one of the country's most innovative musicians had just formed Yellow Magic Orchestra pursuing the sonic experimentation he had started with his solo album Paraiso. The album, recorded between December '77 and January '78, featured both Ryuichi Sakamoto and Yukihiro Takahashi. Hosono quickly invited both musicians to form YMO but before the group could release their first album, Sakamoto entered the Nippon Columbia studios in April 1978 with a plan. Sakamoto had become an in-demand session musician after studying composition at the Tokyo University of Art and had played on many key albums of the time, such as Taeko Ohnuki's Sunshower (1977) and Tatsuro Yamashita Spacy (1977). This led to an invitation by Hosono to feature on Paraiso. A penchant for avant-garde and improvisation had gotten Sakamoto interested in electronic music early on, and with Thousand Knives he decided to get Hideki Matsutake on board as he had mastered the art of synth programming following a stint with Electronic Music pioneer Isao Tomita. Thousand Knives took several months to record as Sakamoto would be busy during the day with his session work and would only record at night. Named after Belgian-born poet Henri Michaux's description of a mescaline experience, the album is a reflection on how synthesizer technology might come to change the face of music. The first side conceived as a long suite opens with the title track and a recitation of the Mao Zedong poem "Jinggang Mountain" filtered through a vocoder, before morphing into a mid-tempo synthpop instrumental. It is followed by "Island Of Woods", a ten-minute track buzzing with insect-like synth sounds. Side one ends with "Grasshoppers", a beautiful acoustic piano melody underlined by a subtle synthesizer soundscape. Side two opens with "Das Neue Japanische Elektronische Volkslied", acknowledging the influence of the German sound spearheaded by Kraftwerk. The track features a mid-tempo metronomic beat skillfully intertwined with a Japanese folk sounding melody. The album ends with two catchy up-tempo synthpop tunes in the form of "Plastic Bamboo" and "The End Of Asia", which both became staples of YMO's and Sakamoto's live shows. YMO's sound included various influences from its three members but there is no denying Thousand Knives paved the way for the group's Computer Music sound. Remastered from the original tapes by renowned producer and engineer Seigen Ono.

 

PRICE: $36.50

CAT #: WWSLP 037LP

FILE UNDER: JAZZ

2024 restock; double LP version. Gatefold sleeve featuring never-seen photos from the Mainstream vaults and new liner notes by UK journalist Paul Bowler. Wewantsounds continues its collaboration with Bob Shad's venerable jazz label Mainstream Records, and present a selection of 12 turntable-friendly tracks recorded between 1971 and 1975 and showcasing the label's superb blend of spiritual jazz, funk, and soul.Mainstream Records is one of the key independent jazz labels of the early 70s, together with Flying Dutchman, Strata East, CTI, and Black Jazz. Founded by legendary label man Bob Shad (who had been head of A&R at Mercury Records and set EmArcy in the '50s), the label concentrated on psychedelia in the '60s before switching back to Shad's jazz roots in the early '70s, signing a new crop of jazzmen fed on John Coltrane and Miles' electric experiments. Thus, was born the cult Mainstream "300 Series" with its distinctive artwork and outstanding music from which this selection is largely drawn. Giving their chance to many young jazz players and a few old friends, Shad recorded some of the most exciting jazz of the early '70s, mixing spiritual influences with funk and soul. It is interesting to note the Mainstream sessions included many of the hottest session players of that time such as Ron Carter, Eddie Henderson, Airto, Mtume, Earl Palmer, Mickey Roker, Merl Saunders, Cedar Walton, to name but a few. Shad also had a long-standing association with jazz divas showcased here with the opening track by Sarah Vaughan, a funkified version of Marvin Gaye's "Inner City Blues" recorded the same year as the original in 1971. Mainstream Funk also includes a selection of superb tracks by young Turks who'd cut their teeth as sidemen for Blue Note and Prestige in the late '60s and were given a chance to record their own music on Mainstream. Buddy Terry's "Quiet Afternoon', Dave Hubbard's "Family Affair", and LaMont Johnson's "M'Bassa" are prime examples showcasing the label's desire to give these talented newcomers a chance to shine. Seasoned musicians from the Bebop scene were also welcome, such as trumpetists Blue Mitchell -- who'd released a string of great albums for Riverside and Blue Note in the late '50s and '60s -- and Johnny Coles who'd played with Gil Evans, Charles Mingus, and Herbie Hancock. Shad also released pure soul music on the label such as Sugar Billy's "Super Duper Love" which was released on his Fast Track sub-label in 1974, arranged by Jimmy Roach and featuring Marcus Belgrave in the line-up. Also features Prophecy, John White, Mike Longo, Barry Miles, and Pete Yellin.

 

PRICE: $17.00

CAT #: YAZ 1050HLP

FILE UNDER: ROCK

2024 restock. 180 gram vinyl reissue, originally released on Yazoo in 1975. "Furry Lewis was an exceptional bluesman from Memphis who combined raggy and bottleneck guitar arrangements with wry lyrics. His first recordings, presented here, captured him at the height of his inventive power. His renditions of 'I Will Turn Your Money Green' and 'Kassie Jones' have become standards on the blues repertoire."

 

PRICE: $16.50

CAT #: ZEDD 061CD

FILE UNDER: ELECTRONIC

Z Records presents Vol. 3 in its 90's House & Garage compilation series, this time presented by Jeremy Underground, a man who should need no introduction when it comes to all things House & Garage. Jeremy is a passionate record collector, DJ, music lover whose collection and knowledge surpasses his years of collecting and he's made it his personal mission to bring the warm vibes of this sound back and showcase the spirit of this golden era in house. This is his third ever house music compilation and much like the previous two in this series, the compiler digs deep into his collection to select tracks that haven't been re-released digitally and, in one case, never released at all! Meaning a lot of the tracks included here are being digitized for the very first time. Sourcing material from the original DAT tapes of the artists or in some cases painstakingly transferred from vinyl, cleaned and treated to the highest professional standards of today. Split over two parts on gatefold double 12" vinyl (ZEDD 061LP and ZEDD 061X-LP) and double CD for the first time, this is a very carefully curated album, showcasing a deep love and understanding for the sound represented here, from what is a definitive decade for House & Garage. Featuring tracks and remixes from the likes of Kerri Chandler, Murk, 95 North, and more.

 

PRICE: $32.00

CAT #: ZEDD 061LP

FILE UNDER: ELECTRONIC

Double LP version. Part 1. Z Records presents Vol. 3 in its 90's House & Garage compilation series, this time presented by Jeremy Underground, a man who should need no introduction when it comes to all things House & Garage. Jeremy is a passionate record collector, DJ, music lover whose collection and knowledge surpasses his years of collecting and he's made it his personal mission to bring the warm vibes of this sound back and showcase the spirit of this golden era in house. This is his third ever house music compilation and much like the previous two in this series, the compiler digs deep into his collection to select tracks that haven't been re-released digitally and, in one case, never released at all! Meaning a lot of the tracks included here are being digitized for the very first time. Sourcing material from the original DAT tapes of the artists or in some cases painstakingly transferred from vinyl, cleaned and treated to the highest professional standards of today. Split over two parts on gatefold double 12" vinyl (along with ZEDD 061X-LP) and double CD (ZEDD 061CD) for the first time, this is a very carefully curated album, showcasing a deep love and understanding for the sound represented here, from what is a definitive decade for House & Garage. Featuring tracks and remixes from the likes of Kerri Chandler, Murk, 95 North, and more.

 

PRICE: $32.00

CAT #: ZEDD 061X-LP

FILE UNDER: ELECTRONIC

Double LP version. Part 2. Z Records presents Vol. 3 in its 90's House & Garage compilation series, this time presented by Jeremy Underground, a man who should need no introduction when it comes to all things House & Garage. Jeremy is a passionate record collector, DJ, music lover whose collection and knowledge surpasses his years of collecting and he's made it his personal mission to bring the warm vibes of this sound back and showcase the spirit of this golden era in house. This is his third ever house music compilation and much like the previous two in this series, the compiler digs deep into his collection to select tracks that haven't been re-released digitally and, in one case, never released at all! Meaning a lot of the tracks included here are being digitized for the very first time. Sourcing material from the original DAT tapes of the artists or in some cases painstakingly transferred from vinyl, cleaned and treated to the highest professional standards of today. Split over two parts on gatefold double 12" vinyl (along with ZEDD 061LP) and double CD (ZEDD 061CD) for the first time, this is a very carefully curated album, showcasing a deep love and understanding for the sound represented here, from what is a definitive decade for House & Garage. Featuring tracks and remixes from the likes of Kerri Chandler, Murk, 95 North, and more.