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Forced Exposure New Releases for 9/29/2014

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New music is due from Chris Herbert, Anthroprophh, Anstam, and Tape while old music is due from Eliane Radigue, Surgeon, Gregory Isaacs, and Claude Debussy.


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ENFANT, JP: Echoes of You EP 12" (ARTLESS 2189EP) 14.00
The next techno adventure on Mojuba sub-label a.r.t.less is ready to launch. This release is the shimmering debut by JP Enfant aka Jean Pierre Enfant, one of the initiators of the well-respected LET (Les Enfants Terribles) crew from Amsterdam and established Trouw resident. This EP hits you with three unique techno tracks fully charged with emotions. You can't help it but think of the early golden years of techno and things like Selected Ambient Works 85-92 by Aphex Twin, B12, Stasis or Kirk Degiorgio, so check it out.


AA 4128LP

SLY & ROBBIE: King Tubby's Dance Hall Dub: Middle East Dub LP (AA 4128LP) 11.00
On olive green marbled vinyl. Recorded at Stone River Studios; featuring "From the Grass Dub", "Middle East Dub", "Asian Roots Dub", "Flight Of Africa Dub".



BERROCAL, JAC: Priere 10" PIC DISC (ALGA 018LP) 38.50
2004 release. Alga Marghen is currently working on the CD edition of Jac Berrocal's Catalogue, which will include the original LP material as well as several new and historical recordings. The true Catalog of Berrocal! It was decided to produce a 10" picture disc with some precious tracks that for one reason or another will not appear on the CD. "L'union Libre," a famous poem by the surrealist master André Breton, here in a multiple-superimposition version of the wonderful voice of Jacques Doyen and the music by Jac Berrocal recorded in 1985; "Priere," text by Antonin Artaud spoken by Berrocal himself, including excerpts from "Voyage au bord de la ville," a very abstract and dissonant track with music by Berrocal, Gilbert Artman and Jack Belsen, recorded in Paris, 2003; "A Satanic Prayer," an almost ritual-dub recording created in Warszawa, Poland, in 2002; and the catchy "1555," a classic piece by Berrocal featuring very pure trumpet solos with a background collage of distant, heavily-treated and distorted sounds. Private edition of 250 copies only.


DUFRENE, FRANÇOIS: François Dufrêne Book w/CD (ALGA 024CD) 62.00
2007 release. François Dufrêne (1930-1982) is one of the leading artists from the post-War European and French art scene. He played a key role in many of the initiatives of Lettrism, Nouveau Réalisme and sound poetry. In François Dufrêne's oeuvre, art and poetry intersect in a reciprocal experimentation of the possibilities of transgression of their specific grammars. His oeuvre constitutes a singular example of this special relationship between art and language, which throughout the 20th century proved to be one of the most fertile grounds for expanding the limits seemingly imposed on Western art via the history of artistic genres. Many of his artistic creations use objects retrieved from the urban context, such as posters or stencils, or use the voice in non-linguistic contexts. Examples of the latter include his creation of the crirhythm, wherein he reinvented sound poetry and the relationship between performance and text. The present release attempts to present François Dufrêne's work as a totality, wherein it would be artificial to separate his status as a poet from that as a visual artist. Poems, books, records, recordings, reverse sides of posters, stencils, films and photographs documenting the artist's actions are combined together in a mosaic that makes it possible to reinterpret François Dufrêne's work as one of the most singular adventures of his epoch, and also re-evaluate the relevance of the challenges he posed to contemporary culture. This album includes the fantastic crirhythm from 1970 titled "Belle nuisances hantez nos nuits," the complete "Osmose-Art" from 1969 where crirhythms are superimposed to classical music, "Eryximaque" and two "Lecture-collage" from 1965 as well as the 1958-70 "Comptinuum." All the sound works presented on the CD are also included in the 4LP boxset anthology issued by Alga Marghen and titled Oeuvre Désintégrale. Full color catalog in A4 size, 250 pages, all texts translated in English, French and Portuguese. The book includes a large selection of experimental visual works dating from 1957 to 1981 as well as the biography, essays and original texts (among them "Pragmatics of Crirhythm" and "The Crirhythm and the Rest," both from the mid-1960s). Full discography and filmography are also included. First edition of this large catalog, the first ever to fully document the work of François Dufrêne.


RADIGUE, ELIANE: Jouet Electronique/Elemental I LP (ALGA 029LP) 25.00
Limited restock. "Alga Marghen proudly presents two sublime pieces by Eliane Radigue, 'Jouet Electronique' (1967) for feedback on magnetic tape and 'Elemental I' (1968) for feedback of natural sounds on magnetic tape. Both works, recorded at Pierre Henry's Studio Apsome in Paris, have not been published before. Between 1967 and 1968, Eliane Radigue was the assistant of Pierre Henry in his studio, mainly for the editing of 'L'Apocalypse de Jean.' He also put her in charge of organizing his sound archive according to different criteria. It was endless work -- there were incredible sounds, a true sound library! Eliane Radigue really enjoyed doing this work, even if it took a long time. So, sometimes she decided to set the machines of the studio to do some little work on her own. 'Jouet Electronique' and 'Elemental I' were born this way as a kind of recreation during her time as a studio assistant. Working with feedback is something that Eliane Radigue learned through Pierre Henry. Do you remember 'Voyage'? There's that fluid part which is made of feedback constructed with a microphone. Everything had to be set at a precise distance from the loudspeakers because that is the specific problem with feedback -- you have to be at the right distance. Afterwards, these high tone recordings were slowed down in order to discover the deeper character of their color. This work with feedback was in the end quite limited and the composer preferred working with two reel tape machines to produce sounds. The first was set on the recording mode while the other was playing and it was the accidents happening in this phase that made the feedback richer. With some fine-tuning you could reach very beautiful results: low pulsations, very high-pitched sounds -- sometimes both at the same time -- or long sounds. All of these sounds could be slowed down or accelerated, which gave her a beautiful material to work with. With 'Jouet Electronique' Eliane Radigue had a lot of fun, hence the title. As far as 'Elemental I' is concerned, it was the first attempt at something which was very important to her based on the theme of the basic elements: water, fire, air and earth. Eliane had the chance to record in open air thanks to a small Stella Vox that Arman gave her in the beginning of the 1960s. At the time she was still living in Nice and every now and then she went for a walk to do some recordings of the sea, the wind, the rain, the fire -- Eliane Radigue continued this way to build her very minimal sound library, consisting of not more than ten reel tapes. This was the starting point and in 1968 she used these recordings for her work with two reel tape machines. First pressing limited to 300 copies, with a text by Emmanuel Holterbach and a photo portrait by Arman."


TAKIS: Pendules Magnétiques (1964-66)/Le Siècle De Kafka (1984) LP (ALGA 030LP) 25.00
2009 release. Alga Marghen proudly presents one of the highlights of Takis' catalog, an exclusive LP edition with the recordings of Takis' electro-magnetic sculptures. Takis is the originator of this new approach to the musicality of sound, which consists in laying bare the repetitious structure of musical form and its functional derivation, thus rejecting the symbolism of representation. Takis was born in 1925 in Athens. Preferring, as a matter of principle, to teach himself rather than study in an institution, he left Greece in 1954 and lived as a citizen of the world, traveling through Europe and the USA. Some of his earliest manifestations in the 1940s consisted of explosions carried out in open places. His first "Signals" date from 1954: they were rods consisting of piano wires which created musical vibrations as they stuck against each other in the wind. In fact, they constituted the first appearance in his work and in contemporary art history of a form of musical expression in which sounds are called forth in an un-programmed way, owing to the action of natural forces. In 1961 Takis met Marcel Duchamp in New York. Duchamp's perpetual moving bicycle wheels inspired Takis' hydromagnetic sculptures. In the period between 1964 and 1965, Takis conceived his Pendules magnètiques and constructs his first Sound Sculptures. After the exhibition of Takis titled Electro-musical relief at Indica Gallery in London in 1966, the New Scientist magazine in an article entitled "The Sounds of Tomorrow" commented that Takis, Iannis Xenakis and John Cage were the most promising musicians of the century. Takis' Pendules magnétiques are based on the simple concept of using magnetic waves caused by electricity as a means to activate repeated musical sounds: the latter are to be heard every time a needle strikes a string, when attracted by a magnet. The sounds reproduced in this edition were recorded in 1993 by Samon Takahashi at Takis' retrospective at Jeu de Paume in Paris. Takis participates in 1984 at the exhibition titled The Century of Kafka at Centre Pompidou in Paris and sound work with the same title is also reproduced on this LP edition. As an artist he seeks a natural origin for the construction of sound, and in particular that origin which is furthest removed from the artist's arbitrary decision. For about 40 years now, it has been Takis' purpose to investigate language as a natural function, conceiving function as a form of work. Furthermore, he has broken down the frontiers between sculpture and music in a number of pieces which can only be read by identifying their functionalism as structured units, with their morphological, visual and acoustic aspects. Edition limited to 380 copies with full-color sleeve, printed inner-sleeve reproducing a testimony by Marcel Duchamp and an insert with photos of the Pendules magnètiques and a testimony by William Burroughs.


VA: Avant Marghen Vol. 4 7LP BOX (ALGA 032LP) 168.00
2014 restock. "New volume of the Avant Marghen series in a numbered edition of 80 copies. This luxury black boxset edition actually includes the fourth group of 7 LPs previously issued for the VocSon series and now sold out. Each individual LP record includes a numbered Avant Marghen inner-sleeve.LP 1 to 4) François Dufrene Oeuvre Désintégrale 4 LP set. First 80 copies from the original pressing of 345 copies issued in 2007, presented here with minimal hand-elaboration on each sleeve. François Dufrene's impressive work, along with that of Gil J. Wolman and Brion Gysin, was a strong influence for experimental poets like Henri Chopin, Bernard Heidsieck and Ake Hodell.LP1) Oeuvre Désintégrale 1 LP includes an 18-minute-long crirythme from 1969 as well as 'Osmose-art,' a long piece from 1969 divided into two suites where Dufrene superimposes his crirhythms to classical music.LP2) Oeuvre Désintégrale 2 LP includes six majestic crirythmes (created between 1965 and 1976) as well as 'Eryximaque, suite choreographique au Tombeau de Pierre Larusse,' a work halfway between the written text and the sound poem whose unity is achieved through Dufrene performing it, a masterpiece of synthesis of active poetry.LP3) Oeuvre Désintégrale 3 LP includes two 'Lecture-collages' dating from 1965, adding jazz music (especially drum and percussion pieces) to poems marked by strong Lettristic esthetic. One of his most extreme crirythmes, titled 'Belles nuisances, hantez nos nuits,' dating from 1970, is also included on this record.LP4) Oeuvre Désintégrale 4 LP includes three breathtaking crirythmes as well as two 'Comptinuum' from his early on-progress works started in 1958.LP5) Charlemagne Palestine Voice Studies LP, limited to 80 numbered copies pressed on dark blue vinyl and featuring a new sleeve, only available with this boxset edition. Palestine's introduction to music or sound was first with his own voice. This LP includes the very early 'Surrealistic Studies,' using a Webcor reel-to-reel tape recorder, discovering a technique of shouting into the microphone and immediately pulling it out, creating an interior echo chamber where the sound would turn around on itself, changing and distorting. 'Voice + Piano Study I & II' are short and beautiful piano improvisations with tape superimposition of accelerated voice pieces. In 'Voice Study' Charlemagne sings in a falsetto duet with himself on two separate tracks in a resonant space, searching for intervals that resonate together and respond like electronic sound wave oscillators played against each other.LP6) Gherasim Luca Two Poems LP. First 80 copies from the original pressing of 385 copies issued in 2009. Created in close connection to Sten Hanson who invited the Rumenian artist at Fylkingen in the very beginning of the 1970's and made him discover the possibilities of the advanced EMS electronic music studio of Stockholm. The two recordings presented here are quite unique as they are the only poems by Gherasim Luca created through the use of electronic manipulations. 'Autres Secrets Du Vide Et Du Plein' (April 1971) and 'Crimes Sens Initiales' (April 1972) were both performed at the 1971 and 1972 Text-Sound Festivals of Stockholm. Including an essay by Henri Chopin.LP7) Charlemagne Palestine & Simone Forti Illuminations LP. First 80 copies from the original pressing of 365 copies issued in 2010. Duo interactions, illuminated with dim red lights. The three previously unreleased recordings on this LP were made between October and December 1971."


POTAGE, MICHEL: Occupé LP (ALGA 035LP) 28.50
2011 release. Alga Marghen presents one of the treasures of the French avant scene of the 1970s, published now for the first time. An ideal parallel to Jac Berrocal's cult LP Paralleles, the realization of these pieces, recorded by Daniel Deshays and produced by d'Avantage in 1977 that also conceived a very elaborate sleeve design, was mysteriously discontinued, making this record one of the lost jewels of the French underground. Together with Michel Potage (voice and various instruments) and Jac Berrocal (trumpet, valve trombone, tibetal oboe, percussions), the same ensemble that recorded Berrocal's Paralleles, and Pierre Bastien of Nu Creative Methods fame (bass, Tibetan reed instruments, trumpet, voice), the father of French free jazz Bernard Vitet (bugle, trumpet, reed instruments, violin, voice), Roger Ferlet (trumpet, slide trombone, voice), Claude Parle (accordion, reed instruments, voice), Françoise Achard (voice, chant, lao mouth organ, balano, rainstick), the legendary producer and sound engineer Daniel Deshays (voice), poet Jean-Marie Gibbal (voice) and a Ford Break (engine, speed, brakes, light, etc.), everyone is here following Michel Potage's vision and enters into a magic sound territory. Michel Potage was co-founder with Berrocal of the d'Avantage label in 1976, he played in the first Catalogue band (with Jac Berrocal and Jean-François Pauvros), a performer close to Julian Beck's Living Theatre on one side and to James Chance's no-wave Contortions on the other, musique concrète avant-gardist and poet of destroyed lyricism. After three years of collaboration in close connection with the author, Alga Marghen conceived a new layout with original photos of the recording sessions and proudly co-released this production with d'Avantage. The sound was restored from the original masters by Daniel Deshays. Edition limited to 385 copies, including an LP-size 8-page booklet with complete lyrics and photos from the recording session. Gatefold sleeve.


MOSCONI, DAVIDE: Sezione aurea/Sezione ritmica 6LP BOX (ALGAMARS 006LP) 850.00
"Sezione aurea (dedicated to the artist daughter Tantra) was conceived at her birth in 1971 and started in 2000 thanks to the solicitations of Gabriele Bonomo and the good will of the Milanese record producer Emanuele Carcano. The work was born of an old desire of Davide Mosconi: make a music which will be always different at each playing, however without altering its constituent elements. Other works based on the same premise are Musica del Paradiso for the tower in the park in Hiroshima, and Opera Rotta for the La Scala theater. The first section of Sezione aurea with the title 'Sezione ritmica' (i.e. Rhythmic Section) makes use of at least three turntables and monophonic amplifiers where the loudspeakers are placed in semicircle around the listeners. The discs themselves are mute (in the sense of having no recorded sound) but with lines traced on their surfaces by means of various pointed objects thus producing a variety of sounds. These signs are different for each face of the three records and generate a 'rhythmic cage' with eight combinatorial possibilities never the same, just because it will never be possible to start the records in the same way. It is the same in the visual field when two graphic lenses are superimposed and moved against each other (the moiree effect). Ten signs are used to mark the records, which correspond to the five sides of a pentagram and those of a five-pointed star, inscribed in a circle of equal diameter to that of the disc; plus two radiating lines: one on a vertex of the star and the other on a vertex of the internal pentagram. 'The golden section of a circle takes on both algebraically and arrhythmically the property of the dominant geometry of the pentacle (associated with the Pythagorean tradition). The star-form of the pentagram is symbolic either of creative love or the beauty of harmony and of health' (from Matila C. Ghyka's The Golden Section, ed. Gallimard 1931). Each record of the Sezione ritmica 6LP box has been individually laser-etched at Fad Lab in Qatar over a period of 3 years. The whole process to release this edition took 14 years. An edition of 35 numbered copies is now available in a silk-screened box with diagrams and full liner notes. The world premiere of the installation with 6 record players has been presented during the Art Fair in Brussels this past April. The edition will be officially available for sale for the first time at ArtBasel on June 18th, 2014. Several installations are planned throughout 2015."



Over the past 10 years, Nadim Mishlawi has worked as a composer and sound designer on a multitude of films from Lebanon and the Middle East. Having studied music while in school, Nadim put aside his formal musical training when he began studying Fine Arts at university. During this time, Nadim began experimenting with various forms of sample-based and electronic music. Nadim's interest in sample-based compositions developed further as he completed his MA in Film Studies and in 2004 composed his first piece of musique concrète entitled "On the Periphery: An Offscreen Composition." The piece was exhibited at the Ashkal Alwan Homeworks 3 Forum in Beirut the same year. Combining his passion for music and film, Nadim began composing for films in 2006 when documentary filmmaker Mohamad Soueid approached him to compose the music for his documentary The Sky Is Not Always Above. Nadim continued working with Soueid on his next three films My Heart Beats Only for Her, How Bitter My Sweet, and A Spell of Absence. In 2006, Nadim and his wife, sound editor Rana Eid, opened db STUDIOS, a facility specializing in audio postproduction. Since then, Nadim has worked on numerous films. In 2011 Nadim was nominated for Best Original Score at the 2011 Aubagne International Film Festival in France for his work on the film Stray Bullet, directed by George Hachem. In addition to music for film, Nadim has also worked as sound designer on various kinds of projects including Jocelyn Saab's idiosyncratic film What's Going On, and Lamia Joreige's video Nights and Days. However, Nadim's most extensive work as a sound designer has been with artist Akram Zaatari. The two have been working together for the past five years, their most recent collaboration being Letter to a Refusing Pilot which premiered at the 2013 Venice Biennale. In 2011, Nadim released his directorial debut, the documentary Sector Zero, in which he used the bleak history of Karantina, an area on the outskirts of Beirut, as a metaphor for modern Lebanon's troubled past. The film received the first prize in the Muhr Arab Documentary category at the 2011 Dubai International Film Festival, as well as the Berlin Art Prize for Film and Media Arts in 2012. In 2013, Nadim screened his experimental short film Echoes in a Room with No Walls at the Ashkal Alwan Homeworks 6 Forum in Beirut. The film used 16mm footage, again of Karantina, as an "image track" to a composition Nadim constructed mostly from archival sounds from the Lebanese Civil War. Nadim currently lives and works in Beirut. Works is the first release of music by Nadim Mishlawi. The production is a collaboration between Nadim's media label TOTEM Media and Annihaya Records owned by Sharif Sehnaoui, Raed Yassin, and Hatem Imam. The compilation is a selection of Nadim's personal compositions, and does not contain any film scores. The package was designed by Hatem Imam of the graphic design company Studio Safar. The box-set is comprised of three albums: 1. Dreams of the Primitives: The basic intention behind the music of this first album in the compilation was to create a unique sonic experience by fusing together diverse musical genres within the individual tracks. This first CD of the compilation is therefore a synthesis of various genres of music, combining elements of post-rock, classical, jazz, and electronics. The title of the album was inspired by the documentary Cave of Forgotten Dreams by Werner Herzog. 2. Memories of Things to Come: This second album is a selection of tracks Nadim composed by mixing old tape cassette recordings with digital electronics textures. During the Civil War, Nadim's parents made a multitude of tape cassette recordings. Some of these recordings were interviews, and others just basic ambient recordings of gatherings held in their house. Nadim frequently uses these recordings in his work, but this album his most prolific sample of musical experiments made mixing analog and digital textures. The tracks also include modulated piano samples, originally recorded by pianist Cynthia Zaven for various film scores written by Nadim over the past few years. 3. Sonotechture I & II: The final album in the compilation is a more abstract approach to electronic composition consisting of two tracks, each approximately 30 minutes long. The tracks are constantly evolving from ambient electronic drones to minimal percussive sections and again to harsh, noise-driven textures. Nadim has always been intrigued by the sonic qualities of different urban environments and how these qualities change depending on the time and space of the listener. These two compositions are intended to be somewhat expressionistic interpretations of Beirut's rich sonic environment.


AU 1002LP

RUSSELL, ARTHUR: World of Echo 2LP (AU 1002LP) 30.00
Repressed. "Arthur Russell's most extraordinary work, World of Echo is reissued in this remastered vinyl edition by Audika Records. 18 tracks are featured including drumless versions of his disco classics 'Let's Go Swimming,' 'Tree House,' and 'Wax The Van' along with four previously unreleased tracks. Originally released in 1986, World Of Echo is a deeply intimate and meditative work of awe-inspiring grace and remains a timeless work of sublime beauty. Arthur's aim was to achieve what he calls 'the most vivid rhythmic reality,' with just cello, voice, and echoes. Arthur achieved all of this and more on one of the most incredible albums you will ever hear."


AU 5047CD

DAKILA: Dakila CD (AU 5047CD) 17.00
This Filipino-American septet released their sole album of psychedelic funk in late 1972. An irresistible blend of heavy organ, guitar and drums, with prominent congas and other percussion instruments, it comes across like a heavier Santana, and makes its long-overdue CD debut here. Features detailed liner notes and images. Digitally remastered for superior sound quality.



BASIC CHANNEL: Q-Loop 12" (BC CD) 12.00
Basic Channel have pressed a new 12" vinyl with three tracks taken from the original Basic Channel BCD compact disc that so far hadn't been available on vinyl.



"First ever LP reissue, re-mastered from the original tapes. Features 140-gram vinyl, beautiful old school tip-on jacket, and insert with rare photos and extensive liner notes by Kevin 'Sipreano' Howes (Voluntary in Nature, Light in the Attic Records.) For many born after 1968, the group vocal and orchestra sound of the Mutual Understanding's In Wonderland may seem like the product of another dimension. Despite releasing a handful of recordings, the Mutual Understanding was not a group in the traditional sense, but rather a connected collective of Toronto, Ontario-based producers, arrangers, session musicians, and singers, brought together to create musical magic. In Wonderland is an album that harkens back to a gentler and more innocent time. Any which way, the swinging 1960s-meets-the-classics feel of In Wonderland wasn't rock and roll enough for younger audiences, yet it was likely too progressive and hip for older jazz aficionados. Proper distribution and lack of support on retail and radio levels only compounded the problem and caused the album to slip through the cracks for years. Unfortunately, this was not an uncommon problem for Canadian recordings of the era. Overshadowed by a steady influx of well-promoted discs from the United States and England, it took many decades for In Wonderland to find its rightful audience. As vinyl collectors from Asia and Europe starting scouring the used and delete record bins of North America in the 1980s and 1990s, the Mutual Understanding started to gain prominence in certain collector circles. It has now achieved cult status in Japan, England, and Korea."



FROST, BEN: Theory Of Machines LP (HVALUR 002LP) 19.50
2014 repress, originally released in 2007. Includes mp3 download. This is Reykjavik-based composer/producer Ben Frost's first release for the Icelandic Bedroom Community label. From the ominous darkness and intensity of its opening moments, one might expect a death metal album to break out in an instant, but Theory Of Machines is an album whose design is as symphonic as it is confrontational -- the tempo doesn't pick up, no hooks or vocals arrive, and when the drums finally kick in, they're as fragmented and corroded as they could possibly be and still resemble a groove. On Theory Of Machines, Ben Frost exploits every extreme of pitch, volume and timbre, the changes in this music sometimes seem as gradual as changes in the weather -- and sometimes as violent. As the music changes it changes only in texture, color and intensity so that the sense is not of something being created, altered or even developed, but of something already present being slowly illuminated.


PUZZLE MUTESON: Theatrics CD (HVALUR 021CD) 17.00
Puzzle Muteson is the alter-ego of an enigmatic songwriter from the Isle of Wight, rendering his music in a tremulous tenor over a finely-spun web of finger-picked guitar. Born in London, the southern English island provided unexpected shelter for the shuddering transformation into one-man band, Puzzle Muteson. His grade-school music teacher was first to recognize his unrivalled vibrato, and a little while later, a parade of chance and coincidence led him to inhabit Puzzle Muteson, and start shaping a body of songs. Theatrics picks up where Puzzle Muteson's debut, En Garde (HVALUR 011CD/LP), left off; the 11 tracks telling an intriguing story with every minute that passes; his talent for heart-wrenching melodies and melancholic lyrics shining through like never before. Where En Garde introduced dream-like strings, Theatrics intertwines melody with mechanism; the album is as much a folk song fairytale as it is an exploration of electronic wonders. Some songs have just been born, some have slowly but surely reached their peak through years of delicate edits. And then there is the unique take on New Order's classic 1987 song "True Faith," where Puzzle Muteson breathes new life into this 1987 gem, undeniably making it his own with his trembling voice. Theatrics features many musicians at the height of their craft, including label-mates Nico Muhly and Valgeir Sigurðsson, the latter of which co-produced the album with Bo Weaver.



NONSTATIC, MARTIN: Inner Landscapes CD (BINE 032CD) 17.00
It was early 2013 when inner landscapes finally got audible. Martin van Rossum aka Martin Nonstatic moved to Cologne while Jens from Essen sent a pleasant release offer. Several EPs, remix and packaging projects got finished and the favorite synthesizer was back on duty again, leading to the first track "Inner Landscapes," which in turn also provided the album's title. Martin took 14 months scrutinizing his workflow involving both software and hardware to invent fresh track concepts for his album. Constantly inspired by the Rhenish environment with all of its movements and encounters, the album concentrated on those "inner landscapes." Playful and liberated, he combined field recordings with soundscapes, voices and nature sounds into deep sequence paths. Wave noises and Indonesian voices trickle onto the album's opening track "Behind the Window" and the dub-oriented "Gilli Nangu," while a fine dusty crackle meets deep dub chords and sonic ideas salvaged from earlier live sessions and synthesizer recordings throughout the album, supported by electro-ambient and minimal beat structures and alternating rhythmic patterns, clearly showcasing Martin's extensive experience of both analyzing and producing ambient and dub techno sounds. Embedded between its otherworldly opening and a dreamy outro are 11 aural landscapes forming a 74-minute tour-de-force, and after its long production phase, the emotional waveforms and clear ideas of Martin Nonstatic's Inner Landscapes have finally found their place and are ready to be heard on the outside.


BS 012LP

ABATE, MAURIZIO: A Way to Nowhere LP (BS 012LP) 25.00
Maurizio Abate is a self-taught guitarist, active since the 2000s, with a distinctive approach to experimentation. Since 2006 he has done several recording sessions, released on some LPs under his own name and other collective groups, and has collaborated with David Vanzan and Virginia Genta (Jooklo), Makoto Kawabata (Acid Mothers Temple), Luca Massolin (Golden Cup), and many others. He is currently involved in the project Eternal Zio and plays live in the project BeMyDelay. This record aggregates many of his recent influences, from the meditative Krautism of Popol Vuh to an inalienable passion for blues guitar. Some of the tracks were sketches that he worked on, others were the result of long improvisations which were rearranged and mixed later. The record also features contributions from good friends such as Rella The Woodcutter, BeMyDelay and Alberto Boccardi, and features an excerpt from an interview with Aldous Huxley on "Towards the Outside."

BS 014LP

DOUM & THE FARYDS, AL: Cosmic Love LP (BS 014LP) 25.00
Black Sweat Records presents an album from Milan-based psychedelic band Al Doum & The Faryds. Good vibrations and resonances are distributed along nine tracks, which explores worlds of peace. Jungles, abysses, distant stars -- every place can be the location for the expression of Cosmic Love, thanks to the usual blend of traditional and exotic instruments (sitar, balafon, rabab, djembe, conga, quena), including space effects and loving choirs. Recorded at El Guscio studio in Milan at the end of 2013. Limited edition of 400 vinyl copies.



JIMMY JIM: Zulu Rainin' Hell Mix LP (BHX 101LP) 27.00
"A mega mix of 70's/80's Afrika Bambaataa/Zulu Nation dub plates and acetates. Release to celebrate DJ Shadow and Cut Chemist's Renegades of Rhythm tour, honoring the artistry of Afrika Bambaataa. Housed in a hand silk-screened jacket."



CHA CHA GUITRI: French Synth Wave: St Etienne - 1981 CD (BORNBAD 063CD) 14.50
Unless you are a monomaniacal specialist of the 1980s, there is very little chance that Cha Cha Guitri will ring any bells. And yet this band, buried away in Saint-Etienne -- in the very heart of France -- could have easily rivaled Elli & Jacno or Telex. Emblematic of that French touch which tinged new-wave with a bit of sunshine, their electro, retro-futuristic songs have that slightly sweet and sour flavor between casualness and sophistication. The birth of Cha Cha Guitry in 1981 was a landmark for its members, Serge, Dominique, Charly and Marie. Once their hippie phase was over, the guitar, sax and flute were abandoned in the closet while machines took over: an EMS AKS synth, a Roland SH101, and a Roland TR808 rhythm-box. The two couples met in the congenial atmosphere of their "home studio" to record their songs. The boys composed and sang, and the girls sang and designed minimal costumes -- the elegance of which was enhanced by some DIY touches: no need for fabric, paper will perfectly do. As deceivingly offhanded stylists, the Cha Cha crew carefully crafted a music that was both studied and charmingly quirky, making collages of raw pop materials and avant-garde stuff. Scissors in hand, they took what they wanted from the Bauhaus, Moholy Nagy, or Sonia Delaunay's dresses, taping these iconic bits onto the sounds of Kraftwerk and what remained of pop culture (comics, movies, songs of the '30s or easy listening). Cha Cha Guitry, wisely ingenious, modeled tropical landscapes out of cellophane, thus elaborating their own synthetic surrealism. The adventure would not last more than a few years, just long enough to record two cassettes on Kronchtadt Tapes (a local label central to the underground scene that was more into punk) and give three concerts. As isolated as they were in Saint-Etienne, they got nevertheless noticed by Alain Maneval who programmed them regularly on Europe 1, and they could even be heard on Radio Gay. So they went to Paris to meet a manager from Virgin, but they never got the luck, rare in those days, to release a vinyl. Their arty, pop style was also too DIY for Agnes B's freshly-opened shop: their second cassette, though wonderfully packed in a Plexiglas case resembling an icicle, was not to the brand's taste. Serge has been living in the same flat since 1975 and never got rid of his synthesizer. The studio where Cha Cha recorded their songs has not changed a bit. Everything has been kept, ordered, and archived, from the piles of magnetic tapes to the hundreds of Polaroid shots. Born Bad Records are happy to offer you a selection of these. Greetings from Synth-Etienne.


CHA CHA GUITRI: French Synth Wave: St Etienne - 1981 LP (BORNBAD 063LP) 18.00
LP version with 8-page large format booklet with notes and photos.


BEBEY, FRANCIS: Psychedelic Sanza 1982-1984 2LP (BORNBAD 064LP) 26.50
Double LP version with printed inner sleeve. Born Bad Records presents the music of Cameroonian musician Francis Bebey, circa 1982-1984. "The first time I saw a sanza (a type of African 'thumb piano'), it was just sitting there on a piece of furniture in my family's living room/dining room -- a space that our father also transformed into a recording studio every day. It seemed more like a box than a musical instrument: a mysterious instrument, which arrived at our house, like many things, in a somewhat miraculous way. The sounds it produced seemed particularly bizarre; to my young musician's ears, trained in Western classical music, it sounded out of tune. That's because, like my brothers and sisters, I had been trained on the piano. I had trouble understanding how anyone could endure these tones and, honestly, our father's passion for 'unusual sounds' did not interest me. I was in secondary school at the time (the very late 1970s) and was not at all oriented toward musical projects. I planned to graduate, and then become a chef. In the early 1980s, my interest in music picked up. I was still undecided about my career. I was content to pursue my 'serious' English studies while hanging out at jazz clubs at les Halles in Paris, where I sometimes joined jam sessions. Next, I put together my first band with professional musicians; I had hidden my age and lack of experience from them. France was just beginning to accept 'world music.' Musicians of every nationality were performing in Paris. It was a wonderful period. My father asked my brother Toups and me to accompany him for a few concerts. In particular, we toured Tunisia together at the time of the 1983 Carthage International Festival. Back then, my father was renowned across the French-speaking world. Everyone looked forward to hearing his humorous songs, like 'Agatha' and 'La condition masculine.' But, behind the scenes, he continued his research concerning electronic music, the sansa, pygmy polyphony, etc. One day he put a sansa in my hands, without saying a word. He was sending me a message: 'Let's see what you can do with it!' That's when I really discovered something. Exploring the instrument and playing, I transcended the 'imperfect' aspect of its sound and began to discover its fascinating potential. Playing the sansa, you enter a world that enraptures you in a very serene and mesmerizing way. I think its sounds evoke a rainbow, with rain falling while the sun shines. A very peaceful feeling. It allows you to make music that truly sounds like life. The sansa is also the instrument that my father and I shared the most because I am a pianist and he was a guitarist. I also share this eminently African instrument with my musician brother, Toups. Our father loved to tell us one of the legends of the sansa: how it even managed to dispel the boredom felt by... the Creator himself! This instrument gives life to the world, to beings and things. I did not participate in the production of the various records that my father devoted to the sansa. He did it himself, you might say, in his 'laboratory.' Yet today, I cannot imagine playing a concert without using a sansa. The piano remains present so that listeners don't become disoriented and wonder about the weird sounds invading their ears! However, I find the eccentric and disturbing side of sansa interesting. And the sansa always affects the audience: in reality, it excites them. The secrets of this instrument are surely its beneficial powers and... its magic!" --Patrick Bebey



HAIKAI NO KU: Ultra High Dimensionality LP (BOXREC 006LP) 26.50
Behold the gargantuan sound of HaiKai No Ku. For fans of Bong, Les Rallizes Dénudés, Mainliner, etc. Following the outstanding debut Sick on My Journey on Burning World Records, the three-piece stepped into Blank Studios to record their follow-up, a 40-minute pilgrimage through five mind-altering tracks. By now, avid fans of doom and psychedelia will be familiar with Mike Vest's patented hyper-fuzz guitar shrieks and damaged feedback. In HaiKai No Ku he is joined by Jerome Smith (Female Borstal, Charles Dexter Ward) on bass and Sam Booth (Foot Hair, Bin, Obey) on drums to deliver a burgeoning psychedelic doom trip of the highest grade. Pressed on 180 gram wax with superb artwork and design by Pete Burn, printed on a warm grey recycled card sleeve with metallic ink. Includes a download code.


BB 185CD

GANE, TIM: Kollektion 01: Sky Records Compiled by Tim Gane CD (BB 185CD) 18.00
To provide an overview of the various musical styles in which Bureau B specializes, the label launches a new compilation series entitled Kollektion. Each release in this series will be curated by a musician perfectly suited to the task. The first kick-off release will be: Kollektion 01: Sky Records, compiled by Tim Gane. The erstwhile Stereolab mastermind delves through the archives of the legendary German Krautrock label. More projects to follow: Kollektion 02: Roedelius -- Electronic Music -- Compiled by Lloyd Cole; Kollektion 03: Bureau B -- Compiled by Richard Fearless (Death In Vegas) -- Double Album; Kollektion 04: Populare Mechanik -- Compiled by Holger Hiller. About Sky Records: The record company was founded in the year 1975 and went on to become one of the few German labels to reap international acclaim. It was run by Gunter Körber, who quit his job at Metronome where he and Bruno Wendel had spent four years developing and managing the legendary Brain label. About Tim Gane: No less a figure than Tim Gane, the man behind Stereolab, has delved into the Sky Records archives for the Kollektion series. Gane has never hidden his love of Krautrock; many a Stereolab song has its foundations in the typical "motorik" beat, while his latest band, Cavern Of Anti-Matter wallows in Klaus Dinger rhythms. Experimental sounds hold no fear for him, as early noise cassette releases under his Un-Kommuniti alias testify. His selection of tracks fits the pattern seamlessly: Asmus Tietchens, Cluster, Moebius, Roedelius, Michael Rother, Riechmann, Gunter Schickert, etc. All names writ large in the avant-garde scene of German progressive music, as well as underlining Gunter Körber's audacity in offering such music a forum with his label. In the booklet, Asmus Tietchens, who released four albums on Sky Records, looks back on collaborating with Gunter Körber.


CT 001LP

MIGHTY MAYTONES, THE: Showcase Album: Tune In And Rock LP (CT 001LP) 11.00
2014 repress of these undated 1970s recordings, repro of the original Pioneer International version. "The Maytones is still one of those highly regarded names in the history of reggae music and upon listening to what they recorded in the golden era it's easy to see why. Pearl after pearl, the group delivered the goods time and time again. A word like 'timeless' is truly a cliché in describing the sweet two-male harmony sounds of this group, but it fits perfectly when talking of The Maytones work from that period and many other constellations of their ilk. Vernon Buckley and harmony singer Gladstone Grant started what was to become a very successful career as a harmony group back home in May Pen, a town in the parish of Clarendon, and The Maytones was just one of many excellent duos from Jamaica that sprung from the early reggae era, with the difference that they stayed on top for a longer time than most competitors at the time."

CT 036LP

KING TUBBY: Dub From The Roots LP (CT 036LP) 11.00
2014 repress. "There are very few individuals who command the respect of dub aficionados greater than 'The Dubmaster' himself, King Tubby. On Tubby's venerable 1974 release Dub from the Roots, he introduces us to the 'Shalom Dub', a method of mixing flying cymbals with horns in what he describes as 'going in and out in a dub way'. Borrowing from the forty fives of Johnny Clarke, Jackie Edwards, Cornell Campbell, John Holt, and Horace Andy, King Tubby takes the listener on a journey through a vast array of different emotions, rhythms and soundscapes. One of the standout cuts, 'Iyahta' explores Tubby's use of deep electric basslines to evoke a melodic calmness in the listener, while 'Mine Field' and 'Hijack the Barber' bring you back with the cavernous echoes of stabbing guitars, horns, and cymbals. Though previously released by different labels on a variety of dusty pressings and formats, Clocktower's reissue of Dub From The Roots is the definitive edition of this 'Dubmaster' classic, featuring audio mastered from the original analog tapes."

CT 084LP

KING TUBBY: The Roots Of Dub LP (CT 084LP) 11.00
2014 repress. One of King Tubby's finest works, originally released in 1974. Recorded at Tubby's famous 18 Drummly Ave. studio in Kingston during dub's early development period.

CT 085LP

PABLO, AUGUSTUS: King Tubbys Meets Rockers Uptown LP (CT 085LP) 11.00
2014 repress. Reissue of the 1976 historic collaboration between producer instrumentalist Augustos Pablo and dub engineer King Tubby.

CT 098LP

KING TUBBY: Dancehall Style Dub LP (CT 098LP) 11.00
2014 repress. "Bringing out his best in these fine tracks.Out of the vaults of Clock Tower has appeared these fine dub mixes such as 'Asian Roots Dub,' 'His Easy Dub', 'I Yah Who Dub' and many, many more.... you will be drawn into the rhythm and feelings of a culture far surpassing music into the future."

CT 119LP

SCIENTIST: Scientific Dub LP (CT 119LP) 11.00
2014 repress; 1995 release. "A virtual wizard of the mixing desk, Overton H Brown has been one of the key figures in dub since the late 1970s. Getting his start as a teenager at King Tubby's legendary studio in Waterhouse, Brown was known as 'The Scientist' because his imaginative approach to the mixing desk and electronic gadgetry seemed to derive from magical powers that linked him to some intangible, futuristic realm."

CT 3388EP

VA: ClockTower Records Collector Series of 7" ''Volume One'' 7x7" Box (CT 3388EP) 45.00
Tracklist: Cornell Campbell - "Gun Court/Gifted And Black"; Johnny Clarke - "Creation Rebel"/The Aggrovators - "Creation Dub"; Augustus Pablo - "Jah Light"/"Jah Light Drum And Bass"; Devon Irons - "When Jah Comes"/Lee Perry - "Jah Dub"; Burning Spear - "Travelling"/"Walking In Dub"; Johnny Clarke - "None Shall Escape The Judgment"/King Tubby - "Judgment Day"; Lee Perry And The Aggrovators - "Ski-Wa-Wa"/Junior Byles - "When Better Will Come""The 7'' box set first of the series featuring, rock classics reggae from the Clocktower catalogue. We know you will enjoy this 1st 7'' collector box set with a magnetic lid. All of these are from the 70''s and are in mint condition and some are in color vinyl. To all our fans who continue to buy and support the Clocktower releases whether on 12'', 10'' or 7'', we thank you! So please add this to your personal collection and listen and enjoy to the music of life." -- Alfred Newman

SP 130LP

VA: Garvey to the Rescue LP (SP 130LP) 11.00
1997 release with tracks by Gregory Isaacs, Capt. Barkey, Angel Doolas, Ninja Kid, Horace Martin, King Kong, Chuck Fender, Pinchers, Determine, Galaxy "P" and Itesman.



REY & KJAVIK: Compost Black Label 119 12" (COMP 457EP) 12.00
Rey & Kjavik is the brainchild of Magnus Rey and Isak Kjavik, two mysterious guys from the middle of fuckin' nowhere, well, from the middle of a big European city. But the guys are more than an insider's tip after releases on top-notch labels like Compost Black Label, KaterMukke, Exploited, Get Physical, and their own BY Awake imprint. Their latest remixes for Claire's super-smash "Games" (on Island Rec.) and Tiger Stripes (on Get Physical) underscore their high reputation in the scene. Handstamped one-sided 12'' with a stunning remix by Daniel Bortz.



JONES, MAX: Cornetto EP 12" (CORR 030EP) 14.00
Coming from the lo-fi screamo scene of Mexico City, Max Jones makes his debut on Jennifer Cardini's Correspondant label. A one-time member of a guitar-driven punk posse, Jones' more recent work as an electronic producer favors heavily-syncopated drums, eerie atmospheres, and wry humor. This EP comprises four tracks of drum machine-led workouts. "Cornetto" is a deep, dark dancefloor warm-up, shot through with confrontational mid-range sirens. "Uh Oh" keeps to the stripped-back core elements of thrashing cymbals and two alternating vocal samples. "Slow (feat. Mijo)" finds Jones teaming up with Alec Sander in a sinister, new wave-inspired cut, while "L.M.M" follows its own trail into a sonic wormhole.



DREW HILL: Talk to You 12" (DCR 014EP) 14.00
Michelle Nielsen & Phillip Hill aka Drew Hill unleash their first release on Dance Club Records with stand-out remixes by Groove Armada and label-owners Brodanse. The release kicks off with the original version of "Talk to You," a deep, spacious vocal house track driven by the purest of vocals, deep chords and essential perc hits. Next on the A-side is the Brodanse remix of "Talk to You," a deep, driving tech groover which takes elements from the original and drives them onto a darker, harder level. Groove Armada's remix is an epic, emotive piano chord-led interpretation of the original mix, which is a sure classic.



TSTI: Evaluated: An Album of Remixes LP (DESIRE 113LP) 23.50
Evaluated is the companion album to Evaluations, the debut album from TSTI, released on Desire. It contains 14 remixes (10 on the vinyl + 4 as a digital bonus) by producers and bands as diverse as Soft Riot, Phosphor, XIU, Heinrich Dressel, Castratii, and Roladex. Isolated in an upstate, NY bedroom studio exists TSTI, a solo project by artist S. Smith described as "dark, hazy synthetic pop." Constructing musical landscapes that combine pounding drum machines with elevated melodies, TSTI stirs the echoes of his '80s influences into a pot of contradicting emotions to establish a diverse yet familiar and powerful sound. The genesis of TSTI began in 2003 but did not show its face until the summer of 2011 with the self-released, 4-song demo Black Envelope EP. The first 10 months of 2012 TSTI spent writing, recording and mixing his full-length release Evaluations which consisted of nine tracks assessing those that surround him. 250 copies on clear vinyl. 350 gram sleeve, plus an insert. Contains a download card including four bonus tracks.


UNDERPASS: Assimilation LP (DESIRE 140LP) 19.50
Olympia, Washington's political post-punk outfit Underpass uses a minimalist approach to craft songs about isolation, displacement and gentrification. Formed in 2013 by Alexander Miranda, the band's creative force behind the quartet, and his cohorts, whose names are withheld due to border issues, N.C. (bass) D.L. (synths) and M.W. (floor tom and snare), create dark heavy punk at its best by incorporating large atmospheric synths, deep, echoing bass lines with Robert Smith-kissed guitar compositions and haunting vocals. Recorded in Vancouver, BC over the course of two sleepless days and nights by Joseph Hirobiashi, then mastered by Mell Dettmer (Earth, Sunn O)))), Assimilation is nothing short of a call to action. On "Stranger" Miranda recalls the cities where he came of age such as Vancouver, Seattle and Olympia that have since come and gone and he no longer recognizes due to the intense wave of development that surged through the region in the early 2000s and still continues today. "Side" reflects more personal experience, recalling a time where a friend was assaulted and stabbed multiple times while on public transit in Southern California. Underlying the record as a whole, Miranda draws on his personal experiences growing up in a politically-charged Native American family where he experienced cultural displacement, personal conflict, and of course, assimilation. "I really admire writers who can create songs that mean something different to everyone," explains Miranda. "With Assimilation I tried to accomplish this by allowing each listener to connect to the record in different ways by internalizing their own experiences and relating to it in their own unique way." 350 gram sleeve with insert and a download coupon.


DT 042LP

FAUST, JUSTIN: Spellbound LP (DT 042LP) 21.00
After two years of producing new material, Justin Faust is finally putting out his first full-length album on Discotexas. Justin Faust has quickly emerged at the vanguard of Europe's nu disco/electro house and has taken over dancefloors and DJ charts during the past half-decade. Based in Munich but an integral member of Portugal's Discotexas label, Faust has created an album that shows how Justin creates his musical vision -- from very club-friendly classics like "Girl Talk" to nu disco and pop excursions and even slow material, this album is like a summer breeze of feel-good vibes. The album also includes the hit single "Space Rhumba" and a completely new version of his classic tune "High Hopes," as well as a unique approach to his first Discotexas EP title-track "Holdin On," renamed "Slowin Down." On "Na Sowas," he was able to work with guitar legend Mats Björklund, who recorded tons of records for the likes of Boney M. and Giorgio Moroder -- a true disco legend. The first single of the album will be released on September 12 and is called Spellbound, which sets the path with a pumpin' mix of nu disco and house. No matter where you play it, Spellbound will fill the dancefloor. Limited LP edition of 300 copies, includes a download card.


ACV 2010LP

COLTRANE, JOHN: Tenor Conclave LP (ACV 2010LP) 22.00
Originally released in 1957. "In just a few short years, Coltrane has emerged as one of the leading jazz voices of the world. Comparing the styles of the four would be a difficult chore for any man, let alone a poor jazz broadcaster like myself, but a certain, basic, labeling could be attempted. In a sense, Hank and John are of the same ilk, while Al and Zoot are of another mold. The four play as one. There's no overshadowing on ensembles, no leaning to a particular sound; rather, there's a feeling of compatibility that's really quite remarkable. This is another tribute to the high-calibre musicianship of the group." --from the original liner notes; Featuring: Hank Mobley, Zoot Sims, and Al Cohn. A numbered limited edition of 500 copies pressed on Audiophile Clear Vinyl (ACV).

ACV 2011LP

Originally released in 1962. "The quintet represented on this album is widely regarded as being one of the most exciting and effective of the fifties, even though the majority of its work did not come to light until that decade was over. Even given the undeniably unique nature of Coltrane's playing, the quintet represents, in many ways, the essence of New York jazz of the fifties. Since the time of these recordings, at least two of the musicians involved have carved ineradicable places for themselves in the story of jazz of the fifties; the rest have been important contributors and Red Garland, the leader of these sessions, occupies a unique place in the story of jazz piano." --from the original liner notes; Features Red Garland (piano), John Coltrane (saxophone), Donald Byrd (trumpet), George Joyner (bass), Paul Chambers (bass), and Art Taylor (drums). A numbered limited edition of 500 copies pressed on Audiophile Clear Vinyl (ACV).

ACV 2012LP

Originally released in 1962. "Performed before a live audience at New York's Club Bohemia on December 23, 1955, this album contains some of Mingus' more adventuresome and jubilant works. Some of the tracks are arresting enough to require special comment. Generally, one is struck by the evocative, turbulent piano of Mal Waldron, particularly in 'Work Song' and 'Jump Monk.' As a bassist, Mingus remains unbelievable. No one can approach him as a technician or as an imaginative explorer. His double stops, glissandi at impossibly fast tempos and his blowing are legendary among bass men who, as a cellist once remarked of Piatigorsky, would expect to see him tuck the bass under his chin and bow it like a fiddle." --from the original liner notes; Features: Charles Mingus (bass), Mal Waldron (piano), George Barrow (tenor saxophone), Eddie Bert (trombone), and Willie Jones (drums). A numbered limited edition of 500 copies pressed on Audiophile Clear Vinyl (ACV).

ACV 2013LP

HAWKINS, COLEMAN: Desafinado LP (ACV 2013LP) 22.00
Originally released in 1962. "'Bossa Nova' is Rio de Janeiro slang for 'the new wrinkle.' Basically, it is a blend of Afro-Brazilian samba and Afro-American jazz. It wasn't until the late fifties that the jazz-inspired rhythmic freedom and melodic spontaneity which Brazilian musicians were applying to their native music began to attract the attention of visiting U.S. jazzmen. Some of them, fascinated by what they had heard, began to play their versions of the bossa nova back home. Nothing could be more fitting than a union of this newest of jazz trends with one of the most durable of jazz masters: Coleman Hawkins." --from the original liner notes; A numbered limited edition of 500 copies pressed on Audiophile Clear Vinyl (ACV).

ACV 2014LP

COLTRANE, JOHN: Giant Steps LP (ACV 2014LP) 22.00
Originally released in 1960. "What makes Coltrane one of the most interesting jazz players is that he's not apt to ever stop looking for ways to perfect what he's already developed and also to go beyond what he knows he can do. He is thoroughly involved with plunging as far into himself and the expressive possibilities of his horn as he can. As Zita Carno wrote, 'the only thing to expect from John Coltrane is the unexpected.' I'd qualify that dictum by adding that one quality that can always be expected from Coltrane is intensity. He asks so much of himself that he can thereby bring a great deal to the listener who is also willing to try relatively unexplored territory with him." --from the original liner notes; A numbered limited edition of 500 copies pressed on Audiophile Clear Vinyl (ACV).

ACV 2015LP

JOBIM, ANTONIO CARLOS: Desafinado LP (ACV 2015LP) 23.50
Originally released in 1963. If bossa nova could be considered a revolution or a movement in American popular music, then Desafinado most certainly has been its battle cry. So profound was the impact of Desafinado that bossa nova became the thing in pop music. Collected in this set are more of the remarkable works of this Brazilian composer, each, in its own way, as unique and startling as Desafinado. He was 36 years-old when this set was recorded, and was in New York for a live-and-work period which found him recording, writing for publishers and record companies, and meeting American jazz musicians. LP with inside pocket -- luxury edition. A numbered limited edition of 500 copies pressed on Audiophile Clear Vinyl (ACV).

ACV 2016LP

CHARLES, RAY: What'd I Say LP (ACV 2016LP) 22.00
Originally released in 1959. "If not for a Midwestern dance gig that ran late, the world might have been forever deprived of Ray Charles' immortal 'What'd I Say.' Stuck for material at the end of a long evening, the incomparable Brother Ray began to improvise and before the show was through, the genius had brainstormed one of his biggest sellers of all right there on the bandstand. Subsequently captured February 18, 1959, in a New York studio by Atlantic Records engineer Tom Dowd in brilliant stereo, 'What'd I Say' ran so long at nearly six-and-a-half minutes that it had to be split on both sides of an Atlantic 45 for mass consumption. It was one of the most suggestive pieces ever aired on pop radio up to that time." --from the original liner notes; A numbered limited edition of 500 copies pressed on Audiophile Clear Vinyl (ACV).

ACV 2017LP

MONK & JOHN COLTRANE, THELONIOUS: At Carnegie Hall LP (ACV 2017LP) 22.00
Originally recorded in 1957. "Almost miraculously, we have these two Carnegie Hall sets, when that August hall's acoustics were all-purpose. Coltrane soars, Monk is in top form on a fine piano; Abdul-Malik supplies a steady bottom; and Wilson, a musician's musician, does what he always did: apply his great skills, aptly, for any group of which he was a part -- in this case a very special one." --from the original liner notes; A numbered limited edition of 500 copies pressed on Audiophile Clear Vinyl (ACV).

ACV 2019LP

HARDY, FRANCOISE: Francoise Hardy LP (ACV 2019LP) 23.50
After growing up in the 9th arrondissement of Paris, daughter of an unmarried mother, and receiving a guitar on her 16th birthday as a reward for passing her baccalauréat, Françoise Hardy answered a newspaper advertisement looking for young singers. She signed her first contract with the record label Vogue in November 1961. In April of 1962, shortly after finishing school, her first record Oh Oh Chéri appeared, written by Johnny Hallyday's writing duo. Her own flip-side of the record, "Tous les garçons et les filles" became a success, riding the wave of yé-yé music in France, with two million sales. Françoise Hardy (1963) is the second studio album by the French popular singer Francoise Hardy. Like many of Hardy's earlier albums, it was released with no title, except for her name on the cover. In the UK the album was released as Françoise Hardy - In Vogue. Numbered second edition of 1000 copies pressed on Audiophile Clear Vinyl (ACV).

ACV 2020LP

HARDY, FRANCOISE: Francoise Hardy canta per voi in italiano LP (ACV 2020LP) 22.00
After growing up in the 9th arrondissement of Paris, daughter of an unmarried mother, and receiving a guitar on her 16th birthday as a reward for passing her baccalauréat, Françoise Hardy answered a newspaper advertisement looking for young singers. She signed her first contract with the record label Vogue in November 1961. In April of 1962, shortly after finishing school, her first record Oh Oh Chéri appeared, written by Johnny Hallyday's writing duo. Her own flip-side of the record, "Tous les garçons et les filles" became a success, riding the wave of yé-yé music in France, with two million sales. Françoise Hardy canta per voi in italiano was an album issued shortly after her debut with some of its songs and additional numbers re-recorded in Italian. While the original album is a classic of French pop, '60s AM magic, and of course, a forerunner of the yeh-yeh (aka yé-yé) sound, the additional tracks in Italian are a sweet counterpart. Numbered second edition of 1000 copies pressed on Audiophile Clear Vinyl (ACV).

ACV 2025LP

MENDES & BOSSA RIO, SERGIO: Voce Ainda Nao Ouviu Nada! LP (ACV 2025LP) 22.00
A disc long worshipped, you have not heard anything like this! Sérgio Mendes & Bossa Rio's Você Ainda Não Ouviu Nada! (1964) is a true milestone in the evolution of Brazilian instrumental music post-bossa nova. Infinitely sophisticated, but still full of swing, Bossa Rio (Tiao Neto, bass; Edison Machado, batteries, Edson Maciel, Raul de Souza and Hector Costita, metals) deal here with the reinvention of bossa classics and original songs. It should be noted that, in the original liner notes, the album has always been treated as a samba record. And it is: samba with odd instrumental refinement, but always samba. A numbered limited edition of 500 copies pressed on Audiophile Clear Vinyl (ACV).

ACV 2027LP

Ever since the end of World War II, the exchange of musical ideas between jazzmen of various nations has gained increasing incidence, particularly in Scandinavia. It was in Sweden that the first outstanding modern jazz soloists were contributed by Europe to the international discographies; and it was in Sweden that a number of happy unions took place between American and Swedish jazzmen, resulting in the production of such successful sessions as the two represented on this album. Jazz Abroad (1955) indicates decisively that men like Quincy Jones, Roy Haynes and their confrères are musically at ease in the company of such distinguished Swedish contemporaries, as are heard with them here. A numbered, limited edition of 500 copies pressed on Audiophile Clear Vinyl (ACV).

ACV 2028LP

The afternoon concerts at the Newport Jazz Festivals usually are given over to the presentation of new jazz talent, new groups, foreign-born artists, and "new directions." Taking care of the latter category at the 1957 show were, prominent among several others, the Cecil Taylor Quartet and the Gryce-Byrd Jazz Lab group. "It's doubtful that either had ever played before an audience more attentive, more earnest in its desire to understand (...) I believe the overwhelming majority of jazz fans got some message, and came away convinced that these groups merited many more hearings." (from the original liner notes). A numbered limited edition of 500 copies pressed on Audiophile Clear Vinyl (ACV).

ACV 2029LP

"This album, which uniquely combines the talents of an outstanding jazz star with those of an exciting group of young Brazilians, is not only a most fascinating presentation of that irresistible Latin music known as bossa nova. It is also something truly unusual. (...) A great many North American instrumentalists and singers have tried their hands at bossa nova when South American records have been issued in the U.S.; individual Brazilian guest stars have been featured with strictly-U.S.A. groups; and so on. Nevertheless, it seems quite accurate to state that there is nothing like this particular album, on which the brilliant alto saxophone of Cannonball Adderley is so ably supported by Sergio Mendes' Bossa Rio group." (from the original notes). A numbered limited edition of 500 copies pressed on Audiophile Clear Vinyl (ACV).

ACV 2030LP

RED GARLAND TRIO, THE: It's a Blue World LP (ACV 2030LP) 22.00
One of the greatest jazz pianists of any era, his innovative block chording has become foundational to modern jazz piano. It's a Blue World is yet another shimmering jewel in a string of tiny masterpieces by the magnificent Red Garland Trio. Paul Chambers' bowing is truly special on this very special recording. This set shows the versatility of these musicians, not only Garland, but bassist Paul Chambers and drummer Art Taylor as well. Listen to Paul Chambers bowing his instrument on the very fast-paced "Crazy Rhythm" and "This Can't Be Love." There is certainly nothing lacking in Art Taylor's drumming on the latter selection.

ACV 2032LP

JONES, QUINCY: Big Band Bossa Nova LP (ACV 2032LP) 22.00
This was originally a 1962 session arranged and conducted by the great Quincy Jones. Some of the greatest bossa nova hits are brought back here in excellent arrangements. Mike Myers chose the first track, "Soul Bossa Nova" for the opening music of his first Austin Powers movie. This record has become much more than just a soundtrack: it is a symbol of a lifestyle and an era. How many records can be played in the trendiest lounge bars and most conservative country clubs at the same time? At least we have one here. "Soul Bossa Nova" takes a special position mostly because it has been used on so many occasions, so everybody recognizes it. A must-have! A numbered limited edition of 500 copies pressed on Audiophile Clear Vinyl (ACV).

ACV 4004LP

TAYLOR, CECIL: Live at the Cafe Montmartre 2LP (ACV 4004LP) 28.50
"Two factors contribute to make the present record very different from previous Cecil Taylor records... it was recorded 'live' and it was recorded by a group without a bass player (...) What has been preserved on this record, is part of a night's programme at the Montmartre, and it shows Taylor playing with an intensity and abandon (especially on the one very long track) which have rarely been captured on his previous records. Listening to parts of 'Trance' and 'D. Trad, That's What,' you may find more than a bit of the biting furioso which has been foreign to jazz piano playing since the great years of Bud Powell (...)" --from the original liner notes; One of the most original pianists in the history of free jazz, Mr. Cecil Taylor developed his innovative improvisation departing from conventional idioms through distinctive musical constructions and percussive renditions, thereby opening new possibilities in jazz. His unsurpassed virtuosity and strong will inject an intense, vital force into his music, which has exerted a profound influence on a broad range of musical genres. Music composed by Cecil Taylor. Recorded in Copenhagen, November 23, 1962. Features three bonus tracks omitted from the original version. A numbered limited edition of 500 copies pressed on Audiophile Clear Vinyl (ACV).

ACV 4005LP

DOLPHY, ERIC: Berlin Concerts 2LP (ACV 4005LP) 28.50
This 2LP set features the great American jazz multi-instrumentalist Eric Dolphy mostly stretching out on standards, coming up with very original statements on such songs as "Hot House," "When Lights Are Low," "Hi Fly," "I'll Remember April" and "God Bless the Child" (the latter taken as an unaccompanied bass clarinet solo), in addition to two brief originals. With trumpeter Benny Bailey helping out on half of the selections along with a strong rhythm section, the two-fer would be a perfect introduction for listeners not familiar with Eric Dolphy's innovative style, but this set is very difficult to find. A numbered limited edition of 500 copies pressed on Audiophile Clear Vinyl (ACV).


DELERUE/PIERO PICCIONI, GEORGES: Le Mépris/Il Disprezzo 2LP (DOC 101LP) 28.50
For the first time together on a double LP, audiophile-quality 45 rpm, the two versions of the soundtrack to Jean-Luc Godard's 1963 masterpiece Le Mépris ("Contempt"): the solemn and powerful French version composed by Georges Delerue, the Mozart of French cinema, and the exotic jazzy version of the great Piero Piccioni. Limited edition of 500 copies.


ROTA, NINO: La Dolce Vita LP (DOC 102LP) 22.00
This is the legendary score to Federico Fellini's legendary 1960 film La Dolce Vita. The music by Nino Rota is sometimes quasi-liturgical, sometimes jazz, sometimes rock; lurking beneath is the irreverence of tuba and accordions, and snatches of pop songs. The characters in Fellini's movie are forever in motion, and Rota gives them music for their processions and parades. Limited edition of 500 copies.


ROTA, NINO: 8 E Mezzo LP (DOC 103LP) 22.00
Nino Rota enhances the dreamy proceedings of Federico Fellini's 1963 masterpiece 8 ½ with a music hall mélange of jazz, classical, lounge, and circus music. Rota composed a glorious mix of operatic interludes, cabaret swing, polka romps, and organ combo ditties -- often in the space of one number. Essential soundtrack. Limited edition of 500 copies.


ROTA, NINO: Il Gattopardo (The Leopard) LP (DOC 104LP) 22.00
The Nino Rota soundtrack to Luchino Visconti's 1963 masterpiece Il Gattopardo ("The Leopard") adds immeasurably to that film's grandeur. The music is very classical in style, almost as though it were written during the era the film is set -- Sicily, 1860. Memorable and incomparable is the closing sequence, when Burt Lancaster's Prince Fabrizio recognizes that his way of life is disappearing before his eyes. Limited edition of 500 copies.


MANCINI, HENRY: Breakfast at Tiffany's LP (DOC 110LP) 22.00
In a career spanning over four decades, composer, conductor and arranger Enrico "Henry" Mancini (1924-1994) won numerous Academy and Grammy awards for his scores to well-known films and television series, including The Pink Panther, Hatari!, Two for the Road, Wait Until Dark, Peter Gunn, and of course, 1961's Breakfast at Tiffany's (which alone won five Grammys and two Oscars). The Breakfast at Tiffany's soundtrack is probably best remembered for Audrey Hepburn's legendary performance of Mancini's "Moon River" (lyrics by Johnny Mercer), which won an Academy Award for Best Song that year. "Moon River" went on to become one of the best-loved songs of all time, but it first made its appearance here, in Breakfast at Tiffany's. Limited edition of 500 copies.


SOLAL, MARTIAL: A bout de souffle LP (DOC 111LP) 22.00
Don't miss this vinyl edition of the original soundtrack to Jean-Luc Godard's 1960 masterpiece À bout de souffle. Co-written with François Truffaut, it was one of the most influential films of the French New Wave, blazing the trail for a whole new brand of filmmaking. For the soundtrack, Godard enlisted the talents of Martial Solal, a member of the Parisian jazz scene who had worked with Django Reinhardt, Sidney Bechet and Don Byas, among others. Solal's low-key approach gave to À bout de souffle exactly the ambience it needed to exude "young, cool and sexy" from every pore, which more than 50 years later, it still does with surprising efficacy. Limited edition of 500 copies.


BARRY, JOHN: From Russia with Love LP (DOC 112LP) 22.00
Exciting, symphonic and instantly hummable, From Russia with Love's score (1963) is nothing short of a masterpiece. The opening theme sets the tone, beginning with a brash staccato version of the James Bond theme before suddenly sliding into a smooth swagger. John Barry keeps doing that same thing throughout the soundtrack, setting up expectations then knocking them down. Limited edition of 500 copies.


180 gram vinyl LP comes with the full album on CD. The West Indian-born alto saxophonist Joe Harriott was one of the most convincing boppers outside of the USA at a time when the music was still fresh, though by the end of the 1950s he was exploring freer musical pastures, and the quintet with which he undertook the exploration was an outgrowth of the hard bop band with which he'd made a name on the British scene. As the 1960s progressed, Harriott also proved himself to be something of a pioneer in the fusion field, in the way he fused jazz and classical Indian music. Often in the past the group's music, in which trumpet and flugelhorn player Shake Keane figured alongside Harriott in the front line, has been compared with that of the early Ornette Coleman quartets, but here it's far more interactive, a fact borne out most obviously by the lack of soloists. This makes for a far more organic music than anything Coleman's group was putting out at the time. Here on Free Form (1961) is where the rhythm of that indigenously West Indian form is extraordinarily maintained in the midst of characteristic group exchanges.


DO VALE, JOAO: O Poeta do Povo LP+CD (DOK 335LP) 25.50
180 gram LP, plus the entire album on CD. João do Vale was a very important singer and composer noted for introducing the popular art of the northeast of Brazil to the mass medium-classed people of the major Brazilian cities. João do Vale is a singular poet. His lyrics, which transmit his profound understanding of the sertaneja (tran. "inlander") soul, are full of a very personal notion of rhythm. The strength of his work can be appraised if we consider that he is one of the three great figures of Northwestern popular music (the others being Luis Gonzaga and Jackson do Pandeiro), even though he recorded only two individual albums. His first LP, O Poeta do Povo (1965), was released just after his appearance on the show Opinião, where João first premiered his compositions.


FOUR SEASONS, THE: Sherry & 11 Others LP (DOY 700LP) 23.50
The Four Seasons released their first single in 1961 ("Bermuda"/"Spanish Lace"). While the single did not chart, the songs gave the group enough of a following to be signed with Vee Jay Records late that year. In 1962, the group released their first album featuring the single "Sherry," which was not only their first chart hit but also their first number one song, soon becoming a multi-million-copies hit in the USA, followed up by their other great hit single, "Big Girls Don't Cry." From 1962 to early 1964, only the Beach Boys matched The Four Seasons in record sales in the United States. The history of this legendary band recently inspired Clint Eastwood for his Jersey Boys movie. A great reissue, including two bonus tracks: the first single "Bermuda/Spanish Lace." Pressed on 180 gram vinyl.


DC 593LP

YOUNG, MATTHEW: Recurring Dreams LP (DC 593LP) 18.00
"Matthew Young's genre-bending, acclaimed 1986 release Traveler's Advisory reappeared as a reissue on Drag City/Yoga in 2010 and quickly sold out. We now return to Young's first effort, Recurring Dreams, dating back to 1981 and the apex of the Eno/Berlin schools' influence over a myriad of American followers. Young created eight EMS/Rhodes pieces solo, subtly weaving in variable-speed Revox manipulation of traditional rock instrumentation with the lightest of touches. As anyone who has heard Traveler's Advisory already knows, Matthew Young could never be a mere imitator. What all too often amounted to predictable schtick in the field of early 80s home electronica, Young made personal, delicate, discreet, and discrete. Wordlessly illustrating its titles -- 'Version, Inversion,' 'The Forest Of Lilacs,' and 'Mistral' (a strong, cold, northwesterly wind), Young conjures vivid, progressive tones of the unknown. Recurring Dreams requires repeat listenings to fully reveal its Bonsai-like qualities. Fans of Erik Satie, JD Emmanuel, private-issue new age or the more placid side of minimal synth should take note of this one."

DC 599LP

HAMBURGER, NEIL: First of Dismay LP (DC 599LP) 20.00
"A somber work from a seasoned entertainer clearly carrying the weight of the world on his shoulders, First of Dismay is being issued in answer to many who have applauded for 'more!' 'more!' Specially-chosen stand-up comedy recordings from Neil's recent appearances at coveted nightclubs in London, Savannah, and Los Angeles are interspersed with musical cries for help, as Neil emotes with the purely professional panache of the 'Too Good For Neil Hamburger Band' in support. Song highlights include 'Endless Roll,' a disco complaint letter aimed at Kirkland Signature trash bags (featuring guest spots from members of The Germs and Jefferson Starship!!), and 'Nickel Candy': societal decline set to music. Although Neil was strongly advised against the risk of merging side-splitting comedy segments with melancholy musical numbers, the exciting potpourri that resulted has enhanced his sparkle into a veritable milky way of entertainment."

DC 603LP

WHITE FENCE: For the Recently Found Innocent LP (DC 603LP) 19.00
LP version. "It's the 21st century man -- we're way past the feudal phase! Yet, somehow, some people still radiate their noble bearing, no matter where they are -- just as certain songs are clearly meant to sing from the turrets still. In this fashion, and with high-collared coat turned up against the cruel wind, White Fence emerge from their high aerie to display a shining array of royal jewels each time they unveil a new pop album to the world. The gliss and glitter that sounds forth from For the Recently Found Innocent has a shine all its own, and for Reasons too. For the Recently Found Innocent is many things -- the fifth White Fence album, the first White Fence album to be recorded outside the bedroom fence (with live drumming!), the first White Fence record to be produced for Drag City. Plus also, a sophomore pump: the second time that Tim Presley and Ty Segall have met to record music (does anyone remember Hair?), this time pure and simply committed in the name of White Fence. Inevitably, the collision at the intersection of all these winding roads is a beautiful pileup of deep impacts, graceful lines and open space embodied in sound, White on White, compacted for your eyes and ears to believe."



VA: Arkansas at 78 RPM: Corn Dodgers & Hoss Hair Pullers CD (DTD 036CD) 12.00
For the traveling recording men of the late 1920s, Arkansas offered enticing pickings. The region was thronged with vigorous, idiosyncratic string bands. This album carries the listener from the hillbilly music craze of the '20s to the song-based country music of the late '30s. Scarcely more than a decade, but a period, in music as in all American life, of galvanic change. This CD serves as the soundtrack album to the newly-released photograph book, Making Pictures: Three for a Dime by Maxine Payne. All of the photos in this package are from the same cache of photographs taken by the Massengil family in their mobile photo-booth trailer throughout rural Arkansas in the 1930s-1940s."It is indeed gratifying to know our program has made so many minds and hearts drift back to the earlier days when all was well, when the 'hoss hair pullers' of old were in due form and all parties concerned were in a receptive mood for tipping of the fantastic toe... My aggregation from this district claim that their music and songs are not suggestive of anything except good and wholesome exercise ... So everybody come to the Arkansas Ozarks, where you can eat the best fruit in the world; where home-cured meat is found in the smokehouse and corn and hay in the barn; where you can juice your own cow, feed your own chickens, fish in the wonderful White River, meet these men of the Missouri Pacific and natives, and you will then say, 'Yes, indeed, you have the most wonderful country in the world.'" --Henry Harlin Smith, March 1926 on Hot Springs radio station KTHSIncludes a CD digipak with a 32-page booklet with liner notes by country music scholar Tony Russell. Newly remastered 24-bit audio transfers from the Music Memory archive. Features original 78 RPM recordings made between 1928-1937.


EB 104CD

DUBXANNE: The Police in Dub (Re-Synchronized by Rob Smith a.k.a. RSD) CD (EB 104CD) 15.50
In the late '70s, The Police were the biggest band in Britain; by the early '80s they ruled the globe as a three-headed, bleached-blond monster of rock, surfing a new wave sound which valued intellectual cool and lightly-sprinkled ethnic influences over the discredited rock'n'roll bluster of old. The first post-punk supergroup. A constructive arrogance and a very lucky streak. At the end of 1977, over the Christmas period, Stewart Copeland played Sting some of his reggae records. When Summers returned to Britain from his vacation in America, he found his bandmates newly-inspired by Jamaican sounds. The rest we all know is history! It's 23 years later -- in 2008 -- and everybody knows what's going on with The Police: they reformed and went back out on tour. Another key event -- also 23 years later -- is the release of a project which had been simmering for quite some time: The Police in Dub (EB 067CD), also released in 2008. One of the international bestsellers on the Echo Beach label, The Police in Dub included dub versions of The Police's biggest tunes. Another six years later, Rob Smith took the original Police in Dub material for an overhaul. Smith is also known as RSD or better-known as a producer from Bristol (he is synonymous with progressive modern dancefloor-oriented reggae in all shapes and facets: dubstep, jungle dub, roots dub and drum'n'bass) who produced the first Massive Attack EP, early Neneh Cherry material and also his own house band, Smith & Mighty). He also remixed tons of pop tracks for artists such as M People, Beats International, Fine Young Cannibals, etc. Rob Smith is renowned for imaginative production and made it his task to re-synchronization DubXanne's Police in Dub material. On this release he has focused in a very sensitive way to rework and re-style the original material and Echo Beach are really proud to release this album.



PAPIR: Stundum 2LP (EPR 007LP) 28.50
Double LP version. 2014 repress of the second album from Papir, originally released in 2011. Papir is a trio from Copenhagen, Denmark who have played together for years under various names while slowly, but surely, perfecting their unique brand of semi-improvisational psychedelic rock. Based around Christoffer Brøchmann's complex and powerful drumming, Papir creates instrumental journeys -- organic structures of sound that move forward with the hypnotic groove of Can or electric Miles Davis through euphoric peaks, thunderous riffs and beautiful cosmic dronescapes. Nicklas Sørensen's guitar playing displays his love for fuzzed-out psychedelic rock from the 1960s and 1970s but also has a highly melodic aspect that reveals his admiration for German heroes Michael Rother and Manuel Göttsching. Similarly Christian Becher Clausen's bass playing covers a wide palette of ideas and sounds -- sometimes using the instrument as a solid groove-maker and other times as a tool for creating spacy soundscapes and drones. As a unit the three members achieve what the great power trios of the 1960s did at their most fertile: the ability to combine each aspect of the band into a whole that surpasses the sum of its parts. This is music to lose oneself in -- music to swim in.


CAUSA SUI: Pewt'r Sessions 1-2 2LP (EPR 008LP) 28.50
Double LP version. 2014 repress of this release from 2012. Pewt'r Sessions 1-2 collects two limited vinyl-only Causa Sui albums, originally released in 2011. The two albums, released in April and August respectively, both feature American musician Ron Schneiderman and both sold out immediately after release. Schneiderman from American improv-rock collective Sunburned Hand of the Man first got together with Danish stoner/Kraut/jazz ensemble Causa Sui in December 2006 for a loose, improvised gig at the old cinema at Christiania -- Copenhagen's autonomous, and notorious, free commune. A live recording of this gig was released the following year, under the curious bandname Pewt'r jjjjj, and became widely admired among fans of free-form psychedelic rock for its updated version of late 1960s/early 1970s freak-out bands such as Blue Cheer, Guru Guru and Ash Ra Tempel. In the early summer of 2009 Schneiderman was back in Denmark, this time for a three-week stay as co-curator of the art-and-music event Festival of Endless Gratitude. During this period the group was united again for a few shows and a couple of recording sessions in Causa Sui's studio in Odense, which resulted in the Pewt'r Sessions albums. These records consist of loosely structured sun and beer-fueled jams that were later edited and mixed by Causa Sui guitar player and producer Jonas Munk. While all the psychedelic fury from the Christiania live recording is still very prevalent on these studio sessions, they also see the group channeling into new territories, such as pieces heavy on analog electronics and motoric grooves. Pewt'r Sessions 1 and 2 are albums that could only be recorded in an impulsive mode. Yet there is an alternative kind of structure taking place in almost every piece -- some intuitive, almost psychic connection, which moves the sounds from one place to another.


CAUSA SUI: Pewt'r Sessions 3 LP (EPR 019LP) 25.50
LP version. Causa Sui returns with a third round of mind-bending jams featuring Ron Schneiderman! The savage, kaleidoscopic improvisations of the quintet's previous two volumes instantly gained reverence among fans of free-flowing Krautrock and detuned stoner rock, and this brand new addition, recorded in the late summer of 2013, fulfills the group's potential entirely. The Krautrock grooves, the low-end heaviness and the sprawling furor is still very much present -- but this set is also permeated by a rare free jazz sensibility, at times recalling American masters of improvisation such as John Coltrane and Don Cherry in spirit. Ferociously experimental, yet absolutely welcoming and corporal. "Incipiency Suite," which takes up the entire B-side of this record, stands as the high pinnacle of what this group is capable of with the inclusion of Ron Schneiderman: an afternoon of spontaneously-recorded parts, cut-and-pasted into an abundant whole by studio wiz Jonas Munk, creating a unique interplay between in-the-moment improvisation and creative studio editing. History: Ron Schneiderman (aka Pewt'r) from American impro-rock collective Sunburned Hand Of The Man first got together with Danish stoner/Kraut/jazz ensemble Causa Sui in December 2006 for a loose, improvised gig at the old cinema at Christiania -- Copenhagen's autonomous, and notorious, free commune. A live recording of this gig was released the following year, under the curious bandname Pewt'r jjjjj, and became widely-admired among fans of free-form psychedelic rock for its updated version of late 1960s/early 1970s freak-out bands such as Blue Cheer, Guru Guru and Ash Ra Tempel. In the early summer of 2009, Ron Schneiderman was back in Denmark, this time for a three-week stay as co-curator of the art-and-music event Festival of Endless Gratitude in Copenhagen. During this period the group was united again for a few shows and a couple of recording sessions in Causa Sui's studio in Odense, which resulted in Pewt'r Sessions 1 and 2. The group got together again for a performance at 2012's Roskilde Festival and later again at Festival of Endless Gratitude in the summer of 2013. It was during the latter sojourn that Pewt'r Sessions 3 was recorded.


EM 1128EP

GIBBS & THE U.S. STEEL ORCHESTRA, JOHN: Trinidad (Disco Mix) 12" (EM 1128EP) 16.50
EM Records proudly announces a new addition to their EM Steel Pan Series, John Gibbs And The Unlimited Sound Of Steel Orchestra. They are preparing to release their fine 1977 album Steel Funk on CD/LP, and as an appetizer they will issue two 12" singles ahead of the album. "Trinidad (Disco Mix)" is a remixed version of the album track "Trinidad & Tobago," and was originally issued in 1977 as a remixed 12" single for the dance market on Gibbs' own label, in co-operation with the legendary Philly Soul producer Louis Anthony deLise. It's a cheerful garage/disco classic beloved by Larry Levan. Transferred from the original master tape and newly mastered. Hair Stylistics is Masaya Nakahara, formerly Boryoku Onsen Geisha (Violent Onsen Geisha), who re-edited this previously-unissued long version and transformed it with respect. Both tracks are NOT on the upcoming EM Records album.

EM 1129EP

GIBBS & THE U.S. STEEL ORCHESTRA, JOHN: J'ouvert 12" (EM 1129EP) 16.50
EM Records presents a new addition to their EM Steel Pan Series from John Gibbs And The Unlimited Sound Of Steel Orchestra. In anticipation of the release of their 1977 album Steel Funk on CD/LP, EM is issuing two 12" singles ahead of the album. "J'ouvert" is a non-album track which was originally recorded and released in 1979 as a 12" single, in co-operation with legendary Philly Soul producer Louis Anthony deLise. This version is, surprisingly, a previously unissued original version that was held in the vaults by the artist for 35 years, after the "remixed" 12" version was released in 1979. Transferred from the original master tape and newly mastered. Remixed with respect by Lord Echo, a rising star from New Zealand, featuring his trademark cutting guitar playing. Both tracks are NOT on the upcoming EM Records album.


EF 013CD

PRINS THOMAS: Rainbow Disco Club, Vol. 1 CD (EF 013CD) 20.00
Prins Thomas jumped on the mixing decks and prepared a sonic trip for Endless Flight records and the Japanese festival "Rainbow Disco Club." The man from the Norwegian woods has been a guest at the top-notch Tokyo-based festival twice already. In 2014 he did not only play alongside edgy colleagues like Moodymann, DJ Koze and Kuniyuki, he also conceived with the festival organizers and Endless Flight man-of-action Toshiya Kawasaki the plan to do a mix CD that mirrors his current state of mind behind the wheels of steel. Those who are familiar with the work of the Scandinavian free-spirited producer, label-maker, and DJ will know that he does not like to repeat himself. As a liberal artist, he is always willing to enter new territories to reach a higher state of mind. There is house here, there is techno, dub sneaks around the corner, as well as flawless electronic sounds, some jacking Hi-NRG exultation and breezes of dark acid-laden electro. Thomas presents some signals from outta space by producers such as the dreamy techno one-of-a-kind Donato Dozzy, Chile-based sound scientist Atom TM and Berlin techno-kid Shed. He manages to also incorporate playful remixes and tracks by people such as Detroit's freaky jazz-head Theo Parrish, his musically-libertine fellow countryman Bjørn Torske and Birmingham's techno original Surgeon. There is also a ray of post-punk represented by a Crash Course In Science song that comes in a twisted Ricardo Villalobos remix. You hear a message delivered by the label's co-founder DJ Fett Burger and his mysterious buddy Speckgürtel. Furthermore, Glasgow's hottest new band export on the crossroad of jamming funk-punk and free-wheeling electronics Golden Teacher are included here as well as the neo-psychedelic Moon Duo, who is remixed by UK-based producer Tom Furse. Finally, the unpredictable mix waves good-bye with an uplifting Gerd remix of the piano house gem "Do You Feel Me," originally released in 1993 by NY's Finest. Other artists include: Floating Points, The Shookt, Krystal Klear, Deepchord, Mike Huckaby, Marcellus Pittman, Anstam, Helium Robots, Bee Mask, Silent Servant, Margot, Edmundy, Skatebård, Kevin Starke, Mark Du Mosch, Nukubus, Private Prod, Dimitri & Jaimy, and General Ludd.



ABRAMS, JOSHUA: Natural Information CD (MTE 061CD) 15.00
"Eremite presents the first digital edition of Joshua Abrams' invaluable & out-of-print LP Natural Information (2010). Abrams' first record for Eremite is another fascinating entry in Abrams' discography of recordings that gather aesthetic input from all over the map into vivid personal statements. At the heart of natural information is the guimbri, a three-stringed animal hide bass traditionally used by the gnawa of North Africa in healing ceremonies. Combining solo, trio & quartet formats with adroit use of sampling techniques, abrams creates intricate psychedelic environments that join the hypnotic character of gnawa guimbri music to more contemporary musics & methodologies. Praised by Downbeat, the New York Times & Wax Poetics, Natural Information appeared on WFMU, Dusted, Aquarius & numerous other best-of 2010 lists & was selected as one of the 50 notable records of 2010 by the Wire. CD edition packaged in a high gloss Stoughton miniaturized gatefold sleeve with 20 minutes of previously unreleased additional material."


ABRAMS, JOSHUA: Represencing CD (MTE 062CD) 15.00
"Eremite presents the first digital edition of Joshua Abrams' invaluable & out-of-print LP Represencing (2012). Represencing is the second installment of the Joshua Abrams sound world first introduced on Natural Information. Abrams again organizes small group statements around the resonant grooves of the North African ceremonial instrument the guimbri with a unique & broadly assimilative compositional voice. Sources from traditional musics to minimalism, jazz to Krautrock, animate Represencing, but Abrams is always grounded in the solidity of true working musicianship & he proves himself an artist fluent not just in styles but traditions. Listed by Village Voice, Pitchfork, Matablog, Foxy Digitalis among others as one of the best records of 2012. CD edition packaged in a matte Stoughton miniaturized 'laserdisc' sleeve with 25 minutes of previously unreleased additional material."



CHULKI/RYU HANKIL, HONG: Objets Infernaux CD (ERST 069CD) 16.00
"5 tracks, 55 minutes. 'Parrots and tigers take a hacksaw to your automobile and then attempt to drive the remaining parts around with defective radio controls. (Whatever is actually happening, this record rocks.)' - Michael Pisaro"


"1 track, 65 minutes. 'A stunning construction and a fantastic recording, seemingly endless layers of depth and ways to listen.' - Brian Olewnick"


"2 CDs, each containing one piece lasting just over an hour, each performed by the duo and recorded (remarkably as always) by Christoph Amann in Vienna, CD 1 is 'shoguu' by Radu, CD 2 is 'instruments, field recordings, counterpoints' by Jurg, design and photography by Yuko Zama, much of it around Amann Studios. 'shoguu' features Jurg on clarinet and Radu on trombone, 'instruments, field recordings, counterpoints' features Jurg on field recordings/electronics and Radu on trombone."


"2 CDs, just over two hours of material, including the 33:33 title track and the 49:49 'The Echo of Your Past' (the latter takes up all of CD 2). 'After 13 months of creative effort between us, Kevin and I were finally able to call this project complete. 120 minutes of music spread over two discs, The Abyss sometimes feels you've been listening to it for an entire day. It's like staring at the whirlpool of the drain of your bathroom sink, a meditation on circling the drain that we know as The Abyss.' - Jason Lescalleet"



ALKAN, EROL: Fabriclive 77 CD (FABRIC 154CD) 16.00
London born and bred, Erol Alkan has spent the last two decades building up a reputation as a sonic innovator. Heading up his renowned Phantasy imprint, and an outstanding roll of production and remix credits, including his recent acclaimed debut solo EP, the time was right for him to step up to the Fabriclive mantle, and he does so with aplomb with a propulsive selection of acid house and oddball electro. Artists include: Maurice & Charles, Cowboy Rhythmbox, Carisma, The Emperor Machine, Manfredas, Phreak, Andre Bratten, Tom Rowlands, Jamie Paton, Fumes, Victor Shan, Boot & Tax, Ben Jenkins, Zongamin, Todd Osborn, Voiski, Claro Intelecto, Ghost Culture, Daywalker + CF, and Saint Etienne.



KENJANAI: Playin'/Vapors 7" (FVR 094EP) 12.00
French producer Hugo LX returns with a new collective project under his KenJaNai alias. KenJaNai is not only a producer effort, but a close collaboration with fellow musicians and top shelf vocal artist: the mighty Elzhi and indy star Oddisee supply classic verses, while Canadian songstress Amalia brings her nu-funk trademark and soulful vibe in the mix, alongside Kandisky Effect bassist Gael Petrina and turntablist DJ Suspect. These first two tracks come in a limited edition of 300 copies and include an exclusive remix of "Playin' (feat. Amalia)."


MIGHTY MOCAMBOS, THE: Hot Stuff 7" (FVR 096EP) 12.00
An outstanding exclusive 45 from the ongoing killer collaboration of the Mighty Mocambos and Afrika Bambaataa, who deliver surprising cover version of Rolling Stones' moderately successful 1976 single "Hot Stuff" (from the album Black & Blue, 1976). While the Jagger/Richards-penned original vaguely flirts with the disco-funk sound of the era, the rework outfunks it in true and inventive Mocambo style. Afrika Bambaataa makes you wonder who the funk Mick Jagger is, and fellow Zulu Nation members Charlie Funk and Deejay Snoop top it all off with P-Funk-style vocals and talkbox. The jam continues on the flip side with an exclusive part two, including more beats, breaks and helium voices.



SMOKE CLEARS, THE: Listen LP (FUR 080LP) 23.50
LP version. Those who know the respected Irish producer John Daly for his bubbly, melodically-nuanced house and techno tracks may get thrown off balance by his latest work under the Smoke Clears handle. While his 2011 release for Further, Sea Level, hinted at his fondness for Manuel Göttsching/Klaus Schulze-like kosmische ambience, on Listen Daly veers off into more introverted and arcane abstraction terrain. The title-track kicks off the album on a decidedly downtempo, contemplative note while maintaining Daly's knack for understatedly beautiful melodies. It sounds like the best song Morr Music never released. "Plumb" exudes a paradoxically chilled and urgent aura, with woodblocks seemingly made out of ice and heavily reverbed claps providing the hypnotic rhythm. The glistening IDM of "Star Shine" could be an outtake from Aphex Twin's Selected Ambient Works 1985-1992 (it's that gorgeous). The beautifully hoarfrost-y "Trace" evokes Seefeel's forays into fusing shoegaze atmospheres with abstract electronic beat matrices. With Listen, The Smoke Clears decisively steps off the dancefloor and enters one of the chilliest chill-out rooms a '90s clubber ever chilled in -- but the music's still a-bristle with all sorts of fascinating movement and textures. Despite Listen's banquet of ultra-cool tones, your neurons will work up a nice sweat.


GB 017CD

FOFOULAH: Fofoulah CD (GB 017CD) 17.00
The London-based quintet Fofoulah (meaning "it's there" in Wolof) was formed in 2011 and features Tom Challenger (Red Snapper) on saxophone and keyboards, Phil Stevenson (Iness Mezel) on guitar, Johnny Brierley (Outhouse Ruhabi) on bass, Dave Smith (Robert Plant's Sensational Shape Shifters) on drums and Sabar drums, and Kaw Secka (Irok) on Sabar drums and tama. With the rhythms of the Sabar drums -- a traditional form of Wolof drumming from Gambia and Senegal -- at its heart, Fofoulah's music has evolved into an inspired cosmopolitan mélange that also incorporates elements of electronic music, dub, improvisation and Afro-rock. Like the complex city they live in, their music is shaped and lifted by diverse sound-worlds and cultures. Having performed mainly in the creative hubs of east London and Bristol, in 2013 Fofoulah released the Bene Bop EP, a collaboration with Senegalese singer Biram Seck. Later that year the band entered the famed Real World Studios near Bath to begin work on their radiant debut album Fofoulah. Produced by drummer Dave Smith (Robert Plant, JuJu) Fofoulah is a previously unvisited crossroads where Sabar rhythms meet dub bass lines and sci-fi synths; liquid melodies and Wolof rap entangle with trance-like dance grooves; and raw guitars, horns and samples blend with west and north African song forms. In the album's liner notes, bass player Johnny Brierley describes the creative journey that led to the making of the album: "The rhythms and traditions of the drums were essential starting points for our compositions and acted as the building blocks for all the other instruments -- our music has developed and evolved with each member's musical background and influences being heard within the band... Fofoulah, our first album, is a snapshot of the band at this moment in time and the result of a constantly developing sound." In keeping with the band's expansive approach, the album also features an incredible roster of guest voices: Senegalese singer and Bristol resident Batch Gueye, UK hip-hop sensation Ghostpoet, Algerian/Parisian singer Iness Mezel and the acclaimed Gambian-born, Fulani musician Juldeh Camara (JuJu, Robert Plant). Fofoulah is not merely a cross-cultural project. They are a dynamic band born naturally out of personal friendships and varied backgrounds, the nerve net of contemporary London and the post-global interconnectedness we all experience daily. The band is propulsive, innovative, celebratory, and always leaning forward. They are a thrilling extension of the deeply-rooted Sabar rhythms upon which their music revolves.



RUNNING: Frizzled 7" (GODRECORDS 008) 5.50
"Equal parts shamble-dance and noise-pop, Running drive relentlessly while shouting their HI-larious lyrics (we think) with vigor from the bottom of a well of cheap 'verb. With serriform guitar racing with the vocs for most-fucked sounding and the bass and drums driving savagely forward -- like 'Totally Fired,' for example -- find us a song with singing that better unites listener peril with lively dancefloor antics."



TAPE: Casino CD (HAPNA 052CD) 15.50
The new album from alternative music veterans Tape marks their 14th year of activity. It's called Casino and was recorded in the legendary Atlantis studio in Stockholm by engineer Janne Hansson in December 2013. The music of Tape still continues its growth, in its own way, separated from the rest of the world in many ways. This time the emotional depth and interest in details are even stronger and clearer. The album has been mixed by Andreas Werliin and mastered by Mell Dettmer. Swedish trio Tape was set up in 2000 by brothers Andreas and Johan Berthling with Tomas Hallonsten. Taking cues both from pop, experimentalism, and minimalism, their sound, with a mixture of acoustic and electronic instrumentation, has become recognized internationally and is clearly something of its own. Their first album Opera (HAPNA 040CD) was released on the Häpna imprint (which Johan is a co-owner of) in 2002. Working intuitively, all by themselves, they created mini symphonies out of electronic sounds paired with a stunning melodic lyricism. 2003 saw the release of Milieu. These recordings had a more arranged feeling and a clear pop sensibility in some parts. In 2005 they went to Cologne to have Marcus Schmickler produce and record their third album Rideau. This was done in his Piethopraxis studio in Cologne and his involvement left traces; an almost architectonical approach was taken and some of the intimacy that characterized the first two albums was replaced by a somewhat harder edge. In 2006 they collaborated with Japanese duo Tenniscoats on their album Tan-Tan Therapy. That same year they recorded in Tokyo with Japanese quartet Minamo, which resulted in the record Birds of a Feather. Since Luminarium (2008) they have been working out of their own Summa studio in Stockholm and there they also recorded what became Revelationes (HAPNA 044CD), their fifth album. After a hiatus for two years the group did a tour of Europe in November 2013. They tried out new material, which later was recorded in Stockholm at the Atlantis studio and is now released as the album Casino. It's their sixth full-length album if you omit all the different collaborations and other stuff they've done throughout the years (all released on Häpna). Johan Berthling plays guitar and more in Tape but is also the bass player for the trio Fire! with Mats Gustafsson & Andreas Werliin and is involved with many other projects ranging from free-jazz to rock. His collaborators include Oren Ambarchi, Akira Sakata and Paal Nilssen-Love. Tomas Hallonsten is a keyboard player and multi-instrumentalist running the trio Time Is A Mountain, including Berthling on bass and drummer Andreas Werliin. He is a much-in-demand musician and works in many different contexts. Andreas Berthling is a musician using modular synthesis and laptop as his instruments. He has released a string of recordings under his own name.


TAPE: Casino LP (HAPNA 052LP) 20.00
LP version with download card.



SLEAFORD MODS: Austerity Dogs LP (HARB 106LP) 23.00
Repressed. LP version. Sleaford Mods started out sometime during 2006 while Jason Williamson was living in Nottingham. Born out of part frustration and part accident, it quickly found its feet as an aggressive verbal onslaught on all that is contrived and connected to the day-to-day hammer of low paid employment and domestic situations arising from that trap. After a year of working ideas out in both the studio and in live performance around Nottingham, Williamson moved south and took the cause to London for a couple of years, before returning to Nottingham in 2009. Soon after that he met Andrew Fearn and the Sleaford Mods became a duo. Fearn's first work was on the production of Wank -- the Mods' fifth CD-R album. Soon after, he started stalking the studio and stage with Williamson. Just after the release of Wank, the duo were invited to play a three-day festival curated by Nottingham's Rammel Club. During that weekend they were introduced to the Harbinger Sound label. A meeting which -- a year later -- resulted in the release of Austerity Dogs. Numerous shows around the UK and Europe followed, including further festival appearances. Rave reviews of the album have appeared in magazines as diverse as The Wire and Uncut, along with interviews being published both on paper and on the internet, both here and abroad. With more international dates on the horizon including excursions to Poland and Sweden, the interest in the Mods continues to spread.



BJORKE, KASPER: After Forever CD (HFN 037CD) 17.00
Kasper Bjørke returns with an exquisite new album, After Forever, the Danish producer's boldest and most elegant statement to date. The scene has been set by two lead singles: "Rush," featuring Tobias Buch -- and "Sylvia" featuring CTM. Moving away from a previous '70s disco-inspired sound, Kasper explores new terrain in contemporary, melancholic synth pop; his productions merging themselves into a multi-colored soundscape with echoes from post disco/punk, Kraut and new wave. "After Forever is good for dark, sad dancing -- or a headphone journey inwards," says Kasper. "I feel like I really went somewhere else on this album, to a place where I haven't been before. Out of my safety zone and into a darker space." The fourth album by Danish producer, DJ and all-around music entrepreneur Kasper Bjørke is his boldest and most elegant statement to date. For After Forever managed to acquire some brilliant collaborators: Kurt Uenala is known for his releases as kap10kurt, but became famous for his songwriting and production for bands like Depeche Mode, Moby, Dave Gahan, The Black Ryder, etc. New York icon Nomi Ruiz is best-known as a former member of Hercules & Love Affair and for vocals on the last album as well as her new band Jessica 6. Tobias Buch is also known as The Red Baron and as the lead singer of the new hippie band The Late Great Fitzcarraldos. CTM is Caecilie Trier, the singer of successful bands Chimes & Bells and Choir Of Young Believers. Soho Rezanejad is a promising new talent from the Copenhagen underground and known for her band Gold Lip. Finland's Jaako Eino Kalevi has just been signed to Domino Records and recently released an EP for Beats In Space. According to The Guardian he is "the most impressive 'rock'n'roll' artist with an alternate simultaneous 'proper' job that we've heard of since Vic Godard the post-punk postman. The Finnish 29-year-old has been releasing records back home, while being a tram driver in Helsinki." Icelandic pop band Sisy Ey rounds off a brilliant set of contributors. Cover artwork based on the painting After Forever by John Copeland.



TIMOKA: Tulgey LP (HOLGER 005LP) 21.00
Timoka's Tulgey is his second effort on the Holger label and it is quite an achievement. While his debut Waters offered just a glimpse of the Timoka universe, Tulgey expands the themes set there and further broadens the perspective, adding at least one more dimension and offering new insights into this masterfully-crafted, highly complex world of its own. It's a zone of transformations: landscapes become waveforms, images turn into sound -- and vice versa. The result is rich in atmosphere, full of bittersweet emotions and captivating from start to finish. If the Waters EP could be seen as a fragmented short story, Tulgey now offers a much more consistent narrative -- it's a journey, a proper novella. One could call it sophisticated or even wise -- though the core of its origin is a very simple one: to create personally relevant music. It just happens to be incredibly beautiful at the same time.



MOONDOG: The Viking of Sixth Avenue 2LP (HJR 018LP) 23.00
2014 repress, originally released in 2005. Tremendous gatefold presentation and one of HJR's most impressive documents to date. "The first overview of Moondog's amazing artistic life -- including recordings spanning from 1949 till 1995, with numerous 78s and various other vanished records revived for the first time (not to mention a couple of Weegee photographs!)."



FUNCTION & VATICAN SHADOW: Games Have Rules CD (HOS 425CD) 14.50
Function and Vatican Shadow have combined forces on Games Have Rules for Hospital Productions, simultaneously stripping back each producer's more prevalent production elements -- the dancefloor-focused techno structures of Function; the experimental cassette-roots of Vatican Shadow -- to create an album of dynamic electronic ambient music, equal parts rhythmic and atmospheric. As befitting what began life as an "emotional acid" album best suited for an after-hours home-listening experience, Games Have Rules was created in the early hours at New York's Hospital Productions and Berlin's Inanimate Objects studios, helping imbue the record with a sense of night turning into day, and the shifting contrasts of dark and light the music evokes. Although not created as the result of improvisation, the album retains an effortless, free-flowing structure, while simultaneously introducing the traditional techno drum kit over the course of the record, deconstructing the ever-changing, looming presence of New York City's skyline. Ambient in the most traditional sense, Games Have Rules omits the top-heavy reverb saturation of so many modern releases and builds from the ground up with an arsenal of hi-fi and lo-fi production techniques/equipment with a cinematic sequence over the arc of the record. But whereas New York City has so often been depicted in film as a prison, Games Have Rules is an embracement of the city's endless possibilities: the LP's gatefold black and white image of The Empire State Building lit up at night from the inside; the ongoing stories of rise and decline lived out at its base.


HC 032CD

VAUDOU GAME: Apiafo CD (HC 032CD) 17.00
Vaudou Game is a contemporary live band of six members playing an authentic Togolese funk based on voodoo chant scales, and led by Peter Solo, a singer and composer born in Aneho-Glidji (Togo), birthplace of the Guin tribe and place of the voodoo culture. He was raised with those traditional values of human and environmental respect. Apiafo is a 12-track album, entirely recorded, mixed and mastered with old analog tapes, and played with vintage instruments, recalling the sound of bands like Poly-Rythmo De Cotonou or El Rego. Peter Solo invited his uncle, Roger Damawuzan, famous pioneer of the '70s soul scene in Togo, to sing on "Pas Contente" & "Wrong Road." The result of their collaboration is without a doubt two amazing future dancefloor classics. The idea of integrating these haunting lines, sung in honor of the Divinities, into an energetic '70s Afro-funk style, was, in Peter Solo's mind, an obvious extension of the analogy he found between the voodoo tradition and trance-inducers such as soul, funk, as well as the rhythm 'n blues of James Brown or Otis Redding. Vaudou Game will be touring all over the world to promote this new Afro-soul classic album.

HC 032LP

VAUDOU GAME: Apiafo LP (HC 032LP) 23.50
LP version. Vaudou Game is a contemporary live band of six members playing an authentic Togolese funk based on voodoo chant scales, and led by Peter Solo, a singer and composer born in Aneho-Glidji (Togo), birthplace of the Guin tribe and place of the voodoo culture. He was raised with those traditional values of human and environmental respect. Apiafo is a 12-track album, entirely recorded, mixed and mastered with old analog tapes, and played with vintage instruments, recalling the sound of bands like Poly-Rythmo De Cotonou or El Rego. Peter Solo invited his uncle, Roger Damawuzan, famous pioneer of the '70s soul scene in Togo, to sing on "Pas Contente" & "Wrong Road." The result of their collaboration is without a doubt two amazing future dancefloor classics. The idea of integrating these haunting lines, sung in honor of the Divinities, into an energetic '70s Afro-funk style, was, in Peter Solo's mind, an obvious extension of the analogy he found between the voodoo tradition and trance-inducers such as soul, funk, as well as the rhythm 'n blues of James Brown or Otis Redding. Vaudou Game will be touring all over the world to promote this new Afro-soul classic album.



CALL SUPER: Suzi Ecto CD (HTH 029CD) 15.50
The fears and passing joys of the world pouring in through mouth, nose, eyes and ears. React against what we cannot stand: the co-opted postures, the gimmicks of aspirants, unconscious reactive strategies. Here now in the contradictory mix of the blissful, the panicked and the paranoid that thrives place to place. Drowning us. Veins, organs and mind are filled until we blur into these cities and skies and our reactions fade away. A positive assertion is staked and I see that this is no longer a part of me. Call Super's highly-anticipated debut album Suzi Ecto is presented on CD and heavyweight double LP. Presented in bespoke PVC sleeve with spot varnish pattern.



THROBBING GRISTLE: The Second Annual Report Of Throbbing Gristle LP (IRL 001LP) 23.00
2014 repress. LP version. The newly cut 180-gram vinyl editions include painstakingly restored cover artworks, using original source material from the Industrial Records visual archive. Includes an exclusive large format 8-page color booklet featuring an abundance of Throbbing Gristle archival material, including some previously-unpublished photos of the band. Originally released in 1977, TG's Second Annual Report features various recordings of "Slug Bait" and "Maggot Death," plus the 20-minute soundtrack to After Cease To Exist, a short film featuring a castration sequence. A scathing debut from these avant-garde legends.


THROBBING GRISTLE: D.O.A.: The Third And Final Report Of Throbbing Gristle LP (IRL 002LP) 23.00
2014 repress. LP version. Throbbing Gristle's second full-length, originally released in 1978, captures alienation in its purest form. The line-up of Chris Carter, Peter Christopherson, Genesis P-Orridge and Cosey Fanni Tutti was a vehicle for everything bizarre, extreme and controversial. From the ravaged live track "Blood On The Floor" to the hostile phone recording on "Death Threats," TG lobotomized convention, whether musical or ideological. The lingering "Hamburger Lady" pulses with a story of a burn victim, and the band's restraint and careful composition makes it one of their best creations of all time, something absolutely terrifying. Full of tape-manipulation, computer noise and feedback, D.O.A epitomizes Throbbing Gristle's unparalleled anti-music, cementing their status as "wreckers of civilization." The newly cut 180-gram vinyl editions include painstakingly restored cover artworks, using original source material from the Industrial Records visual archive. In addition, each of the vinyl releases includes an exclusive large format 8-page color booklet featuring an abundance of Throbbing Gristle archival material, including some previously-unpublished photos of the band.


THROBBING GRISTLE: Throbbing Gristle Bring You... 20 Jazz Funk Greats LP (IRL 003LP) 23.00
2014 repress. LP version. Originally released in 1979, 20 Jazz Funk Greats is Throbbing Gristle's pop-influenced masterwork. It's hard to believe the beautiful, conventionally-attractive Cosey Fanni Tutti on this album's front cover previously gave herself milk and blood enemas in front of a live audience. Additionally, the song "Hot On The Heels Of Love" is far removed from the dissonant nihilism of the previous TG albums. It's a sleek, minimal synth-pop song that foreshadows Tutti's later work as Chris & Cosey. Still, 20 Jazz Funk Greats is underpinned by a profound distance from accessibility. The breezy luminosity of "Persuasion" and "Six Six Sixties" is still marked with casual bits of distortion and absurdism. Preceding dark synth-pop (and everything else), TG's third album is far ahead of its time and still sounds as relevant as ever. The newly cut 180-gram vinyl editions include painstakingly restored cover artworks, using original source material from the Industrial Records visual archive. In addition, each of the vinyl releases includes an exclusive large format 8-page color booklet featuring an abundance of Throbbing Gristle archival material, including some previously-unpublished photos of the band.


THROBBING GRISTLE: Heathen Earth: The Live Sound Of Throbbing Gristle LP (IRL 004LP) 23.00
2014 repress. Gatefold LP version. Originally released in 1980, Heathen Earth is a crucial live document of industrial pioneers Throbbing Gristle. In member Chris Carter's own words: "You had to have been there. Which is what we always say about TG. TG on record and TG live are two completely different things." This album is probably the closest approximation of the two you'll ever get: it's a "live in-studio recording" made in front of a small audience and the event was filmed by Monte Cazzaza with the intention of also releasing it on video. The majority of the set is instrumental, fluctuating between the raw electronics of their early work and the band's more melodic material. Tracks include a rework of early classic "After Cease To Exist" and Brion Gysin fave "Dreammachine." The newly cut 180-gram vinyl editions include painstakingly restored cover artworks, using original source material from the Industrial Records visual archive. In addition, each of the vinyl releases includes an exclusive large format 8-page color booklet featuring an abundance of Throbbing Gristle archival material, including some previously-unpublished photos of the band. .


THROBBING GRISTLE: Throbbing Gristle's Greatest Hits LP (IRL 005LP) 23.00
2014 repress. LP version. It's impossible to deny Throbbing Gristle's working methods and innovation are so deeply ingrained in the collective consciousness of... everything. TG's subversive dismantling of the apparatus of social control casts such a long shadow, and as impossible as it may seem, this collection actually provides an exceptional summation of their best work. The first real industrial group, the founders of Industrial Records and one of the most important electronic music innovators of all time, TG redefined music and laid a large part of the groundwork for all electronic music that followed. The newly cut 180-gram vinyl editions include painstakingly restored cover artworks, using original source material from the Industrial Records visual archive. In addition, each of the vinyl releases includes an exclusive large format 8-page color booklet featuring an abundance of Throbbing Gristle archival material, including some previously-unpublished photos of the band.



SULLY: Blue 2x12" (LDN 046EP) 21.00
Repressed. Keysound Recordings are excited to announce a jungle double pack from Sully. Four sides of warm vinyl dedicated to classic break-based rollage 'n' choppage: less "where were you in '92?," rather, "who wants more from '94?" One title seems to sum it up best: "Simple Things." This double pack is not a statement about 2014, it is not trying to be a new sound, scene or development. This is just uncomplicated, intensely emotive, rhythmic fun. The EP's raw, chopped-up sounds reflect that feeling: thrown together, reckless, but elevating.


LV & JOSHUA IDEHEN: Islands CD (LDN 048CD) 17.00
Islands is the second album and live project from Worldwide Award-winning producers LV, and Benin City vocalist Josh Idehen, three years on from their critically-acclaimed debut collaboration Routes. Where the Routes album saw Josh's voice used in fragments to examine themes of life in modern London, Islands sees LV move Idehen's lyrics and vocals front and center. On "Imminent," overheard whispers on an East London balcony tell the tale of an unforeseen demise, while on "Waiting for the Night" Josh drew on honest reflections of his experiences after he returned from Nigeria. "Obsessed" is about an unhealthy, social-media enabled reaction to being put in the post-coital friend-zone. Between Josh's observational eye and LV's considered yet dancefloor moving production style, with its funky hardware synth jams and live drums, delightful aesthetic contradictions abound on Islands. Lead single "Imminent" has received huge support across BBC Radio 1 and 1Xtra, and upon supplying the parts of the tune for a remix competition, LV were overwhelmed with over 120+ remixes. Of the album as a whole, the title-track "Island" is perhaps the most unexpected, and took some strength to find. Josh had been working on different versions of a story, until he had a moment of clarity. "I literally just thought, 'you know what? I am just going to write what I feel is the funniest, darkest story that I would be happy to read,' so that I felt comfortable with myself and not give a fuck about what anybody else thought."



COLLINS, DAVE AND ANSELL: Double Up!!: 14 Killer Cuts from Jamaica's Finest Duo CD (KSCD 053CD) 14.00
The Jamaican reggae duo Dave and Ansell Collins hit big-time in 1970 when they topped the UK charts with one of the all-time classic reggae singles "Double Barrel." It also became one of the first reggae hits in the USA. The distinctive chant of singer Dave Barker calling out the intro to songs, letting the listener know what was about to hit them is timeless. He also carries a great soul voice that has added magic to many a great reggae tune. Dave and Ansell are two talented artists that on their own have added so much to the reggae sounds we know and love. But together they have made a name that will go down in history as one of the great duos that came out of Jamaica and onto the world's stage. Kingston Sounds have compiled a set of songs that show the wide-ranging talents of Dave Barker and Ansell Collins.


KIS 4055CD

TAMALPAIS EXCHANGE: Tamalpais Exchange CD (KIS 4055CD) 17.00
Formed in 1968, this talented three-boy, three-girl sextet named itself after a mountain north of San Francisco and an off-Broadway stage show they'd put together. Their sole album spans hard-edged pop-rock, folk-rock, and delicate hippie ballads, setting their superb vocal harmonies to highly imaginative arrangements. It makes its CD debut here, together with background notes. Digitally remastered for superior sound quality.

KIS 4056CD

AFRICA: Music from ''Lil Brown'' CD (KIS 4056CD) 17.00
Produced by the great Lou Adler (Mamas & the Papas, Spirit, Carole King) and featuring veteran vocalists Chester Pipkin (also their superb guitarist), Gary Pipkin, Brice Coefield, Ed Wallace and Freddie Wills, this soulful, funky, psych-tinged stew spans originals and covers of contemporary standards, including a mind-blowing, conga-driven "Paint It Black," and makes its long overdue CD debut here. Includes detailed liner notes. Digitally remastered for superior sound quality.


KL 5005CD

WAITS, TOM: Nighthawks on the Radio: KNEW-FM Broadcast, 8 December 1976 CD (KL 5005CD) 17.00
California's own celebrated blues troubadour rolled into Mediasound Studios on a cold December night for a radio interview with host Vin Scelsa, accompanied only by Elektra records' rep Ralph Ebler. What transpired was an intimate session boasting material from Tom Waits' already burgeoning repertoire. Waits' noteworthy recordings made at Mediasound on December 14th, 1976 were aired on the 18th by KNEW-FM on Scelsa's show, "Idiot's Delight." Waits' trademark "growl" was very much in evidence in the charged and more cynical atmosphere of his album Small Change, released just prior to this session. Klondike marks this landmark point in Waits' career with the KHEW-FM broadcast presented here in its entirety. Includes background liner notes. Digitally remastered for enhanced sound quality.

KL 5006CD

MAHAVISHNU ORCHESTRA: Whiskey A-Go-Go, 27 March 1972 CD (KL 5006CD) 17.00
Aside from a mammoth repertoire of work alongside British rock luminaries such as Duffy Power, The Rolling Stones, David Bowie, Graham Bond and Pete Brown, John McLaughlin's own career marked a pinnacle in progressive, jazz-rock fusion. The Mahavishnu Orchestra's seminal appearance at the Whiskey-A-Go-Go on March 27th 1972 has become a highpoint of their achievements. In an attempt to honor this landmark performance, various bootlegs of varying quality have appeared over the years. Klondike's retrospective issue of this legendary concert salutes the stature of the Mahavishnu Orchestra's work with the original, complete and fully-remastered FM broadcast. Includes background liner notes.



BORATTO, GUI: Abaporu CD (KOMP 115CD) 15.50
Returning to the full-length format after a couple of years well-spent in the 12" singles circuit, Brazilian groove architect Gui Boratto follows up his 2011 offering III (KOMP 090CD/KOM 242LP) with new masterpiece Abaporu -- an exotic and colorful journey into sound, spread over 13 richly-orchestrated club tracks that display the same penchant for ridiculously catchy melodies and infectious rhythms that already informed his revered 2007 album debut Chromophobia (KOMP 056CD/(KOM 152LP). In what may be his best work to date, Gui Boratto strings together various contemporary strands of pop-infused techno and house and translates them into his very own stream of groove consciousness -- also an act of cultural appropriation, as both Abaporu's cover artwork and title suggest: putting an inspired twist on Brazil's most famous modernist painting "Abaporu" from early 20th-century artist Tarsilo Do Amaral, they draw from the rich history of Brazilian modern art, where European and indigenous influences would collide in the most exciting manner. Elegantly swinging album opener "Antropofagia" elaborates on this by directly referencing the "Manifesto Antropogafo" (translated as "Cannibal Manifesto") from Oswald de Andrade in its title: Tarsila's husband was also a main proponent of the so-called Anthropophagic Movement that intended to literally devour European culture and turn it into something genuinely Brazilian. In a dazzling display of sonic depth and subtextual ingenuity, Gui Boratto arranges his lush synth-scapes accordingly, painting in broad, neoprimitivist strokes and bright colors that -- at a closer look -- reveal an immense wealth of retro-modernist touches and textural detail. Besides showing off its beautifully crafted melodic flourishes, the album's extended sound palette also flexes its dance muscles on a regular basis -- as eponymous minimal bouncer Abaporu or prime-time piano banger "Joker" prove with ease: a well-versed dance producer and engineer like Gui knows perfectly well how to lay out a narrative arc for utmost floor impact. Meanwhile, cuts like "Please Don't Take Me Home," "Get the Party Started" and "22" illustrate Gui's growing preoccupation with expertly tailored vocals or finely tuned guitar interludes -- updates to his sonic vocabulary that already lead to the fantastic summer singles "Take Control" and "Too Late." The extent of Gui's musical bravura becomes abundantly clear with "Indigo"'s masterfully directed ascension from a deceptively simple, laid-back glockenspiel melody to full-blown string drama in just a handful of bars -- an engrossing listening experience that primes the canvas for introspective, wistful groover "Manifesto," taking the album's emotional trajectory full circle. One of the Brazilian mastermind's most satisfying full-length efforts to date, "Abaporu" finds Gui at the top of his game, rewiring the electronic circuits that connect European and U.S. dance music to his own -- and our -- liking.



GOLDMANN, STEFAN: Industry CD (MACROM 040CD) 17.00
Industry sheds all personalized effort and tests how far you can get by using presets only. All sounds are factory presets of three obsolete 1990s Japanese workstation synths, all effects are presets, all notes are quantized and most panning is purely accidental (laid out in the preset sounds). Industry doesn't rely on successful presets, but on failed sounds of now-obsolete synthesizers -- industrial assumptions of where culture will go, but where it chose not to. The result is a surprisingly pleasant listening experience with effortless grooves and rich textures -- and mildly demonic connotations. From smooth to kicking -- a conveyor belt enjoying mood swings. As beautiful as the scheduled meeting of a PVC sheet and a thermoform mold on a workbench. 0% sound design. What? -> Presets are pre-programmed settings of a device such as a synthesizer or an effects unit: factory stock sounds, equivalent to stock photography or preset styles and filters in apps like Instagram. Audio presets provide a library of "typical" and supposedly desirable sounds -- thus enabling a consumer to bypass individual programming and get quick and easily repeatable results. Every modern instrument or software comes with presets -- and people use them heavily.



DEWALTA: Illumination (Part One) 12" (MEANDER 015-1EP) 14.00
Part one of two. Top quality double vinyl Dewalta album on Meander. Unique, deep-sounding long techno journeys from another planet. This album is available in two separate parts. Part One comes in limited luxurious handmade screen-printed sleeves. Part Two comes with an inner sleeve and can be combined with Part One to build the full LP. Illumination is a record inspired by several physical phenomena and relationships: quantum mechanics, space, darkness and light. It works with subtle, clear kaleidoscopic musical textures and silhouettes triggered from an unknown place far out in the universe. Mastered and cut by Mike Grinser at Manmade Mastering, Berlin.


DEWALTA: Illumination (Part Two) 12" (MEANDER 015-2EP) 14.00
Part two of two. Top quality double vinyl Dewalta album on Meander. Unique, deep-sounding long techno journeys from another planet. This album is available in two separate parts. Part Two comes with an inner sleeve and can be combined with Part One to build the full LP. Apollo 14 astronaut Edgar Mitchell experienced the Zen-like experience of seeing earth from space to a state of mind also known as the overview effect, or Savikalpa Samadhi. Darkness is absence of light. Life and energy is light. Light is invisible until it surfaces. In the zero point sleeps all potential energy. Mastered and cut by Mike Grinser at Manmade Mastering, Berlin.


MG 102EP

LES HAS BEENS: Kraftwerquent 12" (MG 102EP) 14.00
While today's youth is busy chatting and texting each other, their parents, yesteryear's rock rebels, can now torment the young brats with the same dumb, loud racket they treasured back in the day when they were mindless idiots. Rock & roll is here to stay, and in this context, Les Has Beens are a welcome addition to the shrinking number of serious pretenders to its throne. This selection of songs by German electronic pioneers Kraftwerk was recorded in a single day and should fit nicely somewhere between Detroit & Düsseldorf into any connoisseur's collection.



GLUCK: Just the Tip EP 12" (MINI 034EP) 14.00
"Time will tell" they say, and so it didn't? "Lebush" had been lost in the Minibar archive since 2005, making a few strongly unnoticed reappearances year in, year out, before finally ending up on Gluck's Just the Tip EP today. The package comes with a self-explanatory "Lebush" "Kick Mix" version by Cabanne, as well as two debilitating slices of interstellar ear pain called "Inlove" and "Werehouse," both recorded while performing freestyle dentistry on a dead yet actively reluctant coat hanger. While doctors, surgeons and butchers the world over can only frown, you can get your own copy before they're banned in your country.



TINARIWEN: Amassakoul 2LP (MCR 912LP) 27.00
"Amassakoul, released in 2004, was made by a band in which four of the six players were newcomers and represented a shift to a more produced, intricate sound. It preserved the loose, camelback rhythms, call-and-response vocals, lively guitars, and handclaps of Tinariwen's unique sound but added a vocal drone to 'Assoul' and influences from Jamaican toasting on Tamashek rap track 'Arawan' and on 'Oualahila Ar Tesninam,' the group's hardest rock track yet. The album's name tellingly translates from Tamashek to 'The Traveler.' Issued on vinyl for the first time ever by Modern Classics Recordings, this is your chance to discover Tinariwen at the point when their travels to Europe and beyond created a cultural exchange beneficial for the band, for western music, and, ultimately, for the listener. Double LP housed in a deluxe Stoughton tip-on jacket with original booklet. All tracks newly remastered."



SIBOLD & TELLY, KONSTANTIN: I'm In Need 12" (MOJUBA 021EP) 14.00
Crafty 1990s deep house-rooted cut in two versions. Dub by Oracy.


MU 003EP

MK: Strider 12" (MU 003EP) 14.00
MK aka Marc Kinchen has been the master of the finest dubs and remixes in the house business for more than two decades. His 1991 track "Strider" remained an obscure Detroit techno classic only for those who know and were lucky enough to get hold of the rare test-pressing of MK's first release Get It Right! on his own imprint, Masahiro Records. However, "Strider" didn't make it to the official release and was replaced by another track. Here is the track remastered, with an additional extended version edited by Oracy.



ANSTAM: Names CD (MONKEY 050CD) 15.50
The simple fact that there is a new Anstam album will wet the tastebuds of many music-lovers all over the world. Not having released any albums since 2012, Anstam only came to the public eye as the support act for Atoms For Peace and Moderat. Standing on the shore of the big mainstream and all the little mainstreams, Anstam has worked on a more artistic approach -- to sculpture a complex and well-crafted cosmos, full of unique musical logics, physics and atmospheres. Names is the third Anstam album from German artist Lars Stöwe, after the critically-acclaimed Dispel Dances (50 004CD/LP, 2011) and Stones and Woods (50 010CD/LP, 2012) -- and once again, Anstam pushes things forward in his typically idiosyncratic style and operates the full arsenal of relevant modern music into a 10-course meal of delicious brain food.



SLY MONGOOSE: Snakes and Ladder 12" (MUSIQ 005EP) 14.50
You remember this amazing release from Sly Mongoose? It's finally repressed as a nostalgic memory of 10 years of Mule Musiq. Features remixes from Galarude and Rub N Tug.


A DIFFERENT JIMI: In Walked You 12" (MUSIQ 178EP) 14.50
A Different Jimi is a project of the guy who is well-known as Egoexpress. This new endeavor is a blend of classic beats, house, disco in the vein of Hamilton Bohannon and the unmistakable passion for the jazz sound of the hard bop era that resonates in the depth of the production. The title-track is melancholic jazzy house and the B-side is in a more Balearic mood.



WALKER, STEWART: Ivory Tower Broadcast CD (MUNDO 002CD) 15.50
American (but Berlin-based) Stewart Walker returns with his new album release Ivory Tower Broadcast. A quarter century of the same drum machines and bass lines turned future music into golden oldies. Visionaries don't make techno based on particular instruments but a set of techniques which can dilate time, implode sound, and confound expectation. Stewart Walker returns after a six-year retreat to bring his own future sound with Ivory Tower Broadcast. The Ivory Tower refers to a cloistered and elitist mental space removed from practical considerations and criticism. It's a perfect metaphor for a music studio: escape the noise outside and start from nothing but memory. Forget the rules, they're from a long time ago. Based heavily on live instruments and the scrape and noise of performance, Ivory Tower Broadcast tightly controls and contorts the human element and splays it across the time-corrected perfection of sequenced rhythm. Disparate recreations of post-punk bass lines and shoegaze guitars are sliced through with "drunken master" scratching inspired by the late great DJ Screw. German zithers and Japanese kotos are plucked and strummed to recall the warm chorus of Appalachian mountain music. The techno is there in the tension and hypnosis of the beat, stripped dry and metronomic to support the luxurious sound. On Ivory Tower Broadcast Stewart corrals sounds from different memories and geography and binds them into an emotional experience with rarely-seen vision and skill.


WALKER, STEWART: Ivory Tower Broadcast 2LP+CD (MUNDO 002LP) 23.00
Double LP version. Includes CD of entire album.



BERK OFFSET: Die Riemannsche Vermutung 12" (MKR 041EP) 14.00
Rainer Maria Silke aka Berk Offset is in many respects a kind of brain surgeon and at the same time literature researcher. For his second Musikkrause release he has installed a few cables in the Thuringian Forest to come up with those rare, feverish, glandular whistlers. This active compulsion (of course, with the proper official forestry license) has resulted in a collection of four electrical hunting trophies and therewith proven the Riemann hypothesis: the forest is sound.



MARCLAY, CHRISTIAN: Guitar Drag 12" (NEON 002LP) 24.00
Last copies of this 2006 LP, recently featured in Greil Marcus' new book The History of Rock 'n' Roll in Ten Songs. Soundtrack from the video Guitar Drag, 2000. Recorded in San Antonio Texas, on November 18th 1999. 12" one-sided transparent vinyl. 14 minutes. "The record is actually the soundtrack for Marclay's video with the same title that was shown first at London's Hayward Gallery sound art exhibition Sonic Boom in 2000. The piece as well as Marclay has become an icon in sound art circles, and although the video can only be seen in exhibitions as an installation, it is widely known. The full 14-minute soundtrack is released on a beautiful 12" clear vinyl record packaged in a sleeve with stills from the video. Filmed in San Antonio Texas, it shows an amplified Fender Stratocaster guitar attached to a rope being pulled behind a pick-up truck. As the guitar drags across the road it produces a range of sounds from the bumping and the friction against the varied surfaces. A fantastic visual piece, but also an amazing sound piece, that stands just as well alone, and in some ways just as visual! From the first sounds of duct-tape being ripped, the familiar sound of someone gently slamming the strings of the guitar, to the sounds of an engine starting and then slowly the beginning of a sound that is hollow and at the same time human, and that takes us through the deepest roarings to high pitched screams until the very end when it all slows down and stops, unwillingly it seems. Knowing the story behind the work or not, the sound itself triggers your imagination, leaving your soul no peace. For even if this could be seen, or heard, solely as a beautiful noisy sound piece, there is too much to the idea behind Guitar Drag, for it to not leave you restless and thoughtful."


NEOS 21303-4CD

DEBUSSY, CLAUDE: Préludes 2CD (NEOS 21303-4CD) 25.00
Gilead Mishory presents a fabulous interpretation of this famous work from Claude Debussy. Does a pianist play differently when he is also a composer? Gilead Mishory says yes: since he has been composing, the way he views piano-playing has changed. Composing, above all, is an art of translating what the composer hears internally, translating it into notes so that the result corresponds to what he has imagined. Interpretation - meaning "translation" in the broadest sense -- is the reverse procedure for Mishory: finding the sonic conception in the other person's writing. Each individual Prélude signifies an entire world to Mishory. He regards each one as if it were in a kaleidoscope, scattering its sonic, rhythmic and emotional layers until he even sees "La cathédrale engloutie (The Sunken Cathedral)" standing upside-down before him. He loves Debussy's sharp contrariness and his almost grotesque depiction of the male protagonists, and, at the same time, his warm, soft, discrete musical language in the landscape depictions and the fairy-like women's portraits. Mishory gives the imaginary protagonists in Debussy's cycle a voice: he allows them to speak, to tell their stories. In this way, they themselves become Gilead Mishory's "pianist's voice."



BUNNY GENERAL: Mek Them Rock (Jstar Remix) 7" (NUPFAD 003EP) 11.00
Continuing their visits to the vaults of the legendary Fashion Records, NICE UP come correct with another remix of a classic track from the catalog. Much-loved mash-up king and remixer internationale Jstar steps up to give his take on the classic "Mek Them Rock" by Bunny General. Firing up a heavy digital dancehall rhythm, the vocals are twisted and wrangled through the fx unit to deliver a truly modern take on this soundboy anthem, which is sure to NICE UP any dance. Comes with an instrumental version on the flip.



SKYGGESPILL: Morphing Between Spaces and Phases LP+CD (OSP 005LP) 22.00
180 gram vinyl pressing, includes full album on CD. Behind the name Skyggespill (trans. "shadow play") we find the musician, producer and composer Kjetil Husebø. In Skyggespill he mixes concrete and abstract sounds into a musical universe that is both maximalist, minimalist, fluid, chaotic and dark. The music, in which the use of drone-like sounds is a central feature, might be categorized both as ambient, electronic, as well as contemporary. Skyggespill is different than his other projects, both solo and collaborative, as it focuses solely on an electronic soundscape. Where he previously combined piano and live sampling/electronics, he now makes use of field recordings and explores opportunities within sound design. Kjetil Husebø has previously released two solo albums named Sources (2013) and Contradictions (2012). Furthermore, he has released two albums as part of the project Optical Substance (Adaptation (2010) and Sub Luna (2005). Morphing Between Spaces and Phases is Husebø's first album that only features electronic music. Stylistic references and sources of inspiration in this project include: Biosphere, Deathprod, Christian Fennesz, Chris Watson, Richard Devine and Gyorgy Ligeti. The album was produced and mixed by Kjetil Husebø. Helge Sten (Audio Virus Lab) mastered the album.



FURSTENBERG, MARKO: Ghosts from the Past CD (ORN 032CD) 17.00
Marko Fürstenberg, currently living in Leipzig, has been experimenting with sound since 1999. Rooted in classical dub-techno, he not only knows how to interpret it, he's extending it further with his own personal aesthetic. In 2001, his first releases on a number of net-labels gained him a broad listenership. Then in 2003, his first album Gesamtlaufzeit (RC 003LP) was born. (Then years later, a son was born as well, but we'll get back to that.) Since 2005, Marko has been constantly releasing vinyl on labels such as Ornaments, A.r.t.less, Echocord Colour and Rotary Cocktail. And he's also done remixes for labels such as Resopal, Telrae, Freund der Familie, and many more, which all demonstrates the quality and sheer competence of his work. With his new album Ghosts from the Past, Mr. Fürstenberg doesn't say goodbye to an old chapter, but he's rather building a bridge to a new one. Familiar elements are the mortar to a complete musical piece, with an extended foundation, new accents, and a fresh face. GFTP is a musical retrospective of a new way of life -- with a child -- that was born in November 2010. The conception and creation of this album began to take form in parallel to that of his unborn son, as an almost aural twin. Marko's wife helped with the album artwork while also carrying a little Marko inside her. Meanwhile, over the three and a half years in production, Marko was also actively involving his now-toddler child in the sound research for his new album. "Stolbenkraft" includes made-up vocalizations from his son, mixed with a sneeze to a euphony. In "Woahhh," he's exploring the playful dispute of his offspring with several toys, e.g. a Thai wooden frog, amongst others. His tendency in his style of weaving pleasant sound experimentations is shown on the track "Piano," which reconstitutes moments of a piano concert, while putting them into new structures. Quite some time has passed in between each production, and the diverse accents of time in which this came together can be heard. Everything on this album melds together organically. On "GFTP," the Zeitgeist is touched, an Arabic singer can find her spotlight in a colorful soundscape, which alternately holds and catches us, and then ultimately lets us go again.


OP 017CD

VA: Work CD (OP 017CD) 17.00
Nearing its first birthday, Other People is celebrating the only way it knows how: Work. The label has put out new material every Sunday since it launched with 2013's Trust compilation, and the culminating Work comp doesn't break that streak -- consisting almost entirely of new material from Other People's artist roster, and a few remixes from some special guests. Work is not, however, an uncooked mash of music. Its sequencing is deliberate and its selection purposefully not encompassing. In fact, Work is more an album than anything else. Kicking off the affair is Soul Keita, whose roots run back to the days of Nicolas Jaar's first label, Clown & Sunset. Dave Harrington follows with a cover of the Nick Drake song "Things Behind the Sun" with the singer Tamara. His amorphous chords flow right into the tight groove of VISUALS' "A Pixel," produced by Nico and featuring some guitar by Dave. Darkside also pay their dues with two unreleased tracks from their Psychic sessions -- "What They Say" and "Gone Too Soon." Putting a nail in the coffin, German pyro-techno duo Ancient Astronaut do battle with a troupe of remixers. The first comes in snarling at the hands of Powell. The second builds gently with the subtle touch of Jenilek. And last comes a deadly dub mix by Francis Harris and Gabriel Hedrick. Work paid off.



GAMBLE, LEE: Koch CD (PAN 059CD) 16.50
Following up from the success of his emphatic PAN releases Dutch Tvashar Plumes (PAN 036LP) and Diversions 1994-1996 (PAN 033LP) in 2012, PAN is excited to announce Koch (pronounced "cotch"), the new album from London's Lee Gamble. Sharing some stylistic affinity with his previous records, which excavated his deeply personal history with UK jungle and rave, and techno, this new work dives even deeper to reveal a singular and intimate musical vantage point, shifting to approaching music as projection, state, hallucination, another place. In Koch, we experience an artist constructing a future, after time spent deconstructing the past. In the music we witness such dimensional abstraction, zooming between epic macro-scenery and claustrophobically close detail, disorientation and absolute focus. Rhythms fuse together and phase apart, club tracks tunnel into an anxious wilderness, with themes and textures emerging as threads throughout the record, wormholing between each track. There is a sense of the seen and the unseen, an honest tension between music as function (for this world) and as artistic exploration (for another world) as cracks in the surface appear to reveal the odd and alien minutiae within. Koch represents an intimate and revelatory new phase in Lee Gamble's practice. Producing tracks that can live and grow on their own in a club or personal listening environment, the artist's exploratory framework creates threads of consistency and tension between disparate spaces, locations, and mental states.


GAMBLE, LEE: Koch 2LP (PAN 059LP) 27.50
2LP version.



NEOTANTRIK: Blue Amiga LP (VHSX 010LP) 20.00
Andy Votel and Demdike Stare's Sean Canty's concept group, NeoTantrik, return with the fruits of recent performances alongside Buchla maestro Suzanne Ciani, Swiss jazz legend Bruno Spoerri, and folk artist Jane Weaver. Recorded during sporadic visits to theaters and art spaces across the world, Blue Amiga follows one year on from their Intervisions (VHSX 009LP), further flinging the coordinates of their improvised alloys to encompass, extract and reduce a broad spectra of influences and disciplines taken from theatrical sound design, Italian library and computer music with general abstract and unrehearsed mechanical/human/electronic interfaces. Put simply; it's a trip. Augmented by the presence of synth music and electro-jazz pioneers Ciani and Spoerri -- both subjects of excellent reissues by Votel's Finders Keepers label -- plus the return of Jane Weaver and home-made music by the Sound Awareness blog's Martin Young, the team sweep us through engrossing soundscapes fanning out from sub-aquatic drone to radiant electro-acoustica, gloomy cues and strung-out, opiated ambience of a deeply romantic, adult nature. Garbed in Asia Argento's gorgeous cover design -- featuring an image depicting the private family swimming pool photography of giallo actress Daria Nicolodi -- Blue Amiga wears its cinematic influences quite literally on its sleeve, while musically rebuking the obvious stylistic blinkers of European film music in favor of genuine naked exploration and expansion.


PT 8022CD

BYZANTIUM: Byzantium CD (PT 8022CD) 17.00
Debut 1972 album, originally released on A&M, by UK psych/progressive/folk-rock/pop band Byzantium. Stylistically they approach everything from The Beatles to CSN&Y and Steely Dan to Pink Floyd, equal parts UK, U.S. West Coast pop, folk and rock, with some jazzy interplay, creating a relaxed, hippie-ish vibe. Most band members went on to far bigger things, notably Chas Jankel, soon to back Ian Dury as a pivotal member of The Blockheads.

PT 8028CD

HOKUS POKE: Earth Harmony CD (PT 8028CD) 17.00
Hokus Poke's brief appearance in the early '70s grapples with the tired progressive trappings, injecting innovative playing and an overall energy. The band emerged from the late '60s with most members having already trodden the path of London's psychedelic scene and were taken under the auspicious wing of another celebrated 1960s figure in Kenny Lynch (Small Faces, etc). Earth Harmony was recorded when rock was still defining itself as the major musical force we are now readily familiar with. It speaks of pragmatic values amidst the clumsy, chaotic aftermath of psychedelia, infusing a taste of The Open Mind, Northwind and Wishbone Ash. Signed to Philips' progressive Vertigo label, the band emerged amidst a thriving music scene and saw their work slugging it out with the likes of Jade Warrior, Warhorse, Legend and Paul Jones. Recorded at George Martin's Air Studios in September 1971 and scheduled for an early release in 1972, Hokus Poke had ultimately produced an album worthy of their efforts and one which has since become highly-regarded amongst collectors and critics alike, while also remaining one of Vertigo's more overlooked releases.

PT 8029CD

HEADS HANDS & FEET: Heads Hands & Feet CD (PT 8029CD) 17.00
It took British band Heads, Hands & Feet just one gig to land what was at the time the biggest record advance ever offered by the U.S. record industry to a UK band -- a massive half-million dollars up front! But this was not just one potentially hip new band, but a collection of seasoned pros who knew their way around a studio. Consisting of guitar virtuoso and multi-instrumentalist Albert Lee, bass-man Chas Hodges, drummer Pete Gavin, guitarist Ray Smith, vocalist Tony Colton and keyboard player Mike O'Neill, their debut album, released as a single LP in the UK but a double in the U.S., is presented here in its entirety, and what a good album it is, too. Although the band lasted for two more albums, the group proved to be more a staging post for its members who all went on to various degrees of success, except for Pete Gavin who took a job in the construction industry in Salem, Ohio. But as Tony Colton opined "Looking back, we were one hell of a band and on a good night we could blow anybody off stage."



VA: Worth the Weight Vol. 2: From the Edge CD (DRUNK 006CD) 12.50
Punch Drunk Records presents the second chapter in its Worth the Weight CD compilation series, selected once again by Peverelist and presented in a digipak CD format. Since launching in 2006 with a vision of documenting Bristol's burgeoning and idiosyncratic reaction to dubstep, Punch Drunk has become a byword for quality and daring. The label has become a tastemaker in its own right, defining an era within the city's rich musical heritage. The last eight years has seen Punch Drunk release bonafide classics from artists developed, encouraged and debuted by the label; some of whom have gone on to become internationally-recognized artists. The cornerstones of Dubloaded, a club event that Pinch ran in conjunction with Peverelist, and Rooted Records, the record store managed by Peverelist, provided an era of fertile ground for local artists such as Headhunter, Appleblim, RSD and Joker. The first edition of Worth the Weight, featuring these artists and more, was released in 2010 and selected tracks from the first four years of the Bristol dubstep explosion. After the wider dubstep scene went overground, moving away from its original roots and context, the Bristol scene recalibrated and reflected on those dynamic first few years. Peverelist was keen to keep the Punch Drunk momentum heading in a direction of mutation and innovation true to its original manifesto, unique to and reflective of Bristol. Worth the Weight Volume 2 represents that second era, when a new school of Bristol artists were beginning to emerge. Many of them found their first releases at Punch Drunk and are featured on this compilation. Kahn's first two 12"s for the label were a dichotomy of colorful, swung rhythms and heads-down, deep and dark sound system music. Ekoplekz released two LPs for the label, drawing influence from Cabaret Voltaire via King Tubby, defining his own plane of dystopian dub. Zhou, a duo from the city's Young Echo collective, released two 12"s mastering their own esoteric perspective on heavyweight UK dub grooves. Andy Mac's UK house variants brought the funk and bounce back to Bristol's clubs, while Tessela's pounding percussion tracks rained down relentlessly on dancefloors. Bass Clef's recent masterful and acclaimed psychedelic voyage through techno on his Reeling Skullways LP is represented alongside rising star Hodge, whose Resolve 12" is surely a highlight of the label's catalog. Also includes a remix by Kowton. This new compilation provides a perfect snapshot of a city in constant flux, seen through the eyes of a label with a unique perspective on its surroundings.


RAS 3052LP

1989 release. "Tough personal choices, romantic frustrations, and 'Jealousy' are all explored, the latter with the able assistance of Jimmy Cliff. Gussie Clarke again takes the production honors, with the dancehall fired rhythms laid down by Steely & Clevie, abetted by the fabulous Ras Brass and Robbie Lyn's exceptional synth work." --All Music Guide



"Turkish free-improv group KonstruKt was formed in 2008 by guitarist Umut Caglar, and since their inception, they've gained notice through their collaborations with such old-guard stalwarts as Evan Parker, Marshall Allen and Peter Brotzmann. The latter introduced them to the legendary Joe McPhee at the Krakow Jazz Autumn festival, and after striking up a friendship, they invited him to join them in Istanbul for a concert in March of 2014. Babylon was recorded the day after he arrived, with no prior rehearsal or discussion, although the seamless meshing could fool anyone into thinking that they were a longtime working group. Caglar came from an electronic music background before delving into free jazz, and it's reflected in the incorporation of moogs & a theremin into the ensemble's arsenal. The music itself swings from space-raga improv to soaring, full-throated anthemic melodies; some sort of Joe Meek jazz world where bird squeal falsettos pierce through a current of drums, only to struggle for breath, come up laughing, and take off far above. McPhee says, 'These guys are the real deal,' and he should know. Download coupon included."



ANTHROPROPHH: Outside the Circle LP (LAUNCH 071LP) 32.00
Anthroprophh's second album Outside the Circle is a dizzying psychic voyage that exists in, around, and at all points of the eternal amplified axe-worship continuum. From the sci-fi doom-out of the appropriately-titled "Space Box Zonk Machine" via the unnerving primitive electronica of "Gottmelt," to the early-Monster Magnet-damaged finale "See," no sacred stone is left unturned, here. Yet at all times, 'Prof''s guitar rages through the ether, all banshee howls and fiery tumult; a kaleidoscopic union between Helios Creed and The Velvet Underground of "I Heard Her Call My Name." Outside the Circle resides at a moment whereby 50 years of psychedelic culture and esoteric art messily collide and morph into an intimidating new elixir. Few freaks can remain impervious to this peerless display of frontier-destroying, mind-melting malevolence. Ladies and gentlemen, witness a new monolith. Deluxe gatefold packaging.


RM 457CD

HERBERT, CHRIS: Constants CD (RM 457CD) 16.50
UK-based artist Chris Herbert is a man of intermittent communications. Over the past decade he has published a select oeuvre of crushingly lush and elegant records. Fittingly then, Constants, his new edition for Room40 is a transmission from an overtly private realm. Working in a relative vacuum, beyond the reach of contemporary electronic music trends, Herbert has focused his interest in intuitive composition. Drawing on a mixed musical palette and interweaving sounds sourced from field recordings and scavenged from domestic environments, Constants both refines and expands Herbert's idiosyncratic approach. Augmented by short-wave, degraded cassettes, processed guitar and cymbals, Constants blends the momentary blooming of rich structures with greyscale microclimates. A signature laminar fog pervades, partially glimpsed events and occasional implications of rhythm drift in and out of view. Recorded in restless bursts between 2007 and 2013, Constants was collated in early 2014. It adds a new dimension to his methods of process, and suggests an interiority rich with incidental depth and introspection. "After certain life events," Chris explains, "the windows, already scant, within which to make music were diminished to tiny slivers. Rather than feeling frustrated by this I realized the most radical thing I could do was to accept the limitation and exploit it as an asset. There simply wasn't time to investigate new approaches or technology. The best way forward was to use techniques I felt fluent in and be prepared to capture anything of value, regardless how small or seemingly inconsequential." Constants is a record of exploding depths. As you listen, as you are submerged, the record opens out again and again creating the effect of a fathomless realm.

RM 461CD

SHEA, DAVID: Rituals CD (RM 461CD) 16.50
USA-born, now Australian-based composer David Shea is perhaps best recognized for his connections to John Zorn and the NYC downtown scene. In 2014, he returns with a new edition of outer-wave electro-acoustic deconstructions. Semiotic acoustic renderings, like dreams you lose before waking. From David Shea: "These pieces have been recorded over the last five years; combining ensembles of acoustic and electronic instruments, samples, and field recordings made in Australia and composed during my time living in Melbourne. In this period I have immersed myself in traditional ritual music centered on Buddhist and Taoist traditions as well as the work of Luc Ferrari and Giacinto Scelsi. The Rituals here are influenced by ceremonial rituals as well as internal and personal ones and pieces, which have combined the oldest and newest technologies. The character of the ritual puts the experience of listening at the center of the works, immersion in the experience of the sound as the focus. As the field of Cymatics has shown us in recent times, sound vibrations have effects on physical matter in specific ways, related to the frequencies, harmonics, time, relationship with space and the listener, something traditional healers, and those working with sound and music, have been aware of for a very long time. The ears are only one part of this extended network of hearing and the body and its senses are in constant communication with internal and external realities and beliefs. Scelsci explored this deeply in his music exposing how much life exists in a single sound and how many layers are involved in any relationship with that sound. Ferrari's work has always shown me that the connection between a composer of music, a recorder of sound and the use of the studio or electronics as physical instruments, is a process of exploring both musical structure and the full immersion in the experience of vibration (sound, light, movement) constantly around us. The Ritual forms that I explore here are a relationship between these influences, both real and imagined, with a combination of traditional instruments, samplers and electronic instruments. This weaving of these materials into patterns of layered histories, traditions, styles, techniques and the inseparable internal experience of composing them led to the hybrid of forms which each piece explores." Features contributions from Oren Ambarchi, Joe Talia, Scanner, Lawrence English, and Girish Makwana.


RUM 2011006LP

HAWKINS, SCREAMIN' JAY: The Singles 1954-1957 LP (RUM 2011006LP) 22.00
A comprehensive collection of the early, pre-debut LP singles from one of the most controversial front-men of early rock and roll. With his classically-trained bass-baritone singing voice, Screamin' Jay Hawkins conjured up ghoulish images both on stage and on his records. Hawkins, evoking voodoo images and using bone-rattling sound effects, simultaneously entertained and bewildered rock'n'roll fans. Featuring his all-time classic "I Put a Spell on You," along with 15 hard-to-find classics from his Okeh Records days.

RUM 2011040LP

PRESLEY, ELVIS: Elvis' Christmas Album LP (RUM 2011040LP) 23.50
The initial reaction to the release of this album was unbelievably one of controversy. Irving Berlin was actually horrified that his "White Christmas" was being sullied by the "vulgar kid with the gyrating pelvis," and many others agreed. The year was 1957 and Elvis Presley was still young (just 22) and dangerous, Jailhouse Rock had just hit the box office and his "Hound Dog/Don't Be Cruel" single was still at the top of the charts. But despite his status as the ultimate rebel, Elvis actually managed to deliver pretty convincing versions of these Christmas classics, so much so that although Irving Berlin may still be rolling over in his grave, the album itself has taken its place as one of the best-known and loved Christmas albums of all time. Features nine bonus tracks, all recorded in 1957. 140 gram LP special edition pressed on clear red vinyl.

RUM 2011055LP

DALE, DICK: Surfers' Choice LP (RUM 2011055LP) 22.00
Richard Anthony Monsour, born May 4, 1937 -- better known to the world as "The King of the Surf Guitar," Dick Dale -- released this, his debut album, in 1962. Featuring his backing group, The Del-Tones, Surfer's Choice is an absolute stone-cold classic and the first-ever LP document of the brand-new phenomenon of surf-rock, a genre that Dale, an avid surfer himself, singlehandedly created. An essential piece of surf-rock history, reissued on LP by the fine folks at Rumble.

RUM 2011056LP

BONDS, U.S.: Dance 'til Quarter to Three LP (RUM 2011056LP) 22.00
Virginia's own Gary "U.S." Bonds released Dance 'til Quarter to Three, his debut album, in 1961 hot on the heels of the chart-topping hit of the same name. That classic piece of rock and R&B history is featured here along with 11 other stellar numbers, including his first hit single, the wonderful "New Orleans." Bonds went on to work with the legendary Swamp Dogg, as well as the Boss and his E Street Band, but he never quite reached the sheer urgency and pure dancing joy of this, his very first record, reissued lovingly on LP by Rumble.

RUM 2011060LP

TURNER, IKE & TINA: Dynamite! LP (RUM 2011060LP) 22.00
The second Ike & Tina Turner LP was comprised of 1961-1962 recordings made in the midst of their rigorous touring schedule along the fabled "chitlin' circuit" and in between club residencies in their home base of St. Louis. Dynamite! features the Grammy-nominated, million-selling single and all-time classic R&B track, "It's Gonna Work Out Fine," but the hits don't stop there; "Poor Fool," "You Should've Treated Me Right," "Tra La La La," and "I Idolize You" were all chart hits. Absolutely guaranteed to fill the dancefloor, Ike & Tina's Dynamite! is probably their greatest LP and now it's back in print on vinyl.

RUM 2011065LP

LIVELY ONES, THE: Surf City LP (RUM 2011065LP) 22.00
The Lively Ones' third album was originally released in 1963 on the legendary L.A. surf label, Del-Fi. Featuring 12 guitar and sax-heavy sides, including ripping renditions of Dick Dale's "Miserlou" and Santo & Johnny's "Sleep Walk," Surf City is probably best-known to younger generations for the classic surf instrumental, "Surf Rider," which was featured in the closing credits of Quentin Tarantino's 1994 film, Pulp Fiction. Though they may not be a household name, The Lively Ones are in the top tier of 1960s surf-rock groups and Surf City is perhaps their finest moment.

RUM 2011076LP

CHARLES, BOBBY: See You Later, Alligator LP (RUM 2011076LP) 22.00
Bobby Charles -- born Robert Charles Guidry in Cajun country, Vermilion Parish, Louisiana -- had his life change forever when, at the age of 15, he first heard Fats Domino on the radio. Soon after that, Charles was helping to fortify the "swamp pop" sound he became famous for -- penning this collection's legendary title-track, as well as writing massive hits for Domino, Bill Haley, and Clarence "Frogman" Henry. In addition to writing and recording dozens of '60s Louisiana R&B, and swamp pop classics, Charles would brush elbows with other NOLA legends like Allen Toussaint, and Dr. John, record an album in the early '70s with members of The Band for Albert Grossman's Bearsville label, and perform at The Band's legendary farewell performance, The Last Waltz. That said, nothing he ever did matches the sheer, pure, raw rock & roll power of those late '50s and early '60s sides, which are presented here. This record is a total party, Louisiana-style.

RUM 2011078LP

VALENS, RITCHIE: Ritchie Valens LP (RUM 2011078LP) 22.00
Ritchie Valens was born Richard Steven Valenzuela on May 13, 1941 in the San Fernando Valley town of Pacoima, California. A self-taught musician, Ritchie joined his first group by the age of 16, was a hit recording artist by 17, and, tragically, dead in a plane crash before his 18th birthday. A pioneer in the world of Chicano rock, Ritchie was an influence on the likes of Carlos Santana and Los Lobos. Released just a month after "The Day the Music Died" -- when Ritchie, Buddy Holly, and The Big Bopper died in a plane crash in Iowa -- this LP includes the legendary singles "Donna," "La Bamba," and "Come On, Let's Go," along with nine other early rock'n'roll classics. One of the most important musicians of the 20th century, and quite likely the most important Mexican-American recording artist of all time, this LP is Ritchie Valens' legacy boiled down to 30 minutes of puro rock'n'roll.


RCD 2007CD

SUPERSILENT: 4 CD (RCD 2007CD) 15.00
2014 repress of the explosive, mind-battering second album by Norwegian group -- we first listed this 699 weeks ago! "This quartet has quickly developed into being the most exciting group in what many will call the new wave of young Norwegian jazz. Still in their twenties, they have all been involved in numerous groups and projects, ranging from Terje Rypdal Skywards (Ståle Storløkken) to rock group Motorpsycho (Helge Sten). Arve Henriksen and Jarle Vespestad are considered two of the most personal instrumentalists in Norway, the former receiving due attention for his playing on Christian Wallumrød Trios No Birch, released on ECM. Helge Sten (aka Deathprod) is an in demand producer, and recently grabbed a lot of attention for his reworking of Arne Nordheims electronic music. With total improvisation in a 'traditional' band format they stress the importance of realtime interaction, playing together and against each other. Although they can sound very electronic, there´s not a computer or drumloop in sight and they will frequently slip into stretches that are much closer to something like Autechre than what is normally considered as 'jazz'. On 4 they appear more focused and to the point than on their 3 hour debut set and deliver an absolutely stunning album of improvised 'jazz', electronica, power and lyrical beauty." The group consists of: Helge Sten: Audio virus, Ståle Storløkken: synthesizers, Arve Henriksen: trumpet, electronics, Jarle Vespestad: drums. "While their sound has the added depth of modern recording techniques and digitized, one touch electronica, their improvisations have the ramshackle DIY qualities found in early live electronics projects by pioneers such as Gordon Mumma, Robert Ashley and Musica Elettronica Viva." -- The Wire.

RCD 2029CD

SUPERSILENT: 6 CD (RCD 2029CD) 15.00
2014 repress. "Supersilent have been a solid cornerstone in Rune Grammofon since the very beginning and are seen by many as representing the very essence of the label. From the monumental hardcore blizzard storms of 1-3 to the elegant electrojazz of 4 and the almost quiet soundscapes of 5, this new album is where the sum of all things Supersilent comes together in a shape of almost epic proportions. Like 1-3 and Scorch Trio, it was recorded at Athletic Sound in Halden, Norway. More than ever it appears clear that their music lives in a no man's land between the genres, somewhere between rock, electronica, jazz and modern composition. As with all their recordings and live performances, everything here is improvised. That most of the music on 6 appears to be written or at least arranged is testament to the high, almost telepathic level they work at . Needless to say, there are no overdubs. Often being labelled jazz because of the improvising aspect of the music and the fact that three of the members come from a jazz background, with 6 they are just as likely to attract followers of bands such as Goodspeed You! Black Emperor, Sigur Rós, King Crimson, (late) Talk Talk or Popol Vuh."

RLP 3161LP

HENRIKSEN, ARVE: The Nature of Connections LP (RLP 3161LP) 22.00
LP version. Arve Henriksen stumbled across the title of his latest album while reading a book about furniture-making. "The author mentioned the complexity of making a chair and all the people involved in the process," the Norwegian trumpet player says. "The high quality of the different fields and the wide range of professions that, after a long process, turns into a product which can easily be compared to the process of making this album." The Nature of Connections finds Arve working in harness with some of Norway's most distinguished and dynamic musician-craftsmen, drawn from the fields of folk, improvisation and jazz. Each one brought specialist components and skills honed over many years to Arve's workshop, where the results were assembled and polished to a high gleam. The Nature of Connections almost entirely features pieces composed by Arve's collaborators. Recorded in the sparkling acoustics of Oslo's legendary Rainbow Studio by Jan Erik Kongshaug, it's an album with closer ties to Nordic folk and contemporary, minimalist chamber music than any of Arve's previous releases. The trumpeter had planned to make an album with a string quartet for many years but never quite found the right formula. Finally, a specially commissioned tour brought him together with violinists Nils Økland and Gjermund Larsen, cellist Svante Henryson and double bassist Mats Eilertsen, all of whom now appear as the central planks in The Nature of Connections. Another welcome guest is drummer Audun Kleive, veteran of Norwegian jazz ensembles including Masqualero, JoKleBa!, Generator X, Terje Rypdal and Jon Balke. "The brilliant thing about collaboration with others is that your collaborators very often have better ideas than yourself," says Arve, typically modest. "At the same time, some naive and simple ideas from my head are sometimes enough to illustrate that moment and that special feeling of a story. I have gradually started to trust that feeling." His instincts are correct, leading to some of the warmest and most organic sounding music of his career. Highlights include the solemn chamber music of "Seclusive Song," and the stately progress of "Hymn" -- composed by Arve's keyboardist partner in the long-running Norwegian improv ensemble Supersilent, Ståle Storløkken -- which paces itself around Henryson's repetitive, gently churning cello. Born in Norway and currently living in Sweden, Arve Henriksen is Scandinavia's most distinctive trumpeter and improviser. He played in various jazz ensembles in his youth before co-forming Supersilent in 1997, a prolific free music group with Helge Sten (Deathprod) and Ståle Storløkken, which is still ongoing. His trumpet, augmented with effects and electronics, has appeared with David Sylvian, Terje Rypdal, Nils Petter Molvær, Jon Balke, Terje Isungset and Iain Ballamy's Food. With Supersilent he recently collaborated with former Led Zeppelin bassist John Paul Jones. In September 2014 he'll be participating in an architectural installation/performance as part of Oslo's Ultima Festival of contemporary music. Since 2001 he has created a series of exquisite solo recordings (on Rune Grammofon and ECM), which combine electronic textures, horns, woodwinds, ethnic instruments, percussion, keyboards, and his mournful, yearning singing voice. Henriksen's music reflects both the stunning beauty of virgin wilderness and the shifting, cosmopolitan environments experienced by the 21st century traveler. The Nature of Connections is the latest link forged in an ever-growing chain. Arve Henriksen (trumpet, piccolo trumpet, piano); Nils Økland (violin, Hardanger fiddle, viola d'amore); Svante Henryson (cello); Gjermund Larsen (violin, Hardanger fiddle); Mats Eilertsen (double bass); Audun Kleive (drums).



RADIOKVM: Issrar LP (RPTD 011LP) 26.50
Limited edition of 150 copies. Constantly busy absorbing, analyzing and trying to reproduce in his own manner the ambient sounds surrounding him, RadioKVM aka Sary Moussa specializes in glitchy, experimental soundscapes. Collaborating closely with other like-minded Lebanese electronic producers, such as Okydoky and Munma, RadioKVM has released several remixes and original tracks for label compilations and composed soundtracks for short films as well as theater and dance performances.



WADA, TASHI: Duets LP (SLT 001LP) 18.50
Tashi Wada's Duets LP is the first release from Saltern, his new imprint distributed through Important Records. Duets features a recording of Wada's series of string duos brilliantly realized by cellists Charles Curtis and Judith Hamann. From Curtis' liner notes: "How far can we enter into a single moment, such that for that brief speck of time, for an instant, unison is registered? This would suggest a different sense of unison, as a state of complete integration hidden behind the disparity and change caused by the passing of time." Edition of 425. Recorded by Tom Erbe and cut at 45 RPM by Rashad Becker. Pressed at RTI and housed in jackets with design by Marco del Rio and printed at Stoughton. Cover image by Marcia Hafif.


SATURN 9956-11H

SUN RA & HIS SOLAR ARKESTRA: Visits Planet Earth LP (SATURN 9956-11H) 14.00
Restocked; 180 gram vinyl version. "Recorded between late 1956 and 1958, the album was originally released on Ra's own Saturn label in 1966. In keeping with many Saturn releases, one side features cuts from the Arkestra c.1958, whilst the other side comes from the 1956 sessions originally intended for Sound of Joy but still unreleased in 1966."



AMP LIVE: Headphone Concerto 2LP (SDGPLG 164LP) 24.00
Amp Live's Headphone Concerto is the second solo release for the Zion I producer and his first for Plug Research, with a limited vinyl edition available via Snow Dog. Amp Live has worked with Bassnectar, Fashawn, Myka Nyne, Mike G, and Saint Timbre, and has officially remixed Goapele, Underworld, and Linkin Park, and done production for Lyrics Born, Dilated Peoples, and Planet Asia. A concerto, only achieved by those who have mastered their craft, takes the audience on a journey in multiple movements through contrast between instruments. Amp Live has mastered his craft of programming, producing and arranging through his decade of work with his collaborator Zumbi as the acclaimed hip-hop duo Zion I, as well as his remix work and previous solo release on San Francisco's OM Records, and his current affiliation with the EDM-centric Northern Lights Music Festival. Headphone Concerto, Amp's first release via L.A.-based Plug Research (Flying Lotus, Bilal, Exile, Sene), draws on his musical experiences of playing drums in his church band as a child, the skater soundtrack he absorbed growing up in suburban Texas, as well as his passion for experimental electronic music that he encountered in the Bay Area after moving there in the late 1990s. This album weaves a mesh between the L.A. beat scene -- Amp is an inspired MPC handler -- and California-bred lyrical talent, enlisting emcees Mike G (Odd Future), Opio (Souls Of Mischief), Grouch & Eligh (Living Legends), Planet Asia, as well as up-and-coming singers (Povi Tamu, Anya & Prof), and utilizes live instruments to a surprising degree (cello, drums), the result being an understated jazz-rooted groove that ebbs & flows & flourishes, referencing electronica, indie, neo soul & hip-hop, and defying easy classification. Ref: Dilla, Aloe Blacc, Outkast.


OUT 5007LP

COLEMAN, ORNETTE: The Shape of Jazz to Come LP (OUT 5007LP) 25.50
A watershed album in the genesis of avant-garde jazz, Ornette Coleman's 1959 The Shape of Jazz to Come is true to his title. Switching from tenor to alto sax, Ornette literally invents free jazz by approaching classic structures in a revolutionary way, and creating a language where chord structures are absent (he refused to use any piano or guitar on this music) and harmony gives way to improvisational whims. Backed by an all-star line-up consisting of Charlie Haden, Billy Higgins, and Don Cherry, this is the album that freed jazz and reinvented it. 180 gram vinyl.


ST 001EP

CLARIAN: Is There Light at the End 10" (ST 001EP) 14.50
For most people, Seth Troxler is a name associated with Detroit-leaning house and techno. Yet this only scratches the surface of Troxler's musical outlook, hence the formation of Soft Touch; an imprint focused on peeling back the layers of the exotic and the strange, where interstellar guitar, calypso disco and seductive techno tracks can come together in unison and feel totally at home. On the labels first 10" release, Clarian collects three tracks; a kaleidoscopic journey through 6 am electronics, Afro-beat indie-pop and '60s West Coast heartbreak. It's a bold opening statement for a label prepared to break the mould.



SURGEON: Surgeon EP (2014 Remaster) 12" (SRX 001EP) 15.50
This is the first release on the six-volume Surgeon reissues label, SRX. Originally recorded 20 years ago, Surgeon's first-ever release marked the beginning of the hugely-influential Birmingham techno sound. "Although some of these releases have been repressed many times over the years, they have always been from the original plates from those early cuts; none have ever been re-mastered and recut in their original from. So I began carefully transferring everything from the original DAT tapes and working closely with Christoph Grote-Beverborg from Dubplates & Mastering in Berlin to present this early material as it was originally intended. For the packaging I commissioned Ken Meier and Yoonjai Choi from Common Name."



VA: Higher Ground Vol. 1 10" (STAGO 059LP) 19.50
Eight wild and gritty gospel tunes with an R&B edge from the late '50s/early '60s. Compiled by Duke Jens-O-Matic of Jim Jam Gems fame. Comes in a vintage-style brown 10" cover (with hole) with a screenprint in gold on the front. Numbered and limited to 500 copies. First in a new series. Artists include: The Voices Of Jordon, Juanita Johnson & The Gospel Tones, The Blind Boys Of Alabama, Sister Wynona Carr, The Happyland Singers, The Chosen Gospel Singers, The Gospelaires, and The Swan Silvertones.



VA: Stil vor Talent Berlin: Schlesisches Tor CD (SVT 136CD) 17.00
Stil Vor Talent's new compilation series takes you on a tour of Berlin, capturing the essence and spirit of the German capital through the music they love, play and dance to. The journey begins at U-Bahnhof Schlesisches Tor in the heart of Kreuzberg: pulsating with life, right next to the Spree, a stone's-throw from the city's illustrious club scene and the Stil Vor Talent headquarters. Selected by Oliver Koletzki, with artwork by Chrisse Kunst. Artists include: Solomun, Frame Of Mind, Animal Trainer, NTFO & Karmon, Monkey Safari, Dauwd, Niconé & Sascha Braemer, Niko Schwind (feat. Heartbeat), Proud, Me & Her & David Keno, Patrick Topping, Tiefschwarz & Ruede Hagelstein, Oliver Koletzki, and Tender Games.



MATCHER, TAGGY: My Man 7" (STIX 041EP) 12.00
Bruno "Patchworks" Hovart is a name to remember when it comes to modern groove music. Since 2007, just following the international success of The Dynamics first album Version Excursions, Patchworks also started to hide under his Taggy Matcher alias, releasing fine reggae remixes of classics hip-hop songs for Stix Records, a subdivision of Favorite Recordings. Taggy Matcher now presents "My Man" alongside another surprising great songstress from Lyon, LMK. On this new track, Taggy digs more into the digital reggae from the early '80s, showing another side of his production scale.



BABA STILTZ: Total 2LP (BARN 026LP) 26.50
Double LP version. Baba Stiltz hails from a tradition of funky outcasts centered around the calm yet unpredictable city of Stockholm, Sweden. Since his infant days he's been guided through the nitty-gritty basics of what it is to be a true music lover by some of the city's most prolific artists, producers and DJs. Despite his youth, 20-year-old Baba boasts an impressive discography, with two albums of dreamy folk-pop (as The Bethlehem Beard Corporation) and a string of hit singles within the elusive Skweee scene already under his belt. His more recent studio adventures have led to three 12'' releases on Stockholm dance label Studio Barnhus as well as recurring production work for post-rap phenomenon Yung Lean. Total is Baba's debut album under his own name and his finest work to date. From the opening machine-funk arpeggio of "Missing" to the sanguine melancholia of closing hip-hop beat "Discovery -- New Dawn," Baba's masterpiece rides through psychedelic screw-pop, minimalistic emo-acid and opiate-drenched coming-of-age-ambient. As lucid and strong as it is obscure and beautiful, this is an album Studio Barnhus are immensely proud of presenting to the world.



MAYET, HISHAM (DIRECTOR): Vodoun Gods on the Slave Coast DVD (SF 089DVD) 16.50
Vodoun Gods on the Slave Coast explores the ceremonial splendor of sacred dance and ritual in Benin, the birthplace and cradle of Vodoun. Formerly known as Dahomey, Benin was also called the Slave Coast due to its importance in the trans-Atlantic slave trade. Today, the worship and supplication of Vodoun gods remains integral to everyday life in Benin. Shot in January 2011 during the country's rich annual Vodoun celebrations, this film offers an impressionistic glimpse of the major ceremonies and delirious musical performances associated with this ancient religion. Guided by the otherworldly rhythms and colors of Vodoun pageantry, Hisham Mayet presents an intimate view of metaphysical dramas enacted in magisterial costumes: The cult of Sakpata, fearsome god of pestilence, disfigurement and healing. The Egoun-goun, ancestral visitors from the realm of the dead, who bring blessings and warnings for the living. And the Zangbeto nightwatchmen, ambulatory haystacks who serve as Vodoun's secret police. Traveling in a malarial fever dream from the clutter and bustle of village markets to the palace of Ahosu Agoli-Agbo Dedjalagni, the King of Abomey, Mayet provides an unforgettable portrait of secular and sacred life in Benin. Digipack with 12-page booklet of photographs from various Vodoun ceremonies throughout Benin; 48 minutes/color; all-region DVD, NTSC format. Limited one-time edition of 1,000 copies.


SV 031CD

GLAXO BABIES: Put Me on the Guest List CD (SV 031CD) 16.00
"Glaxo Babies are the greatest UK post-punk band you've never heard. Formed in Bristol in late 1977 and named after the British pharmaceutical giant who allegedly inoculated thousands with a toxic vaccine, the original lineup included Rob Chapman (vocals), Dan Catsis (guitar), Tom Nichols (bass) and Geoff Alsopp (drums). The band's pioneering mix of metallic guitar, dubbed-out rhythms and shamanistic chants found its way into the bloodlines of generations on both sides of the pond. Naturally, Glaxo members later joined The Pop Group and Maximum Joy. Originally released on Heartbeat Records in 1980, Put Me on the Guest List collects the band's propulsive demos, mostly performed live in the studio with no overdubs and not originally intended for release. 'This Is Your Life' is a veritable classic, with Chapman's angst-ridden lyrics soaring low as the band rides tense, sinuous grooves. The skittish 'Police State' stands toe-to-toe with the art-punk flag-bearers in the North (Gang of Four, Mekons) and in London (Wire, The Homosexuals). 'Stay Awake' is a vitriolic screed as powerful as anything from the newly formed Public Image Limited. By the time England's post-punk scene was in full bloom, dominating the pop charts in the UK and college radio in the US, Glaxo Babies had unfortunately dissolved. Released domestically for the first time ever courtesy of Superior Viaduct, Put Me on the Guest List is available on vinyl and CD with liner notes by Chapman. The CD version contains three bonus songs including the rare 'Christine Keeler' single."

SV 031LP

GLAXO BABIES: Put Me on the Guest List LP (SV 031LP) 19.00
LP version.

SV 032CD

GLAXO BABIES: Nine Months to the Disco CD (SV 032CD) 16.00
"After the abrupt departure of singer Rob Chapman, Bristol's Glaxo Babies moved into more improvised and electronic-based territory. Their early demos only hinted at such exotic sounds. Other bands from Manchester and New York were spiking post-punk with dance beats, yet Glaxo Babies were brimming with fun and spontaneity, spearheading England's death disco movement in the process. Reportedly recorded in a single day, Nine Months to the Disco originally appeared on Heartbeat Records in 1980. Glaxo Babies' sole proper album veers between wiry electro à la Liquid Liquid ('Free Dem Cells'), piano-based free jazz burners ('Seven Days') and progressive post-Krautrock jams that would make even This Heat blush, culminating in the mutant funk masterpiece 'Shake (The Foundations)' (which was regularly covered by The Pop Group in their live set). Nine Months to the Disco is a monster statement, equal parts ballroom bangers and dancefloor clearers. Released domestically for the first time ever, with liner notes by The Pop Group founder Mark Stewart and band members Dan Catsis and Charlie Llewellin."

SV 039LP

BRANCA, GLENN: Lesson No. 1 2x12" (SV 039LP) 20.00
"After cutting his teeth in the late '70s no wave scene with bands Theoretical Girls and The Static, Glenn Branca made his first solo statement, Lesson No. 1, in 1980. The inaugural release on legendary post-punk / dance label 99 Records, Lesson No. 1 unveiled Branca's visionary guitar concepts with two monstrous, side-long compositions that helped forge NYC's downtown art-punk sound and acted as a massive influence on countless young groups, including Sonic Youth and Swans. The title track is easily Branca's most accessible moment; its driving beat and interlocking patterns resemble German pioneers Neu! playing Phillip Glass. Never before (or since) has minimalism sounded so euphoric. 'Dissonance' is the A-side's polar opposite. Dark, skittish and unhinged, Branca leads his band (guitar, keyboard, bass, drums and sledgehammer) through block after block of industrial terror, leaving listeners drained in the process. Soon after the release of Lesson No. 1, Branca began to work on ambitious, long-form symphonies. 'Bad Smells,' included here as a single-sided bonus 12-inch, was commissioned in 1982 as a dance piece for choreographer Twyla Tharp and originally released on a split LP with John Giorno. Featuring Sonic Youth guitarists Lee Ranaldo and Thurston Moore, 'Bad Smells' is a thrilling multi-section guitar assault that foretells much of Branca, Ranaldo and Moore's work for the next decade."



TRACEY, HUGH: Kanyok and Luba: Southern Belgian Congo 1952 & 1957 CD (SWP 011CD) 15.50
1999 release. A musical portrait of the lesser-known Kanyok people, their various direct and indirect Luba neighbors of southern Congo and the urbanizing Katanga mine culture. Amazing xylophones, likembe thumb-pianos of immense beauty, great grooves, gourd singing, the first Katanga guitars -- what richness and diversity! These are the roots of Kasai music. Historical recordings by Hugh Tracey. Includes a 20-page booklet.


TRACEY, HUGH: Other Musics from Zimbabwe: Southern Rhodesia 1948, '49, '51, '57, '58, '63 CD (SWP 012CD) 15.50
2000 release. The well-known mbira dza vadzimu is not the only instrument of Zimbabwe. On this album: the versatile mbira dza vandau, the almost-extinct chipendani and chizambi mouth bows, the njari mbira, the mulanji flute, the thunderous matepe mbiras and wonderful drumming and panpipes. A collection of gems, recorded by Hugh Tracey. Includes a 24-page booklet.


TRACEY, HUGH: Southern and Central Malawi: Nyasaland 1950, '57, '58 CD (SWP 013CD) 15.50
2000 release. A variety of musics by the Mang'anja, Yao and Cewa peoples, found in the 1950s in the southern half of Malawi -- the beautiful bangwe zither, the magnificent tuned drum likhuba ensembles, brilliant xylophone playing, a small big band of kazoos. Such a richness of good music, creativity and identity -- and so well-recorded. Historical recordings by Hugh Tracey. Twinned with SWP's other Malawi album, SWP 014. Includes a 20-page booklet.


TRACEY, HUGH: Northern and Central Malawi: Nyasaland 1950, '57, '58 CD (SWP 014CD) 15.50
2000 release. Twinned with SWP Records' other Malawi album, SWP 013, but now with music from the northern half of Malawi. More wonderful bangwe zither songs, and malipenga kazoos, but also featuring the karigo lute, the kubu bow, the kalimba -- and exceptional a cappella singing. An album of musical jewels. Tonga, Tumbuka and Cewa peoples recorded by Hugh Tracey. Includes a 20-page booklet.


TRACEY, HUGH: Origins of Guitar Music: Southern Congo and Northern Zambia 1950, '51, '52, '57, '58 CD (SWP 015CD) 15.50
2001 release. In the new urban culture that invented itself during the '50s in the copper mining towns of Katanga Province in southern Congo and on the Copperbelt in northern Zambia, the guitar became an important status symbol and local styles quickly developed. This also happened in the big southern African railway connection of Bulawayo in Zimbabwe. This collection of recordings by Hugh Tracey is an exciting document, the emergence of a new sound -- a must for all fans of African guitar. Includes a 24-page booklet.


TRACEY, HUGH: Forest Music: Northern Belgian Congo 1952 CD (SWP 016CD) 15.50
2001 release. This album mainly features two Mangbetu groups -- the Mayogo and the Meje -- with drum ensembles, mass singing, exquisite likembe playing, and the Azande people to the west with xylophone and the intimate kundi harp. More harp by the Balendu and a unique recording explaining the language of sending messages by talking drums by the Lokele near Stanleyville (Kisangani). As The New York Times wrote: "Music from another world!" Historical recordings by Hugh Tracey. Includes a 20-page booklet.


TRACEY, HUGH: Tswana and Sotho Voices: Botswana, South Africa, Lesotho 1951, '57, '59 CD (SWP 017CD) 15.50
2001 release. Zulu singing may be well-known nowadays, but the voices of two neighboring peoples -- the culturally and linguistically connected Sotho and Tswana -- have until now remained out of the spotlight. Their singing of songs of great beauty is both powerful and moving, often of ancient origins and containing much wisdom. And their voices are also very present in the festive ditlhaka reedpipe ensembles and eerie lesiba mouthbow songs, included in this unique collection of historical recordings by Hugh Tracey. Twinned with SWP Records' other South African album The Nguni Sound, SWP 020 -- this is South African roots music! Includes a 20-page booklet.


BAIRD, MICHAEL: Gongs & Bells CD (SWP 018CD) 15.50
2002 release. A solo project by drummer/composer Michael Baird. Gongs and bells vibrate, tremble, quake, quiver, flutter, flicker, murmur, hum, throb, ding, dong, peal, ping, trill, tinkle, oscillate, ring and shake. Each one a microcosm, wonderfully recorded, capturing every overtone. The album enters the borderland between ethnic music, improvisation and soundscape without the pretension of being experimental, and where you seem to get liberated from all kinds of musical conventions. Includes an 8-page booklet.


TR 288CD

CARR, MARTIN: The Breaks CD (TR 288CD) 18.00
We're all a bit lost inside, trying to put on a brave face and front out through the days, doing whatever it takes to make sense of the mind and body's tangled lines of communication. Martin Carr does it with music; has been for 25 years now, via a string of acclaimed records with The Boo Radleys, then his bravecaptain alias, and latterly under his own name. Hearing his new album, The Breaks, you're bound to think he's never done it any better than this, right here and now. The Breaks was recorded in January 2014, but most of its songs were written three or four years previously. Having self-released his previous album, Ye Gods and Little Fishes, Martin recorded some demos and sent them "far and wide." People seemed to like the songs but no one was offering to release them, and after a while Martin gave up and began working on different songs. Then, at the end of 2013, he got an email from Tapete, an independent record company based in Hamburg. Tapete's roster is large and varied: lots of local bands, but also some from the U.S., Scandinavia and Austria, plus, in Lloyd Cole and Bill Pritchard, a couple of hugely accomplished UK artists with deep history and maverick tendencies. Martin Carr fits that bill perfectly: a songwriter whose work is pop but not necessarily populist, and whose trajectory reveals an ambivalent relationship with conventional sensibilities. The song -- "Mainstream," of course -- features rapturous female harmony vocals and is a fuzzy-headed lachrymose wallow in the finest tradition of Harry Nilsson or Jeff Lynne, but with a down-home intimacy that makes Martin's voice feel like a confessional echo of the self-doubts we all experience. Such is the hallmark of reserves of lyrical chutzpah demonstrated amid "I Don't Think I'll Make It" wherein Carr rhymes "heart" with "Descartes." The songs are performed with equal amounts attitude, soul and empathy by Carr and a group of musicians assembled specifically for the sessions: the rhythm section features Andy Fung on drums and Corin Ashley on bass, while the piano and organ are courtesy of BAFTA award-winning composer John Rae. The latter's presence was pure kismet: he was studio manager at Cardiff's soon-to-be-demolished ITV buildings where the sessions took place. Carr has never sung his own songs better than he does here. It's a voice that both grounds and elevates The Breaks. Martin Carr is doing more than just getting by -- he's just made his best album.



WOLD: Postsocial LP (RAVE 007LP) 20.00
Postsocial is the breathtaking eighth album from Wold, an infamous black metal unit with strong binds to the landlocked plains of Regina, Saskatchewan in central Canada. Stephen O'Malley's reissue of their Freermasonry (SOMA 014LP) LP first introduced us to their work -- subsequently igniting the most gratifying discovery of an exceptional back catalog. Postsocial is a culmination of ideas core to Wold's philosophy, heading deeper into a world of visceral howls and internalized harmonics. Due to the inherent limitations of vinyl, the album now unfolds in a different sequence to the CD, manifesting a crucially-altered beast. The two opening pieces, "Throwing Star" and "Inner Space Infirmary" remain in place, employing the eviscerated howl and cackle of clan leader Fortress Crookedjaw's possessed vocals and electronics in roiling, chokingly affective storm systems that leave us flayed and gasping. At this point the vinyl version inverts the tracklist, placing the aching atmospheric sehnsucht of "Sapphire Sect of Tubal Cain" at the cyclone's epicenter. On the B-side, the sustained intensity of "Five Points" and near 15 minutes of "Spiral Star Inversion" expand on the five-pointed star metaphor with labyrinthine results, culminating in "ritualistic conjuration and copulation of the hag," detailed further in the lyric sheet. To be honest, we'll probably never fully grasp this group: they remain a largely unquantifiable entity -- an enigmatic band with a genuinely original, inimitable, often impenetrable sound -- making them one of the most fascinating units operating in experimental music today, and marking Postsocial as an elementally rare, vital sensation which should resonate with myriad sub-cultures.


TSQ 5050CD

GERRARD, ALICE: Follow the Music CD (TSQ 5050CD) 14.00
"Alice Gerrard has one of those voices that harkens back to the likes of Sara and Maybelle. She is the real deal with the right stuff and hasn't forgotten where country music came from." -- Emmylou Harris (June, 2014) "The trailblazing folksinger famously collaborated with Hazel Dickens. Their classic recordings for Folkways and Rounder in the '60's and 70's 'rank among the most influential recordings in folk music history,' (All Music Guide), and laid the groundwork for many artists, especially female bluegrass and folk musicians. Follow The Music features traditional tunes and original songs by Alice, produced by Hiss Golden Messenger's M.C. Taylor, and features members of Hiss Golden Messenger and Megafaun."



PHAELEH: A World Without 2LP (UNDRTW 001LP) 25.00
After the carnival of chaos that was his Tides worldwide tour and the online explosion caused by his remix of Ludovico Einaudi's "Walk" (over 750k Soundcloud plays + reaching no.1 on Hype machine), Phaeleh retreated to his hidden Bristol HQ, immersing himself in classic dub-techno and garage; cleansing his palate and returning to his roots. "City Rose" features major folk voice Sam Brooke and is a concrète-hued modern blues number, inspiring day dreams of past El-B drum excursions and excerpts of garage's most emotive era. "Pulse" is strictly dubplate material, digging deep into the roots of dubstep and extracting a relentless techno steppas anthem for the FWD heads. On "So Real" he enlists the haunting Fifi Rong for the daylight sibling of "City Rose," a classical MJ Cole-esque two-step riddim underpins splashes of color and sundown atmosphere. "Alignment" follows with an exquisitely-textured Kubrickian opening scene with sweeping tremolo effects and ominous atmospherics. The one omnipresent factor with all Phaeleh compositions is bass-weight: "Relics" is a hi-tech dubwise slab with lung-collapsing pressure and super-wet percussive details a Bristol-Berlin soundclash. "Neon Melt" sees Phaeleh joined by Chord Marauder's Geode, both injecting the traditional dubstep genome with some smoked-out jazz-broken-beat DNA. On "Ochre" he sates his hungry fanbase with trademarked delicate melodies and guitar work that skips alongside two-step rhythms atop a mountain of low-end. "A World Without" is the perfect end-scene; riffing on the mystery of late '70s sci-horror soundtracks, building with intricate guitar work and strings into a classical Phaeleh epic.


UA 008EP

LSN: Apollo EP 12" (UA 008EP) 12.50
LSN are a group consisting of six musicians/producers, including a lead female vocalist. Here they present their first solo release on Uprise Audio in the form of their Apollo EP. "Renegade" begins with deep cinematic impact -- the sounding of a division bell and haunting vocal pads which filter in and out of rainy atmospherics. The track builds slowly, but intensely, captivating the attention of the listener and maintaining their focus. Every element adds to its vast sonic soundscape and contributes to the tension which evolves within it. Support from Youngsta, J:Kenzo, Seven, and Rinse FM.



Between them, Terry Francis, Nathan Coles and Eddie Richards have been at the forefront of house music in the UK for over quarter of a century, but together, under the Wiggle banner, the trio helped pioneer the fusion of deeper house sounds and techno beats which has become synonymous with no-nonsense dancefloor ignition the world over. To celebrate two decades of the quality label/unpretentious party, the trio commissioned 20 brand-new and exclusive tracks from recent Wiggle guests such as Alex Arnout, Saytek and Dachshund, as well as long-running Wiggle affiliates such as Jay Tripwire, Gideon Jackson and Just Be (aka Bushwacka!), and mixed them together into 75 dynamic minutes, groovy enough to keep them wiggling for another 20 years. CD limited to 1,000 copies. Other artists include: James Kameran, Lo, D'Julz, Corrie, Kenny Raw, Darren Roach, Pure Science, Lorenzo Blender, Dub Taylor, DZNB, Todd Bodine, Bravofox, Berkson & What, Asadinho, Effluence, and Philipp Ort.

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Last Updated on Sunday, 28 September 2014 22:03  


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