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Forced Exposure New Releases for the Week of 1/20/2020

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New music is due from HTRK, Brunhild Ferrari and Jim O'Rourke, and Andrew Pekler, while old music is due from James Reese and the Progressions, Painjerk, and Deee-Lite.

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PRICE: $23.50
MECANICA CLASICA Vientos Electricos LP
An ambient journey to the inner reaches of the sound modulation. An LP of experimental minimal electronics with ambient traces. A cyclical cloud that renovates the orography of places already explored by artists such as Dieter Moebius, Steve Hauschildt, Conrad Schnitzler, Cluster, Harmonia... Mecánica Clásica is a new project bound by members of some of the most interesting electronic projects in Spain, such as Güiro Meets Russia and Polígono Hindú Astral, altogether with the restless experimentation of Negro or Mental Signals. Recorded and mixed by Mecánica Clásica; Mastered by Colin Potter. Edition of 300. "Trippy! Definitely 'classic' electronic synth music, but with a modern edge." --Colin Potter
PRICE: $23.50
A conceptual and contemporary approach to early music, exploring its ambiences, timbres and feelings. Delicate experimentation with sound textures where different white noise tones can meet the strings from a viola da gamba. A cinematic work, very touching and emotional. Almost mystic, spiritual ambient. K. Leimer and Marc Barreca are two American synth/multi-instrumental musicians that have been active since late '70s. They have some previous collaborations released in Leimer's imprint Palace Of Music. Presented in a very careful edition, the record comes packed in a folder printed in letterpress with wood and lead types. Six letterpress cards -- one per track -- are also included, contextualizing the artists' references used as an inspiration for their compositions."These three pieces spring from a love of early music, specifically the works of Sainte-Colombe, Marin Marais, and John Dowland. Each of these composers -- their lives spanning a period of great musical innovation and change from 1563 to 1728 -- is represented by a track included here. While there are no direct quotations present from any of their pieces there is a now familiar reliance on timbre and even on drone, elements that flourished in the often slowly-paced and harmonically narrow style of early music. Those stylistic elements have been taken up today, deliberately or not, by ambient, dark ambient, post-ambient, and slow music artists. In atmosphere early music often evokes a melancholic -- even elegiac -- sensibility appropriate to the present time." --K. Leimer"These three tracks were inspired by the shadows, streams of sunlight, muted colors and peaceful interior ambience of Spanish cathedrals. Calm and mystery combined." --Marc Barreca
BEC 5543616
PRICE: $28.50
CAT #: BEC 5543616
BETA BAND, THE The Three EPs (20th Anniversary Remaster) 2LP+CD
2020 repress; Double LP version. Includes CD. Gatefold sleeve with printed inner sleeves. Because Music presents a 20th anniversary remaster and reissue of The Three EPs, a compilation of The Beta Band's early music, dating from 1997-1998. Arguably one of the most acclaimed and loved bands of the past 20 years, by both fans and their musical peers alike, The Beta Band formed in St. Andrews, Scotland, in 1996. Their unique musical and aesthetic approach to everything they did set them far apart from their musical contemporaries. Together for a relatively short period of time, the three albums and three EPs that they released between 1996 and 2004 would nonetheless help define them as one of the most exciting and cherished bands of their generation. After acquiring the Beta Band's catalog in 2017, Because Music are reissuing a series of releases, starting with The Three EPs. Two-panel digipack with 32-page stapled booklet.
BT 055LP
PRICE: $29.00
CAT #: BT 055LP
7.5 on Pitchfork. Black Truffle release Le Piano Englouti (The Sunken Piano), the first collaboration between Brunhild Ferrari and Jim O'Rourke, offering up two side-long realizations of Ferrari's tape compositions recorded in concert at Tokyo's SuperDeluxe in 2014, revised and mixed by O'Rourke in 2019. The title piece weaves an immersive web of electronics, pre-recorded piano, and field-recorded sounds, including the raging Aegean Sea, the tranquil atmospherics of a Japanese island, and the roar of a pachinko parlor. Far from a slice of audio vérité, these geographically distant sites intermingle in an unreal space where they often become indistinguishable. Shadowed by electronics and reverberant snatches of piano, the field recordings rise up and recede like ocean waves, creating a constantly shifting texture that is nonetheless warmly inviting. Chirping birds are confused with their electronic doubles; snatches of footsteps and voices are engulfed by ambience of unclear origin. Increasingly present throughout the piece, the piano rises up one last time before being swallowed up for good by the pachinko parlor. "Tranquilles Impatiences" (Quiet Impatiences) takes as its source material the electronic sounds produced by Luc Ferrari for his 1977 Exercises d'Improvisation, seven tapes intended to be heard alongside instrumental improvisation. Brunhild Ferrari's piece layers Luc Ferrari's sounds into a dense new work that emphasizes the insistently pulsing rhythms of the source material. In this realization with O'Rourke, the piece becomes a monumental sound-object, a slowly shifting mass of skittering electronic tones, shimmering reverb, and growling bass from which field-recorded events occasionally arise. At times, the placement of these fragments of real life in a pulsing, insistent musical landscape calls up Luc Ferrari's classic Petit Symphonie; at other points, the swarming electronics bring to mind O'Rourke's Steamroom work or even the vast expanses of Roland Kayn. Deluxe gatefold sleeve with liner notes from Brunhild Ferrari. Design by Lasse Marhaug. Mixed and mastered by Jim O'Rourke. Vinyl cut by Rashad Becker at Dubplates & Mastering, Berlin.
PRICE: $23.50
HTRK Over The Rainbow LP
The mighty HTRK follow-up their recent Venus in Leo album with Over The Rainbow, their debut soundtrack for Jeremy Piexoto's 2019 Scientology documentary. A rare and unexpected all-instrumental showreel by the shoegaze pop duo, their suite of original music is testament to a haunting soul that's long lurked under the hood of their singular, hugely evocative sound. Effectively a sort of dream come true for HTRK's legion disciples, the soundtrack strips away their signature vocals and drum machines in a commission to fit the mood of Piexoto's feature -- a film that seeks to better understand Scientology through a range of perspectives, from psychologists to former members. HTRK use their considerable knack for conjuring haunting, heavy-lidded feels and ohrwurm hooks to map the mood, deploying a trademark, incisive sense of detachment that colors the film's intersection of real beliefs and ideas of Scientology as a sect. In the absence of Jonnine Standish's vocals and Nigel Yang's 808 boom, HTRK's musick is pared to its essence of synths, guitars and electronics and painted in hazy, illusive strokes from a palette of smudged pastels mutual to both South California and the band's native Australia. The result is a 13 part mosaic tiling hazy blue cues with aqueous ambient pads and baroque themes, playing out like the atmospheric strokes to LA noir in a way that silhouettes the film's probing narrative and rhetoric and also reflects its fascination with American culture and the supernatural in a similar way to Eno's ambient classics or Lynch flicks and their scores. Ultimately Over The Rainbow is an instant play-it-again entry to HTRK's catalog, one that supplies a sort of crystal ball window onto their practice and most subtly illuminates the duo's masterful control of tonal sensitivity and floating, chamber-like composition. RIYL: classic ambient music from the likes of Pinkcourtesyphone, Gigi Masin, AFX, Eno. Mastered and cut by Rashad Becker at Dubplate & Mastering, Berlin. Sleeve printed on matt laminate card stock; Edition of 500.
PRICE: $14.00
Remember those moth-eaten American bands on unreachable Midwest labels that, in the mid-1990s, would drop choruses that would make the Smashing Pumpkins green with envy, with the crummiest sound in the history of electricity? Maybe not. Well, Bryan's Magic Tears could have been one of them. This project launched four years ago by Benjamin Dupont (Dame Blanche), which features members and ex-members of La Secte Du Futur and Marietta, indeed has it all to occupy this niche, which, by the way, has quite fallen into disuse these days: toxic melodies, guitars oscillating between whiplashes and caresses, ghostly sonorities, and a convoluted name referring to some obscure Parisian acid dealer. But wait: this is not about a vain stylistic exercise put together by some gifted kids who fantasize about a time they missed, nor a sad revivalist meeting of old farts who still haven't gotten over turning 40. If listening to Bryan's Magic Tears brings the '90s to mind, it's not because of the sound, but because of a state of mind that was peculiar to the time and to this particular moment in adolescence, when the last illusions aroused by the fall of the Berlin Wall were slowly fading away, when the dark clouds of the first Gulf War were piling up; this carefree, jaded spleen perfectly depicted in Gregg Araki's films or in songs by Sebadoh, Beat Happening, or Nirvana -- or even in this famous line from Lou Reed's "Romeo Had Juliet": "It's hard to give a shit these days". A state of mind that remains pure, intact, limpid in Bryan's Magic Tears music, free from any posture or cynicism, at the service of insane titles which made their first album (2016). And you find it again today, even more intense and precise on 4 AM, a collection of insane hits -- "Ghetto Blaster", "CEO", "Changes", the whole album could actually be mentioned. A record made for those clear and cool days of spring when everything suddenly looks brighter, clearer, and more intense. An obvious, indestructible, lunar, romantic, arrogant, phlegmatic, disillusioned record. In short, a record that makes you wish you were 18 again. CD version comes as a digipack.
PRICE: $17.50
VASSILIU, PIERRE Pierre Vassiliu en Voyages LP
LP version. Printed inner sleeve; includes download code. Voyage, to Pierre Vassiliu, was not only the title of an album of his, but also a philosophy of life. Traveling the world nourished his work, and his career allowed him to set foot on every continent. But his most beautiful travels took place in recording studios. A traveler out of obligation in his youth (Algeria and its war), he became a traveler by taste and acquired an interest in people. Rio de Janeiro, 1968-1974: Eddie Barclay invited the trio Camara and its singer Tita Lobo to cut a record in Paris. They became the trend of the moment in St Germain des Prés; Pierre Barouh offered them to release an instrumental LP on his label Saravah, that would be recorded at Davout studio by Yves Chamberland, who in turn offered the trio to create the first French-language bossa nova album. A team of singers and writers and it included Pierre Vassiliu. 1975-1978: His first effort after the staggering success of Qui c'est celui-là? (1973), Voyage, came out in 1975, punctuated by the jolts of a train zigzagging between mainstream pop, Latin rhythms, and Herbie Hancock's Headhunters-inspired jazz-funk. 1979-1980: Another label was awaiting him: RCA. This rebirth marked the beginning of Vassiliu's African period. Pierre seemed depressed in 1979. His trips to Guadeloupe with Laura softened him and inspired many songs. 1981-1982: Pierre's former press agent Brigitte Berthelot remembers him being sickened by the trade. Despite money problems, he would create moments of celebration around him, and fantastic tours. 1983-2003: Fired by RCA, Pierre multiplied trips to Africa, and you could hear it in his new record Roulé Boulé (1983). After a single album for CBS, he was dismissed again. Then a family tragedy followed. This was the beginning of a period of very long breaks in Senegal. Of a longing for tenderness in the sun. Love was born again, Lena was born as well; the Vassilius took over a music bar in Dakar and Pierre began writing down what would become L'amour qui passe (1987). It included Vassiliu's only Afro-beat song: "Ça va ça va", with Fela's sidekick Tony Allen on drums. By the beginning of the 2000s, Pierre's recording career seemed to be at a standstill. A handful of fans from his town of Mèze allowed a final album to be funded: Pierre Précieuses (2003). Liner notes in French and English by Guido (from Acid Arab).
PRICE: $17.50
LP version. Paul Speedy Ramon on the record: "... Even though I was and still am extremely involved in my past and present bands (Skategang, La Secte du Futur, Marietta to a lesser extent), the music we were making was only partially representative of me. I've always listened to a lot of reggae, dancehall, music from Ghana, Nigeria, Congo, and overall music that is based more on repetition and intention than composition . . . In 2015 my brother and friend Benjamin Dupont, the human behind Bryan's Magic Tears, moved into my flat share, Noah's Ark at 35 rue Clignancourt, in the 18th arrondissement, and it was him who unlocked everything by showing me how to record music by myself . . . Recording a lot, without any constraints of format, group or expectations, by letting myself be totally carried away by what was coming out in the moment, it allowed me to give myself a certain insight into myself . . . I would say that it oscillates, for the music, between synthetic krautrock, dancehall lo-fi, Manchester sound recorded with toys, rock à la Velvet and Memphis rap for children; and between Les Négresses Vertes and Julien Gracq for the texts . . . My friend Paula from J.C. Satan and Succhiamo, who sings on 'Mariposa' and 'Venera 16', because I had no idea what to do about it; I sent her the songs and she sang on her phone, it was great so we recorded it. This first album is a kind of best-of from 2015 to 2018, the songs that held up best, the ones I had lyrics on, the best finished drafts, basically. I owe its existence to my friends at the Megattera micro-label who, after hearing my songs at home at night, decided to release them confidentially on tape first; without them, they would still be on my hard drive. Under the spell, Born Bad Records then entrusted Olivier Demeaux (Cheveu, Heimat) with the mission of mixing the 'best' tracks to give them the luster they deserve and make these few crazy and scattered tracks a full-fledged album. I asked Adam Karakos from Villejuif Underground, Guillaume Rottier from Rendez-Vous, Nikolaj Boursniev from Quetzal Snakes, and Milia Colombani who plays in half the bands in Paris, to play live with me. Pleasure Principle is located somewhere within a triangle formed by Francis Bebey, Add (n) To X, and Ludwig Von 88..."
PRICE: $17.50
LP version. During the 1990s, wherever you lived in France, there was a handful of bands you could see five or ten times a year. In the most remote and rural places of the country, they inspired tons of kids to start their own band or fanzine, to go for something different. It was more than just music. It was a spirit, an idea. And in the last ten years, in France, no one encapsulated them better than Frustration. Somewhere in most remote and rural places of the country, some kids still need to look at the world with a different perspective. But still, no one was expecting a record such as So Cold Streams. At this stage, Frustration could have easily played it safe releasing a record basically identical to the previous one, intense, abrasive, honest but with no risk. They could have continued to fill the venues with no complaints. But right from the very first seconds of "Insane", a humungous electro-punk monster that wouldn't have been out of place on a 1988 EBM EP, you realize that things aren't gonna go as planned. Instead of setting up a comfortable routine, Frustration recorded its fifth album as if it were the first, like a bunch of guys who've been playing together for six months, who have nothing to lose and a ferocious will to bite. Of course, the post-punk shenanigans are still there (martial drums, elastic bass, hit-and-run guitars), but So Cold Streams is full of a brand-new energy, raucous lyrics, and full-on audacity. Listen to "Brume", an industrial nightmare with lyrics screamed in French. Or the poppy and intimate "Lil' White Sister" which sounds surprisingly like the Smiths or Echo & The Bunnymen. Or the insane "Slave Markets" on which the band invited Jason Williamson, half of Sleaford Mods -- a band that was pivotal in Frustration's new found youth. "Sleaford Mods is a band that, musically and humanly, gave us a real boost," explains Fabrice Gilbert (vocals). "They gave us a real sense of freedom, it allowed me to really say everything I wanted to say in my lyrics, to talk about extremely intimate subjects as well as much more general things, whether it be political or social."
PRICE: $17.50
GASC, JULIEN L'Appel de la Foret LP
LP version. Printed inner sleeve; includes download code. Confession, fiction, and observation. This is how the trajectory drawn by Julien Gasc seems to evolve from one album to the next. While Cerf, Biche et Faon (BORNBAD 060LP, 2013) took the form of a diary and Kiss Me, You Fool! (BORNBAD 088CD/LP, 2016) that of a collection of stories, L'Appel de la Forêt concludes this trilogy in a tender and spontaneous dialogue, broaching the present with clairvoyance through melodies with bright glimmers. More adventurous than its predecessors, which respectively took root in the south of France and in London, this third chapter offers a kaleidoscopic vision, multiplying geographies and temporalities to ingrain itself in the moment all the better. Through a collection of dances of diverse origins, Julien places himself at the heart of the everyday -- embracing it, sublimating it, and calling for a transfiguration to escape its imminent disaster. His voice circulates through this fragmented horizon; it is raw and immediate, sometimes so stark that it disappears, making way for its interlocutor, like an invitation to occupy the space shaped by his ritornello. Emancipated from his dandy's costume, the rare moments where he puts it on again are to more effectively elude it. The address is deliberately frank and above all benevolent. Beyond an amorous chant d'amour, it is an ode to freedom and to the full awareness of our human condition that unfolds before us. An invitation, devoid of cynicism, to take off of our "social animal" mask and decolonize the world around us -- to stop wanting to possess at all costs and let those we love be free. This album is a roadside companion, with no dogma or precepts, and a simple motto:
PRICE: $14.00
CAT #: BYG 339LP
2020 repress. 39th volume in the BYG Actuel series; gatefold sleeve, 180 gram vinyl. "Super live recordings (dated July 18 and July 20, 1970) captured in France at the Antibes-Juan Les Pins Jazz Festival. Archie Shepp and the Full Moon Ensemble (including Allen Shorter, Clifford Thornton, Joseph DeJean, Beb Guerin and Claude Delcloo) playing four long and really intense tracks."
PRICE: $23.00
CAT #: COS 030LP
"In a genre that has classically been driven primarily by hot twelve-inches, it can sometimes be hard to find a disco album that delivers the goods from end to end -- let alone a disco LP that could be described as 'perfect.' Does such an animal even exist? We're pretty sure it has to, and we can probably think of a few candidates ourselves. Cultures of Soul Records presents Sparkle's self-titled album which many disco aficionados would put into this category. Sparkle was a female vocal trio from Connecticut, assembled by the producer Harold Sargent, erstwhile drummer of the sterling funk band Wood, Brass & Steel, and creator of manifold drum breaks that would go on to be sampled for decades. Originally released in 1979, the album and the group are fittingly titled as the music is a scintillating, radiant collection of shimmering disco and dazzling funk, performed by Too Much Too Soon -- the multiracial R&B band that featured Evan Rogers and Carl Sturken, the writing/production team that would discover Rihanna and power her career to global dominance fifteen years later. Also on hand is musical prodigy Rahni Harris, whose Sargent-assisted club classic 'Six Million Steps' is also included on the album. The result is an album that by far exceeds the sum of its parts, delivering a truly transcendent disco experience."
PRICE: $25.50
CAT #: ELP 043LP
2020 repress on white vinyl. Following Not Waving's stellar recent recordings with Jim O'Rourke, Colin Potter, and Jay Glass Dubs, Downwelling finds him in a striking Pas de deux with alt. rock god Mark Lanegan (Screaming Trees, QOTSA). It's one of those rare link-ups that truly transcends the sum of its parts, with Not Waving's rolling range of nuanced electronics acting as backdrops for Lanegan's smoky baritone storytelling. Delivered in a husky but pliable voice that has come to define the American alternative rock scene since the early '90s, Lanegan inhabits the songs with a reserved presence that has served him well for decades, but which has never been heard in quite this context. Pairing music recorded by Alessio Natalizia between London, Italy, and Paris over the past five years, with vocals recorded by Lanegan in LA, the duo arrives at dreamy non-place that's not defined by geography or time. Instead the album offers a timeless insight into human behavior, as reflected in the sleeve art details from the "Lights Of Canopus", a Persian version of the ancient Indian book of animal fables, the "Panchatantra". Thanks to Lanegan's classically dusty tone -- famously described as being "scratchy as a three-day beard yet as supple as moccasin leather" -- and the breadth of Not Waving's production, the results draw listeners deep into the artists' shared plane of world-weary but quietly hopeful conception, emphasizing the power of closeness and empathy. Their songs come on like waves lapping a shore that's ever-shifting, ever the same. This cycle is epitomized on the opener, "Signifying The End" with Lanegan's raspy tone met by honeyed synths, before scaling the nocturnal heights of "City Of Sin" and coolly channeling Suicide in "Burn Out Babylon". The waters calm again for "Persimmon Tree" suitably set to harp-like arps, while the deathly croon and impending throb of "Murder In Fugue" comes to rest in the serene resolution of "The Broken Man" in a manner that's entirely modernist but speaks to eons of human emotion. Echoing everything from latter-days Scott Walker to David Sylvian at his most strung out, and even the odd energy of Moebius, Conny Plank & Mayo Thompson's Ludwig's Law album (1998), or the arcane creak of John Duncan's Bitter Earth (2016), Natalizia and Lanegan's efforts will realign listeners presumptions of both artists and place them in a category all of their own. Mastered and cut by Dubplates & Mastering, Berlin.
BEC 5772110
PRICE: $26.50
CAT #: BEC 5772110
2020 repress. Justice's highly-acclaimed debut album from 2007. French-only vinyl version, in deluxe gatefold sleeve. Retreating to their underground post-nuclear shelter/studio, French duo Gaspard Augé and Xavier de Rosnay worked on their first album as if their lives depended on it. The result is a mind-fuck of an album that proves that Justice's unique talent is to be found where least expected. Take for example "Let There Be Light" and its strident, angry electro, driven by a jabbing bassline; "D.A.N.C.E," a pure piece of vicious house sung innocently by a choir of children; "Newjack," a funky parody of the opulent times of the French Touch; "Phantom," taking over where "Waters Of Nazareth" left off to drift towards "Phantom Pt. II" and its head-swirling disco violins; "Valentine," an erotic, melancholic nursery rhyme, like a tribute to Vladimir Cosma and "Tthhee Ppaarrttyy," a pure electro-funk track where the sexy Uffie plays more than ever the cheeky Lolita. Justice have thrown established rules out the window (the notion of good and bad taste, the thin line between underground and pop music, the pigeon hole labeling between rock and electro, etc.) with a fantastic talent for synthesizing and mixing their influences with total candor, be it the cosmic disco of Larry Levan or Vladimir Cosma's panty-wetting romantics, Camel's prog rock or the anxious theme of Goblin for Dario Argento, to the flashy funk of the Brothers Johnson or "ABC" by the Jackson 5. Cross isn't a collection of random dancefloor singles. Cross is for listening at home or in clubs. Cross is a link between pop at its purest and experimental music. Cross brings together hardcore elements and cheese. Cross makes the Goths link arms with the rave kids. A generational manifest, ideally positioned on the side of the dancefloor, Cross, insolent with youth, is a testimony that the French electro scene is healthier than ever.
PRICE: $14.50
CAT #: EPR 056CD
Mythic Sunship played three shows at the 2019 edition of Roadburn. Changing Shapes documents the most ferocious and courageous of the three. It follows 2018's Another Shape Of Psychedelic Music (EPR 048CD/LP). Changing Shapes is a continuation of those ideas, not just a live performance of previous material (only two tracks from Another Shape are featured on this set). Søren Skov joins the band again here as the five-piece burns through a handful of lengthy pieces in front of an ecstatic audience. It's an immersive listen, from the curious opening notes of "Awakening", to the relentless roar of "Ophidian Rising"."If Mythic Sunship aren't the shape of psychedelic music to come, it's in no small part because there are so few out there who could hope to match what they do." --The Obelisk
PRICE: $26.50
CAT #: EPR 056LP
LP version. Mythic Sunship played three shows at the 2019 edition of Roadburn. Changing Shapes documents the most ferocious and courageous of the three. It follows 2018's Another Shape Of Psychedelic Music (EPR 048CD/LP). Changing Shapes is a continuation of those ideas, not just a live performance of previous material (only two tracks from Another Shape are featured on this set). Søren Skov joins the band again here as the five-piece burns through a handful of lengthy pieces in front of an ecstatic audience. It's an immersive listen, from the curious opening notes of "Awakening", to the relentless roar of "Ophidian Rising"."If Mythic Sunship aren't the shape of psychedelic music to come, it's in no small part because there are so few out there who could hope to match what they do." --The Obelisk
PRICE: $20.00
PEKLER, ANDREW Sounds From Phantom Islands LP
Repressed. Faitiche presents a new album by Andrew Pekler: Sounds From Phantom Islands brings together ten tracks created over the last three years for the interactive website Phantom Islands - A Sonic Atlas. With his 2016 album Tristes Tropiques (FAITICHE 014LP, 2016), Pekler created a highly unique cosmos of ethnographic sound speculations. Sounds From Phantom Islands continues and simultaneously expands this concept: finely elaborated chordal motifs float like fog over fictional maritime landscapes. A masterpiece of contemporary exotica. Phantom islands are islands that appeared on historical maps but never actually existed. The status of these artifacts of European colonial expansion from the 15th to the 19th century oscillates between cartographic fact and maritime fiction. Sounds From Phantom Islands interprets and presents these imaginations as a quasi-ethnographic catalog of music and synthetic field recordings. The pieces on this album are based on recordings made for Phantom Islands - A Sonic Atlas, an online interactive map developed with cultural anthropologist Stefanie Kiwi Menrath. Includes download code.
FP 1083-5LP
PRICE: $27.00
CAT #: FP 1083-5LP
VAN ZANDT, TOWNES Townes Van Zandt (50th Anniversary Edition) LP
50th Anniversary edition of Townes Van Zandt includes: 180 gram remastered vinyl, tip-on Jacket, lyrics included. "Townes Van Zandt's third recording is an early guitar-and-voice singer-songwriter classic laden with memorable originals. Start with 'For the Sake of the Song,' an oft-recorded classic here enlivened by tasteful percussion. Move on to a couple of Van Zandt's gritty, death's door laments -- 'Waiting Around to Die' (where the ex-con protagonist finds a friend in codeine) and a miner's sad tale, 'Lungs.' 'Colorado Girl' is another in a career-long series of paeans to Colorado, where Van Zandt went to college. 'I'll Be Here in the Morning' is a tender love song, while the Dylanesque 'Fare Thee Well, Miss Carousel' is almost playful. Like most Van Zandt albums, this one has the obligatory buried-but-beautiful small masterpiece, in this case the undeniably gorgeous '(Quicksilver Daydreams of) Maria.' The closer is another oft-covered piece of scrimshawed tunesmithery, 'None but the Rain.' This 1969 effort is the first of several essential Van Zandt albums." --Robert Baird
PRICE: $22.00
CAT #: FTR 504LP
"A very whacked new outing from Baltimore keyboard genius Liz Durette. Her earlier albums had a certain avant jazz approach, tempered perhaps by certain new music proclivities. And while I do not doubt she still has the chops for such things, Delight is a horse of an entirely different color. What's here was all done on keyboards, but at times it sounds like insane calliope music for wicked children with a taste for that old waltz beat. The whole first side could be the soundtrack for a surreal film about dead Viennese courtiers high-stepping their way around the Bardo as though it were a hedge maze. The more I listen to the record, the more circular its matrix appears, and the less certain I am of the direction in which gravity is pulling me. No surprise then, to learn that part of Delight's inspiration was drawn from A Genuine Tong Funeral, Gary Burton's amazing '68 LP, comprised of a full set of Carla Bley's wildest early compositions. On the flip, Durette is in a similar fettle, but seems keener on exploring the faux percussive aspects of her 'axe.' This involves the simulation of little people tap dancing on a xylophone, as well as very many other transgressive-if-meditative sonic activities. And they are all done with such flair and attention to detail you really have to wonder what sort of visions Liz has accessed. They seem to exist somewhere between romance and math. The universe of sounds she creates on Delight is wildly complex, but also it appears to operate by a set of congruous rules throughout. Like I said earlier, GENIUS!" --Byron Coley, 2019 Edition of 250.
GET 51306LP
PRICE: $31.00
CAT #: GET 51306LP
BIG PUN Capital Punishment 2LP
2020 repress. "Big Pun remains on the best rappers ever list to this day. Reasons for this weigh largely on his debut Capital Punishment. His commanding voice and rapid fire delivery make it clear there will never be another Big Pun. Pun was New York. His confidence on the mic made him stand out among his contemporaries. Similarly, the production -- by a cast of many -- remains ever so New York loyal. The close cousins 'I'm Not a Player' and 'Still Not a Player,' may have been the hits off this album but it is packed with so many more that show Pun's true abilities. 'Beware' and 'Dream Shatterer' are great examples of Big Pun at his best, dark cinematic production with just enough room to let him breathe fire. On 'Twinz (Deep Cover)' Big Pun is trading bars with his mentor Fat Joe over a remake of Dr. Dre's classic beat. Here Pun delivers one of his most quoted verses that contains among others 'Dead in the middle of Little Italy little did we know that we riddled some middlemen who didn't do diddly.' There are numerous guest appearances, the best of which include afore mentioned Fat Joe (on several tracks), the Roots' Black Thought on the MC showcase 'Super Lyrical,' Prodigy and Inspectah Deck on 'Tres Leches (Triboro Trilogy),' and an extra-insane Busta Rhymes on 'Parental Discretion.'"
GET 52719LP
PRICE: $25.00
CAT #: GET 52719LP
BUSTA RHYMES When Disaster Strikes... 2LP
Repressed. "By the time Busta Rhymes hit with his second solo album, When Disaster Strikes, he was already cemented as one of the most powerful voices in the rap game. With a lead single that countered that statement 'Put Your Hands Where MY Eyes Can See' he proved he is more than just a one act man. The single was an immediate smash and was followed by an equally amazing album. The albums second single 'Dangerous' continued to push Busta creatively and was accompanied with a stellar video gained him major air play on BET and MTV. Critics and fans alike applauded this release for its depth and well-crafted songs which made it platinum at the time of its release. Songs like 'Turn UP,' the Flipmode-assisted 'We Could Take It Outside,' and 'Rhymes Galore' showcase Busta at his best; rapidfire delivery over hard pounding beats. Other standout cuts include 'So Hardcore' and 'One,' which is a great collaboration with Erykah Badu. On the production side Busta brings along his trusted team; Rashad Smith, Dilla, Rockwilder, and DJ Scratch to serve him just what he needed for When Disaster Strikes to be full on dope!"
GET 52729LP
PRICE: $25.00
CAT #: GET 52729LP
DEEE-LITE World Clique LP
"Sometimes a single is released that reaches such dizzying heights of success that it becomes a pinnacle of the decade they're indelibly tied to. 'Groove Is In The Heart' by dance-house trio Deee-Lite is one such single. The infectiously quirky, and eminently danceable track is prominently based around samples of 'Bring Down The Birds' by Herbie Hancock, and 'Get Up' by Vernon Burch, among many others, (Courtesy of dual producers DJs Dmitry and Towa Tei) paired with top-tier guest contributions from JB's veterans Maceo Parker and Fred Wesley, background vocals from Parliament-Funkadelic's own Bootsy Collins, and even a guest rap from Q-Tip, not to mention frontwoman Lady Miss Kier's own siren-like vocals. All disparate and disconnected elements, but ones that would come together to form dancehall greatness, and chart-topping success worldwide for Deee-Lite. 'Groove Is In The Heart' managed to reach #4 on the Billboard Hot 100 chart, but excelled at its best on the Hot Dance Club Play chart, where it reached to the #1 spot. On top of its success in America it was a smash internationally, climbing the heights of the charts in the UK, Canada, Australia, and a variety of other countries. It remained in heavy rotation for much of 1990 on MTV as well. As the decades went on, 'Groove Is In The Heart' would be ranked among the greatest dance tracks of all time, as well as one of the greatest songs of the 1990s by VH1, Pitchfork, Buzzfeed, and many more. 'Groove Is In The Heart' was a potent single for Deee-Lite to lead with, but the album bearing it was nothing to slouch at either. The group's debut record, 1990's World Clique was released to major commercial and critical success, owing just as much to its addictive hybrid of seductive retro aesthetics, modern dancefloor flair, and esoteric, socially conscious messaging, on the back of celebratory club staples like 'Power Of Love', 'Good Beat', 'E.S.P.', and of course 'Groove Is In The Heart'. World Clique would reach top 20 charts in the US, UK, and Canada in sales, as well as earn rave reviews from NME, Chicago Sun-Times, Rolling Stone, and Slant Magazine, who called it an 'essential pop album'."
GET 52736C-LP
PRICE: $25.00
CAT #: GET 52736C-LP
DA LENCH MOB Guerillas In Tha Mist (Orange & Green Splatter Vinyl) LP
Deluxe green and orange splatter-colored vinyl "Possessing lyrics heavily focused on political and social justice, inspired heavily by West Coast gang culture and Islam, Da Lench Mob made waves throughout the hip-hop scene when they first appeared on the track 'Rolling With Da Lench Mob', off Ice Cube's famed 1990 solo record AmeriKKKa's Most Wanted. Initially, the titular 'Lench Mob' of the track namesake referred to Ice Cube as well as the other participating rappers, but J-Dee, Shorty, and T-Bone would adopt the name for their own in time. Their standout appearance on the Ice Cube track would earn the trio critical interest, (as well as shout-outs on Ice Cube's 1991 follow-up Death Certificate) and generate palpable anticipation for a studio album of their own. Guerillas In Tha Mist, their 1992 debut record, was recorded in the wake of the Rodney King riots, taking its name from infamous comments made during the riots. The record was uncompromising and confrontational in its depictions of urban decay and an unjust system wreaking havoc on an economically disadvantaged Black population. It was starkly realistic (bordering on abrasive) in the content of tracks like the armed revolution-advocating 'Freedom Got An A.K.', the kill-your-idols style of 'You And Your Heroes', and the anti-pusher anthem 'All On My Nut Sac'. These harsh manifestos were made all the more smooth via Ice Cube's jazzy G-funk and Bomb Squad-influenced production, which sampled heavily from classic songs by Parliament, Kool & The Gang, The Incredible Bongo Band, and even Vangelis. Cube himself would make guest appearances throughout the record, as well as an appearance by B-Real of Cypress Hill on the track 'Ain't Got No Class'. Guerillas In Tha Mist was a Billboard success upon its release, reaching #24 on the Billboard 200, and rendering rap radio hits out of its title track and 'Freedom Got An A.K.', but Da Lench Mob would fall into obscurity over the years, eventually going their separate ways after creative differences, financial rifts, and the life conviction of rapper J-Dee for suspected murder in 1993. Despite their loss of commercial fortunes, Guerillas In Tha Mist would develop a strong reputation as an unheralded gem among hip-hop heads, and would be considered one of the great lesser-known releases of the era among critics (in 2018 Complex would declare the title track as one of the 100 Best L.A. Rap Songs). Decades after its initial release, and in tribute to the memory of Da Lench Mob member Shorty, who passed in 2019, Get On Down now presents an exclusive LP reissue of Guerillas In Tha Mist, which previously was only released officially on wax in Europe. Remastered audio and a painstakingly recreated full color jacket."
GB 085CD
PRICE: $15.50
CAT #: GB 085CD
Fado rewired and recast. Raül Refree - one of Europe's most innovative producers (Rosalía, Sonic Youth's Lee Ranaldo) -- meets Lina, a Portuguese singer renowned for her haunting interpretations of Amalia's classic repertoire. Analog synths and hushed sonics. Making history by breaking the rules. Shedding the skin. A fresh beginning. That's what singer Lina and producer/multi-instrumentalist Raül Refree have given Portuguese fado on Lina_Raül Refree. They've sloughed off the old trappings and exacting traditions of the country's national music and given it into a perfect fit for the 21st century. Gone are the chiming guitars that were the music's instrumental trademark, and in their place comes piano and analog synths. Lina has a deep background in the music; her family has sung it for two generations and she took it up when she was 15, studied opera and turned to the stage, where she portrayed fado's great queen, Amália Rodrigues, before being invited to become a regular at Lisbon's iconic Clube de Fado. Raül Refree has been widely-praised for his solo work, like the album La Otra Mitad (GB 065CD/LP, 2018), as well as his ground-breaking productions; he'd collaborated with the flamenco incendiary Rosalía on her Los Angeles album (2017), the disc that first made her name. Lina chose the songs, fado classics associated with Amália Rodrigues. It was material she knew and loved deeply. Not being a part of the tradition, Refree was unfamiliar with the originals. That helped him and allowed him to come to the music without the weight of history. Beginning in May 2018, over the course of three sessions, they let the sound take shape. In the world they created, the music embraces and captures the listener via the time-honored songs, the minimalist textures and Lina's performances -- so full of bittersweet hope. Yet there are also some delicious, unexpected moments that add to the majesty, like Lina, multi-tracked, rising out of the mix like a choir on "Barco Negro," or the fragile, quivering of piano notes that take wing on "Gaivota." Throughout, Refree's arrangements are quietly subtle, the analog synths and ambience very sparingly used to keep the voice very much at the heart of everything. It's a perfect balance; the instruments are a frame for Lina as she explores every nuance of sorrow and fleeting joy, feeling every word she sings at the core of her being.
PRICE: $33.00
CARETAKER, THE Everywhere At The End Of Time - Stage 6 2LP
2020 repress on blue vinyl. The Caretaker dispatches the final scene of a 20 year-long act that has uncannily lurked in the shadows of so many of our listening lives. Clad for the last time in Ivan Seal's specially commissioned artwork, this final stage sees The Caretaker mirroring the ultimate descent into dementia and oblivion, again using a patented prism of sound to connote a final, irreversible transition into the haunted ballroom of the mind that he first stepped into in 1999. The project really took on new dimensions in 2005 with the 72-track, six-CD boxset Theoretically Pure Anterograde Amnesia, which was accompanied by an insightful unpackaging of its ideas by cultural critic Mark Fisher, aka K-Punk; a stalwart of the project who identified it (alongside music from Burial and Broadcast) among the most vital, emergent works of hauntological art -- a form of music often preoccupied with ideas about memory and nostalgia (but one distinct from pastiche), and the way that they possibly overwhelm, occlude, or even define our sense of being. By using fusty samples from an obsolete analog format, and by doing so in the second decade of the second millennium, The Caretaker perfectly and perversely bent ideas of anticipation/expectation with his arrangements, playing with notions of convention and repetition. The project crystallized as a real gesamtkunstwerk for these times, and one arguably defined by a stubborn and intractably chronic drive against the grain of modern popular culture, or even a refusal of it. And so to the project's final goodbye. With the outside world muted, and only the timbral residue remaining like smoke, everything moves as slow as a Lynchian dream sequence, until a conclusion so ineffably sublime occurs that can't be mentioned for fear of it waking up. With his departure, you'll just take respite in the fact that The Caretaker was always there, inverting the world and supplying space and time and theory for thought, prompting you to dwell on the realest and darkest matters via the prism of the surreal and the unreal in a way that, in the long-run, can prove to be more effective at grasping the immediate state of cultural amnesia and the world's increasingly tight feedback loops, and arguably bring us to the realization that it's all a hyper-complex mess beyond anyone's conception, but we must at least attempt to try and understand, no matter how futile it seems. Mastered and cut by Lupo.
PRICE: $13.50
CAT #: HOS 656CD
PAINJERK Mission Invisible CD
Hospital Productions announce the unreleased, would-be-classic from Japanese noise hero Painjerk. Originally recorded immediately after the canonical Gallon Gravy classic, this is pure -- definitive -- loop-heavy noise energy and dynamism that would become the signature of Kohei Gomi's electronic studies having influenced two generations of underground electronics since. Hailing from a background of Japanese punk, Kohei Gomi stayed true to the fierce ethos of independence and experimentation that reached its peak in Japan in the late '90s. But make no mistake, Mr. Gomi never stagnated into a single platform, having worked with such diverse labels as Alternative Tentacles, Relapse, Editions Mego, and so on. Composed with a mysterious configuration of constantly flowing noise hardware -- always recorded live without overdubs, Gomi went on to risk taking computer explorations into the roots of avant-garde compositions inspired by the likes of Pan Sonic and David Tudor. Having reached cult status and maintaining an air of mystery after an onslaught of now classic and highly collectible tape-only releases, such as the monstrous Cacophony Of A Thousand Pleasures 3xCS which was been cited as an influence for Mika Vainio. Never settling for stale genre collaborations, Kohei Gomi further went on to such divergent ends as the insane collaboration with Russell Haswell, psychedelic commune pioneers Smegma, and power violence royalty Bastard Noise. Hospital Productions now unleash this critical document onto the world, one that 20 years on can easily sit alongside the classics of its day. Raise a fist in solidarity for the inimitable punk noise of Painjerk. Digipack CD with obi.
PRICE: $25.50
The year is 1986 and The Apostles are in full flow with three albums -- Punk Obituary on Mortarhate Records, The Lives and Times of the Apostles on Children of the Revolution Records, and How Much Longer? on Acid Stings, plus a split 7" with Joy of Living on Fight Back Records -- but the one that no one could find was the split 7" with Anathema, again on Fight Back Records. That's because it never came out. Test pressings were made and given to the bands to approve but it just never happened. Nothing sinister and no reason -- it just sat there and never made it over the line. 33 years later, Inflammable Material finally release the six-track EP on a 12" with a fanzine. And Anathema from New Malden, Surrey finally get their first release on vinyl. Anathema deliver two tracks of tuneful anarcho punk with some tight guitar work including some screeching solos and passionate vocals whilst on the flip The Apostles offer four tracks of their usual primal and chaotic work including the fantastic track "Punk Squat" which is just drums and vocals and some of the best lyrics of the era. Comes with a 60cmx60cm poster-pullout with all the original artwork that the bands could salvage, plus a special collaborative 32-page fanzine from the makers of Negative Insight and Defiant Pose that talks to the myriad bands who had releases planned on Mortarhate/Fight Back Records which never came to fruition. Interviews with/pieces on Another Destructive System, Anathema/The Apostles, Antisect, Arch Criminals, Avskum, Chaos, City Indians, Class War, Cyanide Scenario, Eat Shit, Varukers, and Virus. 350gsm reverse board sleeve; A4 sheet; stickered poly bag, band logos drawn by Nicky Rat.
PRICE: $22.00
Repressed. LP version. Carla dal Forno announces her second full-length album, Look Up Sharp, on her own Kallista records. Dal Forno beckons a bold new era in her peerless output pushing her dub-damaged DIY dispatches to the limits of flawless dream-pop. In a transformative move towards crystal clear vocals and sharpened production, Look Up Sharp is an evolutionary leap from the thick fog and pastoral stillness of her Blackest Ever Black missives, You Know What It's Like (BLACKEST 015CD/LP, 2016) and The Garden EP (BLACKEST 068EP, 2017). Three years since her plain-speaking debut album, the Melbourne-via-Berlin artist finds herself absorbed in London's sprawling mess. The small-town dreams and inertia that preoccupied dal Forno's first album have dissolved into the chaotic city, its shifting identities, far-flung surroundings and blank faces. Look Up Sharp is the story of this life in flux, longing for intimacy, falling short and embracing the unfamiliar. In her own territory between plaintive pop, folk and post-punk dal Forno conjures the ghosts of AC Marias, Virginia Astley, and Broadcast through her brushwork of art-damaged fx and spectral atmospheres. The first half of the record is filled with dubbed-out humid bass lines, which tether stoned hazes of psychedelic synth work, as on "Took A Long Time" and "No Trace". These are contrasted with songs like "I'm Conscious" and "So Much Better" that channel the lilting power of YMG and are clear sequels-in-waiting to dead-eyed classics like "Fast Moving Cars". The second half begins with the feverish bass and meandering melody of "Don't Follow Me", which takes The Cure's "A Forest" as its conceptual springboard. It's the clearest lyrical example since "The Garden" of dal Forno's unmatched ability to unpick the masculine void of post-punk and new wave nostalgia to reflect contemporary nuance. Look Up Sharp reaches its satisfying conclusion with "Push On" -- dal Forno's most explicit foray into an undiscovered trip hop universe between Massive Attack and Tracey Thorn. Adding further depth to Look Up Sharp are the instrumentals, which flow seamlessly between the vocal-led pieces. "Hype Sleep" and "Heart of Hearts" drink from the same stream as The Flying Lizard's dubbed-out madness and the vivid purple sunsets of Eno's Another Green World (1975). While "Creep Out of Bed" and "Leaving For Japan" funnel the fourth-world psychedelia of Cyclobe's industrial-folk into the vortex of Nico's The Marble Index (1968). A deeply personal but infinitely relatable album its many surfaces are complex but authentic, enduring but imperfect, hard-edged but delicate.
PRICE: $22.00
CAT #: MUS 205LP
SLENDER Time On Earth LP
So much to sink into on this debut long haul with the elusive NYC skirmishers. Lean, concise, often juxtaposed songs and interludes are deftly thatched together to make up the majority of Side A, with dense, drowning-world electronics on tracks like "Heavy Weather" clearing the skies for jovial anthems like "New Country" (which totally rings the same joyous bells as Yuzo Iwata's "Gigolo") and the grittier, barnacled basement ethereality of "Sleep The Trees". The restrained fury in the opening minutes of Side B at first recalls the slow-stirring storm clouds on that shadow-cast Blodarna 7", the thought of seeking shelter only arising as proceedings are adrenalized and escalated into what feels more akin to listening to Amon Düül perform kali ma on the guys from Pelt in some subterranean death church. The closing trio of "So", "Far", and "Down" tunnels on and takes place as some sorta on-acid-and-caught-in-earthquake rite, that sees the volcanic pounding intensify and whatever THAT sound is (bass guitar?? some demonic synthesiser??!) begin to envelop everything like the swelling of oblivion -- any brief interval between tracks serving only as a moment to observe your own mind try to scramble its way out of the slowly opening sinkhole. Bonkers. Slender channels the same wild and earthy desire for experimentation as such un-pinable, sleeping giants as Cro-Magnon, Blumen Des Exotischen Eises, The Fates, or Moolah. Cover art by Emil Bognar Nasdor. Eight-page booklet by Eugene Terry; A2 poster designed by Keegan Dakkar.
PRICE: $15.50
CAT #: LOC 017LP
YAMANEKO Spirals Heaven Wide LP
One of the most quietly influential underground artists of recent times, Yamaneko returns with Spirals Heaven Wide, his fourth full-length album. Since breaking through in 2014 with his cult debut album Pixel Wave Embrace, Yamaneko has been one of the key artists re-contextualizing ambient music for a new generation, crafting fragile compositions that draw as much from the angular shapes of grime, techno and keygen music as they do the soothing soundscapes of new age cassettes, ambient records, and video game soundtracks. Written during Yamaneko's last winter in London before relocating to Tokyo, Spirals Heaven Wide is his longest and largest-sounding release to date, combining some of his most evocative long-form pieces with the kind of haunting miniatures that made his early music so distinctive. The majority of the tracks were written after Yamaneko's first run of audio-visual shows at the end of 2018, and so are rooted in the same kind of live workflow and production methods that he explored with those sets. As with 2019's Afterglow EP, Spirals Heaven Wide is underpinned by an underlying influence of euphoric dance music, with distant trance and hardcore signifiers -- both key influences on Yamaneko from an early age -- visible through the album's thick blankets of wind and fog. These influences come fully to the forefront on "This Spring Of Love" and "Fall Control", two of the most outright spine-tingling tracks Yamaneko has released to date. Elsewhere, the album explores his love of emo music's bittersweet melancholy, a fascination with constellations, and the cosmos and an increasing love of writing extended, long-form compositions: a side of Yamaneko first explored on 2017's Spa Commissions collection and continued on his contribution to respected ambient series Longform Editions.
PRICE: $13.00
CAT #: MMS 033EP
MADLIB & FREDDIE GIBBS Half Manne Half Cocaine 12"
"This exclusive 12-inch release features 'Half Manne Half Cocaine' and 'Palmolive' from Bandana, the critically acclaimed best-seller from Freddie Gibbs and Madlib. In addition to full instrumentals for both selections the set includes the Madlib bonus beats 'Zebras In The Myst' and 'Night Vision' not found anywhere else."
PRICE: $16.00
CAT #: MMS 034CD
PROFESSIONALS, THE The Professionals 2CD
Double-CD issue contains a bonus disc with the Madlib instrumentals. "The Professionals - Beats by Madlib. Raps by Oh No. Real. Rap. Shit. Featuring Adub, Elzhi, Chino XL. Madlib is a highly regarded and influential hip-hop producer and occasional rapper, who has left his distinct and stylized sound on classic tracks and critically beloved albums by the likes of MF DOOM (Madvillain), J Dilla (JayLib), Talib Kweli (Liberation), Georgia Anne Muldrow (Seeds), and more. Madlib's collaborations with rapper Freddie Gibbs (Piñata & 2019's Bandana) are some of the most acclaimed hip-hop records of the past decade, and his various DJ mix compilations (Madlib Medicine Show, Beat Konducta) have earned high praise from a variety of journalistic sources. Oh No is a rapper and producer who has left his mark across a wide swath of releases. His 2006 concept album Exodus Into Unheard Rhythms (which exclusively sampled the works of musical theatre composer Galt MacDermot) was highly acclaimed upon its release, as well as his various crate-digging DJ mix projects (Dr. No's Oxperiment, Dr. No's Ethiopium). He has produced tracks for the likes of Danny Brown, Action Bronson, Aloe Blacc, Talib Kweli, and Prodigy, while contributing guest verses to tracks by Czarface, Apathy, Murs, Little Brother, and more."
PRICE: $28.00
CAT #: MMS 034LP
LP version. Housed in a die-cut, embossed jacket exclusive to the first pressing. The Professionals - Beats by Madlib. Raps by Oh No. Real. Rap. Shit. Featuring Adub, Elzhi, Chino XL. Madlib is a highly regarded and influential hip-hop producer and occasional rapper, who has left his distinct and stylized sound on classic tracks and critically beloved albums by the likes of MF DOOM (Madvillain), J Dilla (JayLib), Talib Kweli (Liberation), Georgia Anne Muldrow (Seeds), and more. Madlib's collaborations with rapper Freddie Gibbs (Piñata & 2019's Bandana) are some of the most acclaimed hip-hop records of the past decade, and his various DJ mix compilations (Madlib Medicine Show, Beat Konducta) have earned high praise from a variety of journalistic sources. Oh No is a rapper and producer who has left his mark across a wide swath of releases. His 2006 concept album Exodus Into Unheard Rhythms (which exclusively sampled the works of musical theatre composer Galt MacDermot) was highly acclaimed upon its release, as well as his various crate-digging DJ mix projects (Dr. No's Oxperiment, Dr. No's Ethiopium). He has produced tracks for the likes of Danny Brown, Action Bronson, Aloe Blacc, Talib Kweli, and Prodigy, while contributing guest verses to tracks by Czarface, Apathy, Murs, Little Brother, and more."
NEOS 11911CD
PRICE: $15.50
CAT #: NEOS 11911CD
BRASS, NIKOLAUS Choral & Orchestral Works Vol. 2 CD
Choral & Orchestral Works Vol. 2, with works by Nikolaus Brass, offers extraordinary recordings of two central works. The CD is the eighth release of the composer's work on NEOS. The choral piece fallacies of hope, which bears the subtitle "German requiem", contains 32 individually composed vocal parts that are masterfully embodied by the SWR Vokalensemble Stuttgart. Written 13 years earlier, the 30-minute orchestral piece similar is presented as a live recording of the work's world première with the Radio-Sinfonieorchester Stuttgart des SWR.
NEOS 11912CD
PRICE: $15.50
CAT #: NEOS 11912CD
LOPEZ, JORGE E. Kampfhandlungen/Traumhandlungen Op. 11 II. Kammersymphonie Op. 23 "A vegso Tavasz" CD
Born in Cuba, Jorge E. López was raised in the USA and lives in Austria today. Although he studied composition at the California Institute of the Arts, he describes himself as an autodidact. Extra-musical influences play a large role in his music, which doesn't fit neatly into any categories or schools of "New Music". With its 52-minute duration, López's Second Chamber Symphony Op. 23 "A végs? Tavasz" is the central work on this disc and also draws inspiration from various sources. This is the world premiere recording of this work as well as of the ensemble piece Kampfhandlungen / Traumhandlungen Op. 11 [Scenes of Combat / Tissue of Dreams], which is marked by dark colors and sharp contrasts.
NEOS 11914-15CD
PRICE: $28.50
CAT #: NEOS 11914-15CD
VA Donaueschinger Musiktage 2018 2CD/SACD
The Donaueschingen Festival has been documented regularly by NEOS for many years. In the 2018 edition, Hermann Meier's Stück für großes Orchester und Klavier vierhändig (Piece for Large Orchestra and Piano Four Hands) is to be emphasized. More than 50 years after its completion, the work was premiered in Donaueschingen. Of course Malin Bång, winner of the 2018 Orchestra Prize, is included in the selection with her work splinters of ebullient rebellion. Also features: Ivan Fedele's Air on Air (2018); Marco Stroppa's Come Play With Me (2016-2018); Agata Zubel's Chamber Piano Concerto (2018); Mirela Ivi?evi?'s CASE WHITE (2018); and Francesco Filidei's BALLATA N. 7 (2018).
NEOS 11919-20CD
PRICE: $28.50
CAT #: NEOS 11919-20CD
Dániel Péter Biró's Mishpatim (Laws) is a concert-length work in six parts, scored for voice, chamber ensemble, percussion, and electronics, including computer-activated, acoustic "ghost-instruments" that appear to play themselves. Many of Biró's haunting works are based on texts from the Hebrew Bible. Mishpatim derives its title from Chapters 21-24 of the book of Exodus, in which Moses relays God's laws to the Israelites. Dániel Péter Biró was born in 1969. He studied in the U.S., Hungary, Germany, Switzerland, Austria, and Israel. Today he is Associate Professor at the Grieg Academy, University of Bergen in Norway. He was awarded many times. His compositions are performed around the world.
NA 5190CD
PRICE: $18.00
CAT #: NA 5190CD
REESE AND THE PROGRESSIONS, JAMES Wait For Me: The Complete Works 1967-1972 2CD
"Trombonist, bandleader, songwriter, arranger and producer James Reese never issued an album with his Progressions band, only a series of 45s -- some under his own name, some under that of his collaborators -- out of Spartanburg, South Carolina on his Najma label, from the late 1960s until the mid-1970s. He was as ambitious as he was talented, and his ouevre ranges from brutal, deep soul to sophisticated instrumental ballads to jazz-inflected funk. Now-Again's Egon first discovered Reese's music on a 24 lock-in in Concord, North Carolina's legendary record and antique clock repository, Ye Olde Clock Shoppe, in 1999. After he tracked down Reese, he officially reissued two of Reese's songs on his seminal Stones Throw anthology The Funky 16 Corners. He later issued more of Reese's music on the Now-Again anthology Loving On The Flipside. Sourced from rare 45s and multi-track master tapes, Wait For Me: The Complete Works 1967-1972 presents both issued and recently-rediscovered songs in the full-length format, in a cohesive set that shows the brilliance still arising from the American soul and funk sub-strata. Long time Now-Again associate Kenny Dope presents a remix of the song 'Throwing Stones', and Now-Again mastering engineer Jason Bitner presents alternate mixes of various cuts. These mixes included as a bonus CD version, which also comes bundled with an extensive booklet detailing the trajectory of Reese and his band."
NA 5190LP
PRICE: $50.00
CAT #: NA 5190LP
REESE AND THE PROGRESSIONS, JAMES Wait For Me: The Complete Works 1967-1972 LP
LP version. Includes download card for WAV files included with the LP. "Trombonist, bandleader, songwriter, arranger and producer James Reese never issued an album with his Progressions band, only a series of 45s -- some under his own name, some under that of his collaborators -- out of Spartanburg, South Carolina on his Najma label, from the late 1960s until the mid-1970s. He was as ambitious as he was talented, and his ouevre ranges from brutal, deep soul to sophisticated instrumental ballads to jazz-inflected funk. Now-Again's Egon first discovered Reese's music on a 24 lock-in in Concord, North Carolina's legendary record and antique clock repository, Ye Olde Clock Shoppe, in 1999. After he tracked down Reese, he officially reissued two of Reese's songs on his seminal Stones Throw anthology The Funky 16 Corners. He later issued more of Reese's music on the Now-Again anthology Loving On The Flipside. Sourced from rare 45s and multi-track master tapes, Wait For Me: The Complete Works 1967-1972 presents both issued and recently-rediscovered songs in the full-length format, in a cohesive set that shows the brilliance still arising from the American soul and funk sub-strata. Long time Now-Again associate Kenny Dope presents a remix of the song 'Throwing Stones', and Now-Again mastering engineer Jason Bitner presents alternate mixes of various cuts."
OM 016LP
PRICE: $23.00
CAT #: OM 016LP
After a digital single on Optimo Music Digital Danceforce, Optimo Music welcomes Bergsonist to the main label with a full album. Ridiculously talented and prolific, Bergsonist is one of the most interesting, thoughtful, and important artists of modern times. Selwa Abd, aka Bergsonist, is a New York-based artist and musician originally from Morocco. She is the founder of Bizaarbazaar, a music platform and publication that publishes podcasts and interviews by DJs and producers from around the world. Under the guise Bergsonist, derived from Gilles Deleuze's Bergsonism (1988), she uses a variety of media to investigate social resonance through divergent conceptual aesthetics (minimalism, techno, and music concrete, to name a few). Through her work, she explores notions of identity, memory, and social politics. In 2017, she started Pick Up The Flow, a resource to promote congregation and exchange between peers. Currently, co-run with Stephen Decker. In 2019, she co-founded 3afak with DJ Sanna, a collective that aims to empower Arab women's creative vision in New York.Words about the album: "Middle Ouest is an ode to my history, present and future self. Like a sonic autobiography, It's the first body of work that realistically depicts my identity. It's a statement towards all the people who tried to put me into a box. I'm not a box but a genre-less ocean. I don't make genres, I just make music I feel making in the moment. It's all about capturing the moment in a given time. If the aesthetic happens to be house or techno then it is. But I'm not a techno artist... I'm just a free sonic 'voyageur'. I make music as I feel the world; it can be dark, jovial, weird... I mirror the feelings into sonic compositions. However, the only variables that never change in this equation are the message and intention."
PRICE: $19.50
MALKIN, NICK A Typical Night in the Pit LP
A Typical Night in the Pit is a collection of new music by Los Angeles' Nick Malkin. It is an album that finds the artist absorbed in the density and chaos of the urban complex. It is unquestionably an "LA album", but not the LA of hi-fi listening bars and twinkling, Instagram-ready new age. Rather, Malkin navigates something more akin to the LA found in the films of Robert Altman or Alan Rudolph -- overheated, tense, hazy, frayed -- with blue-lit, nocturnal compositions that at times recall Mark Isham's noirish scores for those subversive (anti-)Hollywood pictures. Enlisting a revolving cast of LA experimentalists, Malkin has assembled a record that is as chameleonic as it is cohesive, offering up vignettes ranging from the skewed MIDI-jazz of "Sixth Street Conversation" to the skulking menace of "Estacionamiento Privado", before giving way to the wide-eyed, cloudy closer "View From Two Perspectives". C'mon, let's go in here and get outta this heat. Artwork by Alex McCullough and Niall Wynne Lewis. Malkin released as Afterhours on Not Not Fun and is part of the LA Vampires. A Typical Night in the Pit follows Malkin's tape on Geographic North (2018). Mastered by Kassian Troyer at Dubplates & Mastering. First edition of 300 copies; artwork with gloss laminate finish.
PRICE: $38.50
CAT #: SNS 016CD
O'ROURKE, JIM To Magnetize Money and Catch a Roving Eye 4CD BOX
Repressed. A four-hour work, recorded at Jim O'Rourke's studio, Steamroom, between 2017 and 2018. Detailed and delicate electronic layers, processed instruments, and ambiguous field recordings come together in a slow-moving, fascinating kaleidoscope with multiple reflections and wrong turns, always in a constant state of flux. The finely crafted art of subterfuge. The four-CD set To Magnetize Money and Catch a Roving Eye is a hypnotic, multi-faceted, labyrinthine piece which flows as slowly as a river while speeding back through memory. Composer, performer, and multi-instrumentalist Jim O'Rourke was born in Chicago in 1969. He is a veritable chameleon working at the frontiers of very diverse musical genres.
PRICE: $14.00
FORT WILLIAM Butter Mountain CD
Lee Hall played guitar and led the vocals in '90s Peel favorites, Beatglider, as well as fronting Ghost Music more recently. Micky G. has shared his love of diverse samples and electro-ditties in multiple projects such as Milky Genes and Mrs Mills & Boon. But Fort William isn't just about reinventing ideas glimpsed in other bands. The band write about what's close to them: mental health, alien abduction, being in love -- the good and the bad sides. In this debut album the duo takes things to a heightened level with a mish-mash of country and space pop ignited by lyrics that bounce around your mind even longer than the catchy hooks which underpin them. There is humour, there is pathos, there are many moments of emotional intensity, and an overriding sense that this band are having a great time creating and performing the tunes that form the record. And it's utterly infectious. The songs are all A-side material. When Fort William sing 'We're the best men for the job, we're the best men for the job...' it's impossible to disagree. 'ghosts of Velvets past with woozy guitar-laden lullabies of romantic disappointment...
BK 041LP
PRICE: $17.50
CAT #: BK 041LP
MEN WITH SECRETS Psycho Romance & Other Spooky Ballads LP
Sometimes you want something so badly you don't even know to ask for it in the first place. Like Adam and Eve stumbling upon the fruit of knowledge -- or psychedelic techno wizards Donato Dozzy and (aka Lino Monaco and Nicola Buono) producing a pitch-perfect, vintage-styled minimal wave record, filled with icy synths, shuddering bass, and anthemic vocals, sounding like a lost gem unearthed from 1982 for the first time. Except it's not -- this record is brand new. The three Italians first came together under the moniker Le Officine Di Efesto, releasing an EP of murky left-field techno on Dozzy's own Spazio Disponibile. They quickly discovered a shared love of classic post-punk, wave, and synthpop, and not long after, Men With Secrets was born. "Men With Secrets" might sound like an old-school synthpop act you've never heard of, but the name is actually borrowed from Richard Bone, an early New York electronic musician and minimal pop pioneer. The trio's name is but one of their many homages -- Cabaret Voltaire, The Human League, New Order, and even Dopplereffekt are additional reference points -- but this album is neither imitation nor rehash. It's just as carefully and ingeniously produced as you'd expect a record from Donato Dozzy and to be, except it's filled with poppy hooks so brilliantly catchy they'll stick in your head until you hit repeat and find yourself singing along. These Men With Secrets clearly have their tongue placed firmly in cheek: check the record's title and artwork for proof. But the music is deadly serious. The drums hit hard, the synths soar to emotional heights, and the vocals intone rhythmically. All of it' is coated in the warm fuzz of analog tape. Not many records on The Bunker New York are as likely to be played in goth clubs as they are by adventurous techno DJs, but then again, this is not your average Bunker New York record. Mastered by Peter Van Hoesen. Cut at Manmade Mastering.
PRICE: $27.50
CAT #: VEN 189LP
LIGFAERD Dagen For Os, Natten For Eder LP
Originally formed in the year of the Millennium under the name Hrapp and several demos later, it was in 2005 when the Danish black metal trio changed its name into Ligfaerd. Following a line-up change, numerous EPs, splits as well as two full-length albums, live appearances such as at Metal Magic Festival, the band quickly began to receive high praise in the underground black metal scene.
XRP 1905CD
PRICE: $12.50
CAT #: XRP 1905CD
Tambour Battant comes from this generation of beatmakers who breaks down barriers between styles. After two years in the making, Tambour Battant delivers its new album Galore, 13 tracks that outline the contours of genres and reinvent them. Very eclectic sounds make this new album: from Brazilian-flavored tracks with the artists Flavia Coelho and Faktiss to heavy-weighted trap beats with Miscellaneous (of Chill Bump) and Jman. On the other tracks, the duo takes us on an electrifying ride that will please all lovers of heavy bass and powerful kicks. As its name suggests, this new album Galore is distinguished by its profusion of styles and influences. Original artwork by Pablito Zago, a famous street artist/illustrator who brings his style rich in colors and collages. Also features Red Fox & George Palmer.
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