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Forced Exposure New Releases for Week of 6/8/2020

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New music is due from Asmus Tietches, Sunn Trio, and Merzbow, while old music is due from Young Gods, Muslimgauze, and Gerry Beckley.

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PRICE: $16.00
CAT #: BSR 899CD
GRAY, OWEN Little Girl + Hit After Hit After Hit CD
"Owen Gray was Jamaica's first home grown star to sing in a style that wasn't mento, calypso or jazz. This release features two albums on one CD. Little Girl from 1984 and 1981's Hit After Hit After Hit. First time on CD for both albums."
PRICE: $14.00
CAT #: BYG 337LP
SHARROCK, SONNY Monkey-Pockie-Boo LP
Repressed. 37th volume in the BYG Actuel series; gatefold sleeve, 180 gram vinyl. The quintessentail Actuel album and your basic cornerstone of Free Music 101. "An album recorded in Paris (on June 22nd, 1969) with his wife Linda plus Ben Guerin (bass) and Jacques Thollot (drums). Sonny Sharrock was one of the top avant-garde guitarists and his playing was intense and ferocious. He mixed together Jimi Hendrix and Pharoah Sanders." "Sharrock was the first guitarist to really embrace fire music. He wanted his playing to mirror the emotional scream of the tenor saxophone." --Thurston Moore and Byron Coley.
P 749311HLP
PRICE: $26.00
CAT #: P 749311HLP
PARTCH, HARRY Delusion Of The Fury 2LP
2020 repress; Gatefold 180 gram vinyl reissue, originally released in 1971. "In this long-awaited masterwork, Harry Partch rises above all attempts at descriptive containment and becomes quite simply heroic. Delusions Of The Fury, proceeding from tragedy to comedy, is nothing less than the full, ritualistic expression, in vocal instrumental and corporeal terms, of the reconciliation by the living both with death and with life. It is a total Partch statement, incorporating voices, mime, his celebrated instruments, dance, lighting and staging, all working to express this philosophical concept. Delusion Of The Fury, as is to be expected, is not cast in the common dramatic/musical mold." -- Eugene Paul
PC 31906HLP
PRICE: $21.00
CAT #: PC 31906HLP
2020 restock. 180 gram reissue of Miles Davis' expansive 1972 album. ""Here are killer groove riffs that barely hold on as bleating trumpet and soprano sax lines (courtesy of Dave Liebman on track one) interact with John McLaughlin's distortion-box frenzy. Michael Henderson's bass keeps the basic so basic it hypnotizes; keyboards slowly enter the picture, a pair of them handled by Herbie Hancock and Chick Corea, as well as Ivory Williams' synthesizer." --All Music
PRICE: $27.00
CAT #: COS 020LP
SAN FRANCISCO CHRISTIAN CENTER CHOIR The Sound Of The San Francisco Christian Center LP
"Previously only available on private pressing. Housed in a gatefold jacket filled with photos and liner notes by Uchenna Ikonne. When most people think of the musical legacy of San Francisco, the first thing that usually comes to mind is the Summer of Love. Much less likely are you to hear about the City by the Bay's rich heritage of gospel music. Cultures Of Soul is proud to revisit this chapter in the city's history with the reissue of The Sound Of The San Francisco Christian Center. The San Francisco Christian Center was one of the first churches to open its doors to disaffected hippies searching for a deeper spiritual substance. This era saw new, youth-driven forms of 'Jesus music' that fused gospel messages with rock aesthetics. Chief amongst these new-style gospel artists was the San Francisco-based Andraé Crouch, who was one of the influences behind this recording. As a historical document, it provides a breathtaking view into the roots of contemporary gospel music, but as just pure music, it is a transcendent listening experience."
PRICE: $22.00
CAT #: FTR 529LP
"Over the many years we've known each other, Joe Carducci had several times mentioned his brother Mark had a cool band back in the pre-punk '70s. Then a couple of years ago, he added that tapes of this project were around, and asked if might we be interested in hearing them. Midknight 1975 is the result. Two different line-ups of the band are documented here -- a quintet studio session recorded on location at the Hippie House, and a live one with a different drummer and one less guitar -- and both are wailing, raw instrumental dives into what you'd have to call hard underground prog. There are some 'chops' displayed, but they're usually more in line with stuff like Hawkwind, the Pink Fairies, and Third World War than something more delicate. It's just great, driving, drug-fueled noise from the Chicago suburbs. Here's what Joe wrote, when I asked him for a few words on the band. 'When Jimi Hendrix died In 1970 the Tribune put him on the cover of the Sunday Arts section and my Grandma, who lived with us, asked me if Hendrix could possibly deserve such an honor -- she wrote Dick Locher a fan letter when he had Dick Tracy unmask hippies as criminal degenerates . . . Mark named his band after the greatest tune on any of those, the instrumental 'Midnight' from the War Heroes album. The 'K' got added to the name soon after, I suspect at my suggestion, but luckily nobody can remember. MidKnight mostly just practiced in our basement . . . If I was home when they played out at a school or church I would go to record them on Mark's 4-track reel-to-reel. I remember that certain passages in their music would inspire the girls in the audience to start dancing, but then the time signature would change and the girls would stop and try to get their bearings all over again. I quit college and moved to Hollywood in the fall of 1976 and though I wasn't connected to any scene there I tried to convince Mark to move his band out; rent was cheap and it seemed that something was bound to happen. But they'd all graduated from high school and gone separate ways." That said, this is the documentary evidence Midknight left behind. There were bands something like this all over the States in those days, but I can't think of any I ever saw in high school or college auditoriums back then who had the good sense to play without a lousy singer. Without some Robert Plant wannabe simpering over the top, you can get a real sense of how wild their sound was..." --Byron Coley, 2020 Edition of 200.
PRICE: $24.00
CAT #: FTR 531LP
NARITA, MUNEHIRO Live P.S.F. (Psychedelic San Francisco) LP
Cardinal Fuzz and Feeding Tube Records bring forth Munehiro Narita's cranium busting Live P.S.F (Psychedelic San Francisco). Recorded live at the Hemlock Tavern (by PSF worshiper Ethan Miller). Munehiro Narita, the original "psychedelic speed freak", is for many people the undisputed king of the motorcycle fuzz guitar. Active since the late '70s, Narita is a Japanese psychedelic underground legend. After playing in cult bands like Kyoaku no Intention, he founded the brutal heavy-psych power trio High Rise in the '80s and more recently Green Flames with his furious guitar playing, which involves lethal doses of fuzz-wah at ear-splitting volume. Narita was lucky to be in the right place in Tokyo to see many performances by one of the most out of control guitar players ever to handle six strings in Takashi Mizutani (Les Rallizes Denudes) as well as taking in wild performances from Keiji Haino, Gaseneta, and their take no prisoner maelstrom is a style that Munehiro holds dear too. When Munehiro Narita needed a band for playing four west coast dates in 2017, Steve Krakow knew that LA acid punk David Jasso (OGOD) would be the perfect musician/foil for Narita (it should be noted that David released Green Flames on his Assommer label). David in turn knew drummer TJ. Six tracks were quickly nailed in rehearsals -- a selection of High Rise (four) and Green Flames (two) tunes were then played over the four dates. The shows left audience stunned (listen to the reaction from this show) and by the time of the San Francisco show they were on fire. Luckily, Ethan Miller was there to press record and document this feral in the red paint peeler of a gig as Munehiro Narita peels off wah soaked fireballs on top of the primal throb and groove that David Jasso and TJ lay down. Another of the hopefully famed Cardinal Fuzz bootleg style releases, Narita's guitar playing out front in the mix distorting and warping time and space The whirlwind take on closing number "Pop Sicle" perfectly captures the wild fury of all three musicians creating an energy that is impossible to sedate. Ethan Miller somehow managed to capture and record some of the most brutal playing in prime tape saturated / in the red glory for you know to relive. The positivity of these shows eventually led to all three members forming P.S.F. and their debut LP was released on Black Editions in 2019 (BE 1003LP). Full size/color insert; includes download code; edition of 500.
PRICE: $23.50
VA Too Slow to Disco 2LP
2020 repress, double LP version. Pressed on 180 gram vinyl and housed in a gatefold sleeve. Includes a digital download card and a poster. Ah, the mid-'70s "Me Generation," not so happily remembered. And in the taste-conscious music world, for years now people have laughed at the L.A.-sound with its super-smooth, over-lavish, luxury-laden excesses. Chord progressions as thrusting as that bridge across the bay. Love the white blazer, by the way. Neiman-Marcus, right? But Too Slow to Disco isn't interested in your aging hang-ups. As you know, once musical genres get old, the best parts still shine through, and this collection is a delectable document of this forgotten phase of the mid-'70s West Coast music world. We've unearthed some of the lesser-known but still beautiful mood music of this period, by people who were often still starting out, or would write their biggest hits years later, but who surfed the West Coast wave penning some total gems. So, yes, welcome to phase 1 of your PRM (Personal Rediscovery Movement, cult fans). "The Eagles were the dream of rock and roll incarnate. 'Hotel California' became a state of mind -- the land of blue jeans and cocaine, mirror shades reflecting palm trees, blond hair flowing from convertible cars on freeways that led to oceans. You love it and you hate it!" (Don Henley in Barney Hoskyns' book Hotel California). Includes 24-page liner notes. Featuring artists: Ned Doheny, Micky Denne And Ken Gold, Rupert Holmes, White Horse, Browning Bryant, Nicolette Larson, Alessi Brothers, Photoglo, Brian Elliot, Chicago, Don Brown, Matthew Larkin Cassel, Pages, Doobie Brothers, Fleetwood Mac, Robbie Dupree, David Batteau, Tony Joe White, and Jan Hammer Group.
N 78041LP
PRICE: $26.50
CAT #: N 78041LP
JONES JAZZ MACHINE, ELVIN At Onkel PO's Carnegie Hall Hamburg 1981 2LP
Repressed; double LP version. Recorded September 22nd, 1981 at Onkel Pö's Carnegie Hall, Hamburg, Germany. Personnel: Elvin Jones - drums; Carter Jefferson - saxophone; Dwayne Armstrong - saxophone; Fumio Karashima - piano; Marvin Horne - guitar; Andy McCloud - bass."... Elvin Ray Jones was born in Pontiac in 1927 as the youngest of ten children and brother of pianist Hank and trumpeter Thad Jones. In 1981 his formative years were long gone -- about one and a half decades earlier the percussionist had left the quartet of charismatic saxophonist John Coltrane, after having been part of it for five years; Elvin Jones was involved in milestone-productions such as A Love Supreme (1965). Already during and especially after his time with Coltrane, the percussionist enriched various modern jazz ensembles; for instance, he attended the German jazz festival at Frankfurt in 1978 as a member of the European-American formation Concert Jazz Band of the Swiss pianist, arranger and composer George Gruntz. Elvin Jones called his own ensemble Jazz Machine; the name was not due to a somewhat mechanical and cold sound of the drums -- on the contrary. The orchestration of this 'machine' was rather unconventional -- Jones had invited two tenor-saxophonists, Carter Jefferson (who passed away already in the mid-90s) and Dwayne Armstrong; also in this way he cemented the staggering sound of the group. Opposite of the bugles performed, surprisingly enough, the guitarist Marvin Horne; and with the Japanese pianist Fumio Karashima the Jones-'Machine' had at its command a particularly non-mechanical melodist, especially when it concerned the ballads; in this case 'In A Sentimental Mood' and 'My One And Only Love'. Karashima also added a noteworthy dosage of far-east melodics and harmony to the concert. Together with Karashima and the well-tried bassist Andy McCloud, Elvin Jones had recorded a trio-LP just previously to the European tour documented here. The material for the recording from Onkel Pö feeds on concise themes and motives from all established sources of the hard bop era; often and readily the blues elements prevail. Right in the middle of it all Elvin Jones proves his mastery again and again -- even after more than three decades (and long after Elvin Jones passing away in 2004) his performance remains an object-lesson, or better: an audio-lesson for everybody, who is looking for orientation and guidance through the history of the emancipation of the drums in jazz; until today." --Michael Laages
BT 5020LP
PRICE: $24.00
CAT #: BT 5020LP
PLUTO Journey's End LP
"Previously unreleased second album from Pluto, whose first is highly collectible. Remastered mixed by the band from original master tapes found in the Morgan tape stores. The band includes members of Dry Ice and The Foundations. Released on 180 gram vinyl."
BT 5022LP
PRICE: $24.00
CAT #: BT 5022LP
BECKLEY, GERRY Discovering America 10"/CD
"Recorded June 1970 at Morgan Studios in Willesden NW London, where Gerry Beckley worked as a tape op, so these are tracks he did with the assistance of locally-based musicians and probably Dan Peek, who was in London at that point, just prior to their formation of America with Dewey Bunnell. America then recorded 'Horse with No Name' at the same studio. Released for the first time on collectible 10" vinyl with a CD version."
PRICE: $16.00
CAT #: MBT 021CD
WADE, CLIFF Look At Me, I've Fallen Into A Teapot CD
"Cliff Wade is a singer/songwriter from York who recorded an album at Morgan Studios in 1969 that never saw the light of day. Look At Me, I've Fallen Into A Teapot assembles those 1969 recordings and adds a previously-unheard demo session from 1971 as Cliff took a break from Fickle Pickle, a largely studio-bound act who also featured Geoff Gill and Wil Malone The Wade/Gill composition 'Heartbreaker' was covered by Pat Benatar, became a hit single in America and was used as the opening track of her 1980 debut album In The Heat Of The Night. The song was subsequently sampled by American rapper Li'l Kim, and has also appeared on hugely popular American TV shows such as, King Of The Hill and Supernatural as well as being featured in music video games Rock Band, Guitar Hero World Tour and Karaoke Revolution: Presents American Idol. Perhaps the biggest accolade afforded to the song, however, came when it was covered in the early eighties by the legendary Alvin & The Chipmunks. Cliff's songs have also been recorded by such disparate names as Tina Turner ('The Woman I'm Supposed To Be', which featured on her first solo album) and former Coronation Street actor Kevin 'Curly Watts' Kennedy, who had a minor hit with 'Bulldog Nation'. This album concentrates on his early exploratory work, made at a time when he was looking to gain a foothold in an industry that he would grace as a singer, musician and writer for decades to come."
PRICE: $19.00
CAT #: MVD 3266DVD
GARCIA, DANNY Rolling Stone: Life and Death of Brian Jones DVD
"Rolling Stone: Life and Death of Brian Jones is the new documentary from acclaimed filmmaker Danny Garcia. Exploring the rise of Brian Jones and the Rolling Stones as well as the untimely death of Jones, Garcia paints an interesting and revealing picture of doomed pop star. Danny Garcia has directed Stiv, Looking For Johnny, Rise and Fall of The Clash."
PRICE: $15.50
CAT #: NON 051CD
VA Nonplace Soundtracks Vol. 2 CD
This is the second edition of instrumental soundtracks, composed and edited for film or television companies, tagged (on CD sleeve) and conducted conveniently to provoke absorption. All pieces were produced by Burnt Friedman and/or Hayden Chisholm as part of sessions with The Embassadors and Friedman's score recording-sessions with contributions from The Embassadors, Root70 (playing The Nu Dub Players), Hayden Chisholm, Flanger, Daniel Dodd-Ellis, and Friedman's 90s outlet, Drome. It's not only a wild mixture of various jazz-centered quality tunes, but a continuously surprising assembly of sound substance under extremely different musical idioms. You hear compassion and anger, vulnerability and strength, but deepest of all, perhaps, a sadness that would be almost unendurable if it were not examined and transformed, somehow, into beauty. File under: instrumental soundtracks, golden-era jazz, outernational, magic realism, electronica, commercials. Also features Joseph Suchy.
NA 5176LP
PRICE: $26.00
CAT #: NA 5176LP
"The go-go band's sought after debut album. Enriched funk. Magical, mystical, Afrocentric, progressive --words that could be used to describe any number of musical compositions by Sun Ra or his cosmic brothers and sisters, from John to Alice Coltrane, early '70s projects on record labels like Detroit's Tribe or Houston's Lightin' or the interests of one Washington, DC native named Jimmy Gray that centered under one, perfect moniker: Black Fire. Gray spent nearly three decades pushing boundaries as a Black American promoter, distributor and, finally, record label owner. Together with Oneness Of Juju's leader James 'Plunky Nkabinde' Branch, Gray oversaw sixteen releases on Black Fire Records between 1975 and 1996. These are the definitive reissues of five of the label's key titles; all were lacquered -- most directly from master tape - by legendary Los Angeles mastering engineer Bernie Grundman, with this set, Oneness Of Juju and Black Fire's story burns forth into its fifth decade, its message not tempered, its sound pure. It's cycle, once again, complete. Each release is packaged in a thick, tip-on sleeve and includes a deluxe booklet with extensive notes on the album, the Black Fire collective, and the musical and cultural revolution they created. Limited edition, one time pressing."
PRICE: $17.50
MERZBOW StereoAkuma CD
In June/July 2019, Masami Akita, better known as Merzbow traveled to Australia to take part in Room40's Open Frame festival. Across a week he delivered a series of performances to sold out audiences in Sydney and Melbourne. The performances were viscerally explosive, a channeling of intensities of frequency and volume -- the kind of trademarked bodily affective noise Merzbow has become renowned for. Between the concerts, Akita spent his days visiting a variety of forests, spending time with legendary Australia fauna icons like the Australian White Ibis, Little Penguins, and various other native species. As a vegan, his affinity for the natural world is unconditional. With this in mind he has announced all profits from this edition will be donated to assisting wildlife recovery in the wake of the Australia bushfire crisis of the past few months. Room40 will be matching all money raised. StereoAkuma is a live recording made on Friday July 5th 2019 at The Substation, Melbourne.
RM 4115CD
PRICE: $17.50
CAT #: RM 4115CD
TORAL, RAFAEL Constellation In Still Time CD
Portugal's electro-acoustic maestro reimagines one of his seminal compositions from his lauded Sound Mind Sound Body album (1994). Extracting the harmonic essence of AER 7, Rafael Toral explodes it outward into a fully orchestrated evolving constellation of sound. A remarkably simple and compelling piece of reductive composition, AER 7 G combines piano, harp, vibraphone, clavinet, Rhodes, and sinewaves to create a music that generates sensations of the infinite, through the acoustic.From Rafael Toral: "... The music I recorded between 1987 and 2003 somehow sends its message and there's a story behind it. By 2006, with 'Space', I radically changed both the message and the story. I have always found that both need to be in tune to what is happening in the world, because they are a response to that. However, since Moon Field (2017), i have been arriving to a 'third phase' that somehow (re)unites the previous two, a space where the divergent messages and stories from those different periods are both needed and make sense in these days. Feeling a general need to slow down almost accidentally shed new light on my background in ambient, inspiring new forms to the future. This is the context where this release is emerging from . . . 'AER 7' (the record's only track) is a piece i wrote in 1992, of which a guitar version is included in my debut album, Sound Mind Sound Body, released two years later. It was a departure from the earlier 'AER' pieces I made from 1987 to 1990, replacing a drone guitar sound with empty space, in a similar kind of structure. The empty units are in sync but their contents are not, rendering the sequence of time events almost random. I had the idea to produce the present 'AER 7 G' version back then, but at the time there were no instrument players in Lisbon who might be interested in it. Commitment to other projects like Wave Field (1995) and all the ensuing work kept it in the drawer until now. A new generation of generous, open-minded, highly skilled musicians made it suddenly possible to develop the project. I have always regarded 'AER 7' as a melodic generator, or 'generative', a word i would learn later on. It's written in a way that prevents repetition and generates unpredictable results, apart from the pace and the set of notes. Curiously, Constellation In Still Time is by far the most quintessentially ambient record i have ever done."
RM 4118CD
PRICE: $25.00
CAT #: RM 4118CD
Room40 present a reissue of Analapos, the debut recording by legendary Japanese sound artist Akio Suzuki, originally released in 1980. Recovered and is presented here in a newly remastered edition complete with the most extensive documentation to date of Akio Suzuki's development and practices surrounding his most iconic self-designed instrument, the Analapos. In 1979, Akio Suzuki recorded a performance, "New Sense Of Hearing", at the Nagoya American Centre. During the performance, Suzuki used voice, turntables, glass harmonica, and his self-designed instrument the Analapos to create a series of improvised pieces that effectively charted out his sonic investigations for the proceeding decades. In 1980 these recordings were issued by ALM records as Analapos, the first work made publicly available by Akio Suzuki. For going on six decades now, Akio Suzuki has been responsible for creating amongst the most otherworldly, yet deeply affective sound works of his generation. As a musician, sculptor and sound artist, Suzuki's work threads an important linkage between Eastern and Western sound art practices. His approaches, that focus primarily on intense states of listening, 'throwing and following' and a relentless sense of open curiosity, have allowed him to continuously deepen his work. Originally published in an edition of just 200 copies in 1980, Analapos has been out of print literally since its release. Clocking in an over an hour, the original pressing of the recordings to a single LP, presented some technical limitations. This 40th anniversary edition of Analapos is entirely remastered and is published with a booklet that includes a longform interview with Akio Suzuki conducted by sound artist and collaborator Aki Onda, plus extensive photographic documentation of the development of the Analapos. The publication of this edition is announced in conjunction with the Sense Of Ek? retrospective exhibition which opens at The Substation in Melbourne late January.
PRICE: $12.00
LENS, AMELIE Stay With Me 12"
2020 repress. Amelie Lens delivers a three-tracker of her signature pulse-pounding expeditions, paired with a remix from Perc. In "Follow", atmospheric shimmers dance around endless spaces, with Amelie's smooth and seductive voice coaxing you to follow her. Amelie embraces her affinity for the heavy with "Stay With Me", where swirling acid lines and gargantuan drums lead you into a trance. Perc delivers a monster remix of "Stay With Me" as he tightly loops the vocal and lays it over a pleasantly brutal beat. "Winter", named after Amelie's mischievous little feline, retains a playful and energetic pace with a dash of frisky trouble.
PRICE: $17.50
Kansai based artist Ytamo returns to Someone Good with a record of deep introspection. Recorded across 2019, whilst she was pregnant with her first child, she produced this edition in soft focus. This is an album that resonates with an in-built nostalgia of recollection that is simultaneously actual and imagined. The songs reflect on her own experiences as a child, each piece building a bridge between the promise of parenthood and the hazy memories of her youngest years. Pairing back her instrumentation at times to the instrument she started her musical life with, the piano, this album showcases her capacity for cycling minimal movements, dynamic tonal ruptures and hypnotic interweaving harmony. Features Takako Minekawa.From Lawrence English: "... Sometime in the early to mid-00s, I was on tour in Japan. I was playing at the now closed venue Bridge in Tennoji. It was one of my favorite venues in Japan, mostly as Tennoji still holds those secrets of Japan's 20th century history; the nocturnal, dreamlike sensibilities that reach out to us from beyond; much like, Chris Marker's San Soleil observes. During this concert, I was joined by an artist whose work I wasn't familiar with at that time, Ytamo. By the end of her set however I was completely spellbound by her unusual sense of harmony, minimal repetitious piano patterning and her ability to move between seemingly unrelated musical structures in ways that acoustically melted from one movement to another . . . A few years ago we released MI WO on Someone Good (2016), a milestone recording for her and one I did not think she could easily eclipse. With Vacant, however, she does just that. Vacant is a completely personal music. It contains the kinds of songs that tell of one person's experiences in a way that opens out towards all who encounter the work. Vacant plants seeds deep within the listener and these germinate at unexpected moments and with unpredictable results. Having lived with the record for the past half year, I can speak to this experience. "Far Away From Here", one of the long-form pieces on the record has found its way bubbling up in my subconscious. The same can be said of "Mantis", another piece with melodies that just fold into you, burying themselves with a gentle presence that radiates in time. I can't recommend Ytamo's music to you enough."
PRICE: $17.50
Andrew Tuttle grew up in Alexandra Hills, a quiet slice of rural life in Redlands, a city which lies 20km or so from Brisbane, on the East Coast of Australia. Or at least that was the plan. The reality proved to be somewhat different, the area changing quickly after his family's relocation there, resulting in his home being quickly absorbed by rapid urban sprawl, leaving him in a limbo between nature and suburbia. Alexandra, Tuttle's fourth studio album, reflects the growth apparent in his three previous Room40 releases and commitment to developing a reputation in his home country of Australia in the time since his 2015 debut. Leaning upon the inspiration pulled from recent tour supports with contemporaries such as Steve Gunn, Ryley Walker, and Calexico; Alexandra presents a true sonic landscape; a musical reflection of a rediscovered homeland. A magician of banjo and resonator guitar, Tuttle named the album after that Queensland street and suburb where he first created and fell in love with music. Alexandra is the sound of rediscovering one's environment, almost twenty years on, tracing it with an organic, expanding flow of energy. The songs on Alexandra weave their way serenely and purposefully, tracing a gossamer path resembling the distinctive, scribble-like burrowing patterns left by moths on the scribbly gum trees which dot Tuttle's ambles through the Australian bushland backgrounding the suburban environment. Splashes of color flutter through like rosellas in flight, with pedal steel, piano, strings and horns contributed by collaborators such as Chuck Johnson, Tony Dupe, Sarah Spencer, Gwenifer Raymond, Joel Saunders, and Joe Saxby. Painting broad strokes of local color amongst a deeply rooted spirit of place, Alexandra is a journey that tranquilizes the restless mind. This expansive album cycles through a rediscovered environment, illuminating forgotten or overlooked landmarks, evoking the dreamy ritual of the "flaneur" (a romantic figure imagined by Charles Baudelaire and Walter Benjamin) who wanders the streets, with the sole purpose to wander. Mixed by Chuck Johnson and mastered by Lawrence English, Alexandra was tracked externally at Brisbane's The Plutonium by engineer Aidan Hogg, then edited and processed at Tuttle's studio in Brisbane and at his childhood home on Alexandra Circuit in Alexandra Hills.
PRICE: $33.00
MUSLIMGAUZE Return Of Black September 2LP
The excellent Black September, a continuous, five-part, 68-minute epic, is as formidably competent as ever, although more for the brooding, surreal nature of its soundworld than for its grooves, which here sound almost subsidiary. The soul samples and restlessly evolving minor-chord kaleidoscopes that unfold throughout the work is prima facie evidence of a musician on a roll. Boldly named after one of the most notorious Palestinian terrorist organizations, the group which carried out the Israeli Olympic athlete massacre in 1972, September matches its dark black artwork and design with equally doom-laden music (mastered as one track, despite the five separate song titles listed on the back). The title-track relies on a slightly more gentle ominousness, with soft string-plucking reverberating around the beat, but things start to pick up accordingly with the more aggressive, sharp-edged electronics shading into a tense blend of percussion and energy on "Libya"; after shading away into a more minimal midsection, the track returns at a nervous, quick pace, with drums and drum pads firing off echoes into the mix as drones snake in and out of the song. One particularly gripping section has shards of noise firing off in all directions before settling back into the frazzled energy of the central beat, feeling like a soundtrack to a particularly good chase scene in a movie. "Thuggee" and its accompanying remix keep the unsettled edge up, with sudden drum and electronic pulse intrusions erupting over the main flow of the songs. It's interesting to hear how Bryn Jones's love of dub applies itself in even more creative and different ways than from his productions of some years before, exchanging the slow pace for a fast one and applying krautrock drone principles. A nicely stretched-out, creepy remix of Gun Aramaic's "Opiate and Mullah" wraps up this fine effort. This vinyl includes the two unused Return Of Black September tracks that were on the archive series volume 32 CD. The two extra tracks, however, follow in taking a much more cleanly digital feel, with many of the elements Jones usually uses present but in more stripped down or even mechanized forms. The relatively clean pulse of these two longer compositions serve as a refreshing contrast. Edition of 700.
PRICE: $31.00
Architect John Körmeling and maverick musician Charlemagne Palestine collaborate on a whole new system of music. A famous English conductor said that the harpsichord sounded like "two skeletons copulating on a tin roof". An instrument that was once the basis of every orchestra and chamber ensemble was long ago replaced by the stronger and, for some, sweeter sounding piano. Now the harpsichord is very much the preserve of specialists and early-music supporters and has seen very little progress in design. Enter architect and musical philosopher John Körmeling. In addition to designing utopian public spaces like the "Happy Street" which served as the Dutch pavilion at the Shanghai Expo 2010, and the "Straight Road" artwork which played with the mismatch between the curvature of the earth and our need to see life in two dimensions, Körmeling has devised a system of music that sets aside familiar Western tuning and is based instead on square roots, areas, and volumes. In order to realize this music, he turned back to the harpsichord and adapted its jangling sound to an intonation that literally plays Pythagorean ratios. Körmeling made it possible to hear ratios and proportions that we usually only encounter on the pages of a math book. Körmeling now had his instrument, but who would have the imagination and vision to play it. He turned to the veteran rule-breaker Charlemagne Palestine, pioneer of long-form improvisations on harpsichord, harmonium, and other neglected keyboard instruments. The idea of "playing a triangle" immediately appealed. Responding to the invitation from Körmeling, he said that "thiss Pythagoriann harpsichordd was just upp myy alley,,,,,,,,,". Palestine saw the new instrument and named it the Frogsichord after its color. This record documents performances on the Frogsichord made in Brussels, Rotterdam and in Cappadocia, Turkey. The sound is strange, perhaps even estranging, but Palestine has made it his own, and created a music that is rich and detailed, not simply "exotic". It's no longer a question of Western tonality colliding with non-European harmonic systems. Here is music that taps into the universal language of mathematics.
PRICE: $38.50
Double LP version. Limited fur cover edition (color varies). Architect John Körmeling and maverick musician Charlemagne Palestine collaborate on a whole new system of music. A famous English conductor said that the harpsichord sounded like "two skeletons copulating on a tin roof". An instrument that was once the basis of every orchestra and chamber ensemble was long ago replaced by the stronger and, for some, sweeter sounding piano. Now the harpsichord is very much the preserve of specialists and early-music supporters and has seen very little progress in design. Enter architect and musical philosopher John Körmeling. In addition to designing utopian public spaces like the "Happy Street" which served as the Dutch pavilion at the Shanghai Expo 2010, and the "Straight Road" artwork which played with the mismatch between the curvature of the earth and our need to see life in two dimensions, Körmeling has devised a system of music that sets aside familiar Western tuning and is based instead on square roots, areas, and volumes. In order to realize this music, he turned back to the harpsichord and adapted its jangling sound to an intonation that literally plays Pythagorean ratios. Körmeling made it possible to hear ratios and proportions that we usually only encounter on the pages of a math book. Körmeling now had his instrument, but who would have the imagination and vision to play it. He turned to the veteran rule-breaker Charlemagne Palestine, pioneer of long-form improvisations on harpsichord, harmonium, and other neglected keyboard instruments. The idea of "playing a triangle" immediately appealed. Responding to the invitation from Körmeling, he said that "thiss Pythagoriann harpsichordd was just upp myy alley,,,,,,,,,". Palestine saw the new instrument and named it the Frogsichord after its color. This record documents performances on the Frogsichord made in Brussels, Rotterdam and in Cappadocia, Turkey. The sound is strange, perhaps even estranging, but Palestine has made it his own, and created a music that is rich and detailed, not simply "exotic". It's no longer a question of Western tonality colliding with non-European harmonic systems. Here is music that taps into the universal language of mathematics.
PRICE: $15.00
"Asmus Tietchens, one of the most prolific German composers in the electronic/musique concrete direction since late '70s. Bleiche Brunnen is his 3rd album on Stille Andacht, the sublabel of Dark Vinyl. Electronic music of extreme abstraction. Sounds and noises far from human beings from pale, forgotten wells. Porous remains in deserted landscapes, crystalline evidence of inorganic states of highest transparency. The music conveys calm, but in no way invites contemplation. For fans of: Pierre Henry, Stockhausen, Nurse With Wound, Hafler Trio. 6 Page-Eco-Digifile, 500 copies."
PRICE: $23.50
CAT #: JBH 086LP
GOLDIE, MALCOLM The Sound Of Malcolm LP
What the fuck is going on here? Sounds totally insane. Like it was made by a cage of techno chimps or minions or something. Not sure it should even be allowed. It absolutely cannot be compared to anything. Malcolm Goldie makes all sorts of things, including music. He makes lots of music in fact, for stuff like those Adidas trainers you are wearing, or those Nike Football boots worn by International soccer superstars. When these companies need something totally off the fucking wall for their kooky advertising films, Malcolm normally gets the call. He is a master of the cut and sonic stick, the accurate and intensely random, he makes the bizarre effortlessly more so. Jonny Trunk has known Malcolm a long time, so he thought it would be a groovy idea to ask Malcolm to make his debut LP for Trunk Records. And this totally unusual set of cues proves that this was not just a good idea, but it proves that Malcolm does actually have a DeLorean and has traveled to the future, made an LP, brought it back and given it to the world now. This is the future. Right now. A new sonic language even.
KHZ 1003LP
PRICE: $22.00
CAT #: KHZ 1003LP
SUNN TRIO Electric Esoterica LP
Phoenix is where Twenty One Eight Two Recording Company are from, but it isn't where they are at. The scene is essential to nothing, but that doesn't mean the musicians here aren't essential. Music attempts to appeal to as large an audience as possible, but composition attempts to engage the listener in something different. Enter Sunn Trio. A punk trio that is influenced by Middle Eastern psych, free jazz, and improvisation. While not recorded in a traditional studio, these recordings represent the first studio-produced sounds from this group. The group is built around Joel Robinson and has had as many as eight-to-ten members in recordings and live performances, but more recently has been focused on a trio that composes music that challenges every notion of what rock, punk, or psych can be; however, at the same time, the music is crafted with improvisational focus and middle eastern influence that should be the basis for this generation's new music. Robinson makes his melody maker sound like an oud, rabab, and even at times a gamelan when he isn't using these instruments to generate the lead lines to the compositions. The music has an import that shows a deference to eastern music, while expressing a freedom that isn't present in any modern music. We stood idle during the Arab Spring; we decimated Iraq and Afghanistan; and now we retreated from Syria as the Kurdish people struggled to survive. Sunn Trio creates music that responds to these atrocities and works to build a bridge to these people. Urgent music for urgent times. Electric Esoterica is the third album from Sunn Trio. It is the third in a series of records that revolve around Alan and Richard Bishop, Charles Gocher, W. David Oliphant, and Joel Robinson called the Mount Meru Anthology. These sounds are rooted in a history of creation in Arizona that involves people that were inspired and supported by people who do things differently. Sunn Trio wants you to listen, but don't be fucking passive.
KHZ 1004LP
PRICE: $32.50
CAT #: KHZ 1004LP
The early 1980s was a formative time for a wide variety of outstanding unique music coming out of Phoenix, Arizona. Experimental DIY, punk, prog rock, noise, comedy, jazz was all mixed together for a few years at any given "punk" show. In 1981, Alan Bishop and W. David Oliphant along with a rotating roster of talented musicians formed the post everything (at the time) group Destruction. This was a mix of jazz, punk, found sounds, loops, voice, and droning walls of noise. After 35 wandering years, Alan and David joined forces again along with Joel Robinson. They met up in Southern Arizona in August 2017 to record with the same post everything genre approach that had begun decades earlier. Black Hole Diaries is the result. For years music from Phoenix has been considered "sun damaged", Twenty One Eighty Two Recording Company suggest that something much more sinister is afoot. Black Hole Diaries is music that comes from an undefined place, familiar yet not quite right. This is a sonic movie and you are both the projector and viewer of the visions that grow out of these sounds. Music that seems lost to time and perhaps even chemically induced but isn't. A need to bring together while still isolating the experience as singular. Three composers refining their craft, but also using the tension and energy from each other to power something complete different from their own artistic statements. Experimental in collaboration, but not in purpose. "What a rebuke of capitalism might sound like if we weren't suffocated by it." --Donald Frankowski
PRICE: $22.00
YOUNG GODS, THE Super Ready / Fragmente 2LP
Repressed. The Young Gods' 2007 album, Super Ready / Fragmenté is finally released on vinyl. The twelve compositions of Super Ready / Fragmenté are of a pure sonic power. From the nasty rock song "I'm The Drug" or "Freeze", to the abstract "C'est quoi c'est ça", the playful "El Magnifico", the psychedelic and moving "Stay With Us", "Super Ready / Fragmenté" (nine minutes of sound journey and pivotal track on the album), The Young Gods have delivered a great album inhabited by Franz Treichler's clearer, warmer and more powerful voice. That being said, words are, as always, of paramount importance to the Gods. With the political and poetic "About Time", the group rises up against fear as a market value. Fear is a very current signature of today's world, recalls Franz Treichler. How many politicians get elected by selling fear by the kilo? Or describes, in detail, the relationship between the couple and the imaginary "Everythere". Super Ready / Fragmenté is one of those major albums that, behind a palpable sense of urgency and insecurity, is revealed and discovered through poisonous, disturbing and passionate listening. Artwork by IchetKar.
PRICE: $17.00
CAT #: YAZ 1043HLP
VA Please Warm My Weiner (Old Time Hokum Blues) LP
2020 restock. 180 gram reissue of Yazoo's scholarly 1974 collection of "bawdy and vaudeville-inspired" songs from the '20s and '30s. Classic Robert Crumb cover art. Artists: Whistling Bob Howe & Frankie Griggs, Tommie Bradley & James Cole, Buddie Burton, Georgia Tom & Tampa Red, Rufus & Ben Quillian, Hokum Boys, Papa Charlie Jackson, Butterbeans & Susie, Robert & Charlie Hicks, Yazoo All Stars, Memphis Minnie, Leola B. Wilson & Kid Wesley Wilson and Bo Carter.
Last Updated on Sunday, 07 June 2020 19:22  


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