Forced Exposure New Releases for the Week of 4/12/21

Sunday, 11 April 2021 11:01 Forced Exposure News & Events - Release Dates

New music is due from JahYu, Richard Chartier, and Tiago Sousa, while old music is due from Dana Gillespie, Sleep, and Etant Donnes.

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4M 7022LP
PRICE: $25.00
CAT #: 4M 7022LP
"War Ina Babylon by Max Romeo & The Upsetters was originally released in 1976 by Island Records. Produced by Lee 'Scratch' Perry at his Black Ark Studio, with backing by his superb band The Upsetters, this record has Perry's trademark gritty, swampy sound while the socially and politically conscious songs and the musicians performances show all involved at the height of their powers. This is a classic of the roots era and an essential record for reggae fans. On black vinyl."
PRICE: $19.50
CAT #: FOX 045LP
An original compilation featuring legendary tracks from Serge Gainsbourg's early productions for the cinema. Tracks A1-A3 were recorded in December 1959 and are taken from the 1960 EP film score for L'eau À La Bouche. Tracks A4-A5 were recorded in December 1959 and are taken from the 1960 EP film score for Les Loups Dans La Bergerie. Track A6 was recorded in March and April 1963 and is taken from the 1963 LP N° 8 by Juliette Gréco. Tracks A7-B4 were recorded at the end of 1962 and are taken from the 1963 EP film score for Strip-Tease. Tracks B5-B8 were recorded in March 1963 and are taken from the 1964 EP film score for Comment Trouvez-Vous Ma Soeur ?.
PRICE: $25.00
CAT #: ASH 302LP
2021 repress. "After releasing their Warner Bros. debut, the Herbie Hancock Sextet underwent a major transformation in the early '70s. Over the course of a year, every member was replaced (except Herbie Hancock himself and bassist Buster Williams) and each adopted Swahili names. (Williams even led the group in occasional sessions of Buddhist chanting.) Hancock chose the moniker Mwandishi (meaning 'composer'), and the Sextet became unofficially known as the Mwandishi Band. The lineup's first album -- simply titled Mwandishi -- reflects Hancock's new aesthetic and spiritual directions. Stretching out from the R&B/jazz fusion of Fat Albert Rotunda, the pianist would draw inspiration from his time with Miles Davis (whose classic Bitches Brew came out in 1970) as well as through the creative relationship he had formed with producer David Rubinson (known for his work with Moby Grape and Santana). 'Ostinato (Suite for Angela),' dedicated to political activist Angela Davis, is an extended jam with stunning rhythmic complexity -- enhanced by studio effects, such as Echoplex delay. On the ballad 'You'll Know When You Get There,' Hancock's tight arrangements are saturated in reverb, which gives an ever-shifting dimensionality. Side-long closer 'Wandering Spirit Song,' written by trombonist Julian Priester (aka Pepo Mtoto), goes even further out: alternating between dynamic soloing and group improvisation, the Sextet fully manifests the radical potential of their collective identity/energy. Mwandishi remains a bold and expansive statement, even after nearly 50 years."
PRICE: $25.00
2021 restock. "First ever vinyl reissue of the 1972 Tall Records Träd, Gräs och Stenar LP, Djungelns Lag, expanded into a 2xLP set to house magical bonus material. These live recordings capture the band at its most open and transcendental peak, 1971/72. Features a monumental 34-minute expanded bonus track previously only available on CD, plus an entirely unreleased track. Scores of previously unseen ephemera adorn the lavish inside gatefold and inner sleeves. Includes download code with added unreleased material."
PRICE: $25.00
2021 restock. "Mors Mors LP is the first ever vinyl reissue of the 1973 Tall Records Träd, Gräs och Stenar LP, expanded into a 2xLP set to house magical bonus material. These live recordings capture the band at its most open and transcendental peak, 1972. This offering features a staggering 26+-minute bonus track previously only available on CD, plus an entirely unreleased track. Includes an extended version of one of the original album tracks. Scores of previously unseen ephemera adorn the lavish inside gatefold and inner sleeves. Mors Mors LP includes download code with added unreleased material."
AI 022LP
PRICE: $34.00
CAT #: AI 022LP
VOIGT, WOLFGANG Ruckverzauberung Exhibition 2LP
Long-time Astral Industries associate Wolfgang Voigt returns to the London label with his next album, Rückverzaberung Exhibition. The Exhibition reimagines the concept with renewed purpose, opening the gates to deliver an arresting 60-minute journey into the underworld. Dense soundscapes mutate with alchemic fluidity, unravelling with vast symphonic counterpoints and synesthetic textures. Intoxicating in its Mephistolean dissonances and ambitious sonic structure, the sprawling Rückverzauberung itself becomes a nebulous organism shrouded in the seeping mist of the unknown.
AU 1017LP
PRICE: $30.00
CAT #: AU 1017LP
2021 restock; double LP version. "Over the past decade, the visionary musician Arthur Russell has entered something close to the mainstream. Sampled and referenced by contemporary musicians, his papers now open to visitors at the Performing Arts Library at Lincoln Center in New York, and his name synonymous with a certain strain of tenderness, Russell is as widely known as he's ever been. Thanks to Russell's partner Tom Lee and to Steve Knutson of Audika Records, who have forged several records from Russell's vast archive of unreleased material, the world now hears many versions of Arthur Russell. There's the Iowa boy, the disco mystic, the singer-songwriter and composer, and the fierce perfectionist deep in a world of echo. While all of these elements of Russell are individually true, none alone define him. Now, after ten years of work inside the Russell library, Lee and Knutson bring us Iowa Dream, yet another bright star in Russell's dazzling constellation. Blazing with trademark feeling, these nineteen songs are a staggering collection of Russell's utterly distinct songwriting. And although Russell could be inscrutably single-minded, he was never totally solitary. Collaborating here is a stacked roster of downtown New York musicians, including Ernie Brooks, Rhys Chatham, Henry Flynt, Jon Gibson, Peter Gordon, Steven Hall, Jackson Mac Low, Larry Saltzman, and David Van Tieghem. Musician Peter Broderick makes a contemporary addition to this list: more than forty years after Russell recorded several nearly finished songs, Broderick worked diligently with Audika to complete them, and performed audio restoration and additional mixing. Several tracks on Iowa Dream Russell originally recorded as demos, in two early examples of his repeated brushes with potential popular success -- first in 1974, with Paul Nelson of Mercury Records, and then in 1975, with the legendary John Hammond of Columbia Records. For different reasons, neither session amounted to a record deal. Russell kept working nearly up until his death in 1992 from complications of HIV-AIDS. At once kaleidoscopic and intimate, Iowa Dream bears some of Russell's most personal work, including several recently discovered folk songs he wrote during his time in Northern California in the early 1970s. For Russell, Iowa was never very far away. 'I see, I see it all,' sings Russell on the title track: red houses, fields, the town mayor (his father) streaming by as he dream-bicycles through his hometown. Russell's childhood home and family echo, too, through 'Just Regular People,' 'I Wish I Had a Brother,' 'Wonder Boy,' 'The Dogs Outside are Barking,' 'Sharper Eyes,' and 'I Felt.' Meanwhile, songs like 'I Kissed the Girl From Outer Space,' 'I Still Love You,' 'List of Boys,' and 'Barefoot in New York' fizz with pop and dance grooves, gesturing at Russell's devotion to New York's avant-garde and disco scenes. Finally, the long-awaited 'You Did it Yourself,' until now heard only in a brief heart-stopping black-and-white clip in Matt Wolf's documentary Wild Combination, awards us a new take with a driving funk rhythm and Russell's extraordinary voice soaring at the height of its powers. On Iowa Dream, you can hear a country kid meeting the rest of the world -- and with this record, the world continues to meet a totally singular artist."
BE 011LP
PRICE: $22.00
CAT #: BE 011LP
Limited restock. Black Editions present a reissue of Kazuo Imai's far and wee, originally released in 2004. Kazuo Imai is one of the few artists to traverse both Japan's early avant-garde and free jazz movements. Though he began performing in the 1970s, his 2004 P.S.F. album far and wee was only the second under his name. In a series of thrilling acoustic guitar improvisations -- Imai's playing crackles with dynamic tension and physicality as well as a subtlety and nuance that reveals him as one of the instrument's true masters and innovators. In 2004, Kazuo Imai (Marginal Consort, East Bionic Symphonia) recorded a series of nylon-string classical guitar improvisations at the request of P.S.F. founder Hideo Ikeezumi. far and wee, the resulting album, vibrates with the inherent duality of nylon: the strings stretch and snap back like rubber tautened and released, and paint the softest of caresses in silky washes. Imai was a student of two of the foundational artists of the Japanese avant-garde: Masayuki Takayanagi, the pioneering free-improvising guitarist and Takehisa Kosugi, the visionary Fluxus composer also known for his work with Group Ongaku and the Taj Mahal Travelers. A sense of inquisitiveness about how far he can push himself and every part of the guitar pervades these performances as Imai makes everything from the pegs to the bridge to the strap pin explode with resonate. For over 20 years, Imai has been a driving force behind Marginal Consort a collective of Japanese avant-garde musicians devoted to collective improvisation, known for their incredibly layered and varied annual performances that last for three continuous hours. Using a blend of homemade and traditional instruments, electronics, and sculptural and natural forms, they create auditory experiences of exceptionally unique color and vibration. The same dedication to vitality and variety is found in Imai's guitar music, and it is via the guitar that his vast studies in philosophy and music come together in extreme focus, allowing him to tease and extend the history of the instrument while interrogating the limits of its edge. far and wee continues the tradition of the Soloworks concerts that Imai has been giving for several decades, and allows the listener to breathe in the unique space of Imai's thought processes. He attacks the instrument: the nylon strings explode against the guitar. And he caresses it, soothing each centimeter of string with delicate force and concentration. Pressed to high quality vinyl at RTI. Heavy tip-on jackets; includes download.
BHZ 90003LP
PRICE: $23.00
CAT #: BHZ 90003LP
FLEETWOOD MAC Peter Green's Fleetwood Mac LP
LP version. "Fleetwood Mac, also known as Peter Green's Fleetwood Mac, is the debut studio album by British blues rock band Fleetwood Mac, released on 24 February 1968. The album is a mixture of blues covers and originals penned by guitarists Peter Green and Jeremy Spencer, who also share the vocal duties. It is the only album by the band without any involvement of keyboardist/vocalist Christine McVie. The release of the album brought the band overnight success; in the UK, the album reached No. 4 and stayed on the charts 37 weeks, despite the lack of a hit single."
BHZ 90008LP
PRICE: $23.00
CAT #: BHZ 90008LP
LP version. "Mr. Wonderful is the second studio album by British blues rock band Fleetwood Mac, released on 23 August 1968. This all-blues album was broadly similar to their debut album, albeit with some changes to personnel and recording method. The album was recorded live in the studio with miked amplifiers and PA system, rather than plugged into the board. A horn section was introduced; and Christine Perfect of Chicken Shack was featured on keyboards. In the US, the album was not issued under the name Mr. Wonderful, though around half of the tracks appeared on English Rose."
BHZ 90018LP
PRICE: $23.00
CAT #: BHZ 90018LP
FLEETWOOD MAC The Pious Bird Of Good Omen LP
LP version. "The Pious Bird of Good Omen is a compilation album by the British blues rock band Fleetwood Mac, released in 1969. It consists of their first four non-album UK singles and their B-sides, two other tracks from their previous album Mr. Wonderful, and two tracks by the blues artist Eddie Boyd with backing by members of Fleetwood Mac. These two tracks came from Boyd's album 7936 South Rhodes."
BB 362CD
PRICE: $17.00
CAT #: BB 362CD
DER PLAN Save Your Software!! (The Never-Released Album of Der Plan from 1989) CD
Shrouded in myth, Save Your Software is the long-lost album by Der Plan. Back in the mid-1980s, Moritz Reichelt, Kurt Dahlke (Pyrolator) and Frank Fenstermacher initiated the Fanuks project with the aim of making themselves immortal as Mensch-Maschinen or Man-Machines. "Fanuks" would produce music for all eternity, embarking on a never-ending world tour. By the end of the decade, the Fanuks, or their respective human alter egos, had crafted six pieces. These were only rediscovered in 2020 during a thorough inspection of the Ata Tak/Der Plan archives. Reichelt, Dahlke, and Fenstermacher augmented their six visionary masterpieces with three tracks based on compositions from the year 1989. In cooperation with the company "Second Life Inc", who had worked on similar ideas for George Lukas and Kraftwerk, they developed designs scratching the limits of technological possibilities. At the same time Japanese cutting-edge robot producer FANUK opened an office in Düsseldorf. The plans included not only the technical aspects of the hardware of the robot musicians, but also similarly sophisticated software. For this area of the project Der Plan asked a man with an excellent reputation of experience, the mysterious Nigelius Senada, a Bavarian philosopher and musician, who had developed a Theory of Obscurity, that fitted the ideas of Der Plan perfectly. Senada had a history of developing a non-existing band for a Californian supergroup. Senada's projections were based on the idea, that in the future man would transform into robots as much as robots would adapt characteristic human qualities. Under permanent supervision of Der Plan the first prototype under the internal name LP3 could be finished by 1988. For test purposes the robot was sold to a household in Italy, where he served as a house-keeper and loneliness companion. 12 months later conclusions could be drawn: despite great expectations and the use of expensive materials such as molybdane and carbon, LP3 turned out to be not reliable enough for the use on a stressful band tour. Meanwhile the production of robot music in the Düsseldorf studio of Der Plan continued. The ambitious goal was music made by robots -- and it was pretty successful, actually more successful than the processing of the hardware. A good half a dozen of songs were recorded, determined to be send on tour with the robots. The FANUK project was the last great concept of Der Plan before the band split up two years later. It is buried in history and memories and seemed to be bound for oblivion. This is the first time the public will hear six original tracks, plus three newly recorded ones, based on compositions from 1989.
PRICE: $6.00
BURCH, JEFF Samum Suite Cassette
Composed and recorded at the edge of the Sahara, Jeff Burch searches here for an unfamiliar beauty in old timbres. As a child of migration, over the course of this new work he gracefully transfigures pre-mercantilist desert folk song and deep meditations of our early cities. With the strength and shape of eternity, hushed voices and yawning flutes ascend to radiant vibrations of levantine string and tamazgha percussion; coalescing in a seductive din that traces great arcs across oceans, continents and oral histories. For ba?lama, electronics, organ, percussion, string, tape, ?d, vocals and woodwind. Additional percussion; Robert Smith (Rhyton), woodwind; Ela Stiles, mastered by Christopher Griffin (Tony Conrad, Pauline Oliveros, Elaine Radigue). Artwork by Baya Mahieddine. From Asia, the Sonoran Desert and the South Pacific, Burch currently resides in New York City. He has released with Important Records and co-founded The Spring Press, on which he released his recent LP, and another in duo with the late Tres Warren (Compound Eye, Messages, Psychic Ills). "A ghostly amalgam of clangorous cymbals and bells that unfurls with a measured cadence... placing him on the altar not that far from luminaries Tony Conrad, John Cale and La Monte Young." --Decoder "... An atmosphere and sonic palette that wouldn't be out of place on an epic of vintage European psychedelia." --Avant Music News "The vestigial spirits of Tony Conrad and Alice Coltrane seem to ooze from the music's percolating pores. Gonglike reverberations punctuate an endlessly roiling cauldron of strings, electronics, and percussion..." --Textura
PRICE: $84.00
CAT #: CENT 1020CD
PARKER, WILLIAM Migration of Silence Into and Out of The Tone World (Volumes 1-10) 10CD BOX
Repressed! "That William Parker is a bassist, composer and bandleader of extraordinary spirit and imaginative drive is common knowledge among any with an interest in the progressive jazz / any music scene of the past 25 years and more. What's become increasingly apparent, though, is Parker's stature as a visionary of sound and song -- an artist of melody and poetry who works beyond category, to use the Ellingtonian phrase. The latest multi-disc boxed set from Centering Records/AUM Fidelity devoted to Parker's expansive creativity underscores his virtually peerless achievement in recent years. Migration of Silence Into and Out of the Tone World (Volumes 1?10) is a 10-album collection of vocal and instrumental suites all recorded expressly for this set between late 2018 and early 2020, with women's voices at its core (both on voice & other instruments). This is music as empathetic as it is intrepid, as philosophical as it is visceral, as resolutely modernist as it is attuned to tradition. Parker's art not only draws from the deepest well of African-American culture; it breathes in inspiration from across the globe, with sounds drawn from Africa, Asia and Indonesia as well as Europe and the Americas; there is free improvisation and re-imagined sonic collage; there are album-length explorations of solo piano and solo voice, along with string ensembles and ancient wind instruments. There are dedications to jazz heroes, Native Americans and Mexican migrants, plus tributes to the great African-American culture of Harlem and the mix of passion and compassion Parker found in vintage Italian cinema. Migration of Silence Into and Out of The Tone World conjures a vast world of music and feeling, and its creation is a feat that ranks with that of the most ambitious talents in any genre."
MS 7178HLP
PRICE: $24.00
CAT #: MS 7178HLP
2021 restock. Recorded at 30th Street Studio in New York City, 1968.Credited to Terry Riley and members of the Center of the Creative and Performing Arts in the State University of New York at Buffalo. This is a reissue of the first recording of In C ever released. Instrumentation includes saxophone, oboe, bassoon, trumpet, clarinet, flute, viola, trombone, vibraphone, and marimbaphone. 180 gram vinyl in a gatefold sleeve.
PRICE: $26.00
WILLIAM LOVEDAY INTENTION, THE The Dept. Of Discontinued Lines 4CD
"I never really bothered putting my poetry into pop music before, it showed up now and again but I never made a point of it. However, in lockdown it just came to my mind as something to follow through on. As is quite normal for me, I booked the studio time then under that pressure wrote two or three songs the night before, (on a few occasions, at eight in the morning before I left home. As usual there where no rehearsals, but under the lockdown conditions over half of the tracks are just me and Jim Riley (engineer) doing everything -- drums, guitar, bass, organ -- because no one else would brave the plague and come into the studio. Those tracks sit hidden within the actual group recordings and sound the same as if recorded by the group. When mixing we see it all visually -- the room in the mind's eye -- where all the players sit; the drummer to the right; the vocalist is stood up front; the wood paneling on the walls of a top end US studio in the '60s/'70s. Jim was in the local R'n'B group in '77, and I was in the local punk group. We came to be friends then and are both obsessed with the 'sound' in music. This is how music is to me: a picture in sound. It has to have an origin, an emptiness and a vulnerability. I don't look for guitars to be impressive, I'm sick of impressive ego driven music -- I want authentic heart music. No one asked for one LP of this stuff, now there are five (including the Hangman Records release The New and Improved Bob Dylan.) As in all my endeavors, games and life, I only do what I do irrespective of what's wanted or required and then force it on the world regardless. I'm so happy to have made these records that are for no audience -- but hopefully will find one. These are as true to my heart as anything I've done." --William Loveday (December 1st 2020)
PRICE: $16.00
MIRANDA HOME MUSIC ENSEMBLE, ROBERTO Live At Bing Theatre: Los Angeles, 1985 CD
"The only time that Bradford, Carter, Newton and Tapscott have all played on stage together, along with Robert Miranda! Roberto Miranda's Home Music Ensemble Live at Bing Theatre: Los Angeles, 1985, personnel: Roberto Miranda (bass, congas), Bobby Bradford (cornet, tpt), John Carter (cl), James Newton (fl), Horace Tapscott (p), Thom D. Mason (a and t sax, b cl.), Louis R. Miranda Sr. (voc, perc), Louis R. Miranda, Jr. (drs), David Bottenbley (guitar, elec bass, perc, voc), Elias "Buddy" Toscano (drs), Cliff Brooks (perc)."
PRICE: $13.00
CAT #: DKR 221EP
ITOPIA Sunshine Love/Keep a Rocking/Get Over 12"
"This new Wackie's 12"s combines three of our favorite tracks from two different past Itopia releases into one killer three track EP. Showing the diversity of style in the Wackie's camp, two tracks have a more up-tempo dancefloor feel and the third in a more rootsy mode. These tracks have been some of the most requested for reissue in the last couple years, finally back on the road."
PRICE: $13.00
CAT #: DKR 226EP
CHOSEN BROTHERS Child of Slave/I Love You 12"
"The best of two eras together on one 12", from Mr. Bullwackie Barnes himself, aka The Chosen Brothers. The A-side disco mix a fantastic piece of conscious late '70s roots, the B-side a prime cut of the fantastic digital reggae that Wackie is less known for, but none the less has excellently produced for many years."
DR 036LP
PRICE: $20.00
CAT #: DR 036LP
2021 restock. "For a decade, Maxine Funke has cut an idiosyncratic path as a singer-songwriter, all the while avoiding the parochial retreads of that worn-out label. Funke's music is intimate and deeply intelligent, buoyed by a sense of effortlessness that belies a scrupulous attention to the smallest of details. Lace was originally released as a CD-R in 2008 on Alastair Galbraith's Next Best Way label. Imagine the just-so arrangements of Josephine Foster and the knowing quotidian eye of Sibylle Baier meeting the realism of Funke's compatriots Turiiya or the acoustic textures of the Kiwi Animal and you're nearly there -- but in that gap lies the undeniable pull of Funke's music. Short songs for nylon string guitar, violin, piano, incidental snippets of bird song and furniture creaks, brief instrumental interludes in the vein of Funke's regular collaborator Galbraith: this is the realest of deals. The metaphysic of 'Second Hand Store' cuts to the uncompromised heart of this record, a rejection of the idea of ownership in favor of communal chance, the ragged comfort of things lived-in and passed on, a searching with no need to find, let alone possess. Indeed, as much as these recordings suggest the close quarters and warmth of a small home, Maxine Funke makes music for traveling, providing accompaniment through the rough, unfeeling vectors of a disenchanted world and, as she does on the last song of Felt, imagining it differently. As the titles of these albums suggest, Funke's is a tactile art, as warm and tangible as the tape hiss bathing it, her words and music rescuing everyday moments from traps of distraction and defeat. Following limited edition vinyl reissues in 2016 -- a swansong for Nemo Bidstrup's sorely missed Time-Lag Recordings imprint -- we're happy to make Felt and Lace widely available. Maxine Funke's music, immediate and entirely unpretentious, suggests a world in which Katherine Mansfield rubs shoulders with Liz Harris, or Vashti Bunyan grows up on the Flying Nun catalog. Absolutely essential."
DR 037LP
PRICE: $20.00
CAT #: DR 037LP
2021 restock. "For a decade, Maxine Funke has cut an idiosyncratic path as a singer-songwriter, all the while avoiding the parochial retreads of that worn-out label. Funke's music is intimate and deeply intelligent, buoyed by a sense of effortlessness that belies a scrupulous attention to the smallest of details. Felt appeared in 2012 in a vinyl edition of 100 on the Epic Sweep imprint. This album has an altogether more crepuscular feel, making slightly fuller use of the sonic palette -- an increase in dissonance, errant drum rumbles, and nigh-ambient instrumental murmurings around which flow Funke's basically perfect songs. The brevity, yet fullness, of the tracks and Funke's unadorned if oblique arrangements lend a sense not of sketches but of fields of color, the sensation of late fall foliage glimpsed through the window of a quickly passing train. Indeed, as much as these recordings suggest the close quarters and warmth of a small home, Maxine Funke makes music for traveling, providing accompaniment through the rough, unfeeling vectors of a disenchanted world and, as she does on the last song of Felt, imagining it differently. As the titles of these albums suggest, Funke's is a tactile art, as warm and tangible as the tape hiss bathing it, her words and music rescuing everyday moments from traps of distraction and defeat. Following limited edition vinyl reissues in 2016 -- a swansong for Nemo Bidstrup's sorely missed Time-Lag Recordings imprint -- we're happy to make Felt and Lace widely available. Maxine Funke's music, immediate and entirely unpretentious, suggests a world in which Katherine Mansfield rubs shoulders with Liz Harris, or Vashti Bunyan grows up on the Flying Nun catalog. Absolutely essential."
PRICE: $12.50
Enter, Angst a series of musical "essays on the ephemeral being" by Portuguese pianist and composer Tiago Sousa. After 2015's Um Piano nas Barricadas (CREP 023LP, 2016) Sousa expands his compositional chops by writing and performing along with a trio made of clarinet, percussion and vibraphone adding a magical realism aura to the music. It was fate that the releasing of these compositions would arrive in one of the most troubled passages of recent memory, just as a new decade begins. If it was already established that anguish is one of the hallmarks haunting our modern era, these last few years expose this existential feeling with even greater urgency. The album that Tiago now presents, part angst part nostalgic escapism addresses this very modern concern as well as other themes dear to the so-called existentialist thinkers such as Heidegger, Camus or Kierkegaard, who among others, seek to directly challenge the Being with various concepts such as Repetition, Temporality, Interiority, Despair... Throughout the eight themes here presented, a delicate attempt is made to sketch a phenomenological cartography through its content and form, loosely describing the feeling of being launched into the wide world and the discovery of one self. In other words, the artist's aim here is to convey the growing pains that the whole question about the meaning of life throws at us. In an approach that is difficult to catalogue, the album tries to avoid genres and crystallizations in which music presents itself as a vehicle to express the ineffable and the incommunicable, expressing instead a magical world of wonder and enchantment.
MTE 074-75LP
PRICE: $38.50
CAT #: MTE 074-75LP
Rich in musical associations yet utterly singular in its voice, joyous with an inner tranquility, the music of Natural Information Society is unlike any other being made today. Their sixth album in eleven years for eremite records, descension (Out of Our Constrictions) is the first to be recorded live, featuring a set from London's Cafe OTO with veteran English free-improv great Evan Parker, & the first to feature just one extended composition. The 75-minute performance, inspired by the galvanizing presence of Parker, is a sustained bacchanalia of collective ecstasy. You could call it their party album.This was the second time Parker played with NIS. Joshua Abrams: "Both times we played compositions with Evan in mind. I don't tell Evan anything. He's a free agent."The music is focused & malleable, energized & even-keeled, drawing on concepts of ensemble playing common to musics from many locations & eras without any one specific aesthetic realization completely defining it."The rhythms that Mikel plays are not an exact reference to Chicago house, but that's in there," Abrams says. "I like to take a cyclic view of music history, can we take that four-on-the-floor, & consider how it connects to swing-era music? Can we articulate a through line? I dee-jayed for years in Chicago & lessons I learned from playing records for dancing inform how I think about the group's music. The listener can make connections to aspects of soul music, electronic music, minimalism, traditional folk musics, & other musics of the diaspora as well. It's about these aspects coming together. I don't need to mimic something, I need to embody it to get to the spirit, to get to the living thing."For jazz fans, the sound of Parker's soprano & Jason Stein's bass clarinet might evoke Coltrane & Dolphy, even though they didn't necessarily set out to do that & they play with complete individuality. Abrams sees a bridge to the historical precedent, too. "Since we first met in the 1990s, one of the things that Evan and I connected on was Coltrane's music," he says. "I hoped that we would tap into that sound world intuitively. In this case, I think that level of evocation adds another layer of depth, versus a layer of reference."Indeed, this is a performance in which the connections among the ensemble & the creative tension between improvisation and composition build into a complex mesh of associations & interactions. While the band confines itself to the territory mapped out by Abrams' composition, they are remarkably attentive & responsive, making adjustments to Parker's improvisations. When Parker's intricate patterns of notes interweave with the band, the parts reinforce one another & the music rockets upward. Sometimes, Parker's lines are cradled by the group's gentle pulse & an unearthly lyrical balance is struck.Drummer Mikel Patrick Avery is locked-in, playing with hellacious long-form discipline, feel & responsiveness. Jason Stein's animated, vocalized bass clarinet weaves in & out with Lisa Alvarado's harmonium to state the piece's thematic material; the pulsing tremolo on the harmonium brings a Spacemen 3 vibe to the party. Abrams ties together melody & rhythm on guimbri, a presence that leads without seeming to. Like his bandmates, he shifts modes of playing frequently, improvising & then returning to the composed structure."As specific as the composition is, the goal is to internalize it & mix it up," Abrams says. "The idea is to get so comfortable that we can make spontaneous changes, find new routes of activity, stasis & byways every gig. It's like a web we're spinning. If someone makes a move, we all aim to be aware of it, make room for it. Experiencing & listening is what it's about, & Evan supercharges that."& "supercharged" is the word for this album. With Parker further opening up their music, descension (Out of Our Constrictions) is the sound of Natural Information Society growing both more disciplined and freer, one of the great bands of its time on a deep run.Mastered by Helge Sten, Audio Virus, Oslo. Lacquers by Kevin Gray, Cohearent Audio, So Cal. Liner Notes by Theaster Gates. LPs pressed on premium audiophile-quality vinyl at RTI.
PRICE: $23.00
OPTO S Human Indictive / Live LP
OPTO S formed in early 2018 in Brooklyn, but the genesis was almost ten years in the making. Argelis Liriano (The Boonies, Last Ones, Ghost Beaters) and Diana K (Hamish Kilgour Band, Giggle The Ozone, Ghost Beaters) befriended each other at Brooklyn basement psych-punk shows and had already been jamming for eight years within the confines of various rehearsal spaces when Diana responded to a social media post by Charles Dodson (Pelvi$$, Ghost Beaters) putting out feelers for a synth-driven new band that would draw on influences such as Sun Ra, Suicide, Oneida, and Silver Apples, to name a few. Charles and Diana had met separately through shows, and all three later determined they had been to many of the same shows, whether they knew each other or not at the time. They found that they were all native New Yorkers. The chemistry was instantaneous and the first few shows were booked within months. Credits: Argelis Liriano - bass, vocals; Charles Dodson - synth, guitar, vocals; Diana K - drums, percussion; with Ben Jaffe - tenor saxophone on "Lucifer Crawl" and "Downlow". Recorded in concert at The Broadway on January 4, 2020 and The Footlight on February 12, 2020. Mastered by Scott Anthony at Storybook Sound in Maplewood, NJ Produced by OPTO S and Steve Holtje.
FTR 153-3LP
PRICE: $22.00
CAT #: FTR 153-3LP
MAERCKS, OWEN Teenage Sex Therapist (Blue Vinyl) LP
Blue vinyl. "Owen Maercks's Teenage Sex Therapist LP is one of the forgotten twisted pop masterpieces of the Twentieth Century. Owen had been in Monster Island with Henry Kaiser, who proposed he do a solo album or his songs. Henry had moved back west by this time, so Owen went out and recorded this album there. Henry produced, and added amazing horn parts by Jon Oswald, Larry Ochs, and John Gruntfest. In 1978, the album was mixed, pressed, and distributed exclusively to radio stations, record labels, and the like, in hopes of getting Owen signed. The music didn't fit any extant pigeonhole, however, so no deal was in the offing. About the only note of its passing was made by an A&R guy at Elektra, who swiped the arrangement (and lyric rearrangement) of 'Little Black Egg' (originally by The Nightcrawlers) for use by his protégées, The Cars. Well, fuck them. Teenage Sex Therapist is ripe with jaw-drop moves. Flashes of Eno, Beefheart, Lou Reed, The Bonzos, and various of Owen's other obsessions fight each other for air time. And everyone goes away a winner. If this one doesn't make your teeth wiggle, you need a new jaw." --Byron Coley, 2014
PRICE: $26.50
CAT #: FKR 001X-LP
VANNIER, JEAN-CLAUDE L'Enfant Assassin des Mouches (FKR 10th Anniversary Edition) LP
2021 restock. To mark its 2015 ten-year anniversary, the Finders Keepers label presents an improved, remastered repress, with updated liner notes in a gatefold sleeve, of its first release, a reissue of Jean-Claude Vannier's 1972 album L'Enfant Assassin des Mouches. At the time of the 2005 reissue the resurgence of '60s Gallic pop, once known as yé-yé music, had escalated beyond an interstellar height. Without a shadow of doubt, the flagship LP with the best odds on becoming a discerning household object was Histoire de Melody Nelson (1971) by one Serge Gainsbourg, an inimitable 45-minute concept LP handcrafted by a bass-driven psychedelic rock group and a heaven-sent 1001-piece orchestral and choral symphony. The album left hip hop producers and progressive rock aficionados crying out for more and more for years to come. This LP was in a league of its very own... or was it? The seldom-sung musical arranger for Melody Nelson, Jean-Claude Vannier, is the lesser-spotted tell-tale seal of sample-friendly quality when it comes to crate-digging "en Français." Suitably, rumors among French record dealers claiming "the band who played Melody Nelson recorded a follow-up LP" became a legend of psychedelic folklore. Another unconfirmed rumor about JCV taking the remaining outtakes of the beloved Melody Nelson to create a promo-only experimental rock LP left sample-hungry producers and DJs in turmoil... The answers to these mysteries lay between the gatefold sleeve of an undiscovered conceptual album bizarrely titled L'Enfant Assassin des Mouches by a custom-built avant-rock entourage called Insolitudes. So here we have it. For record-collectors looking for that special something, this LP contains the extra-special everything. Peruse the following genres: psychedelic, classical, soundtrack, jazz, hip hop, samples, avant-garde, funk. Then place a copy of L'Enfant Assassin des Mouches in each section. History notes that when M. Gainsbourg first heard the initial bones of this LP he took his poetic pencil to paper and composed bizarre liner notes, thus consummating the most extraordinary concept album of all time. The story "The Child Assassin of the Flies" was to be included as the only information to grace the LP's highly collectible concertina-gatefold sleeve. The story in full is reproduced in its native tongue on this very special re-release package. DJs and producers such as Jim O'Rourke, Stereolab's Tim Gane, and David Holmes have spent sleepless nights in perusal of original copies of this perfect release and now regard it as "One of the Best."
PRICE: $26.50
CAT #: FKR 007X-LP
CHRISTIE, SUSAN Paint A Lady (2019 Edition) LP
2021 restock. A mythical and misplaced masterpiece of lost soft rock and acidic folk funk by a one-hit wonderer lost in the wilderness for four decades. From the producer of Margo Guryan, writer behind Wool, Gerry Mulligan collaborator, Tarantino sound tracker, and Wendy & Bonnie confidant, Paint A Lady now emerges from folkloric obscurity. Within certain record collecting circles, especially those who gather under the umbrella that covers fragile niches like "acid folk" and "soft rock", it's difficult to imagine a time when the legendary Susan Christie album didn't exist. As Finders Keepers' lucky seventh release, Paint A Lady has slowly become one of the label's most requested re-releases, and with this 2019 edition, it is technically accurate to say that this pressing is the first-ever reissue of this elusive and essential LP. The oft overused term "mythical" applies to this album on many levels. Perhaps it's the woozy nostalgia found within the pop craft of Paint A Lady that has led to false rumors that original 1960s copies used to exist on the collectors market, or the bizarre claim that songs like the head-nodding title track, and the acid-drenched sound effects on "Yesterday, Where's My Mind" were just a product of a contemporary studio band trying to create a fake folk funk red herring. As a result, Christie and her producer and husband of 40 years, John Hill have happily taken the repeat phrase "unbelievable" as a compliment to their songwriting skills and foresight. The original 1969 song titles alone do seem custom-built for the nostalgia market: "No One Can Hear You Cry" might lament the unrequited yearning for a record deal which never quite followed Susan's won one-hit wonder novelty hit "I Love Onions"; similarly, "When Love Comes" might allude to the subsequent 35-year wait for the right label to eventually come along. "Echoes In Your Mind" and the aforementioned "Yesterday" could easily allude to the haunting melodies that sat in the can on John Hill's studio shelf while his projects for Margo Guryan, Wool, and Pacific Gas & Electric sat proudly in record racks before benefitting successful French cover versions or making their way on to Quentin Tarantino soundtracks. The track "Paint A Lady" itself, complete with its future-proofed sample-worthy rhythm section, seems like the perfect title for a mock rock pseudo psych contender. Remastered from the original source material; Features both updated and original liner notes.
PRICE: $27.50
CAT #: FKR 101LP
VA Strain Crack & Break: Music From The Nurse With Wound List Volume One (France) 2LP
2021 restock. After years of mythology, misinterpretation, and procrastination Nurse With Wound's Steven Stapleton finally chooses Finders Keepers as the ideal collaborators to release "the right tracks" from his über-legendary psych/prog/punk peculiarity shopping list known as The Nurse With Wound List, commencing with a French specific Volume One of this authentically titled Strain Crack Break series. Featuring some Finders Keepers' regulars amongst galactic Gallic rarities, this double-vinyl dossier demystifies some of the essential French free jazz and Parisian prog inclusions from the alphabetical "dedication" inventory as printed the anti-bands 1979 industrial milestone debut. When Steven Stapleton, Heman Pathak, and John Fothergill's anti-band Nurse With Wound decided to include an alphabetical dedication to all their favorite bands on the back of their inaugural LP the notion of creating a future record dealers' trophy list couldn't have been further from their minds. By adding a list of untraveled European mythical musicians and noise makers to their own debut release of unchartered industrial art rock they were merely providing a suggestive support system of existing potential like-minded bands. Many of the rare, obscure and unpronounceable genre-free records on The Nurse With Wound List have slowly found their own feet and stumbled in to the homes of open-minded outer-national vinyl junkies, mostly without consultation of the enigmatic NWW map. Via vinyl vacations, on cheap flights and interrail tickets, buying bargain bin LPs on a shoestring while oblivious to the pending pension worthy price tags after their 40-year vintage, Stapleton and Fothergill, even if you've never heard of them, were at the bottom of the pit before "digging" became pay dirt. The List has been mythologized, misunderstood, and misconstrued. It's also been overlooked, overestimated, and under-appreciated in equal measures. Bolstered by the sub-title "Categories strain, crack and sometimes break, under their burden," all bands on the inventory (many chosen on the strength of just one track alone) were chosen for their genre-defying qualities. Forty years after Nurse With Wound's first record, Finders Keepers, in close collaboration with Steve Stapleton remind fans of this kind of "lost" music, that there once existed a feint path which was worn away decades before major label pop property developers built over this psychedelic underground. A collaborative attempt to officially, authentically, and legally compile the best tracks from the list, succeeding where many overzealous nerds have deferred. The first volume of the series focuses exclusively on individual tracks of French origin, the country that unsurprisingly hosted the highest content of bands on the list. Comprising of musique concrète, free jazz, Rock In Opposition, Zeuhl School space rock, macabre ballet music, lo-fi sci-fi, and classic horror literature inspired prog.Features Jacques Thollot, Philippe Besombes, Igor Wakhévitch, Mahjun, Lard Free, Etron Fou Leloublan, Jean Cohen-Solal, Z. N. R., Red Noise, Pierre Henry, Horrific Child, Dashiell Hedayat, and Jean Guérin.
PRICE: $16.50
RADIGUE, ELIANE Vice Versa, Etc... 2CD
2021 restock. "Includes liner notes & archival photographs. 1970 was an important year in Eliane Radigue's musical life since it was the year just before she acquired her ARP 2500 synthesizer. Since 1967, she had been using the feedback as a material; feedback from two tape recorders reworked through intensive studio techniques: slowing down, alteration, superimposition, montage. In 1970, the last year she dedicated to feedback, several milestone pieces saw the light of day: Omnht, a wonderful sound installation for three out-of-phase tape loops and wall-mounted loudspeakers; the theoretical setting of Labyrinthe Sonore (eventually premiered at Mills College in 1998 in collaboration with Pauline Oliveros, Maggie Payne and William Winant, amongst others); Opus 17, one of her first compositions in fixed duration (according to Rhys Chatham, a decisive piece that would change his own compositional career); and Vice-Versa, etc..., which appears to be her very last feedback loop composition. Vice-Versa, etc... was conceived as a sound installation setting similar to S=a=b=a+b. A single magnetic tape can be played at any speed, a stereo tape of which allows three playings: left channel alone, right channel alone, left and right channels together. These different channels can be overlapped/crossed over as much as possible, at any speed. Thus the piece reveals itself in its whole dimension, its infinite grace. In its content, the piece is the most minimal that Eliane Radigue has ever composed. Feedback is horizontally sustained, time is suspended, vibrating with organic and subtle pulsations. The fastest playthrough, in just 2'42", weaves a graceful continuum of uncanny depth, somewhere between the sonority of feedback and a glass harmonica. Played slowly, at 13'41", it takes us into an universe of low frequency vibrations felt as much by the guts, the ribcage and the whole body as by the eardrum: the signature sound of Eliane Radigue. Between these two extremes, many delicate shadings/variations appear simply through speed modulation. What is striking about this work, which may arguably be one of Radigue's most important compositions, is the extraordinary quality of the tones obtained from such a rudimentary material. It is hard to believe that the composer was yet to begin working on her ARP, since the sonorities heard on Vice-Versa, etc... are surprisingly similar to those she would go on to produce with her synthesizer. Vice-Versa, etc... is a minimal work which possesses an infinity of possible variations, a secret object containing the seeds of the oeuvre to come, and a discreet turning point linking the composer's two important working phases, an extremely subtle cross-fade between her feedback loop period to her ARP period. Originally, only ten signed and numbered copies of this little boxset containing a magnetic tape and a handwritten note were released -- needless to say this is a work that has been nearly forgotten! We have decided to reissue this object as a double CD, with the tape played respectively forwards and backwards, at four different speeds, corresponding to the standards of the tape recorders of the time. This will allow dedicated listeners to experiment with simultaneous playback of the work's different versions, recreating the conditions of the original installation. For lazier listeners, a simple playthrough provides complete satisfaction, a listening experience that loses itself in the ineffable and discreet beauty of these four variations."
PRICE: $14.00
2021 restock. "Son Of A Bitches Brew is a true electric jazz record from the Acid Mothers Temple & The Melting Paraiso UFO. Rooted in the sound of Miles Davis' electric era this record melds jazz, funk and psych with AMT's synth swoops, space whispers and cosmic acid vibe. Tsuyama Atsushi replaces Wayne Shorter on soprano saxophone. Cotton Casino rejoins & AMT goes all in. The only joke here are the titles. Recorded at the Acid Mothers Temple between December 2011 through 2012."
PRICE: $19.50
KING TUBBY Dub Mix Up: Rare Dubs 1975-1979 LP
2021 rerelease; 2004 release. King Tubby, the "Dub Master" who's output was as prolific as it is sought after and whose presence is surely missed. Jamaican Recordings take you on another dub excursion. This time through some essential cuts made for the producer/DJ Tappa Zukie. King Tubby always added something a little special to the tracks he worked on. Producers would often bring their already recorded tracks to his home studio at 18 Drummlie Avenue in the Kingston district of Waterhouse. The backing tracks which were laid at various other studios around Kingston. Like Channel 1 and Randy's Studio 17, would then be voiced/re-voiced at King Tubby's. Tubby and his team which included Prince Jammy and Philip Smart would be left to create the version cut. Having listened to the track it would be striped back to the bone of bass and drums and rebuilt. Sprinkling his magic over the track by dropping the bass in and out, adding echo and emphasizing various elements of the song. In some cases, dubbing the cut into something unrecognizable from its original sound. The tracks would be aired on Tubby's Hometown hi-fi sound system. Which acted much like a pre-release for the record to gauge the crowd's reaction, before the tracks would be unleased on the public. Another fine collection of Tubby Cuts, comprising work with Mr Tappa Zukie. Lost cuts to some of his own tracks like "First Street Rock", alongside productions he undertook with the great Prince Allah, Junior Ross, and the Spears. Also, the much-overlooked vocal group Knowledge. Some great rhythms, some great tracks, worked over by the greatest dub mixer of them all.
KAI 15084CD
PRICE: $18.00
CAT #: KAI 15084CD
VISENTIN & EX NOVO ENSEMBLE, SONIA Claudio Ambrosini: Chamber Music CD
"In this anthology, which is a portrait of his compositional tendencies, Claudio Ambrosini is actually one of the most daring creators of utopian virtuosity; a virtuosity which is grounded in the invention of multi-formal, luminous, permutable, nocturnal sound, giving prerogative to an exasperation of extremes and matured in the workshop of the Ex Novo Ensemble, a permanently active workshop of constantly renewed research. It is also a dream of a liminal avantgarde that favors torrential energy but at times opens up into a voluble undercurrent of song: a furtive shadow of Maderna appears."
KAI 15089CD
PRICE: $18.00
CAT #: KAI 15089CD
"The work of Austrian composer Bernhard Lang (b. 1957) is difficult to fit into any one musical category. His oeuvre references a wide variety of musical styles and genres, ranging from free jazz and improvisation to hip hop and DJ culture. The three works on this release showcase an enormous amount of virtuosity. The incessant and rapid repetition of complex musical cells pushes the performers to the edge of their technical abilities. This makes for a highly concentrated and intimate experience for both the performers and their audiences."
PRICE: $19.50
U ROY I Am The Originator LP
2021 rerelease, originally released in 2009. The mighty U Roy is the originator, the man who put the DJ phenomenon on the map and made it an artform. U Roy moved into the recording arena firstly cutting two discs for producer Lee Perry: Earths Rightful Ruler and OK Corral, and then following this with Dynamic Fashion Way and Riot for producer Keith Hudson. Producer Duke Reid, seeing the potential in this new found form, brought U Roy to his Treasure Isle Studios to voice over his back catalog of rocksteady hits. His first three releases for Duke Reid Wake the Town, Rule the Nation and Wear You to the Ball held the top three positions for 12 weeks in early 1970s. Here, Kingston Sounds have compiled some of U Roy's best-loved cuts from his mid-'70s period, when all were still looking at him for guidance. The opening cut "Call on Me" sees him working over Delroy Wilson's "Got to Be There." "You Never Get Away" gets U Roy answering Delroy Wilson's "Keep on Rocking." Johnny Clarke's "Time Gonna Tell" with a roots-y bass line turns into "Every Knee Shall Bow." A fine collection of the Daddy of all DJs, who said, "I Originate, so you must appreciate, while the others got to imitate." That says it all, really.
GG 324CD
PRICE: $19.00
CAT #: GG 324CD
ETANT DONNES L'etoile Au Front CD
"Etant Donnes is a French duo named after Marcel Duchamp's last major work. The group consists of brothers Marc and Eric Hurtado, born in Morocco and working mainly as performance artists and musicians. Their sound can be described as a mix of field recordings, found sounds and sometimes whispered, sometimes violent vocals. They describe their sounds like this: 'Through Marc and Eric, it is the volume of each word that becomes an object-sculpture, together with the power of their bodies expressing their voices. Each event is a scream -- indeed even the glissando -- of the strength of the word that sometimes abruptly becomes a rock, a solid surface, not in the least fluvial, as is the narrative of a tale, novel or poetic epic. With both of them, there is no more trace of ancient prosodies, no more trace of the incomprehensible Sainte-Beuve who could claim: 'I have to collect a volume of prose'. The word, the voice, the volume take shape with each other, unveiling a theater that theatre usually ignores, which has given it such things as a Samuel Beckett's Fin de Partie.' Over the years Etant Donnes have collaborated with people like Lydia Lunch, Michael Gira, Alan Vega and Genesis P-Orridge. L'Etoile du Front was the band's third album, dating back to 1982 and originally issued on French Bain Total label (run by Philippe Fichot of Die Form). For this CD reissue we have added a long bonus track not on the original album."
GG 325CD
PRICE: $19.00
CAT #: GG 325CD
LANZ & UTE WASSERMANN, JOKE Half Dead Half Alive (Live In Nickelsdorf) CD
"Joke Lanz was born in Basel, Switzerland and is a well-known noise musician, performance artist and turntablist. He is also founding member and singer in the art rock group Sudden Infant, a member of the legendary Schimpfluch group (alongside Rudolf, Dave Phillips, Marc Zeier and Daniel Löwenbrück) and performs in many duos and other forms in the improvisation scene. He also writes music for theatre and film, radio, installations and objects. Ute Wassermann is a German vocalist, composer and sound artist. She studied fine arts focusing on sound installations and performance at the University of Fine Arts of Hamburg. Wassermann has developed her own unique vocal techniques. She explores them in different forms such as voice performances, compositions, improvisations and installations. The human voice is extended in many different ways in her work and often plays with all kinds of other sound connotations. This also results in an extensive use of bird whistles, different kinds of resonating objects and prepared loudspeakers. Lanz and Wassermann have been working as a duo for some time, and in 2019 they performed an excellent concert at Nickelsdorf jazz festival. This CD is a recording of that show."
GG 335CD
PRICE: $19.00
CAT #: GG 335CD
"Bourbonese Qualk were an experimental music group from England who where active from 1979 until 2003. The group were always obsessively and uncompromisingly focused on controlling their work -- they ran their own record label, recording studio, tour organization and music venue (the legendary 'Ambulance Station') -- they refused to integrate into the commercial music racket turning down publishing deals from major labels -- stubbornly opting for total independence. Bourbonese Qualk were also known for their political activism which was formed in the crucible of the 1980s Britain: The Miner's Strike, Falklands/Malvinas war, anti-fascism, Thatcherism, monetarism, squatting/housing, local government corruption, anti-capitalism, and anarchism -- which was further re-enforced by touring Europe and meeting like-minded groups and organizations. Ethno, jazz, funk and EBM are all buried deep in the album as it seeks independence. The title, a critique of the Labor movements ineffective and limited call to arms against the prevailing Thatcherism of the mid-80s, encapsulates this wider oeuvre. From opening 'Return To Order', the acoustic gloom is offset by tight musicianship and countering melody. The switch of 'Outcry' precedes psychedelic anthem, 'Boggy Creek', with its VU remembrance. Blighted pulses 'Confrontation', 'Xenophobia', 'Backlash' and closer, 'Insurrection', sense the darkness, but the ground has shifted forwards with the legendary 1.51 minutes of man 'n' machine that is Lies, the enwrapping symphonic dub vocal of Born Left Hearted and incongruously pretty, Is It As It Was? At times, suffocating, uncomfortable, at others light appears as history progresses. Preparing For Power is BQ at their most uncompromising and essential. Available on CD for the first time now, with bonus tracks added that were not on the original vinyl LP."
GG 347CD
PRICE: $19.00
CAT #: GG 347CD
"Eric Random is a British pioneer of post punk electronica. Born in 1961 Eric soon joined the Buzzcocks' road crew. At the age of 17 he became a third of a group called The Tiller Boys, the other two being Pete Shelley and Francis Cookson. They played their live debut in 1978, supporting Joy Division at Manchester's Factory club. For Pete Shelley The Buzzcocks were his main concern, so The Tiller Boys soon fell apart. Eric founded Free Agents with Cookson and soon met Richard Kirk and Stephen Mallinder of Cabaret Voltaire. Thus, he got involved in the Sheffield scene as much as the Manchester one. Despite the two cities being only an hour's drive apart, their respective music scenes were very different. Manchester was the number one spot for postpunk with band like Joy Division/New Order, The Smiths, James, Magazine or A Certain Ratio. Sheffield went a very different way. It is birthplace for groups like The Cabs, The Human League, Clock DVA, ABC or Heaven 17, all influential European acts of electronic music. Eric Random felt home in both scenes. His first solo efforts were recorded and produced at Cabaret Voltaire's Western Works studio. A change in sound became obvious. Eric later merged his electro funk with ethnic influences. Playing with people like Nusrat Fateh Ali Khan sparked an interest in Sufi music. He travelled extensively, regularly to India where he once even spent eleven months in a row. Random also fronted Nico's band until her untimely death in 1988. They recorded and album together, Camera Obscura, produced by John Cale. Random then went on a long hiatus. In 2014 he made his comeback -- since then three purely electronic albums have been released, the fourth now being No-Go. On this new long player, Eric goes further into an electronic dance direction, leaving his ethnic influences further behind. Think Wrangler, think Kraftwerk and you get the idea."
GG 349CD
PRICE: $19.00
CAT #: GG 349CD
SHARP, ELLIOTT I Never Metaguitar Five CD
"Klanggalerie are happy to continue a series of outstanding guitar music that was started by Clean Feed. ...and there are five! Here we are with a fifth volume of this on-going compilation covering 'the parallel realities of contemporary guitarism'. This latest collection of guitar pieces reflects once again the never-ending joy of hearing fabulous sonic visions with the guitar or its derivatives as the main subject. You may not already know every chosen guitarist, but you will now thanks to this series of recordings. Some don't need presentations thanks to their very visible contributions to various musical ventures: Jerome Harris, Norman Westberg, Will Bernard, Mike Baggetta. They, and all the others, are «players with one foot in the future and one in the past, a formula that puts one's ass directly in THE NOW. Once having gotten a taste, the listener will want to check out everyone's output. Is any other instrument capable of such a multitude of creative musical expressions?"
GG 357CD
PRICE: $19.00
CAT #: GG 357CD
KODAX STROPHES/MARTYN BATES It Doesn't Matter Where It's Solstice When You're In The Room CD
"Martyn Bates is an English singer, musician and songwriter. After releasing tapes of experimental, industrial music as Migraine Inducers he formed Eyeless In Gaza with Peter Becker in January 1980. The duo became known for their unconventional instrumentation and arrangements, and for Bates's passionate vocals. From 1992 onwards, Bates has run a parallel career recording and performing with a re-vitalised Eyeless In Gaza -- with Eyeless deftly blending song with collaged soundscaping -- while Bates otherwise continues to develop his own intense and possibly autobiographical solo work. Kodax Strophes is all about him wanting to make something wide-screen and filmic, kind of unhinged, and yet painterly -- aleatoric, yet not absolutely, definitively so. It turned out to be an often sparse canvas, with lots of raw, ambient, found sounds ... something quite different from 'song', and yet still lyrical/pastoral. Music for emptying dreams, music to free-associate by. Kodax Strophes is in a way where Martyn Bates originally began. Among the first things that he made for public consumption was the music he made in 1979/80 under the Migraine Inducers aegis. Quite key to Kodax Strophes is its filmic orientation -- all the pieces were written and developed to 'mess-aesthetic film' images of Bates' own devising -- i.e. they were conceived as being part musical, part filmic. The music also works well as a stand-alone."
PRICE: $15.00
Jac Berrocal and David Fenech have been recording music together for more than ten years now... After albums with Ghédalia Tazartès (RIP) and Vincent Epplay, they shared the stage with musicians such as Felix Kubin, Jean-Hervé Peron, Jean Noel Cognard, and Thierry Müller (Illitch)... Now they are now joined by the American improviser Jason Willett (Half Japanese) for their first album as a trio. Built around a recording session in Paris, the three musicians created Xmas In March, an album of seven new peppermint-striped favorites. The tracks are like smoldering embers, mixed with the excitement and anticipation of Santa's arrival. Jac Berrocal's sound has never been so smooth since the Hotel Hotel album -- his trumpet like a sleigh in a jet stream. Willett plays bass with a rubber band and creates an impossibly huge sound from such a tiny "instrument" (like Charlie Haden played from a matchbox). He also plays this rare wooden synthesizer called Cocoquantus. Fenech sings, plays electric guitar, turntables, and is responsible for the recording as well as mixing all the tracks. With special guest Vincent Epplay on the closing track. This is the album you will want under the tree... skirt. Joyeux Noël! Cut by Andreas "Lupo" Lubich. LP version comes in edition of 300.
MET 1252CD
PRICE: $16.00
CAT #: MET 1252CD
LORDS OF ACID Expand Your Head (Remastered) CD
"Lords of Acid presents a newly remastered edition of Expand Your Head. Originally released in 1999, Expand Your Head sees electronic music superstars including KMFDM, Luc Van Acker, Joey Beltram, Frankie Bones, & Richie Hawtin (Plastikman) slice & reassemble Lords of Acid's X-rated techno-raunch into a towering array of remixes ranging from industrial to Detroit techno and beyond."
MM 038CD
PRICE: $17.00
CAT #: MM 038CD
HOOD, ROBERT Motor: Nighttime World 3 CD
2021 restock. After the legendary Nighttime World Volume 1 and Nighttime World Volume 2, Music Man is proud to be able to present you with the long-awaited Motor: Nighttime World 3. With Motor: Nighttime World 3, Detroit techno legend Robert Hood returns to the project he first started on Austria's Cheap label back in 1995 and subsequently continued in 2000 on M-Plant. Fusing his trademark minimal techno into jazz-inspired moods and inflections, Hood emerges from the smoke-lit shadows of a downbeat, but not beaten, Motor City metropolis. Inspired by Julien Temple's documentary Requiem for Detroit?, Robert Hood examines the life, history and future of Detroit's motor industry and its workforce, set against a backdrop of decay, despair, hope and re-birth. Julien Temple's film is a vivid evocation of an apocalyptic vision: a slow-motion Katrina that has had many more victims. Detroit was once America's fourth largest city. Built by the car for the car, with its groundbreaking suburbs, freeways and shopping centers, it was the embodiment of the American dream. But its intense race riots brought the army into the city. With violent union struggles against the fierce resistance of Henry Ford and the Big Three, it was also the scene of American nightmares. As Hood himself states: "The situation in Detroit is making people uncomfortable, but that's a good thing if we look at it in the right perspective. It's a shaking up and realization of the condition that Detroit has been in for so long. As it was a long and slow process, people became immune to what was happening, almost asleep at the wheel. This once progressive city is now half gone. To make a new future, Detroit needs to look deep within to be able to see a new vision and thrive once more. As long as there is a seed, there is hope." Now it is truly a dystopic post-industrial city, in which 40% of the land in the center is returning to prairie. Greenery grows up through abandoned office blocks, houses and collapsing car plants, and swallows up street lights. There is no more rush hour on what were the first freeways in America. Crime, vandalism, arson and dog fighting are the main activities in once the largest building in North America. But it's also a source of hope. Streets are being turned into art. Farming is coming back to the center of the city. Young people are flocking to help. The burgeoning urban agricultural movement is the fastest-growing movement in the U.S. Detroit leads the way again, but in a very different direction. With the breakdown of 20th-century civilization, many Detroiters have discovered an exhilarating sense of starting over, building together a new cross-racial community sense of doing things, discarding the bankrupt rules of the past and taking direct control of their own lives. Still at the forefront of the American Dream, Detroit is fast becoming the first "post-American" city. And amid the ruins of the Motor City it is possible to find a first pioneer's map to the post-industrial future that awaits us all. So perhaps Detroit can avoid the fate of the lost cities of ancient civilizations and rise again like the phoenix that sits, appropriately, on its municipal crest.
NA 5165LP
PRICE: $27.00
CAT #: NA 5165LP
AXELROD, DAVID Song Of Innocence LP
2021 repress. "David Axelrod delivered one of the great psychedelic albums with 1968's Song Of Innocence, based around the poetry of William Blake. It is considered by many his masterpiece. Song Of Innocence is this weird hybrid that no one, not even Axelrod himself, could ever really describe. The listener is pulled in by his melodies, simplistic at first blush, but colored by odd chord progressions and turn arounds, grounded by the drummer Earl Palmer and Carol Kaye's funk, torn between the juxtaposition of musical elements -- a jazz vibraphone solo here, a fuzz guitar tear here, a nod to the baroque in Don Randi's clavichord comps -- and put at ease, always, by Axe's arrangements, which utilize brass and strings in a way that no 1960s arranger did. It's worth noting that there are really count-on-your-hand examples of anything that might even be compared to Song Of Innocence. Perhaps Arthur Verocai's self-titled and only artist album, issued on the Brasilian Continental label in 1972, or the collaborations between Serge Gainsbourg and Jean Claude Vannier, which found their epitome in 1971's Histoire de Melody Nelson. But even these albums, superb, in any thinking music fan's canon of the best from this era, perhaps in their lives -- and perhaps in line with Song Of Innocence -- are one-offs. Axelrod's Song Of Innocence set in path a series of artist albums on Capitol and other labels and influenced the world countless times over, from The Verve to DJ Shadow to Madlib to J.Dilla. Remastered from the original tapes in a new transfer, with extensive liner notes and unpublished photos."
PRICE: $21.00
PABLO, AUGUSTUS Earth Rightful Ruler LP
"Recorded at Harry J and Channel One in 1982 with iconic musicians as China Smith, Flabba Holt, Robbie Shakespear, along with Norris Reid and Delroy Williams on backing vocals.The album includes a recut of the classic 'Java' and the singing of Hugh Mundell on 'Ratafari Tradition'. Reissued with the artwork of the original Jamaican press."
PRICE: $21.00
ISAACS, GREGORY The Best Of Gregory Isaacs Vol. 2 LP
"... Isaacs kicks off the set with his declaration of independence, 'No Footstool,' but a quartet of militant cultural numbers -- a fierce 'A Riot,' a simmering 'Jailer,' a heartfelt 'Village of the Under Privileged' and the powerful return-to-Africa-themed 'Border' -- fuels this set. All are classic Isaacs, with the latter featuring the sublime harmonies of the Tamlins, who backed the singer on both these sets. Intercut between these cultural masterpieces are equally superb romantic offerings, notably the evocative 'Once Again' and the gorgeous 'Tumbling Tears,' the latter another massive hit. Like its predecessor, this is no career-spanning best-of set, but a superb album that does indeed include much of Isaacs' best work with Ranglin during the mid-'70s." --JoAnn Greene (All Music Guide)
PRICE: $21.00
"Ever since I heard the first Larry Marshall record, I have loved his writing, musical and singing style. He has a certain warmth and thrill in these songs that has It a deep aid love in the hearts of Jamaican record buyers. They always look forward eagerly to a new 45 by Larry. Larry was born in Lawrence Park in the garden parish of St. Ann. He attended Keith Primary School and began his singing career in 1960 on the Top Deck Label. Hits flowed from him, such as 'Too Young To Love' and 'Snake In The Grass', 'I've Got Another Girl' was recorded for Prince Buster. In 1968 the first reggae hit, now a classic, was done by Larry, We all remember Nanny Goat with the sharp cutting guitar riffs and the calypso sounding organ chords, 'Thelma' followed and then 'Mean Girl', All these were on the Coxsone Label. Recently, Larry's hits have been 'I Admire You', 'Brand New Baby', and 'Can't You Understand'. I now give you Larry's LP titles I Admire You, 12 shots are here to thrill your reggae-infused soul. King Tubby's mixed the tracks, and Federal Records made the stamper, Quality processing from studio disc. Get hip to I Admire You, Listen keenly to the voice, lyrics and arrangements, I'm sure that you'll proudly admire it!"--Andell Forgie of Swing Magazine
PRICE: $21.00
"In 1979, Alvin 'GG' Ranglin released the Roots Man Dub album on his GG's label, comprised of ten titled and two untitled tracks drawn from a variety of sources -- singles from GG's, Swaby's Ja-Man and Manzie labels, and the Hookim brothers' Hit Bound label among them. The common denominator is the Revolutionaries, who provided all the riddims. The final three tracks (plus all of disc two of the reissue) are comprised of previously unreleased dubs, again drawn from a variety of labels' releases and featuring both Ranglin and Swaby productions. The set doesn't identify which are which, and only a few dates are provided, but it's obvious which numbers were recorded in the roots era, with the superb riddims supplied by the Revolutionaries, the Roots Radics, and GG's All-Stars. The first disc is by far the most sumptuous in sound, awash in rich, organic dubs that are laced with melodies and virtually vocal-free. In contrast, the second disc features 'dubbier' dubs, all more rhythm-driven, reverb- and echo-laden, and with snippets of vocals (mostly from George Faith and Tony Tuff) feeding throughout. Played back to back it's difficult to believe they're from the same producers, and one is tempted to credit Ranglin with the first disc and Swaby with the second, but one would be wrong. Instead, the shift in sound presumably reflects the shift in styles between the mid-'70s and early '80s. A fabulous set and a boon for reggae fans, but like so many dub albums, Roots Man Dub leaves one desperate for more background information." -- Jo-Ann Greene (All Music Guide)
ON 303EP
PRICE: $12.50
CAT #: ON 303EP
Hailing from Wolverhampton, Weeping Messerschmitts gave us one absolutely cracking 12", released on Upright in 1986 and then disappeared. Previously only 12"-only release, Optic Nerve bring you two of those tracks on 7" for the very first time. Coming out of the West Midlands Weeping Messerschmitts cut their teeth supporting schoolfriends, The Mighty Lemon Drops. Initially called The Railway Children (until another band from Manchester nicked the name and pressure from lawyers at Virgin Records forced a change) and briefly managed by Gerry Cott of The Boomtown Rats (until a disagreement about the bands direction, forced him to quit) the Messerschmitts gigged constantly all over the UK, creating quite a buzz, building a following and gaining favorable reviews from the music press. It was no surprise that they were soon offered contracts with three major labels before choosing to take the indie route with Upright Records. For whom they recorded one of the greatest lost indie records of the '80s. Unfortunately, this was to be their only release before splitting in '87. Part of The Optic Sevens 3.0 reissue series. Blue vinyl; includes postcard and posted; edition of 800.
OPT4 042CD
PRICE: $12.50
CAT #: OPT4 042CD
DIRECT HITS The Broadway Recording Sessions CD
Way back in 1982, Battersea based mod heroes The Direct Hits had released one single on Dan Treacy's Whamm! record label, "Modesty Blaise" earlier in the year. This was singled out in the music press as not just one of your average jam crash/bang/wallop mod revivalist tunes. Whamm! was struggling to provide the funds to record an album, the songs were too good not to commit to a full 12" set, so the Direct Hits pooled their limited resources and self-financed a very cheap one day recording session in a tiny studio in Tooting, South London called Broadway Sound. Early on the morning of August 12th, 1982 the band, comprising of Colin Swan, Geno Buckmaster, Brian Grover, and their trusty roadie "Robbo" assembled at the tiny studio to begin recording as many of their songs as they could get down on tape for the tiny budget they had scraped together. As most of the songs were already well rehearsed thanks to the band's busy live schedule, the recording of the first nine songs on this disc were finished by mid-afternoon. Throughout the rest of the day, the band toiled over scant overdubs with limited keyboard facilities and a distinct lack of musical ability. The recordings immediately came to life however, when Colin Swan and Geno Buckmaster's stage-honed tight harmonies were added, there was no time for vocal overdubs, and the mixing was completed by midnight. Tired and worn out, the band ventured out into the cold night air happy with the day's work, clutching the precious reel-to-reel tape. Two weeks later the band came back with a friend producing, and recorded the three final tracks featured on this album which have a more rounded slightly less raw sound. All three were completed in an afternoon. Almost two years later they re-recorded some of these songs, and along with a handful of new songs from the pen of Buckmaster and Swan, recorded their Blow Up debut album at Rendezvous Studios in Sydenham, South East London, released on Whaam! Records in August 1984. A few didn't make it to the first album those that did, as you will hear, stayed reasonably faithful to the original arrangements. Remastered. CD version includes 20-page booklet.
OPT4 042LP
PRICE: $25.00
CAT #: OPT4 042LP
DIRECT HITS The Broadway Recording Sessions LP
LP version. Blue vinyl; gatefold sleeve; includes A2 poster and three art prints. Way back in 1982, Battersea based mod heroes The Direct Hits had released one single on Dan Treacy's Whamm! record label, "Modesty Blaise" earlier in the year. This was singled out in the music press as not just one of your average jam crash/bang/wallop mod revivalist tunes. Whamm! was struggling to provide the funds to record an album, the songs were too good not to commit to a full 12" set, so the Direct Hits pooled their limited resources and self-financed a very cheap one day recording session in a tiny studio in Tooting, South London called Broadway Sound. Early on the morning of August 12th, 1982 the band, comprising of Colin Swan, Geno Buckmaster, Brian Grover, and their trusty roadie "Robbo" assembled at the tiny studio to begin recording as many of their songs as they could get down on tape for the tiny budget they had scraped together. As most of the songs were already well rehearsed thanks to the band's busy live schedule, the recording of the first nine songs on this disc were finished by mid-afternoon. Throughout the rest of the day, the band toiled over scant overdubs with limited keyboard facilities and a distinct lack of musical ability. The recordings immediately came to life however, when Colin Swan and Geno Buckmaster's stage-honed tight harmonies were added, there was no time for vocal overdubs, and the mixing was completed by midnight. Tired and worn out, the band ventured out into the cold night air happy with the day's work, clutching the precious reel-to-reel tape. Two weeks later the band came back with a friend producing, and recorded the three final tracks featured on this album which have a more rounded slightly less raw sound. All three were completed in an afternoon. Almost two years later they re-recorded some of these songs, and along with a handful of new songs from the pen of Buckmaster and Swan, recorded their Blow Up debut album at Rendezvous Studios in Sydenham, South East London, released on Whaam! Records in August 1984. A few didn't make it to the first album those that did, as you will hear, stayed reasonably faithful to the original arrangements. Remastered.
PE 023LP
PRICE: $25.00
CAT #: PE 023LP
On Interior, Swiss composer Samuel Reinhard excavates intricate resonances at the periphery of our attention. Across four movements, Reinhard follows a process whereby he layers and loops fragments of piano improvisations. Yet, Interior complicates its own systematicity by using samples that are not only recognizable as piano notes, but as live recordings of a piano being played. Reinhard composes from traces both analog and digital: you can hear static hiss and clicks, but also the soft trace of a finger pressing a key or the shuffle of a body shifting position. Interior asks you to think about where you are, and how close you are willing to look, feel, and listen. Over the course of the four movements sounds return, familiar but transformed. What sounds like repetition is something more like accumulation, a thickening of space. Whether regarded at intimate range or from a distance, these compositions reveal more the longer we linger in the presence of each. Artwork photography by Jeff Ross. Edition of 200.
PRICE: $21.00
CAT #: ROG 100LP
2021 restock; LP version. "Joshua Abrams' Cloud Script - Cloud Script - Joshua Abrams (double bass), Ari Brown (tenor saxophone), Jeff Parker (guitar), Gerald Cleaver (drums)."
RM 4137CD
PRICE: $17.50
CAT #: RM 4137CD
ARAKI, YUKO End Of Trilogy CD
Yuko Araki is one of a number of young female artists emerging from Japan that are redefining the outer boundaries of noise, post-industrial techno and experimental electronics. Raised as a pianist, Araki's teenage obsession with metal opened a gateway towards various types of intense sonics. Exploring a range of diverse music projects over the past decade, her solo work resolved in 2019 after she developed an approach to freeform analog noise. Working with a reductive set of tools, her methodology was to create work that created a sense of timbral density and complexity through a weaving together of competing elements. End Of Trilogy pushes this approach outward, taking in almost kosmiche sensibilities, creating a sound that glints with the unsteady radiation of a dissolving pulsar. The album is an offering of competing states of tension and release. It merges polychromatic pulses against waves of sheering noise and uneasy ruptures of sound. End Of Trilogy is a record of unpredictable momentum and tempered ferocity. Even at its most intense. Yuko Araki's work maintains a sense of playfulness, and a determination not to succumb to mere sonic nihilism. Drawing on techniques borrowed from 70s prog-rock and even free jazz, she dissolves expectation and, in the process, reveals an utterly personal approach to noise and experimental electronics. End Of Trilogy is not merely a conclusion, but rather an interrogation of what comes next.Multi-instrumentalist/composer based in Tokyo, Yuko Araki started playing piano when she was a small child and in her teenage years was inspired by hardcore and metal music, but she soon became really eclectic and took on a diverse range of projects, including drummer of the oriental/tribal dream psych band Kuunatic and founding members of the neo classical noise duo Concierto de la Familia and her solo project: harsh noise drones layered by analog synthesizers, cymbals and samples of Japanese traditional instruments creating abstract rhythms and dissonant harmonies that sound like a noise orchestra. Her exceptional sensibility in processing extremely heavy and dense sounds makes the result sounding like nothing else you heard before: a thousand leaves oscillation sound at the same time rooted in Japanese noise but also totally different. Intergalactic noisescapes.
RM 4146CD
PRICE: $17.50
CAT #: RM 4146CD
CHARTIER, RICHARD Interreferences CD
For over two decades, Richard Chartier has interrogated an ever-deepening thread of minimalist sonics that forge together questions of stasis, pulse and timbre. The results of this work are some of the most quietly intense compositions of this century. His is a music of subtle variation, unwavering concentration and also patience. At his 50th year, Chartier's focus continues to deepen and Interreferences is easily his most resolved work in that it brings together his appreciation for pulsing low energy matched against a restrained upper frequency detail. It is a work of perceptual contrast, but sonic accumulation.A note from Richard Chartier: "I find myself at the collision of an inflection point and more over a reflection point. 50 years on this planet. I still find it difficult to write about my work. This is not because I cannot, but because I want the listener to approach my compositions of sound as such. Focus on the sensorial nature rather than an explicit narrative or reasoning. I do not see my work as abstraction but rather purely abstract. I chose sound as my medium after many years as a painter. I slowly came to conclusion that I no longer understood how to communicate sensation via a pigmented surface. The visual language I was using had become foreign to me. Sound allowed me a language that was wordless, open, moving, shapeless yet full of forms, connections, and progressions. It raised questions though and these are still part of what I struggle with in the ways I chose to create and then speak of my work why these sounds? what is the attraction to these sounds? how did I arrive at these compositions and their placements? The pieces exist then as less of a statement, more of a question, but a question that will be different for each listener. For me, listening to them over and over, they will take another form as time passes. They evolve. For now, though, they are in limbo on a piece of plastic or a series of lines of data Often i am puzzled by how other artists create their work, how they come to decide arrangements, sequences of sounds or just the sounds themselves. That is the magic of music."
SIR 2204CD
PRICE: $17.00
CAT #: SIR 2204CD
ROMAN BUNKA Dein Kopf Ist Ein Schlafendes Auto CD
"Dein Kopf Ist Ein Schlafendes Auto (engl. Your Head is a Sleeping Car) was one of the most interesting German formations of the exciting late 1970s. The album, which bears the title of the band's name, was recorded in 1980 and was released on record the same year. The band presented a unique mix of avant-garde rock, soul, jazz and oriental music. Hardly any other band offered this variety of musical quotes, such breathless ups and downs of incredible sounds and grooves. Roman Bunka and Dein Kopf Ist Ein Schlafendes Autor were the cultural ambassadors of that time. In addition to Roman Bunka, the band consisted of Gerald Luciano Hartwig (bass, sitar) and Freddy Setz (drums, piano), who unfortunately died much too early. The band shows their special class on the bonus track of this CD, which was recorded live in 1980. The story of this unfortunately short-lived project by Roman Bunka was even filmed at that time and broadcast on German Television ZDF shortly after the release of the record. After his time with EMBRYO (with whom he is playing again today) and AERA, Dein Kopf Ist Ein Schlafendes Auto meant a new chapter in Roman Bunka's career, which took him from guitar to the North African stringed instrument Oud, which he now is playing masterfully. Sireena Records is proud to release this extraordinary gem on CD."
SOAVE 019-20LP
PRICE: $23.00
CAT #: SOAVE 019-20LP
2021 restock, reduced pricing. Soave present a reissue of Roberto Musci and Giovanni Venosta's A Noise, A Sound, originally released in 1992. The third episode of the alchemical association between Roberto Musci and Giovanni Venosta, reprinted for the first time. This work seems to be even more enigmatic than the previous ones. The "plunderphonics" style of the compositional process, significant to allowing a technical experimentalism of inexhaustible variety of materials used (compendium of sounds, harmonies, ethnic timbres) and the infinite possibilities of assembly between non-sense and provocation, still remains. You might be almost stimulated to guess -- in the articulated sound architectures of the tracks -- every single fragment of popular or cultured music from every part of the world (Asia, Africa, Middle East, South America) related to the ad hoc inserts of polyphonic instrumentation distorted and dazed. The music expressed is basically a polyhedral pataphysical gaze on the complexity of the existing, an immersion in the contradictory forces of reality; the attentive listener will be able to recognize the tortuous and magical lines of a free and imaginative artistic creation, which is absolutely counter-current and unconventional. Comes in gatefold sleeve.
PRICE: $29.00
JAHYU Center of Gravity LP
Steppas Records present Center of Gravity, the new album from Korean-German producer JahYu. This heavyweight instrumental dub album breaks all convention taking the listener deeper into the world of mystical and ethereal soundsystem music. Exploring and fusing the realms of dub, world, and electronic music. The enigmatic producer blends contemporary bass music with the sounds of his ancestral homeland, playing and recording traditional Korean instruments; kayagum, geomungo, haegum, daegum, hun, yanggum, and janggu via his own hand. Center of Gravity is another truly eclectic, profound and exciting album from Steppas Records not to be missed. "A perfect fusion of meditative Eastern instrumentation with 21st century sound-system vibration" --Mixmag. In partnership with, there will be a tree planted for every record sold.
PRICE: $15.00
CAT #: SDR 064CD
D.O.A. War On 45 CD
"Sudden Death Records are very happy to release this 1982 D.O.A. classic album in it's original form on CD for the first time. This was D.O.A's third album, coming on the heels of Something Better Change and Hardcore 81. It made a greater impression on punks and a wider swath of people than the band had ever reached before. One of the key tracks was their version of Edwin Starr's giant hit 'War,' (The Temptations covered this as well). This was the first time that D.O.A. had been widely played on radio across North America and Europe. The band, in the best punk/reggae spirit, really broke open some new ground for themselves with their amazing adaptation of Ranking Trevor's 'War in the East.' Of course they turn the throttle wide open with songs that have become D.O.A. mainstays like: 'Liar For Hire,' 'I'm Right, You're Wrong,' 'America The Beautiful,' 'I Hate You,' 'Let's Fuck' and a blazing cover of The Dils 'Class War.' War On 45 further cemented their reputation as one of the best to ever come along. Jack Rabid (Big Takeover Magazine) said 'D.O.A. and the Bad Brains were the best punk bands to ever come out of North America and were really only comparable to the likes of The Clash, SLF and the Sex Pistols.' War On 45's stunning front cover was created by Shawn Kerri and inside the CD, the U.K. version's cover that was created by the ingenious Native American artist Clay Sampson is included. That cover depicts Colonel Custer filled with arrows at the battle of Little Big Horn which was a fitting end. War On 45 is a fitting comment on the '80s and somehow the songs still ring true today."
SV 154LP
PRICE: $35.00
CAT #: SV 154LP
SPACEMEN 3 Taking Drugs To Make Music To Take Drugs To 2LP
2021 repress. Housed in a gatefold sleeve with download code; includes the "legendary Northampton demos from 1986". "Amidst the swirl that is Spacemen 3's discography, Taking Drugs To Make Music To Take Drugs To occupies a pivotal position -- one right at the nexus between their garage beginnings and their expansionist future. While much of this material is expanded upon via Sound Of Confusion and The Perfect Prescription, many devotees consider these urgent, minimally treated recordings as the prime document of Spacemen 3 at this stage. Taking Drugs To Make Music To Take Drugs To casts Spacemen 3 alongside the mid-80s cadre of UK front-line rockers, contributing a distinct variation of high pop shining through layered noisy guitars. Ultimately, this collection serves to exalt the strength of Spacemen 3's songwriting over the atmospherics and production assemblage that would permeate their later efforts. Be it the rave-up rendering of 'The Sound Of Confusion' or the churning take on 'Losing Touch With My Mind', these full band recordings capture the excited and inspirational spark of psychedelia rather than deep-dive ruminations on sonics and space."
SP 10421LP
PRICE: $23.00
CAT #: SP 10421LP
TENNORS, THE Do The Reggay Dance LP
"While The Tennors burned up the charts in Jamaica regularly in the late sixties into the '70s, their legacy in America has not achieved the greatness of many of their equally successful contemporaries like The Melodians or the Techniques. Do The Reggay Dance is a deep look at the best Tennors productions from their classic late-60s period, including many tracks that have not been on vinyl since their original 7-inch release. The music on Do The Reggay Dance is classic rocksteady music from one of the best bands of the genre. Do The Reggay Dance showcases the first time all (but one) of the featured songs have been on vinyl since they were first released on now impossibly rare 45 singles. The songs were mastered by legendary reissue engineer Gary Hobish and designed by Barbara Bersche, the designer behind last year's Grammy winning historic package Voices Of Mississippi. This is the follow up release on black vinyl to the August 2020 RSD limited edition red vinyl version."
PRICE: $14.50
CAT #: TEC 113EP
Dance music during lockdown? Wh?t's the point? Don't lose faith... We will be back dancing together and when we do, you will want to hear this EP blasted out on a massive sound system, in good company. Berlin-based Aaron and Felix, aka Fjaak, have found themselves on a rapid uphill trajectory this last few years, tearing up the techno scene with their broken rhythms and massive floor fillers. With WH?T EP Fjaak take things back underground, keeping in check with a darkside-sonic familiar to Tectonic. Lead track "WH?T" is a brutal dancefloor track, weighted by a thundering distorted bass and skittering broken breakbeats and meticulous drum programming. Title based sample "Whaaaaaaaaaaaat" chimes in now and then to remind you what you're listening to. Label boss Pinch is first up on remix duties, taking the "WH?T" original and deeply upsetting it. Hard bang with some 4/4 bits and loads of distortion. Flip then for a rare collaboration between Fjaak and Felix's brother J. Manuel (originally a founding member of Fjaak and brother of Felix), taking things into scribbly-acid territory, while keeping the mood low-slung and rolling. Dangerous beat manipulator Eric Baldwin aka Cocktail Party Effect finishes up the plate with a synapse-sizzling version backed by heavy drum programming and ankle hugging subs.
TDP 54044LP
PRICE: $19.50
CAT #: TDP 54044LP
Trading Places present a reissue of Fat Matress's self-titled album, originally released in 1969. As bassist in the Jimi Hendrix Experience, Noel Redding made an indelible impression, but guitar was his chief instrument since the age of 17, when he backed Neil Landon in The Burnettes, and when Landon reconnected with Redding after a spell with Engelbert Humperdinck, Fat Mattress was born with Humperdinck's drummer, Eric Dillon, and bassist/keyboardist Jim Leverton. This indispensable debut was the only LP to feature Redding, the sound a pleasantly-melodic shade of psychedelic folk rock, with a few rough edges. Reproducing the original fold-out poster cover, this edition has four bonus tracks from the same sessions, two of which were issued on a 1969 single, the other two left in the can. 180 gram vinyl; in poster sleeve, faithfully reproducing the original version. Licensed from Cherry Red.
TDP 54046LP
PRICE: $19.50
CAT #: TDP 54046LP
Trading Places present the first vinyl issue of Sphincter Ensemble's Harrodian #1. The incredible sonic beauty of the Sphincter Ensemble results from musical spontaneity, a random jam session undertaken by a loose group of friends in the unlikely setting of the Harrovian Club in Barnes, west London, on January 2nd 1972. The sumptuous free jazz/prog rock/avant-classical fusion features top session players at their peak, with Trevor Morais's funky drumming loosely tied to Quatermass bassist John Gustafson's rough melodic lines, embellished by Anne Odell's far-out synths, Martyn Ford's French horn and arrangements by Elton John's orchestrator, Paul Buckmaster. This hugely enjoyable rarity is appearing on vinyl here for the very first time -- a thing of wonder for all discerning prog fans. Licensed from Cherry Red.
TDP 54049LP
PRICE: $19.50
CAT #: TDP 54049LP
Trading Places present a reissue of Curtiss Maldoon's self-titled album, originally released in 1971. After playing in Bodcast with future Yes guitarist Steve Howe, Dave Curtiss, and Clive Maldoon formed blues-rock duo Curtiss Maldoon, their self-titled debut released on Deep Purple's label, Purple Records, in 1971. For the LP, the pair was backed by top session players including Mighty Baby's drummer, Roger Powell, as well as Howe on the final track; contemplative folk-rock track "Sepheryn" would later be immortalized in altered form by Madonna as techno classic "Ray Of Light," but is included here in all its original glory, along with four rare bonus tracks from the same sessions, left off the original release, making this expanded reissue the best way to experience the band at their finest. Features four bonus tracks. 180 gram vinyl. Licensed from Cherry Red.
TDP 54052LP
PRICE: $19.50
CAT #: TDP 54052LP
Trading Places present a reissue of Tucky Buzzard's Buzzard, originally released in 1973. The roots of hard rock act Tucky Buzzard lie in psychedelic group, The End, who supported The Rolling Stones on an early tour, leading Bill Wyman to produce their sole LP. The band then morphed into Tucky Buzzard, now with scorching lead guitar licks and Hammond organ parts to the fore, and Wyman still on board as producer and manager. For their final album, Buzzard, released on Deep Purple's Purple imprint in 1973, there is a mix of hard-edged blues rock, with a fine interpretation of perennial classic, "Who Do You Love," and wistful originals like "Hanging On In There." As ever, Wyman's sterling production and presence on acoustic and electric piano makes this one a must for all Stones fans. Licensed from Cherry Red.
TDP 54060LP
PRICE: $19.50
CAT #: TDP 54060LP
DAVISON, BRIAN Brian Davison's Every Which Way LP
Trading Places present a reissue of Brian Davison's Every Which Way, originally released in 1970. Esteemed drummer Brian Davison was a key part of The Nice during the mid-60s, and when Keith Emerson quit to form ELP, Davison put together Every Which Way with former Skip Bifferty frontman Graham Bell, bassist Alan Cartwright, guitarist John Hedley, and saxophonist Geoffrey Peach. Self-titled debut LP, released by Charisma in 1970, was an intense slice of prog with excellent sax solos, emotive vocals, tasteful bass, soaring guitar, and forceful drumming, but Cartwright soon joined Procol Harum and Davison drifted into Refugee, making this album the group's sole release. Well worth exploring, it's another highly sought-after album for fans of well-produced prog. 180 gram vinyl. Licensed from Cherry Red.
PRICE: $14.00
Minimal Violence return to Tresor Records with Phase Two of their DESTROY ---> [physical] REALITY [psychic] --- TRUST series. This five-track 12" kicks off straight into the dust storm of "Dreams for Sale", a Lynchian trip through explosive breakbeat manipulation, sirens and cries deep into the abyss. True to form, Ashlee Luk and Lika P harness raw tensions and lock into the flow on "Mankind". An EBM monster, its bass sequences lay writhing non-stop, over a beat in full propulsion. Drawing to a close, the kick drum falls out leaving a suspended room full of action. The Canadian duo then follows up with the sensational Hard Delivery, a 175bpm hi-NRG gabber barrage. Smeared synths hint at a melody, like a pair of pitched-up foghorns beaten down in a harsh rhythm world, as disfigured barks amp up the pressure. "Prey Drive" is the straightest techno track, its industrial bassline a cornerstone to grip onto, as its elements pile in on top. Closing track "1992" wears its identity on its sleeve, a pure rave track inspired by the early '90s sound. Distorted drums and synthesized strings coat a gnarled breakbeat with paranoid malice. Sounding like nothing else right now, its influences are chewed-up and spat-out. There is no sound capable of sitting still, just a mutant sonic environment of destructive movement. 180 gram vinyl; includes download code.
PRICE: $18.00
CAT #: TUP 034LP
SLEEP Volume One LP
2021 repress. "Volume One is the debut album. It was the only album recorded with second guitarist Justin Marler, before he became an Orthodox monk. Volume One showcases a darker sound and stronger doom metal influence than Sleep's later work."
PRICE: $25.00
2021 restock. Her memoir Dana Gillespie: Weren't Born a Man was recently published by Hawksmoor Publishing. "Vinilisssimo present a reissue of Dana Gillespie's Weren't Born A Man, originally released in 1973. Hardcore David Bowie fans should have heard by now about the so-called Bowpromo album (2011). It contains "rough mixes" of original tracks that would later be included on the Hunky Dory (1971) and Ziggy Stardust (1972) albums, as well as an exclusive track and the early (and shorter) versions of some amazing songs that would later make their way into Dana Gillespie's Weren't Born A Man: "Mother, Don't Be Frightened" and "Andy Warhol". In fact, these two tracks on Dana's album were produced by Bowie and Mick Ronson, featuring Trevor Bolder and Mick Woodmansey, members of The Spiders from Mars, as the backing band. Weren't Born A Man is Gillespie's third album after some previous folk and pop recordings and a rather successful career as an actress. She played Mary Magdalene in the first London production of Jesus Christ Superstar in 1972. However, her involvement in music would soon be connected to some of the key players in the London scene, such as Mick Jagger, Jimmy Page and David Bowie. But there is much more to this album that just Bowie's glam sound influence. "All Cut Up On You", "All Gone", "Eternal Showman" or the title track are all outstanding tracks on their own that show Dana Gillespie's various moods, from mellow notes to sexually ambiguous statements. Sadly, record sales did not match RCA's expectations and after one more album, Dana was forced to take a long break on her recording activity, one that would eventually lead her to a very different approach to music. During the '80s, Gillespie made a comeback becoming a member of the Mojo Blues Band and her career as a blues singer has not stopped since then, releasing over 25 albums to date. 43 years after its original release, Weren't Born A Man stands as a must-have record for anyone with an interest in '70s music. 180 gram vinyl.
PRICE: $22.00
WOODS Reflections Vol. 1 (Bumble Bee Crown King) (Color Vinyl) LP
LP version. Color vinyl. "With no touring in 2020, and possibly this year, Woods decided to take a deep dive into their archives and put together the first volume of their much-discussed archival series, Reflections. Featuring rare and unreleased recordings from 2009-2013, including a ghost town desert jam off the side of the highway, their first live performance in Big Sur, the first recorded version of 'Bend Beyond' and some shelved diamonds in the rough that were finished up during quarantine. Their hope is that it plays like a 'lost record' from an extremely strange and fruitful period in Woods history."
PRICE: $20.00
WOODS Reflections Vol. 1 (Bumble Bee Crown King) LP
"With no touring in 2020, and possibly this year, Woods decided to take a deep dive into their archives and put together the first volume of their much-discussed archival series, Reflections. Featuring rare and unreleased recordings from 2009-2013, including a ghost town desert jam off the side of the highway, their first live performance in Big Sur, the first recorded version of 'Bend Beyond' and some shelved diamonds in the rough that were finished up during quarantine. Their hope is that it plays like a 'lost record' from an extremely strange and fruitful period in Woods history."
PRICE: $17.00
CAT #: YAZ 1037HLP
2021 restock. 180 gram vinyl. Reissue of this 1974 collection of recordings from the prolific 12-string blues guitarist.
new releases are also viewable at
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